FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON. D. D. BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY 3^ Digitized by the Internet Archive in 2012 with funding from Princeton Theological Seminary Library http://archive.org/details/completeencyclopOOmoor COMPLETE ENCYCLOPAEDIA OF lAIUSIC, fkmentoq, CerljnirDi, UijEitnririil, Singrir^jiiral, ilnrol, anil SnfilrumentaL BT JOHN W. MOORE. TO WHICH 13 ADDED AV APPENDIX, liSTTRODUCXNGr MTJSICAL EVEXTS TO 1876. BOSTON: OLIVER DITSON & CO., 451 WASHINGTON STREET. NEW YORK: CinCAGO: PHILADELPHIA: C. H. DITSON & CO. LYON & HE^VLY. J. E. DITSON & CO. DiBTBlCT OP Vebmost, to wit. Be it reinenil.cred, that on the 2iBt day of December, Anno Domini 1852, John W. Moohk, of the said district, hath deposited in this odice the title of a book, the title of wbich is in the words following, to wit: "Complete Eticyclnpxdia of Music, Elementary, Technical, Historical, Biographical, Vocal, and Instrumental." By John W. Mooke. The right whereof he cl.iim« M author. In conformity with an Act of Congresii, entitled " An Act to Anioud the several Acts respecting Dopyrights." Kdw.\ko II. Puemiss, Clerk oi the District. District Clerk's Ol5c*, J ¥en&ont Diitriot, to wit. > ^ heroby certify the above to be a true copy of record. £dwaju> ii. Pkektus, Clerk. PREFACE. The value of undertakings in the way of reference, and for the rapid acquirement of leading particulars concerning men more or less eminent for genius, skill, and science, being now universally acknowledged, little apology will be deemed necesssiry for extend- ing the benefit to a department so interesting as that of Music. The utility of individual effort for the purpose of collecting and preserving whatever remains of the history of music cannot be questioned ; for " Tradition is a meteor, which, if it once falls, can never be lekindled." Mankind are generally interested in the feelings and pursuits of man in different ages ; hence arises a fontlness for even those details which singly may be unworthy of regard, but which, in the aggregate, form the most valuable sources from which to leani the exact condition of a people. The author's motive in undertaking the drudgery of preparing the work now offered to the public was, that such a publication seemed to him very much needed by all persons in any way concerned in the i)ractice of music, either vocally or upon instruments, as well as by all students of music and those who may be engaged in teacliing. However prevalent the acquirement of the French, Italian, and German lan- guages, among musical professors, artists, and amateurs, it is by no means universal ; con- sequently a faithful conveyance of the most interesting information from foreign sources of the best authority, it is believed, will be welcome to many of those, to say nothing of readers and inquirers in general. The material from which this first volume has been compiled wiu^ gathered by much labor and expense : the labor has been almost incredible : such a viuvt amount of matter could not be collected in a day or a year: the gathering of it together has consumed the patient industry of many years. ]\Iuch of the infonnation was difficult to obtain and slow to collect, and, when obtained, had to be, at great expen-e, translated and rewritten. The reader will notice that a very large amount of infornmtion, not to be found in foreign compilations, in other languages, is here collected and method- ized, not only from the formal works of Dr. Burnoy and Sir John Hawkins, but from all the lighter and more fugitive notices of French, Gennan, English, and American musical progress which have been scattered abroad for many years past. Fixxluctions which are the result of labor more than of genius generally lie under two great disadvantages : the pleasure of composing is incomparaf)ly less, and the composition itself is held in far le«9 estimation ; and it is more than jirobable that, if tlio author of this volume had not |>os- iessed an earnest desire to become fiuuihar with some of the hidden treasures of an art 3 PREFACE. &'waj5. most dear to liiin, he would have shrunk from tljc titsk of collecting and arranging such a vast amount of historical and other matter as will here be found, and which will render these pages valuable hereafter as a book of reference. In preparing the Comi'LKTK ExcyCLOi'yEDiA OF Music, I have endeavored, hj ex- ami)le6 selected from the best forei^'n authorities and the introduction of musical charac- ters, to render the instructions familiar and eiusy to be comprehended ; and I only regret that, in m:iny instances, they could not be made more extensive, particularly the instruc- tions for musical instruments. Limited as they arc, however, it is confidently believed that no other work ever pubhshcd can be found containing so much that is desirable to be known by every student of music. I have compressed the language generally ; and yet I have retained all the important intelligence. Whatever regards melody and harmony, either vocal or instrumental ; the invention, formation, powers, and characters of musical instruments ; the nature of composition and performance in general ; or of the music of particular ages and countries. Elementary, Technical, Historical, Biographical, Vocal, and Instrumental, — I have endeavored to define and elucidate : and should this volume of a work, executed on so comprehensive a plan, be found not wholly without omissions or entirely free from defects, the candid reader will, I trust, ZLske due allowances for the dif- ficulties inseparable from such an underiaKJng ; and I am confident that the various and important subjects treated of will be an excuse for any small inaccuracies which may be' noticed by those who are conversant with the subject. The elementary portions of the Encyclopedia will be found very fully explained and exemplified ; the various mu sicid terms are d(;fined in such a manner as to a|)pear plain to all. It has been so long the custom to use Italian and French words, indeed, whole phrases of the former, and Latin and German words, when describing or indicating the style, time, and occasional characteristics of a piece of music, that it would be a vain undertaking at this day to at- tempt any innovation on a system which li:is received the sanction of conventionalism, not only in this country, but idl over the civilized world. I have in this work, however, aa will be noticed, endeavored to make their order iis lucid as possible and their meanings perfectly intelligible. It would require a tedious circumlocution of translation, were it attempted, to displace these old terms for vernacular ones. I have retained them in their original ; for, their signification being once understood, their brevity will always be found to be convenient In my collection of words and terms, as well as the various instruction in the different departments, without confining myself to the theory and practice of any time, I have endeavored to include whatever might be necessary to the reading of the treatises of the old masters, and even to the undei-standing of the systems and practice of the ancient Jisi well as the later and moie moilern schools of music. There will be found here collected and alphabetically arranged a large amount of historical matter, be- sides a summary of the general history of music from the earliest ages, never before published in this country. I have, at great expense, caused to be translated important portions of many foreign musical j)ublications, and have also succeeded in enriching ilie work by the introduction of a huge number of original memoirs of eminent living musiciiuis. The treatises uixtn Harmony, Thorough Bass, and Wind and Stringed Ir struments are full and comprehensive ; and I have given scales for many, and descrij)- tions of every known musical instrument, with concise directions for the practice of such jis are in common use. I have personally devoted more than seventeen years to the one object of making this work complete, during which time every attainable authority has beea consulted. I have availed myself of extracts fiom the works of Gerber. Clioron, FayoUc, OrlofT, Burney, Hawkins, Hogarth, Calcott, Gardiner, Busby, Hamilton, Schil- ling, Fetis, and other distinguished authoi-s. I had, in addition, much assistance from the r KEF ACE. late Professor Henry E. Moore, and have been materisilly aided by John S. Dwig'it, Esq., editor of Dwijriit's Musical Journal, and by Richard Stori-s 'Willis, Esq., editcr of the New York Musical Times, from whose valuable journals I have gained much infor- mation not elsewhere to be found. I am therefore confident that this P^ncyclopa'dia will be found to be as perfect and reliable as the materials I have been so many years gather- ing and my own patient industry can make it. The CoMPLKTE Encyclop^.dia of Mcsic, now offered to the public, enters an unoccupied field, no such work having been compiled before either in this country or in England, and notiiing like it existing in the English language excepting a small Lex- icon publislied by the author of this work in 1845. In all the foreign musical works which liave come to my knowledge there is a neglect and almost supercilious disregard of modern musical pretensions, which have led me to believe tiiat a correct and modest record of them (in this, and another similar volume which is to follow at a future day) may assist to preserve much historical and biographical information which but for this etibrt migiit be forever lost. The better music is known and understood, the more it will be valued and esteemed ; and a love of the higher schools of musical comiwsition is one of the surest tests of a re- lined and elegant state of society. The reading and study of music and the use of mu- sical instruments have become so general among all chxsses of people in this country that books treating of the subject begin to have a ready sale. Musical progress in the United States, since 1850, has been very extraordinary, and has more than kept pace with the other arts and sciences. Music propagates itself with great rapidity : from the pleasure it gives, and from the facilities aflbrded in our day for acquiring a knowledge of it in a country so prosperous as ours, a country the great mass of whose people can afford to hear the performances of the greatest musical artists of the age and can afford the best musical education for their families, the rapid extension of the art may be anticipated. The great European vocalists and artists who have followed each other to this country in quick suc- cession have produced a remarkable effect in raising the standard of musical taste and spreading the science and practice of music over the land. Critics talk of the want of a national music in America : a national music is the spontaneous growtli of ages of insu- lated life and feeling. It is impossible that American music can do more tiian reproduce the music of other ages and jiations. We are too open to the world, too receptive of all influences from abroad, too much a nation made up of others to possess a music of our own. We are for a long time yet to remain in the position of leamci-s ; let us not, then, fear the charge of imitation ; it is too stale a charge to be pungent We must imitate while we continue in a state of pupilage. Man, di>tinguished from the inferior parts of creation by the divine gift of n-ason, ex- hibits no greater evidence of that faculty than by the seeds of science which the Creator has implanted in ins nature and the power which he jKjssesses to cultivate and bring them to jierfection ; but of all tiie various arts and sciences which lie is qualified to j)n)secufp, no one appears more congenial to, no one more intimately interwoven with, the constitu- tion of his frame tiian that of music. Vocal music, indeed, seems to have been coeval with human nature itself. Tiie invention of musical instruments must, consequently, have taken place at a very early period of the \y)rld ; though the different epochs of their introduction .and improvement, as well as the gralooined out in such fragrant and brilliant comi>letencss. is alike known to all. It is a privilege of priceless value that we live in an age through which are transmitted the inspirations of Palesfrina, Bach, Handel, Haydn, Mozart. Beet- hoven, Weber, Schubert, Mendelssohn, Rossini, Jleyerbeer, Aub(>r, and the long line ol masters. It is a great thing to live afler these men — men whose lives were all one bum* ing feeling, one overmastering idea, one deep yearning after a perfect expression of the beautifd, one long series of grand, tniclassified psychological facts. In their still world of dn-ams, what miracles did the power of art work out from their intense conceptions what skilful choice and marshalling of means for producing their intended effects ! and what patinnt and intense labor at composition ! The lives of these men are like instdated points in histf)ry, only to be well comprehend- ed by those who are somewhat simihu-ly organized. But their influence is wider than we can imagine. A great musical composer is a central power, who radiates a finer sense of beauty, by little and little, into the outmost and least-delicately organized souls. He is but a poet, whose language is more interior and universal than those who sing in artic- ulate words. Where we stop short on the threshold of the holy of holies and are unable to penetrate by reason of tlie imperfection of human speech, the high priest of harmony en- ters and utters to the world's ear the deep, soul-entrancing oracles of Gow> Fall*. I'trx^ont, 18A« COMPLETE ENCYCLOPiia^IA OF MUSIC. A. A is the nominal of the sixth note in the nat- ural diatonic scale, or gamut — the sixth diatonic step of tlie first or lowest octave of the modern scale — to which Guido (Aretints, or Aueti.va, called Guido and Guidone) originally applied the monosj-llable La. A is the sixth ; a indicates the same stop in the second octave. As the ItaUc capital A is used in the first instance, and the small Italic a in the next, the former is called the larye or yreat octave, the latter the small octave. The mark which represents the same note in the third octave is d, with one line above it, and J with two lines above it repre-ionts the same note in the fourth octave. These lait, being designated by lines, are named the one-liiud octave and the tico-lined octave, and so on, because the number of lines denotes the number of octaves above the small or second octave. A is also the name of one of the two natiinU modes, and Ls the opeti note of the secotid string of the violin, and the note by which the other strings of that instnunent are tuned and regulated. A is like- wise the name of that note in our system which answers to the lowest sound used by the ancient (jreeks ; that is, the pros/a mbaiiomettos of the Ily- perdorian, or deepest (jroek mode, which note wc now place on the first space in the bass clef. A (the Itahnu A, sounded broad, an in father) is natiu'ally the first letter, because it represents the first vocal sound naturally fonned by the hu- ninn organs ; being the sound uttered with the mere Ojicning of the mouth, without constraint, ami ^nthout any effort to alter the natural po- sition or configuration of the lips. A is placed by modem musicians on the tirst space of the bass staff", or on the first space with the F clef, thus : — S -^.-CkTOI A was long the lowest sound kno-wn. Tlie letter A has for ages been used as the name of a tone — it was so xised by Aristoxenus, .340 years be- fore Christ. It is the name of the first string of •he violoncello, by which its other strings are tuned ; and the various instruments of an or- chestra, or band, are generally tune 67A i ^J^ ^^ s => = Do B« Ul r> Bd U Bl Da A not only represents the first natural vocal sound, the sound first made by infants, but it is the first letter of the alphabet in most of the known languages of the earth ; in the Ethiopic, however, it is the thirteenth, and in the Kussic, the tenth. A, or the sixth note in our system, it will be obsen-cd, corresponds with the proslamba- nomciios, or lowest sound, of the CJrcek scale. The more ancient Greek scales fonned their sep- teniu-ies from the letter \ ; and the letters below A in the bass were made double, and those above the staff with the (i clef were tcnncd in alt ; but the septenaries being reckoned from \, the limits of the bass, tenor, and treble were not accurate- ly defined. Iliis letter has in the English lan- guage, regularly, only two sounds peculiar to it- .self, a short and a long one ; all other sounds of the letter being irregular and various, according to its combination with other letters. A, as the mark of a vocal so\uid, is the most simple, and that which the diimb are most easily taught to utter. To pronounce it clearly, we need only to open the moiith wider than for any other sound, and then emit the air from our hmgs. In miisie, A has several distinct and different meanings : il" any numerical figure Ls added to the letter .-V, when prefixed to a vocal composition, it denotes the number of voices for wliich the piece is in- tended ; as, A 2, for two voices ; A .3, for three voices, &c. It occurs in both vocal and instru- mental music, technically, in a great many dii- ferent connections; a«, a tcmjio, in time ; a diif, for two voices ; a piaccre, at jileasure, .tc. From the earliest ages, the tones of music were designateil by the letters of the alphabet, and the lowest or first tone of the ancient Greek scale was called A ; and this tone continued to l>c the lowest or most grave tone known till about the year OGO, when Guido Aretinus added another note below, which he calleTeuth. In 1802 he was a;)- pointed musician to the Duke of Wurtemberg, at Stuttgard. He composed many esteemetl works, both vocal and instrumental, between the years 1788 and 1810. 10 ABB ENCYCLOPAEDIA OF MUSIC. ABE ABBUEVIATIONS are letters used for words ; at, A., Alto ; Ped., Pedal ; B. C, Ba».HO j Coiitimio ; Leg., Legato; V., Violin; M. F., Mezzo Forte, &c. ; but we shall notice each ab- breviation under its jjrojjcr head. There are cer- tain abbreviations which, although oi' modern introduction, are not in general use. This mark, •— ■, set against a note, divides it into quavers ; thi-^, ——, divides it into semicpiavers ; and this, — •- into dcraisemiquavers. This mark, ^— , by it. """ *— — "* t These abbreviations fonn a musical brachvg- raphy, or short hand, highly useful both to the composer and copyist, and are now so generally adopted, wherever admissible, as to have become a nec-eisnry object of attention to the pupil. 'Wlien the same note or similar passages are to be re- peated, much time is saved to the composer or copyist by the use of abbreviations. A single stroke, over or under a seraibreve, or through tlie stem of a minim or crotchet, divides them into quavers ; a double stroke, into semiquavers ; and a triple stroke mto deimsemiqiiavers. Sec e.\- araples, hero and above. The-;e passages, in Italian music, had formerly the word ei-aiiv', (quavers,") or semi-rromc, (serai- quavers') annexed to them. At present we often use the term jcyKo to signify that we must per- form the following notes in the manner in which the first are marked. Another kind of ab))revia> tion is very fro juently used in modern music, viz. grouping the stcius of loinims like thoHC of qua- vers, thus : — Wilma. ^^ A.VOTUE& 8TTLB OP WUmXO. /r ±-M ^ Most of these abbre\-iations are exclusively con- fined to orchestral and band music ; but every performer and student of music should be made acquainted with them, for they are frequently made use of at the present time, a,s well in piano-forte music as in the accompaniments to vocal music. ABEILLE, a French composer. In the year 1710, he published, at Paris, " Reciieil (TAirs serietix et d boire," (Collection of Serious and Drinking Airs.) ABEL.VUD, PETER, famous for his learning and for his love of IleloLse, was distinguished for his miLsical talent, lie died 1142, aged G3. ABEL, LEOPOLD AUGUSTUS, a violin pu- pil of Uenda, was born at C'oethen in 1720. He was musician to several Uennan princes. ABEL, CHARLES FREDERIC, youngest brother of Leopold Augustus Abel, was boni at Coethen, and was a celebrated composer as wcU as performer of music. During nearly ten years, he was in the band of the electoral King of Po- land, at Dresden, at the time that the celebrated Hasse was chapel master. Either from the ca- lamities of war having reduced their court to a close economy, or, as some say, by reason of a dispute with Ilasse, .\bel quitted Dresden about the year 17<)0, with only tlu-ec dollars in his pocket, and proceeded to the next little tJcnnan ca])ital, where his talents procured him a tempo- rary supply of money. The following year he made his way to Elngland, where he soon obtained notice and reward. lie was first patronized by the Duke of York, and, on tluj formation of Queen Charlotte's band, was appointed chamber mvisician to her majesty,with a salary of £200 pei annum. In 1703, in conjunction with John Christian Bach, he establLslied a weekly concert, by subscription, which was well supj)orteolf was the viol da gamba, now hanlly ever u~ed. He remained in Iointed by the termination of his lord- ship's management, Salomon brought Haydn ti> London. It U to this circumstance that tlie world probably owes those sjnuphonics which are among the finest monuiuents oi instrumental art. Haydn was engaged not only to compo:>o. but to direct the periOrmance of his productions ; and thus he wa< roused by every motive, and "xcited by the higlie-it instances of talent tliat co'Ud bf engaged in Ids service. ABOS, SYll. Chapel-master at the conscrva tory of A-i J'irta, at Naples, about the year 17G0. He composed the Opera of 7'<<3 Msoon. He died in 1805. ABRAMS, MISS. A celebrated English sinner and comi)o-er of songs. Tlie air of " Crazy Jane " Is the most popular of her compositions. Hei sLstcr, Thbohosia Aiuiams, posi.ossed a remark- ably tine mezzo-soprano voice. ABRIDGMPA'T. Diminution, contraction, reduction ; collecting in a small compass the chief parts of an overture or oratorio. To abridge will require a thorough knowlcociationr under the uamical Convc tions, aiiJ 13 \ca ENCYCLOPyEDIA OF MUSIC. ACC Peachers' Classtw, Institutes, Normal Schools, &c., we now becoming uuiucrous in this country. ACADEMY. MUSICAL. Tlie first institution of a musical academy in Enf^land took phice in the year 1710, at the Crown and Anchor Tavern. It consisted both ol professors and non-prol'essors, issLsted by tlie gentlemen of the Chapel lloyal, and the children of the several choii-s, and wiis con- ducted on an extensive scale, and in the most respectable style. Since that tuue, several others have taken place on various plans ; among which, one of the most successful, at least for a time, was that established by Giardini, about the year 17'50. ACADEMY, ROYAL. The lloyal Academy of Music was formed in England, for the per- fonnance of ojicras composed by Mr. Ilandel, and conducted by him at the theatre in the IlajTuar- ket. ThLs institution attracted e.vtraordiuary at- tention, and continued to flourish for a consider- able time, with great reputation. The subscrip- tion amounted to £.50,000 ; and the king, George I., subscribing £1000, allowed the society to assume the title of lioyal Academy. It con- sisted of a governor, deputy governor, and twenty directors. A contest, however, bctwlvt Handel and Sencsino, in wluch the directors took the part of the latter, occiusioned the dissolution of the Academy, after it had existed for more than nine years. Dr. Busby says it was fonned by subscription in the year 1720, for patronizing, supporting, and performing Italian operas, pastic- cios, and intermezzi. ACADEMY OF AXCLENT MUSIC. This institution was established in Loudon, in 1710, by tlie most eminent masters of the time, with a view to the study and practice of vocal and instrumental music, and continued to flourish ibr many years. The institution had the advantage of an excellent library, consisting of the most celebrated foreign and domestic compositions, and W!us aided by the amateurs of the Chapel lloyal and the choir of St. I'aul's Church, and the boys belonging to each. In 1731, a charge of plagia- rism was brought against Uononcini, a member of the Academy, for claiming a madrigal of Lotti as his own, and threatened the existence of the in- stitution. Dr. Greene, leader of the choir at St. I'aul's Church, who had introduced the mailrigal into the Academy, took part with Bononcini, and both withdrew from the iiLstitution. About tluroe years afterwards, Mr. Gates, leader of the choir at the Cliapcl lloyal, retu'cd in dlsgast ; and from this time the Academy became a semina- ry for the instruction of youth in the science of music. A CAPELLA. (I.) In church or chapel style. A CAPRICCIO. (L) Just as you please ; arf libitum, at will, agreeable to our fancy. ACATIIISTJS. (Gr.) A solemn h>-mn, an- ciently sung in the (ireek church, on the Satur- day of the filth week of Lent, in honor of the Virgin, for having tlirico delivered Constantiuo- ole from tlie invasions of barbarians. ACC AllEZZE VOLE. (I.) Fawningly. AC(;A11EZZEV0LMEXT0. (I.) Persuasively. ACCEL (1.) Accelerando. ACCELEll.lXDO. (L) The term for accel- crating the time in the middle of a piece of mu- sic ; increasing fa.ster and yet more fast to the close. ACCELEIIATO. (I.) With increased qtiick- ness. ACCELDO. An abbreviation of Accelerando — meaning that one must accelerate the tiui* of a i)icce of music at a particular place to produce eftect. ACCE>rr. A term applicable to every modu- lation of the voice, both in speaking and singing a swelling of sounds for the puri)ose of variety or expression. l"here are a great variety of accents, but we speak particularly of the musical accent. It is to the study of tlus anima vocis, as Diomedes so justly calls it, that the composer and performer should unceasingly apply hijnself ; since without accent there can be no music, because witliout ac- cent there can be no expression. Much controversy has arisen concerning both the origin and the use of the accent. The Jews, in all probability, made use of it to distinguish the sense, as well as to regulate the musical cadence or melody ; they undoubted- ly sang instead of reading the Scriptures in their synagogues. The Chinese and Siame-c are noted_ for the musical accent with which they speak ; they pay great attention to accent — the Chinese from necessity, since Ya in their language means God, a wall, excellent, stupiditij, and a goose ; so that it depends entirely upon the accent what they say. The names wliich the Greeks gave their accents prove that their eflect was musical, consisting in a variation of the tone of voice in respect to acuteness and gravity. The ancients instituted academies for the management of the voice; and some of them, when declaiming in public, it Is said, were accustomed to have a mu- sician stationed behind them, in order to regulate the tones of the voice by a pipe or flute. Many passages might be cited from Cicero, Quinc- tiUan, BoetMus, and Plutarch, in order to prove that not only miLsicians, but others, had a tiota- tion, by which the inflections of the voice peculiar to their several professions of singing, &c., were ascertained. Mr. Steele ascertained that very minute intervals could be accurately marked for the purpose of ascertaining the most effective in- flections of the voice. He was abo able to imitate, upon a ^•ioloncello, the exact tone of the voice ui declamation, as it naturally passes from grave to acute, and from acute to grave, and to express it in writing. With a finger on the fourth string of a violoncoUo, and a corresponding motion of the bow, he imitate aU consist of iiUcrvaU, or sudden starts from tone to tone. But the music of declamation Is a continual and in- sensible gliding upwards or do^^^lwarcls, witliout any sudden transitions of tone. It Is, however, perfectly susceptible of notation, and on principles altogetlier analogous to our common method of writing music, as was shown by Mr. Steele, who, to denote this kind of melody, inscribed on the start" of five lines, instead of crotchets and quavers, a set of right lines obliquely ascending or de- li ACC ENCYCLOPAEDIA OF MUSIC. ACC icending through a space, correspoudiiig to the musical inten-al, through which the voice natu- rally glides ill speaking. The-ie sliding notes or mark.s of declamation, when taken out ot'tlie statl', are the exact representations of the ancient ac- cents. Mr. Steele made considerable progress in analv/ing and recording the melody of Ki)eoch, and could repeat a sentence as correctly as if it had been set to music, 'llicro is a musical ac- centuation observable in all pleasijig declamation. When wo utter the interjection Oh ! under the strong impression of wonder or surjirise, we use a circumiie.x musical slide, lirst a.scending and then descending through no less an intervid than a w hole octave, thus : — "WHicn the musical accent denotes sorrow, the tone of the voice continues all the while at the same pitch ; for it is the natural character of grief to be monotonous. An accented syllable may be long or short, ^\^lcn the stress is laid upon the vowel, as in GLo-ry, FA-ther, Ilo-ly, kc, the sylla- ble is long ; when upon the consonant, as in hab- it, bat-tie, bor-row, i>ic., the syllable is short. In mu-sic, generally speaking, the notes or parts of a bar on which the emphasis naturally falls are said to be accented. Li common time, whether vocal or instrumental, the first and third parts of a bar are accented ; and in triple time, the hrst and last note, as ^^■ill be sliowu herealter. Accent is the aritlunetical order by which the contents of a bar ixie di\'ided and arrangetl. .Vlthougli the principles of the accent belong cliiedy to the composer, yet the performer ought not to be un- acquainted with them. To accent is to utter a note or syllable with a particular stress or modu- lation of voice ; it is a swelling of sounds, for the purpose of variety or expression. The accented and unaccented parts of a bar in the several meas- ures may be seen in the following e.xamples. In the sign of or and the first note is accented, the second unaccented, the third accented, and the fourth unaccented, thus : — Exftinptea. A.V.A.V. A. U. A. U. A. U. A. U. A 1111 ^ S -r-^f d #^^^ 'III C^ 1a llM cuinplM, A. uasik for Aecvotwl. U. fa* L'bmocbi Ii. the sign of 2 or j, the first note is accented, and the second unaccented, thus : — A.U. A. U. A. U. A. C. A. IT. 1^ 9 *> m m . . . t\ s a ^ » ^ , ^ a 4 •> 1 r r ' W J •4 a' ' ' In the signs of », J, |, the first note is accented, the second unaccented, and the third accented. A. U. A. A. U. A. A. U. A. A. i:. A. A. U. A. m rg^FrfHTTfffi^ ±Sz -v-^ ^ III the signs of «, ^ the first and third notes ore accented, the second unaccented, the fourth and sLxth accented, and the fifth unaccented. A. U. A. A- U. A. A.U.A. A-f.A. A.U.A. A.U.A. gg^gy In the signs of '-j '-^ the accents lie in the order of " and 'ij. In the signs of J, ^, the accents lie in tlie order of J and ^, ITie tcnns aa-ctiUd and wiaere/itcd strictly re- quire no dirt'orence in the strength of tone. In vocal music, if any diHerence be allowed, it rauit arise from the i)ronunciation of accented and unaccented syllables. Accent is a cerUiin modu- lation or warbling of the sounds to exprc^w jjas- sion ; either naturally by the voice, or artiticiallv by instruments. Every bar or mea.siire Is divided into the accented and unaccented parts ; the former being the cmphatical, on which the spirit of the music depends. Tlic notes or parts of a bar on wliich the emphasis naturally falls arc said to be accented. The tonic accents are intended to give the proper tone to syllables, and are divided into grammatical and musical. Upon aecenl the spirit of music depends. The hannony shoxild be always lull, and void of discords, in the ac- cented parts of the measure. In the unaccented parts this Ls not so necessary, discords here pass- ing without any great offence to the ear. lu music, as in speech, we may designate several distinct kinds of accent. ITie t/ranumitifai or measure accent, the rhytlnnical accent, and the descriptive, or accent of feeling, are i)erhaps the most important of all the various kinds. Accent Ls a peculiar tone, or natural expression, given to certain parts of each meinure in every sjieiies oi time ; and without accent there Ls no more mel- ody in song than in the humming of a bee; and without the regular management of long and short syllables there can be no versification. 'ITiere are as many different accents, or modes of enforcing or enfeebling the meaning of words, in music as in speech. There is a i/vs that says no, and a 7to that says yes. The voice of a feeling singer can modulate all these shades, and affect the hearer on the side of intellect as well as sense. Accent, in its primitive sen-ie, Ls an affec- tion of the voice, which gives each syUidile of a word its due jjitch, in respect to height or low- ness. By accent we Icam the raiinner in whicli sounds are vittered, without re.erence to their loudness or softness. The same note may be struck on a drum with a glove, or with a stick, but the accent will be entirely different. 'Hie natu . ral accent of all instruments Ls different, but may be varied by certain methods of ])laying. 'iliis is particuliurly the case with the violin, upon which, by means of the bow, every variety of accent may be produced. As no characters have been ado])ted that will sufficiently express the^o varictic!*, it is evident that accent must depend ])rincipaUy upon the tiuste and fancy of the perfonucr. Accent is a modulation of the voice to express a pa.->sion. Every bar or measure Ls dividetl into cuxeiUrd and uiuuTcitied parts. "Yhc accented jiarts arc the principal, being those intendeil chiefly to move and affect ; it is on these tl'.e spirit of the music depends. Ilio lieginuing and middle, or the be- ginning of the first half of the bar, and tiie he- ginning of the latter half thereof, in common time, and the beginning or first of the tin e« uotva ii AUG ENCYCLOPAEDIA OF MUSIC. ACC trijjle time, ai-e always the accented parts of the nu'iL-iure. In common time, the first and third crotchet of the bar are on the accented parts of the measure. In triple time, where the notes al- ways (;o by tlirce and thrfo, that which is the niicldlc of every tlucc is always unaccetUed ; the tirst and last acccntetl ; but the accent in the lirst is 80 much stronger, that in many cases the last Ls accounted as if it had no accent. 'Y\\q hanuouy is always to be full where the accent tails. EXAMPLES. 131121 12 3 1 123112 3 4 Gm-ry. I Ho-ly. I JlKL-o-(ly. | UAR-mo-ny. | iN-itru-MES-taL 1234 I 12 3 4SCI12345S Ji-bi-LA-lc. I Mu-ui-ci-i'AL-i-ty. | iM-pos-si-uiL-i-ty. Every species of measui'e may be subdivided by accent according to the degree of rapidity in which it Ls performed ; and the weak part of any measure may be made emphatic at the pleasm-e of the composer. To this last species of effect may be referred all si/ncapaled or driving notes. In psalm suaging, the accent of the music should confonn to the words, because words are often u^cd entii-cly different from those adapted to the music. If the words require it, the accent may full on the unaccented part of the measure. It is better, however, where it can be done, to alter the rhythm of the music so as to make it conform to the words. There is no way of giving expres- sion to words but with accent, and without accent we cannot make music. All monotonous sounds are very disagreeable to the ear, and it is certain that the different degrees of loud and soft give the greatest jjleasure to the ear. ACCENTED. Uttered with accent. Those notes or those jmrts of a bar are said to be accented on which the empluisLs or expression naturally falls. In common time, of four crotchets in a bar, the accentuation \^-ill fall on the first and thiid crotchets of the bar ; in triple time, on the first note of the bar. ACCENTER, or ACCENTOR, in the old music, denoted the vocal or instrumental per- fonuer who took the leading part in a duet, trio, quartet, &c. ; one of thetliree singers in parts, or the person who sang the predominant part in a trio ; the director, or leader, with whom the accentua- tion of the performance in general chiefly rested. ACCENTS. TliLs plural, in the old music, sig- nifies verso, or song, and is derived from the Latin words canere (to sing) and ca«/i(.», (song;) wlience the derivation of accentits, the former denoting accent, the latter a musical concert, or the melody of birds. ACCENTUATION. Tlie act of accenting ; the gi'i'ing to the several notes of a composition their (lue emphasis, or expression ; the art of placing accents, or of pronouncing them with the voice. In vocal music, it is best, and it is a general rule, to obser\-e that the accent conform to the words ; for without accent there can be no such thuig as music. ACCENT OF NOTES. The bars of music are not only useful for diWding the movement into equal measures, but also for showing the notes upon which the accent is to be laid. The measxires of common time are divided into four parts ; of these, the first and third are accented ; the second and fourth unaccented. AVe shall term the accented strong parts, and >)ie unaccent- ed weak parts, of the measure, thus : — ^ i3rt± f^^^Tg^ StroDg. Wemk. 8. W. The measures of triple time consist of three parts ; the first strong, the two others weak ; al- though the last part is rather strong m compari- son of the middle part. i ^ J I J J J I ^~f^ S. W. 8. S. W. 8. 8. W. S. 8. W. 8. In slow common time, the accents are more fre- quent ; but they are found in the same i)ropor- tion on the first, third, fifth, and seventh- qua- vers, which are the strong parts, while the second, fourth, sixth, and eighth are the weak parts. In three crotchet time, when divided into quavers, the first, third, and fifth quavers are strong ; the second, fourth, and sixth weak. In six quaver time, the first and fourth quavers are strong, and the others toeak. From tlie nature of accent arises the necessity of lieginning some move- ments with only part of a measure, as with a single weak part, thus : — fe ± :^±: ^M=3^ From the same reason arises the necessity of commencing a melody with a half measure, as, — 1 r. r •A \ 1 j; y # 1 — \ — ^' ! 1 — ' — ^ — i — ' — dv. The following melody, barred in two different ways, produces two opposite effects, the accent falling upon different notes. OrigiDkl Sfclodj. !, b«md dUTcrcBtl;. "WTien the composer intends that the tccak parts of the measure should be made of more impor- tance than the strong parts, such deviation from the regular accent should be termed emphasis. In passages like the following, the quavers are often grouped together according to the empha- sis, aud not, as is general, according to the accent. ' m =i=?i ##» s^ V-L^-i^J^ In the first two measures of this example, tlie quavers are grouped according to the accent ; in the third, according to the emphasis, contrary to accent ; aud in the fourth, the accent again re- sumes its importance. The Germans ditide ac- cent into two principal species — grammatical and rhetorical ; and the first of these we term here accent, and the last emphasis. The Italiaa \6 ACC EXCYCLOP.T.DIA OF MTSIC. ACC words Riiiforzando, Sforzato, or their contrac- tion's, ]{int'., lit"., Sforz., St"., are often used to mark the emphasis, and Bomctimes are phiced over accented notes. As every Kiiecics of mea.s- nre may be Bubdivided by accents according to tlie decree of -nco- pated crotchets, which begin on the second and sixth, or the weik, and end on the third and Bcventh, or the strong partt of the measure. ACCENT OF FEEI.IXO. This accent breathes tliro\igh the whole subject an animating sjiirit. It is the most spontaneous, quick, and docjilv ir.wroilght product of every good performer, ft ^ves the execution designed both by the author of tlio words and the writer of the music. ^^^leu one hears it, he can revel in the full lux- ury or music ; and to thus enjoy song, one can have no hired minstrel, no crowded benches, no g.aro of lumps, no Imstle. He must have a still, calm eye, in some ((uiot bower, away from the hum of c'.tles; with one who needs not ask or be told what string to strike — one who will cling to the merit, not the less precious that we sel- dom hc:ir it, the pathetic simplicity which na- ture i)rompts — whose heart Ls in the strain breathed lorth — carolling in its own created at- mosjiliere of harmony. Such is a banquet at which there would be no chai.oc " that the ap- petite should sicken, and so die." To such a least one would be even selfish enough to wish no fellow-guests. One would have no voice to break the spcU — to startle the si)ii-it from its trance of enchantment — to mar with the sountLs of eiirth the tones which bless us with dreams of heaven. ACCESSORY PARTS. Accompaniments. ACCESSOUY SOUNDS. I,ittle sounds which aid in producing effect in a secondary manner. ACCESSORY TONES. Harmonics. Tones faintly heard in higher octaves, as the principal tone dies away. ACCIACCARE. (I.) A broken and unex- pected way of striking a chord. ACCIACCATURA, or ACCIACCATURE. (I.) (Old tcnn, nciirly equivalent toAp/mf/ijialiim.) Cle- menti says that, in the old music, this character, half boat, is sometimes found placed on the sem- itone above, and taken as a flat. Acciaccatura is particularly used to indicate the manner in which certain passages are intended to be per- formed on the harjisichord, and signifies that •weeping of the chords, and dropping of sprin- kled noie-1, which are particularly proper in ac- companiments, and which constitute one of the greatest beauties of that instrument, (icrmini- aiii asserts, in his " Treatise on Good Taste," i)ub- lished in 1719, that the Acciaccatura had been then in Ufie above a hunilred years. It is said by some to be a useless ornament ; still it is much used by the most skilful performers, and is a grace pecuhar to the piano-forte and organ. It Ls always expressed by a small note before the principal note, and is generally a semitone bcloio the principal note, as follows : — ^^^ r^:± Tliero is another species of Acciaccatura, which is expressed by the sign i^c, and is tcnned by some the Double Acciaccatura. < - As vHtuo. =*c:#= -^j ^J ^ S I ACCIAJTOEI, FII.IPPO. A dramatic poet and comiioscr, born at Rome, in Irt.'i". lie wrote the words and comjioscd the music to several operas. He is the first composer whose name we observe to a comic ojiera, such as wa.s li Ls " Oirello," perfonned with success in Ui'o. IIi« grand operas were "La Damira I'lacala," i)lpyed in 1<>S0, and " Vlisse." ACCIDENS. A French term, applied to flats, sharps, and naturals, which are found before or after particular notes in the course of a piece. ACCIDENTAL. An epithet applied to such accessory sharps, flats, or naturals as do not ap- pertain to the original key of any piece ; some- thing non-essential, as songs are accidental to a play. ACCIDENTALS. Sharps, flats, and naturals are called accidentals because they are used to change the sound of letters, as the chord, of which these letters are a jiart, may re<]tiire ; and because they artect the sound of the letters upon which they are set no fart/u-r than the compass of the bar in which they are enclosed. If there be occasion for them in a succeeding bar, they mu«*. he again renewed; but if one measure eniLs i:.d the next begins with the same note, the tccl- dental chamcter which alters the first note is un- derstood to affect the second. Those flats, and sharps, and naturals which are seen at the com- mencement of a movement are not accidentals but are called the Siiinntiire, and denote the key in which the piece is to be j-erlomied. A shari>, flat, or natural, frequcntlv implies some change of key, or dirterent modulation from that in which the piece commenced, and some consider these signs as esary chasms, and to heighten the general effect. Ac- companiments must be executed with much skill aud delicacy, and in such a manner as to fiiltil not only the object of the composer, but to admit of the leader giving the full effect to the compo- sition, which will otherwir.c make but a feeble impression, though in the most skilful hands. Accomiianiments are in no dc.,'ree susceptible of embellishment ; a circunv^tance which Ls too often overlooked. It is extremely dillicult, without a pre\-ious knowledge of the composition in the person accompanying, to treat an accompaniment in a way which is at once judicious and jilcai-ing. It is generally believed that the accomjianimcnts of the ancients consisted in nothing more than playing in octave, or in antijihony to the voice ; though the Abb6 Fraguire )ias endeavored to prore, from a passage iu I'lato, that they had ac- tual s}-mi)hony, or music in parts. The accomp*- niment truly does denote souietliiug attending, or added as a circumstance to another ; cither by way of ornament, or for the sake of s^iuraetry, or the like. Organists sometimej apply the word to several pipes which they occasionally touch, to accompany the treble, as the drone, flute, itc. llie nccomjjanimeut Ls always a part or jiarts writ- ten for instruments wliich accompany, to make the music more full. 'Hie accomiianiment often plays a very different part, or melody, from the song ; but authors are not agreed whether it was 60 or not among the aucients. An efficient ac- companiment, well performed, Ls very jjlcasing to the ear. All music, says AdtlLsoii, is to deduce its laws and rules from tlie general sense ami taste of mankind, and not from the principles of the art itself; or, in other words, the taste Ls not to conform to the art, but the art to the taste. Music is not designed to ])lease only cliromatic ears, but all that are capable of dLstinguishing harsh from agreeable notes. A man of an ordi- nary ear is a judge whether a paiwiou Ls expressed in proper sounds, and whether the melody of those sounds be more or loss pleasing. The accompaniment can be executetl either by many, by a few, or even by a single instrument. We have, therefore, pieces of music with an' accompaniment for several, or only for a single liLstrument. The principles on which tlip effect of the accompaniment rests are so little settled, that its composition Ls perhaps more diificult than even that of the melody, or principal part. Frequently, the same musical thought, according to the character of the accompaniment, produce." a good or bad effect, without our being able to give a satisfactory reason for the difference. Formerly, the Italians were the most dLstin- guLshed for expre^^sive accompaniments, con- tained in a few notes, but productive of great effect. They never weakened the effect of the prijicipal part by means of the accompani- ment. The French are behind some of the other nations in respect to this part of compo- sition, as they frequently estimate the effect by the quantity of notes. The accompaniment re- quires of the performer the most scrupulous study, and of the composer the greatest care and delicacy. Tlie accompaniment of various solo instruments — for example, the violin, flute, piano, S:c. — is extremely difficult, and to give it full effect requires great knowledge and skill. The Italian composers accordingly consider a piano accompaniment for a full orchestra, es- pecially in the recitative, as a great problem, which they have labored zealously to solve. As the object of every musical accompaniment is to give effect to the principal part, the accompanist should always aim to support, and by no means to overjiower and oppress it. Of all composers, Mozart, even in respect to the accom])animent.-', claims the first place, for the sim])licity and beauty with which he amalgamates the leading and accompanpng parts, through his unrivalled knowledge and e.xcellcnt management of the parts for every indi\-idual instrumeiit. 'Yh.3 modem German composers excel in accompani- ment. ACCOMP. Accompaniment, abbreviated. A separate instrumental part added to any com- position by way of embellishing the piec6 and enriching the effect. 18 AUO ENCYCLOP-EDIA OF MUSIC. A.UC ACCOMPAGXAMEXTO. (I.) An accom- 0 tiiimeiit. ACCOMPAXIMEXT AD LIBIITM, or AD LIB. Accompaniment at ploanue. This plira-se implies that the movement, or pi(!ce, at the head ol' which it iii placed, may he pert'ormed with or without the accompaniment. It does not, how- ever, mean that the performance will be as per- fect without aa with the accompaniment ; but tliat the accompaniment may be omitted without any material detriment to the intended effect. ACCOMPAXIMEXl' OBLIGATO. This ex- pression carries with it a sense directly opposite to that of Accomjianiment ad Libitum ; and when viitten at the bc:5iiining of a .song, solo, PoniUa, &c., signifies that the accompaniment is indispensable to thejust per»ormauceof the piece. ACCOMP.VXniEXTS. Those instrumental parts in a composition which do not include tlie principal or priucijials, but which are added to relieve them, to supply the necessary chasms, fill up the hannony, decorate and variegate the modvo, and heighten the general effect. ACCOMPAXIST. The perfonncr in music who takes the accompanj-ing part. One who accompanies, or plays the accompaniment to any piece of music for the voice. A person who un- dertake:i to play an accompaniment should be a skilful musician, and oxight perfectly to under- stand the music ; he must possess a quick ear and good taste, or he will mar the beauties of tlie music. As he will have the pitch to sustain, he must restrike firmly any notes where the voice falters. There should never be any attempt at disjilay, except in tlie sj-mphony. ACCOMP.VXY. To perform an accessory and subordinate part, calculated to set off aud improve the effect of the principal part. ACCOPIATE. Parts united, joined, or cou- pled by a brace. ACCORDEOX. (Spelled also .Iccocfto;!.) The accordeon Ls an instrument entitled to notice. It produces melodious sounds, and is remarkal)lc for its peculiar sweetness and power of tone. Difficult passages can be pcribrmed on it with taste and delicacy ; while the bold swell of the organ, the enchanting tones of the .Eolian haq), and the dulcet strains of the hautboy arc happily united. In the performance of quadrilles, waltzes, and other melodies, it is capable of giving to the different compositions grace and expression. It may bo played upon (if attention is i)aid to the dii'ections here given) by the most inexperienced learner, who will insensibly, as it were, be taught, without any knowledge of the science of music, to distinguish the various expressions and pas- sions which music is intended to convey. ITie accordeon being so well known, any detailed account hero of its size or shape seems to he un- necessary. The sounds are jiroduccd by the action of wind upon metallic springs. Elach spring Ls fixed in a metal frame, and placed in a small groove or channel under the different keys ; the wind, passing either into or from the bellows, causes the spring to vibrate immediately when a key ia pressed. Tlie touch is particularly light, tlie articulation distinct, and the performer has the means of increasing or diminishing the tone at pleasure. Accordeons, tliough now much manufactured in tliis country, have former.y been chiefly mado in France and Germany. 'ITioso made in France ssould he held in the right hand, and those in (.ieiTnany in tlie left. They may Ije played either in a sitting or standing position : the former Ls better adapted to ladies. It may here be observed, as a general rule, that on every accordeon, the first finger of either hand should always lie placed upon that end of tlie instrument which produces the lowest note. ^\^lile sitting, the end of the accordeon may b« supported by resting it upon the knee, which should be raised by placing the foot upon an ottoman, carefully remarking that the leather folds of the bellows are quite clear from touching any part of the dress, ^\^len the performer is BtantUng, the instrument may be supported by the thumb, either by preivsing the inside of it against tlie under jiart of the brass rail, which is fixed and runs along at the back of the keys, or by passing the thumb so far into the loop as will enable the fingers to reach the extreme keys with ease and facility. The first, second, third, aud fourth fingers should be in readiness to press any of the keys, marked I, 2, 3, 4, &c. ; the other keys are used by extending the little finger, or by re- moving tlie hand towards that end of the instru- ment, 'llie otlier hand should hold tlie opposite side of the accordeon, the thumb resting on one of tlie ebony or pearl slips, and the second, third, and fourth fingers on the opposite side, the first finger being left at liberty to open the valve when necessary. The two keys which are affixed at the opposite directions of the instrument, when raLsed, make an accompaniment, harmonizing with the whole of the keys in front, and may be used or not, at pleasure. Each key produces two chords, if the end keys are raised, and two sin- gle notes, if the end keys are closed ; one by drawing the bellows outward, the other by press- ing the bellows inward ; so that, on every accor- deon, there are t^vice as many notes as there are keys. Those instruments which have tlio accompaniment stops fixed in front, at the bot- tom, require the pressure of the second and tliird fingers, to keep them open, as long as the dura- tion of the hunuouies is necessarj-. Should it be required to repeat a chord, after the bellows have been qiute compressed, or expBndey tlic movo- 19 ACC ENCYCLOPAEDIA OF MUSIC. ACO ment of the bcUows only. A», when used, shows tliat the viilve is to be opened, to allow the bel- lows to contract, or expand, lor the succeeding n3te, as occa.-iion may retiuire. The lenf^th of each note dejiends on the performer ; the slower the bellows are moved, the lonf^er the duration, avd the converse. To make a shake, the instru- ment should be held very tinnly in one hand, and after the bellows have been drawn out about four inches, the other hand should move them in and out, with a c^uick, tremulous motion. 'Die scales are all wi-ittcn in the key of C, as that key Ls the moct easy ; and melodies for the accordeon, may be all easily transposed into that key. Accordeon mlJ^ic is generally written in the key of C. All exercises and melodies, liuj^ered for the accordeon, with G keys, may be jilayed with equal facility on those with 8, 10, or 12 keys, if the key-note, which Lsthe second key on each of the latter instruments, be considered as the first, omitting, in the calculation, the lowest key en- tirely. The learner should be very particular in learninj; the scale ; for if well acquainted with the manner of producin}^ every note in the scale, any piece of music can be played, as notes in the same situation ai-e always made the same way. Scalt of the French Accordeon with 6 Keys. AeeovpftnTins Cbonlf. BtilpiiaiuocUTcWwir. 1 A2A3AA A /| m. ^r-^^—ir-^^ ^^ ^ -0-^ KEV NOTE. Ti C8 C DEPOABCDBFQ Prvwcdia. I DnwD uiit. I Dnw. I Pr. DrDrroppr Dnwn. NOTI. — Accorileon music may be fingered differently in dif- fcreut books. The learner will be itble tojudgc, however, whei any change of movement in the bellows lieeomee necessary. Scale of the French Accordeon, with 8. 10, and 12 Keys. • of the NoiM. 0 B C D K F 0 How u b« prO(la««>L Pressed. Drawn, d p d p d p D ABC p p D S - 10 - 11 - la - ^ ±- A r .^ 2? £ rt=:4: DEFGACBEDGFCAK PDPDPDPDPDPDPD f Ad oeUTt higher. Scale for tht German Accordeon, with 6, 8, and 10 Keys. A A A A A A 4-5-6-7-8 -V 9-10 «-p+ ^H ^ r NoTl. C C D E P P P D P D P ABODE D D P D P Sv« ■Ita FOBCDEFO DP DPSPDP ACCORDANDO. (I.) Tuning. In tune. ACCORD ARE. (I.) To agree in sound; to jecome in tune ; to put in tune. ACCORD ATUllA. (I.) The scale or tuning ' the open strings of any instnuncnt ; the notes G, D, A, and E form the acccnrdatura of the violin. ACCORDER. One that tunes instruments. ACCORD. To agree in pitch and tone. Thia is a French word, and is formed, according to some authors, from the Latin (ul cor ; but others, with more probabUity, derive it from the French corde, a string or cord, on account of the agree- able unison between the sounds of two strings struck at the same time. AMience also some of the consonants in music came to be called tctrn- chorch, hexachordi, &c., which are chords of a fourthand a sixth. When two or more voices or in- struments are perfectly in tune ^vith respect to each other, and their tones blend and mtennbt, so as to form one consonant and harmonious re- sult, they are said to accord. Accord is generally used as concord, and has the same meaning. ACCORD, (noun.) Sjiionj-mous with cAorrf ,- as, the accord of the sLxth, &c. ACCORDIBAXI, AGOSTIXO, a Roman composer, produced several operas, and other works, between the years 1780 and 1790. ACCORBIBONI, BALDASSARO. An Ital- ian church composer of the sixteenth century. ACCRESSIMEXTO. (L) The increase of a sound ui duration. A point of addition, or a dot placed after a note, increases its length one hal£ ACCRES. (I.) A term the sense of which is similar to that of the word auijmentation ; as, pu'ito d'accressimcnio, the point of augmentation. A CEMBALO, or A CEMB. (I.) For the harpsichord. Since the happy invention of the grand piano-forte, the use of this expression, to- gether with tlie instrument to which it alludes, has nmch declined. ACETABULUM. (L.) An ancient instru- ment of music. ACIITELXOTE. German term for an eighth or quaver. ACKERMAKN", MADAME. Her maiden name was Baclimaiui. In the year 179n, she was first female singer at the Konigsberg llieatre, and performed the principal parts in Mozart's operas. ACOEMET-E. A certain order of ancient monks, whose principal establislunents were among the Eastern nations. Their appellation is derived from the Greek word akoimao, (not to sleep in bed,) because they i)cr;'ormed their reli- gious offices (cliiefly consisting of singing) both night and day. For this jjurpose, they divided themselves into tliree bodies, who vociferized alternately. ACOLYTIII, (Gr.) ACOL"iTES. Young persons cmj)loycd in the Romish church to light the tapers, carry the candlesticks at ths rd- lebration of all offices in wliich music and sing- ing are introduced, to prcjjarc tl'.e -icvpral articles used in the mass, and occa.sionnlly to chant i« the choirs. ACOIATIIIA. (Gr.) Tlie order of service observed in the Greek church. This term ig also «p))liod separately to the hymns, psahr.s &c., of wliich that service is principally composed ACOUSTICS. A word first applied by M 20 ACO encyclop.«:dia of music. ACT Sauveur to the theory of sounds. By the knowl- edge of acoustiuH, we are cnublcd to determine the relation of tones, and the ratios of the har- monic iutervahi, as i)roduceil by tlic various vibra- tions of diti'erent chords, and other sonorous bodies. Afoustifs, indeed, coiupreliend nothing; less than the whole tlieoretical portion of music, as discovered and laid down by Aristoxenus, Prtlmgonus, Lasus, Kuclid, I'tolemy, and others among the great fatliers of musical science. W'u mav call acoustics tlie science which teaches the physical laws and phenomena of sound and hear'ng. Several important facts conceniing sound must have been known at a very eai-ly period. The tuning of the lyre, and various other instruments, which are coeval with remotest an- tiquity, necessarily implies an acquaintance with the fact that, as wo diminisli the length of mu- sical strings, or increa;-ie their tension, we render their tone more acute. We have, however, no reason to beUeve that, till .500 years before the Cliristian era, any attempt had been made to dis- cover the relation wliich subsists between the lengths of strings producing the various notes of music. About this time, Pythagoras gave a cor- rect determination of the ratios between difl'crcnt sounds. The ancients certainly seem to liavo understood some principles in acoustics which we have lost ; or, at least, they applied them bet- ter, 'lliey contrived to convey tlie voice distinct- ly in their huge theatres, by means of pipes, which created no echo or confusion. Our cliurches and theatres are yet much too large, though we do not need pipes or speaking tubes, ll' we rub our moistened ringer along the edge of a drink- ing glass, or cb'aw a bow across the strings of a violin, we can in both ciu^es procure sound.s wliich remain undiminished in intensity as long as the operation by which they are excited is continued. If we strike two bells, one of lead, and the other of brass, the sound of the former Ls feeble and momentary, compared with tliat of the latter ; so we see, that, though bodies all sound, yet the sounds produced are not all aUke. Tlie ciicumstanccs wliich affect the sounds of bodie-.; are, their form, their magnitude, their density, the mode by which they are excited, and the oompiu-ative force of the power by whidi they >-ibrate. Musical sounds have occupied the at- tention of pliilosophcrs more than any gthcr class of sounds, 'llic superior precision with ■which the car can eitimateany variation in pitch renders these sounds more ca;.ily compared ; and the vibrations of sonorous bodies, wliich produce them, are, on account of their superior simplicity of fonn, more easily investigated. A musicid string Ls of a unifonu thickness, and is stretched between two points, by a force much greater than its weight. The stretching force whidi is ap- plied is generally conceived as measured by the weight wliich would occasion an ee regarded as a geniLs not less extensive and im- portant than the chiss of bodies which vibrata by tension. Obsen-atioiis have been made to ascertain the rate at which sound travels tlirough the air ; and the mean result is, tliat all miuiuIs travel at al>out the velocity of llliO leet in a second of time. A musical sound consists of a series of undulations wliich arrive at the ear at etiual intervals of time, and the pitch of the sound depends on tlie length of the interval be- tween each imprcssi(m. Ma-.ical sounds can therefore be produced, not only by the Lsodao- noiLs vibrations of sonorous bodies, but also by any other mode in wliich a rapid succeseion of equiilLstant imiiuLses can be communicated to the ear, whether those impulses originate from the same or dilfercnt sources, llie sounds pro- duced by instruments are chiefly musical. Kratzenstein and Kempelea have, however, by making experiments on the effects of pipes of ditfereut fonns, succeeded in constructing such as will imitate very accurately the different vowel sounds produced by tlie human voice. The speaking trumpet is an instrument intended for transmitting sound to considerable dl-tances in a particular direction. The form wliich Is usually given to the hearing trumiict corresponds to that of the speaking trumpet in being a cone, truncated near its summit ; but dilfers from it in being sometimes of a cu^^-ed form. The summit of the cone is j)laced ui the ear, and the wide extremity turned towards the point from which the sound comes. The effect of this instrument Is to augment sound considerably. Sound may be conveyed to much greater distances by being courined in pipes. Such jiipes are fre(juently used in coffee-rooms and taverns for convej-ing orders to the attendants. Captain Parry, during tlie cold experienced in Winter Harbor, was sur- prised at the great dutancc at which the human voice coidd be heard. " I have," he says, " often heard people distinctly conversing, in a common tone of voice, at the distance of a mile ; and to- day, I heard a man singing to himscb', as he walked along the beach, at even a greater dis- tance than this." 'Hie strong tendency of sound to ascend has also a great effect. Ilumlioldt liius remarked, that the barking of a dog has been heard when the listener was in a baUijon, at an elevation of about tliree miles. It has nL~o been noticed, that from the ridge of the Table Moun- tain, which Is S'iOO feet high, and the ujipex part of which rises perjiendicularly at a diHtance of about a mile trom Cape Towni, every noige made below, even the word of command oa ths parade, may be distinctly heard. ACTOU. Musical aetors were primitively no more than sin^jing men. 'ITic drama, in itj origin, consisted of a simjtle chorus, who sang hjnniis and songs. An actor, musically speak- ing. Is a singer whose pro.fcision it is to nT«- re,.ent human nature by action, speech, ami musical intonation. .vers. Acts are those parts of an 0]i«ra or musical entertainment, the separations of which from each other form the first and grand division of tlie piece ; divi.-ions wh'cb, in ome res|>ects 21 VbA EXCYCLOPiEDIA OF MUSIC. ADA arc to the wliole tlruina whnt the scenes of an ail are to the whole of that act. ACTIS, ABUE, wrote about the year 1788, iu the Miiiioircs du I'Acad. Itoyale dei iicicitces, ob- (•ervatiouK on the echo in the cathedral of Ciirgenti, also on the celebrated Ear of Dio- uvsius. ACT TUXES. Those pieces performed at theatres between the different acts of any play Ijcrlonued upon the stage. ACUMEX. (L.) A word used by the ancients in siguiiicatiou of the fullest or keenest sound of tlie voice. ACUTE. Sharp ; somethiiig piercing ; a term ap;)lied to any sound that L; sharp, or hijjh, in respect to some other Bound ; a tone wliich Ls sluirp, slirill, and high ; in which sense the word stands opposed to grave. Sounds con- sidered as acute, and grave, that is, in relation of gravity and acuteness, constitute what we call tune — the foundation of all harmony. ACUTEXES3. The opposite oi gravity. There Ls no such thing as acuteness and gravity, abso- lutely so called ; they are only relations ; so that the same sounds may be either acute or grave, according to that other sound they refer or are compared to. The degrees of gravity and acute- ness, in fact, make so many tones or tunes of voice or sound. Acuteness, then, is that quality which constitutes the shrUluess of any soiuid. AB. (L.) At, to, &c. ; as, ad libitum. ADAGIO, or ADA'O, formerly ADASIO. (I.) The word adagio signifies the second de- gree, from slow to quick ; and Ls generally applied to music, not only meant to be performed in a slow time, but aLio witli grace and embel- Usliment. It is, likewLse, frequently used sub- stantively ; as when we say, " an adagio of •I'crgolese," " an adagio of Beethoven," &c. Adagio is apphed to exi)ress tender and plaintive emotions, 'llie Italian word denotes a degree or distinctness of tunc, the slowest of any except grave, and should be performed slowly and lei- surely. Ado. is an abbreviation of thLs term ; a very slow degree of movement, dcmandijig much taste and expression in the performance. ADAGIO-ADAGIO. (I.) A double retarda- tion of time, neaily as slow as grave, and twice as slow as adagio. ADAGIO ASSAI. (I.) More slow, or very slow. .ADAGIO CAXTABILE E SOSTEXUTO. (I.) ThLs plirase implies that the air or move- ment to which it is prefixed Ls to be performed in a slow time, and with a graceful, ornamental, and sustained expression. -VDAGISSBIO. (I.) Almost as slow as grave. ADAGIO PATETICO. (I.) Slow and pa- thetic. ADAM, ADOLPII CIIAKI.ES, son of Louis Adam, born nt Paris in 1803, and became pupil at the Conser\-atoire in 1817, then studied har- mony and counterpoint with Kcioha, and after- wards fonned his style with Boicldicu. His first Bt1em])ts at composition were fantasias and va- riations for the piano. In this form he was ]uito piolifin, aL>o iu aii's and concerted pieces for vaudevilles and operettes, performed at the minor theatres. IILs first opera, Pierre et Cat/iariiie, was performed at the Opera Comique in Februarv 1829, and well received, as e\'incing talent, aiicl perhaps too great facility. DaiUlowa, another opera in three acts, produced at the same theatre in 1830, showed still more power. From this time liis productions succeeded one another with great rapidity. Some of the»e were too ephem- eral to warrant a hope that Adam's name w ould live; but in 1833 his Proscrit appeared — a work, says M. Fetis, of more force, dramatic sentiment, and novelty in its ideas, than he had put into any of hLs earlier efforts. In 1832, he went to London, where he wrote the music of a grand ballet for the Covent Garden 'ITieatre. Adolph Adam still figures among the most active com- posers for the Opera Comique, and many of his si)arlding operas, as " Ricfiard Cxur de Lion," " Le Jirasseur de Preston," " Le Postillion de Lon- Jiimcau," &c., enjoy great popularity. He has also composed sacred music, among other pieces one called the " Mass of St. Cecilia." During the past year he composed the " Cantata," at the Opera Comique, Ln honor of the President Louis Xapoleou. ADAM DE FULDA. A monk of Franconia,, composer of some church music La the fifteenth century. ADAM, D. VICEXTE, a mu.sician at Ma- drid, published there, in 1786, " Instructions in Composition." ADAM, LOUIS, of ParLs, was bom about 1760, at Miettersholtz, near the Rhine. HLs first master on the harpsichord was one of his relations, an excellent amateur ; he had after- wards lessons on the piano, for some months, from an organist of Strasburg, by the name of Hepp, who died about the year 1800 ; but Adam was more especially indebted, for the science and talent wliich placed him in the first rank of professors of the piano, to his unassLsted study of the writmgs of E. Bach, Handel, Scarlatti, Mozart, and Clementi. Adam, when young, taught hijnself the violin and the harp, as aL^o composition, the knowledge of which he obtained from the writings of Mattheson, Fux, Mar])urg, and other Germans. He arrived at Paris at the age of seventeen, meaning to follow music as a profession, and made his d(^biU as a composer by two concertante sATnphonies for the harj) and piano, with the violin, which were executed at the Sjiiritual Concerts, and were the first of the kind that had been heard. After this he applied himself to teaching and comjmsition. In 1797, he was appointed profassor of the piano at the Conservatory, where he formed a great number of excellent pupils, among whom the most known an! KaUvbrenner, F. Cha'ulieu, Merland, Henri le Moine, \:c. Adam's works are, " A Method of Fingering for the Piano," " A Method for Piano. Playing, adopted by the Conservatory and all other Schools of Music in France," various sonatas, &c. ADAMI DA BOLSEXA, AXDREA. One of the chapel-masters to the pope at the begin- ning of the last century. He published, iji 1711, " Instructions for properly directing the Chor Lsters of the Pontifical Chapel, both fT (he Ordi- nary and Extraordinary Serviscs," in 4U>. He died iu 1742. 22 A.DA ENCYCLOr.EDIA OF MUSIC. ADD ADAMI ERNEST, DANIEL, wa3 di- I ADDED SIXTH. A sixth added to a fimdA- T'ctor ol music nt Landithut, and published, in 1"50, a work entitle i " Ketieftions on the Triple Echo at the Eiitruncc of the Forest ot' Adenbach, n Bohemia," in 4to. lie al.so ^\Tote " Di.s.serta- tious on the Sublime licuutie.t of the Canticles, as suiig at Divine Service," in 8vo., I^eipsic, l7oo. ADAMI. Composer of a quatuor for the ttute, &c., pu'oIisheA at lliimburg. ADAMS, THOMAS, was born in 1783. He be,:^au his musical studies under Dr. Busby, at about eleven years of age. In ISOJ, he was ap- pointed orgnni-.t of Carlisle Cliapel Lambeth, where he olHcinted till 1814, in wluch year he was chosen (after a competition agiiinst twenty- eight other candidates) orijanist of St. Pauls, Deptford. In his writings and extempore per- formances he makes fiee U'-e both of the strict ond florid styles and is known to have carclully studied the works of Sebastian Bach, Haydn, and Mozart. 'Hie following; are among the principal compo'-itions of T. Ailams : " Sue Voluntjuies," published in 1812; " Scots wha hae with M'al- laco bled," with variations for the orijan, (May- hew ;) " Adeste Jideles," with variations ; " A Itose Tree in fuU Bciruii:," with variations ; Paesi- ello's " Uttant e piit beila," with variations, (the Ia:Jt three pieces at dementi's;) " Dch prciuli," and " My jo Janet," both with variations, (Har- monic Institution ;) " Six Fugues for the Organ," (dementi ;) " Three Voluntaries for the Organ," (llodsoU.) ADAMS, MISS. A professor of the piano- forte at the lloyal Academy of Music. ADAMUS, DORENSIS, abbot of a mon- fcUery near Ilerel'ord, in England, WTote, in the year IJOO, " limiimeiUa Masicen" (The Kutli- mcnts of Music.) AUASIO. Old farm of APAOIO, which tet. ADCOCK, -ABRAHAM. An EngUsh com- poser at the begiuuing of the last century. ADCOCK, J.VMES, master to the choristers of Kinii's College, Cambridge, was boni in 1778, ftt Eton, in Buckinghamshire. In 178G, he was iidmitted a chori^ter of his majesty's Chapel of St. George, Wuxdsor, and of the College ol Eton, where he received his musical educatioii under Dr. Aylward and Mr. .Sexton, organist of St. George, Windsor. In 1797, he was elected one of the lay clerks of St. George's Chapel, and in 1799, wiVi appointed to the same situation at Eton College, both of which pi i''e~i he gave up on being nominated lay clerk of King's, Trinity, and St. .lohn's Colleges, Cambridge. Adcock's principal compo-^itions ai-c glec< ; vi/., "Three (Jlees, ded- icated to Sir Patrick Blake," (BirchaU ;) " Hark how the Bees," glee, four voices, (Preston;) "Welcome Mirth," glee, three voices, (Gould- ing;) N;c. Adcock also published rudiments of singing, wth about thirty solfeggi, to assist per- sons who wish to sing at sight. .\J)DED LINES. Short additional lines either above or below the staff, which are used when morB than nuie degrees are wanted. mental chord. ADDIMARI, LUIGI, a Florentine noble- man, compoul>lin ; where, besides his tfjeatncal enijagemenf, AddL-win now became in great re^juest as » singing mastiff, and taught in several noblemen's tJamilics. Among his 23 ADJJ ENCYCLOPAEDIA OF MUSIC. ADD lupils ho liiul the honor of rockonin;; I.aily Clinr- lotte 1'ack.euham, aftenvards Duchess oi' Wel- liiif^ton. Tluuking that still more might be done for Mrs. A(l(li:ion'.s imi)rovoment, he passed part of the next summer and autumn in fiath, and placed her under the celebrated Rnuzzini, who Avas very much pleased with her, and spoke in such hand- Homc terms of her tuition, that Addison declared himself her master, and that he liad a double motive for brinf^inj; her to him, as he expected to receive much benefit himself, by witneiisin^; his manner of instructing ; this was pleasantly re- ceived, and an attendance on liiin for some months gratified all partie;. From liath they returned to Dublin, where they remained tluee years at the public theatre, \inder tlie management of Mr. Jones, who had become the patentee; the summers were passed ill excursions to dLtiorcnt parts of the country, in the manner of the I,o)ulon theatrical meteors. About tliis time I'cUamy, with whom Addison was on the close >t terms of friendnhi]), became a joint pro]5rietor of the Manchester Theatre with Ml'. Ward ; and with him AdcUson made an en- gagement for himself and wife, as also for the concerts at the same place, and those at Liver- pool. AStCT some months' re:;idence at Manches- ter, domestic events induced Mr. Addison to give up the musical profession ; and he sought a per- son who was conversant with the cotton trade, collected the property he had, and commenced manul'actvu-er. In tliis he might have succeeded in other times ; but no sooner had he turned the chief of his capital into goods, than the war re- commenced, and hw stock wivs deteriorated fiiU twenty per cent, in value. lie now consulted his friends, who gave liim hopes that afi'airs would ►.lend ; but these were delusive, for they gradu- ally declined ; till despairing of a change for the better, he called his creditors together, and found no difficulty in persuading them to take charge of the goods, convert them into cash, pay them- selves, and remit the balance, if any, to him in London. Previously to quitting Manchester, he re- mained, however, a short time, and composed the music of a ])antomime ; soon after he went to Chester with liellamy, and composed an opera, AXTitten by a lady of that place. On liis arrival in London, he called on his fi-iend Kelly, who had for some time opened his musical saloon. The want of a scientific person, as well as a man of business, to conduct it, had long been felt, and proposals of a present salary, with a prospect of eventually becoming a partner, were made to Addison, and accepted. He wa-s also engaged for the ensuing season, to play the dou- ble bass at the Italian opera, at the Ancient, and at the Vocal Concerts, wliich situations he held lor several years. In the following year, Kelly was employed to compose the music of the " Sleeping lieauty," written by Mr. iSkefHngton, for I)rm-y Lane. Be- fore beginning the music, however, Mrs. Crouch was taken so ill that she was obliged to be re- moved into tlie country ; her illncvs gaining ground attlicted Kelly so mudi that he coukl not fix his mind to composition : still, the jioetry hav- ing been sent, Addison could not resist the desire of trving his ability, and composed several songs for the piece, which he showed to Mr. Skeffiug- ton ; at the same time observing, that should KeUy find himself inclined to compose them him- seb", he (Addison) would sujjpress his attempts. Mrs. Crouch continuing to decline, Addison wm suffered to proceed ; but not without that sus- liicion which authors and managers naturally feel at employing untried talent. Mr. Skeffington was very anxious to have the words of the " Woodland Maid " adapted to an air of Mozart's ; but AddLson having pleased hbnself with his own composition for those words, and finding that he must take much liberty with the production of Mozart, to adapt it to the metre, proposed that Gibbon, who was to sing the song, should hear both melodies, without being told whose they were, and make his selection. The choice fell on Addison's, and its success proved that it was not an unfortunate one. ITiis song had another strug- gle for existence, and was only suflered to he per- formed on the first night, upon Addison's con- senting to exchange it, sliould it be ineffective, llie " Sleeping Beauty " was i)erformed upwards of thirty nights, with great success. After this, Addison was engaged to compose a piece for Henry Siddons ; but the unfortunate conflagration of Drury Lane Tlieatre destroyed the manuscript, and his hopes for the present ; however, !Mr. Arnold, shortly after opeiiing the Lyceum as an English Opera House, agreed with H. Siddons for the piece ; which he, having just then taken the Edinburgh Theatre, put together hastily, and handed to Mr. Arnold, who brought it out, having made first such additions and alter- ations as he thought best adapted to his company. It was the second opera produced on those boards, "Up at Night" being the first. Phillips, the eminent singer, who had made a most successful debut in the first opera, was not less approved in the second ; his song of " Tlie Young and Charm- ing Bride" never having been sung without au encore. The whole of the music, indeed, pleased very much ; and it has often been regretted that a difference between Mr. .:Vrnold and the author, about some further claun bi the event of the opera's exceeduig fifteen nights, stopped its ca- reer. Addison has composed other pieces for the same theatre, viz., " My Uncle," " My Aunt," " Two Words, or Silent, not Dumb," " Free and Easy," &c. For Coveut Garden he has composed the mu- sic of " Kobinet the Bandit," and airanged Boiel- dieu's music, as well as composed some pieces in " Hose (T Amour." ^\^len Sir George Smart first had the oratorios at Drury Lane, Addison adapted some selections, from ^^"inter's favorite operas, to the sacred drama of " l-^lijah," written by T. W. Moucriefi'e, Esq., which was successfully repeated several times during the season. These, with several single songs, duets, glees, &c., are the chief items of his compo-iiiou. It should be remembered, that he was aiiitely self- taufjlit in composition, and is a proof of what as- siduity, with a perseveruig mind, may accomplish. ADDFITON. The extra duration given to notes by affixed dots. A point set before or after a note adds to it lialf its original length, and a -second point bears the same pro])ortion to the first as the first does to the original note. Addition Is denoted by a dot ou the right side of • 2i A.DD encyclop-i:dia of music. a: 01 note, (*•) to signify that it is to be sounded or lengthened half as much more as it would have been without s'lch luiu-k. EXAMPLES. S . Kn the public as a new invention, and called the Harp of yKitlufc We will (Tive a descriptitin of it nearly iu Kircher's own words : ** A* the iU9trun*ent is new, so it is alito easy to construct, •nd ven* pleasjiut . It is the aduiir.ition of every one. It is made exactly to tit a wind(^w, in which it is placed : and the hari\ while tlie vind<'*w reiiiains shut, it silent ; hut as noun aa it is opened, an harmo- nious sound, thoufth somewhat inelnncholy, coniinj; fnini the pass- ing wind, astf IkiIU. The iii!>truinent should Ite made of pine wimmI, Ave palms long, two bntad, and one deep ; It mav contain tifleen or inorv ehonls. nil iqiial and com|iosed of the inteiitino of nuimnls. It should le >ilnnted in a close place, vet so that the iiir niiiy on either side have free access to it, in order to which, it may licol«erved, that the wiinl mny Im- collected by %-nrious methods: tlrsl. bv canals, that are ma-le in the form of cones or shells, or else br v:.lvtsi these valves should be pluceil on the out- lidr, ond luinillel iHmnls in the inside of the room : iu smbard school of music. Xot content with cultivating the science to the extent usually airaeemelishefiTcnte, A GRAXI) CTItEUR. (F.) An expression apphed to anthems, services, &c., composed for the full choir, 'llie full chorus, in the French music, Ls called the ffraitd clucur, in ouposition to the ])eiit c/iaiir, which is composed ot tlirce parts — i. e., two trebles and a tenor. A GRAXI) ORCHESTRA. An expression applied by the Italians to a composition, or a movement, written for a full band. AGRKLL, JOHN. Chapel-master at Nurem- burg, where he died in 1767. His compositions were numerous, and highly esteemed in his time. A(iRi:srA, AGOSTIXO, a comjioscr of eminence, is mentioned in the " Treatise on Mu- sic " of Cerreto, published iu IGOl. AGRICOLA, FREDERIC HEXRY. A j ^apel-mnslcr and composer towards the close , of the seventeenth century. He died in Ger- many, iu 1G91. AGRICOLA, GEORGE LEWIS, bom at a village near Sondershauseu, in 1G4.3, was chapel- master at Gotha, and died in 167G. He pub- lished sonatas, preludes, allemandcs, &c., for two violins and two viols da gamba, and several other works. AGRICOLA, JOHX, of Erfurt, pubUshed, in IGOl, motets for four, five, six, eight, and more voices ; also canticles for the principal festivals. AGRICOLA, JOIIX FREDERIC, com- poser to the court St Berlin, was a native of Dobitschen, in Altcnburg. He studied music at Leipsic, under Sebastian IJach. He died in 1774. Agricola translated itom the Italian " The Ele- ments of the Art of Singing," by Tosi. He also composed much music both for the church and stage. Agricola's compositions of all kinds ex- hibit in their character a happy union of genius and facility. He was one of the best organists of Germany. AGRICOLA, MARTIXTJS. A chorister in the Cathedral of Magdeburg. He •^^Tote several tracts on music, the principal of which were re- published at Wittenburg, after his death, under the title of " Duo Libri Musiccs contiiientes Com- pendium Artis et iUustria Excmpla." Agricola died in 1556. AGRICOLA, BEXTEDETTA EMLIA MOL- TEXI, wife of J. F. Agricola, was a singer at the opera of BerUn, to which place she came in 1742. She had been a pupU of Porpora, Hasse, and Salimbeni. When filty years of age, she still sang bravura airs in an astonishing maimer. AGRICOLA, RODOLPH. An excellent paijiter, orator, poet, and musician. He ^\as one of the builders of the organ at Groniugen. He died at an early age at Heidelberg, in 1485. Erasmus places Agricola among the first of mortals. AGRICOLA, M-iRTIX, singer at Magde- burg, published several musical works between the years 1512 and 1540. He died in 1556. ACJRIPPA. Tills king inherited a taste for music, as well as for magnificent buildings. About forty years after Christ, he built a splendid theatre at the city of Berj-tus, where the most costly musical exhibitions were displayed. AGRIPPA, H. C, born at Cologne in 14S6, was renowned for his great erudition. In Lis work " De Iiicertiiudine licientiarum," he treats on music. AGTIIE, C. C, organist to the Prince of Anhalt-Bamburg, was born in 1759. He com- posed several songs and operas. He died in 1797. AGUJARI, LUCREZIA. A celebrated fe- male singer. She married Colla, an esteemed comjioser, and sang in London for some yeai-s, at the Pantheon, where she was at one time en- gaged at tlie enormous salary of £100 per night, for singing only two songs. Agujai-i was truly a wonderful performer. She had two octaves of fair natural voice, from A on the fifth line in the bass to A on the sixth line iu llie treble, and be- yond that, in att, she had, in early youth, more than Mji/i'lier octave. Sacchini said he had heard 28 IGU ENCYCLOP.T.DIA OF MUSIC. A K R her go up to B flat iu altUsimo. She (lied at Parma in 1783. AGUILEILV, SEBASTIAN DE. Composer and orr;nnist at Snra^jossa in the early part of the peveutccuth century. AGl'S. A composer -who resided for some years at I'nris, and died thinx- about IT'.iS. Ho was scieutilic, but had little taste or (;ouius. He published several iustrinueutal works, also sol- fBg^i, wliich were not much approved. AIILE. JOHN" OKt)U(;K, orgauist at Mul- hausen, died in 1707. He left sundry works on the ori>;iu of music, and on composition. AHLE, JOHN" UODOLl'II, father of the ]:reccdins;, was Imr^jomaster and organist at MuUiausen. He juibUshed, at Erfurt, in Ifi4S, a method of singing, under the title of " Com- pcmliinn pro Tenellis" &c., with esteemed hw- torical anil critical notes. Uc died in Ui73. AHLSTUOM, OL, organist at Stockholm, composed several operas, aLso sonatas. He was liviug iu 17'.''i. AIIXESORGEX, C. G., published in 1776, at Iliuuburg, sbc sonatas for the harjisichord. AIBLIN'GER. Conductor at the Italian opera at Munich in 1823. AICH, G., regular canon of the order of rrcmonstrants, published some chvirch music at Augsburg in 1(>63. i\JCinXGER, G., an organist, published, between 1.547 and 1590, a great number of works for the organ. AIGXAX, author of a French translation of Homer's Iliad, has composed several operas. lie was living in 1810. AIGXEK, EXGELBERTO. A German com- poser at Vienna, of high reputation for his knowl- eiuu- ments. It is related as a curiosity, that a gentle- man of Philadelphia, rei'cutly returned from Europe, brought with liirn a canary bird, the gift of a Iriend, which distinctly sings two airs — the Hunter's Chorus iu /)rr Frcinrhlllz, and a waltz of Beethoven's. 'Hils wonderf\d little cantatrice was instructed by a lilind (lute jilnyer ; and one of its other accomplishments is said to be beating time with its foot while singing. In- stances of birds being taught a few bai* cfn very simple melody are not uncommon ; but cultiva- tion to the jioint which this canary has reaidiod must be exceedingly rare. The mocking bird would douljtless be a more apt pupil than any other. Its natural ear is certainly (juickest, anrl its vocal power most versatile. Ilic secret of teaching a bird to sing an air consists in playing the first notes over and over again upon some instrument agreeable to the bird, taking care to suit the jjitch exactly to the learner's capacity. When these notes are successfully imitated, the lesson ])rocecds with a few I'oUowing, and so on to the end. A vast amount of patience is re- quired for this. The chief excellence of that measured strain of music called air resides in the beauty of its melody, the sjTnmetry of which lays hold of our affections in a peculiar way. "When addressed to the gentler passions, its tender ex]>ressions are more inteUigible than words, of wliich few are necessary to assist its meaning ; and the less it is encumbered with them, the more powerful is its (^mrra. Melody demands the expression of its own thoughts, before it attempts to express the idea of the poet — a means exclusively its own, and which acts upon us iu a plcasuralile way. Its power of calling up ideas of the jiast, upon which the mind loves to dwell, is oltcn a source of great deUght : with music of this kuid the singer seldom fails to ])lea>e ; he trusts to tlio chai-m of the melody rather than the force of the words, recollecting that we must first please the ear before we can touch the heart. It is an ob- sen-ation of Madame de .Stael, that when the powers of melody are but feebly felt, we expect that it should faithfully confonn to every varia- tion of the words ; but when the whole soul is affected by it, every thing, except the music it- sell', is unreasonable, and distracts the attention, pro\nde(l there be no opposition between the words and niusic. AVe give ourselves up to that which shoidd always predominate over the rest ; for the delighthd revery into which it throws ua annUiilates all thoughts which may be expressed by words. \Ve give oiu^elves up to the general affections of the soul. Metasta-sio reduced his language in versification to so limited a nuratier of words, j)lirases, and cadences, that they seem always tlie same; and his poetry oltcn produces the effect of a musical instriiniont, which conve\"s no idea, but delights you with its melody. AIR VARlfi. (F.) Air ^»ith variations. This expression sometimes impUos no more than that the melody to which it Is prefixctl is varie- gatetl and embellished, aH libitum, by the com- poser or arranger, or even the performer. AIS. (G.) A sharp. AKEROYD, S. Ji u English composer, seran* 29 kL\ ENCYCLOPAEDIA OF MUSIC. ALB teenth century. lie publkhed numerous Bongs in the yeiir 16'8.5. AL, ALL', ALLA, ALLE, ALLO, AI. Tre- lixed syllnblor., and menning very nearly the same thing — to the, or in the style of; as, al_fine, to the end ; alia capelUi, in the style of church music. A-LA-MI-RE. An Italian method to deter- mine the key of A by its dominant and sub- dominant, A E D. In the Guidonian scale of nxusic, a-la-mi-re is the octave above a-re, or A in the first space in the bass. A lyA GllEC. (I.) An appellation occasion- ally given to choruses performed at the end of each act of a modern drama, in the manner and Bt'lo of those introduced in the ancient Greek tragedies. A LA POLACCA. (I.) In the style of the Poli:Tupanura under the pretext of moving you to tears I No doubt the admirable voice of Alboni Is not without some uuiienections ; it counts several notes that are feeble and slightly dull, as so), Id, si, d>, notes which sen-e as tlie transition between the chest voice, of an unpar- alleled beauty, and the register of sounds formed above the larpix, commonly called the Iwad t-iiies. A\lien the singer Is not careful, this little hfath enlarges, and thc-ie notes appear a little stifled. It in quite evident that the virtuosa glides over this little brid'jc of si'jln with all sort.s of precau- tions, and that she evinces a satisfaction when she arrwcs at a real tone of her contralto voice, whi(!h she makes leap out and vibrate with so much the more sonorousness. Frequently she co)>trasts thee two registers with an exquisite taste, balancing hcr.-clf lightly on the mixed note before bounding upon the terra Jirma of lier clicst voice, which she governs with a sujireme author- ity. We have heard her make a gamut from the C in alt dovm to V in the bass ; this gumut flew before the ear with the rapidity of lightning, without your losing a single note, and bU this was done Avith an unconcern entirely hopeless for mediocrity." Of her personal appearance, her favorite r^i'e-^, &c., at the time of her arrival in America, a writer in tlie Tribune thus speaks : " Marietta Alboni ii about twenty-six years of age, — h.as great cinbon- ]X}int, — used to keep her hair clipped short and hanging in her neck, when we heard her two or three years since in Europe — has remarkable self-possession a'ld almost indifference of mannei 31 A.LB ENCiCLOPyEDIA OF MUSIC. ALL* upon the stage, of ■which Steffiinone constantly remiudcd us, and acliicves her {^lowuip; triumjjha more by the si)londor of her voice, uud her cx- quLsite mana;^ement of it, than by any dramatic genius, in wliidi she Ls deticient. Ilcr voice is the purest, rii-he-t, fullest, and sweetest contralto, nie limited rcjuirtoirc for such a voice lias induced Alboni, who Ls suiftularly rcitless, with all her Linj^uor of temperament, to undertake many parts not strictly within her run^^e ; but so remarkable Ls her voice, so delicious to licar under any cir- cumstances, that we believe she has acliieved a success in every i)art she has undertaken. In llossiui's music, in liis brilliant finales and scenas, like tlie Xon piu mcsta, Alboni Ls wonderful. Her voice jiours out of her mouth without the slij^ht- est effort, and with Lrresistible elfect, and gushes through tlie glittering _/?or(VMre of that style with a sparkling facility which Ls most fasciuatmg. The lirindisi, from ' Lticrczia Borgia,' known as the (Iriiikiiiff son;/, is another of her exquisite bits of vocalization. She used often to sing it be- tween the acts at the Italian Opera in I'lurLs, and it always excited unmingled enthusiasm." ALBRECIIT, J. I,., diicctor of the music in the principal diurch of Mulhausen, died about the year 1773. lie published many didactic works on music. ALBllECirr, J. M., organist at Frankfort, was born in 1701. He composed several concer- tos for the harpsichord. ALBKECIITSRERGER, JOUX GEORGE, ■was born at Klosterneuburg, in the year 1736, and at the age of only seven years was engaged as a singing boy in his native town, fi-om whence he removed to the Abbey of Moelk, wliere lie con- ducted a school. In tlie mean time he learned the organ and composition of Monn, the court orgaii- Lst, and was soon himself appointed organLst at lliiab. In 1772, he obtained tlie situation of court organist, and member of the academy at Vienna, and subsequently was made chapel-master at the Catheibal of St. Stephen's, at Vienna. He died Ln 1803. Albrechtsberger was one of the most learned of modern contrapuntists. He formed a great number of eminent scholars, among whom Beethoven Ls particularly clLstinguished. Ilayibi had the greatest esteem for Albrechtsberger, and Ls said sometimes to have consulted liim profes- sionally. Of his works, his " Elementary Trca- tLse on Composition," publLshed in 1790, at Leip- sic, is the one by which he is most generally known ; it Ls an excellent book, and is tor mod- ern composition what the (Jnulu.i of Fux is for ancient music. The principal part of this work has been translated into French. He also wTOte " Methods of Harmony," " Figured Bass," and "Composition," adapted for self- instruction. His remains re:-t in the same burying-place with those of his friends and associates, Ilaydn and ^lozart. Among his dLstinguished pupils, in ad- dition to Beethoven, were Eybler, Hummel, Sey- fiied, Lidesdorf, Schneider, AVcigl, and Moscheles ; and though AUirechtsberger had no power to form, he had the ability to direct, the muuls of these eminent men. He did not make them, but he enabled tJicm to bo what they were. The seed fell on good soil, but it was hLs seed, and he must have felt proud of such a pupil a^^ that co- lossus of harmony — the wizard and the poet — Bketuoven. dementi made iVlbrechtsberger known to England as a corapostr. There seems to have existed, among some of the German school, a jiredlsposition tor complicated harmony ; their mu.sical alijucnt appears to have necessarily generated fugue and canon, or the organ oi philo- fa{iativeness must have been develojied Ln an un- usual degree. Albrechtsberger said of hunselfi " I have no merit in composing good fugues, for I do not recollect ever having an idea that might not be employed in double counterpoint." It is from All)rechtsbcrger and Seoastian Bach, and like men, that the materiel of harmony Ls ac- quu-ed : they have furnldied our musical store- houses and arsenals ; they have efiul])ped our Haydns, Mozarts, and Beethovens for the field; they discovered and laid bare " the chains that tie the hidden soul of harmony." ALBRICI, V. A Roman composer and organ- ist, whom the Queen Christina of Sweden brought with her out of Italy. He died about the year 1680. Most of his compositions are for the church. ALBUJIO, composer and singer, was liHng, about the year 17()0, at Bergamo. Some opera airs of his are occasionally met with. ALCiEUS. A IjTic poet of Mitylene, native of the Isle of Lesbos, and celebrated by the invention of .'Vlcaic verse. He lived G08 years before Jesus Christ. Athenasus calls him musiccs scientissimus. ALCIBLADES. This general, like most of the Athenians, had been taught, while young, to jilay on musical instruments, and he excelled many others. ZopjTus, a Thracian, was his instructor. ALCOCK, JOHN, doctor of music, was a native of London, born in 1715. \\'hcn only seven years of age, he -was entered as chorister of St. Paul's, and at fourteen became an arti- cled pupQ of Mr. Staidcy, who, although at tliat time himself only sixteen, was organist of two London churches. Dr. Alcock died at Litchfield, in 1806, aged ninety-one. His works consist of six suites of lessons for the harpsichord, and twelve songs, published at I'h-mouth ; six concertos, and some psabns, hjnnns, and canons, published at Reading ; twenty-six anthems, and a coUcction of glees, ctiUedthe "Harmonia Festi;" also many double and single chants, published at Litchfield. At each of the above places he was organist. A glee by Dr. Alcock, entitled " HaU, ever-pleasing Solitude," gained a prize medal at the Catch Club, and is considered to be a beautiful as well as scientific performance. ALLDAY, P., a composer and excellent ■violin pupil of Viotti, was born at Perpignan. He left France in the revolution, and went to London, wliere he published much music for the violin. He subsequently gave lessons at Edinburgh. ALDEiaXUS, COSMA, a Swiss composer, published at Berne, in 1553, fil'ty-scven hpnns. ALDOVAXDRINI. This Italian musician composed seven operas for Bologna and A'enice, between the years 1G!)6 and 1711. Some of them ■were comic, especially one entitled " Ai'wr Torna in 58, at 50," which ■Cvas written in the dialect of the Bolognese peasantry. ALDRICH, REV. DR. JIEXRY, appointed dean of Clirisfs Church, OxJbrd, in 1 389, was a singular instance of au unprofessioutA musician. 32 ALD ENCYCLOP.EKIA OF MUSIC. A LI At the same time that he was greatly diHtin- gmahiiij; hiin-icli' as a polemical writer, a polite Bcholur, a theologian, a proloiiuil critii', an archi- tect, and a man of sound jiulgmcnt uiul exquisite taste in arts, science, and literature in (general, he became so profound and skilled in the theory and practice of hiu-mony, that his compositions, particularly for the church, equal in number and excoUeuce those of the greatest ma.sters of his time. ITiough not more than live or six of hts choral pro- ductions continue to be performed, except at Ox- ford, yet he composed nearly forty services and an- tliems, wliich are i)re.ier\-ed in tlie third volume of Dr. Tudway's collection, in the liritish Muse- um, llesido.i these. Dr. Aldrich enriched the cathedrals with many admirable compositions, by adapting English words, from the psalms or liturgy, to anthems and motets of Tallis, ]{ird, Palestrina, Carissimi, Graziani, and Ba.'isani, wliich were originally set to Latin words, for the lloman Catholic service. Among his composi- tions of a lighter kind, he amused himself with setting rounds and catches, of which eight or ten are inserted in the two books of the " Catch Club," or "Merry Companion." 'ITie smoking catch, " Good I good ! indeed," and the round, " llark the bonny Christchurch Bells," have been always ad- mired ; the first for humor and contrivance, and the second for its pleasing melody and general effect. The admirable choral discipline Dr. Al- drich preserved in his college, at O.xJ'ord, for up- wards of twenty years, is still remembered. In- deed, without ueglectLug more important con- cerns, he seems to have interested himselt" in the cultivation and prosperity of the musical art, with as much zeal and diligence as if his studies and pursuits had been circum:icribcd to that alone, lie bequeathed to Ids college, at liLs decease, in 1710, an admirable collection of music. Dr. Burney says that, having, in 177S and 177"J, made a catalogue of thc--e musical works, he can venture to say, that, for masses, motets, madrigaLs, and anthems of the sLxteeuth and seventeenth centuries, the collection is the most complete of any that he had an opportunity of consulting. ALDiaGIIETTI, AXTOXIO LODO^^CO, an Italian nobleman, born at Padua, was profess- or of law there, and -wrote a work on music and poetry. He died in 1660. ALDIIOVAXDINI. See Aldovandrini. ALEMAX. Amongst the ancient bards of Greece was one Aleman, who was a native of Sar- dis, and Uvcd about 670 yciu^i before the Christian criu lie was a celebrated composer of love songs ; was. remarkable, also, for a most voracious appe- tite, being the greatest glutton of his time. ALEMBERT, JEAX LE ROXD D'. Be- tween the years 1690 and 1711, composed, for Bologna and N'enice, several operas. He also published some sacred music. ALEOTTL RAFAELE ARGEXTA, an Au- gustmc monk at Fcrrara, pubUshcd some motets and madrigals in the seventeenth century. ALEOrri, VITTOllIA. A female composer of macb'igals, in the latter part of the sLxteenth tentury. ALESS.VXDRL FELICE. Bom at Rome in 1742. He went to England in the year 1768, nad composed two comic operas for the English stage, " Le Moglie Fedele," and " II re aUa Caccia," whifh we not devoid of merit. He was the hus- band of Signora Guadagni, an excellent Italian singer. On his return to the continent, he com- posed many other operas, up to tlio year 1792. ALESSAXDRO. ROMAXO, a singer ad- mitted into the pope's chai)el in 1560, was like- wise so cx(iiu»ite a performer on the viol, that ht obtained the cognomen of .Vlessandro deiJa ]'iola. lie composed motets accompanied by many in- struments, which seem to have been the first of the kind. Adami says that Alessandro Romano aLso invented canzonets for four and five voices. ALEXAXDER, J., violonceUist and com- poser at DuLsburg, has pubUshed, chiefly i.t Amsterdam, several works for that instrument, since the year ISOO. ALEX.YXDEIl ab alkx.vndro, a Neapolitan lawyer, died at Rome, in 1523. Ho WTote some works on ancient music. ALEXAXDER, SYMPHOXIARCIIA, a composer in the early jjart of the seventeenth century, publishetl three books of motets, at Frankfort, in 1606. ALEXAXDER, a native of Asia Minor, wa-i the foiuider of a sect of persons who thought it a religioius duty to keep awake day and night to sing music ; believing that constant singing would fit them for heaven. He died 430. .^.LEX.YXDER THE GRE.VT. Music flour- Lshed in the reign of this man, and found in him a skilful judge and generous protector. It was customary for the musicians in his employ to sing hpuns to his praise, accompanied with instruments. ALEXAXDRE, C. G. Author of six ducte, Paris, 1775. ALFIERI. A musician and poet. He has surjiassed everj- other poet in jiortraj-ing the heart of a tjTant. The scenes of his " Timoleou " are very line. ALG.U10TTI, COUXT FRAXCESCO, was born at Venice, in 1712. He was much esteemed by Frederic H., King of Prussia. He died at Pisa, in 1761. He wrote an essay on the opera, which was translated into English, and published in 1767. ALGISI, or ALGIIISL D. P. F. \ renowned Italian composer, born at Brescia, about the year 1666. He afterward lived at Venice, and composeil two operas there, which were much esteemed, especially " 11 Trionfo de la Coniiitciiza." ALIX. Bonnet, in his " Ilistoirc dc la Miisujtu;" gives the following extraordinary account of a mathematician, mechanician, and musician, named .VlLx, who lived at Aix, in Provence, about the middle of the seventeenth century. .rVlix, after many years' study and lalx)r, succeeded in constructing an automaton figure, having the shape of a human skeleton, which, by means of a concealed mechanLsm, played, or had the appear- ance of playing, on the guitar. The artist, after having tunetl in perfect unison two guitars, place1 ARCKV. (I.) Id the ntylo of a march. ALI.A .MODEUNW. (I.) Iti Ihr mo* or Ti-fi, thou^li s*iinrtimes in (^4. Its nrincilia] cIiaructerJNties are, its being in a sniuewhat slow time, ond chiefly movinc hy alternate crotchets and quavers, if in ti-8orll*.S; and in minims and' crutcliets, if in (M: in either cs«e. uniformly having tlie longest note at tlic tAcscJi, or points of accentu- aticin. -\LL.\ TmCA. (I.) This exprt-ssion sieiiiflM th«t the move- ment, nt the beginnine of which it is writteu.iscOMlitosedin imitation of the Turliish stvle. ALLA V1:XE;5I.\N'A. (I.) In the Venetian stvle. ALL.V ZUPP.V, or AL. ZOI'. (I.) An cxpressi.n applied by the It;tlians to any constrained, syncopated mnvemeut, the notea of whicti proceed in au irregular and awkward style. ALLAN, MADAME CARADOKI. A dis- tmguLshed Italian soprano. Her chief attributes seem to have been clearness, beauty, poUsh, in- vention, and tiiste. She sang with sweetness, delicacy, and variety, and was one of the stars in our -\merican musical hemisphere in 1S40. ALLATIUS, or ALLACCI, LEO, wrote a treatise on the melodies of the Greeks. He died at Home in 1669. He was a professor of Greek, and principal inspector of the library of the Vat- ican. He had a great facility in copying Greek manuscripts, and, it is said, was .so much grieved as to have wejjt on wearing out the only pen wliich he had used in copying during the space of forty years. AUatius wa»? also the author of a useful catalogue of dramatic piece;- up to the year 1667, entitled the " Drammaiurgia." ALLEGILVMEXTE. (I.) Rather quick. ALLEGRANTI, MADDALEXA. A.n emi- nent Italian singer : she made her first ajipear- ance at Venice, iu 1771, and after singing at sev- eral other Italian theatres, went, iu 1774, uito Germany, where she continued to perform at Manheim and liatLsbon, till the year 17S9, when she returned to Venice, and after performing tliere at the theatre of San Samuele, during the carnival, came to England in 1781. Her voice was very sweet and ile.xible, though not very powerful. Li 178.J, she returned to Germany, when she was engaged at Dresden, by the Electoi of Saxony, at a very large salary. We find hct again performing at the oratorios iu Loudon, ir. tiie year 1799. ALLEGREITO. (L) A term si,gnL''>-ing a time quicker than aiulaiitc, but not so quick as alhgro of which word it is the diminutive. ALLEGRErrO-SCIlERZAXDO. (I.) Livel3 and sportive. ALLEGRI, GIOVAXXI BATTISTA, or- ganist in the Venetian Stfltes, published some motets at Venice in the year 1700. ALLEGRI, GREGORIO, born at Rome, of the family of Correggio, was received in 1629 it the i)ope's chapel as a singer and composer. He was a pupil of Xanini. His celebrated " Miserere " Ls still sung iu the papal chapel during passion 31 ALL EXCYCLOP.EDIA OF MUSIC. ALL week, and is forbidden to be copied on pain of txcommimication. It is well known that Mo- zart, ha\'in<:; hcird it ijert'ormed twice, retained the score so 'itron^ly in his memory, that he wrote it down in almost peri'eet conionnity to the orii^i- nal manuscript. The " Miscrvrc " of .VUe^ri wius jirinted in London in 1771, under the superin- tendence of Dr. lUirney ; and in 1810, M. C'ho- ron inserted it in his eoUection of chuisical music. Alle}p:i died in l'!.")2, and was buried in the chapel of San Filijjpo Neri, in the IJhiesn Nuova at Home. This is now the common i)lace of inter- ment for the singers of the ])ontitical chapel. The followinf; is the strikinj; epitaph inscribed on tae walls of the chapel : — Cantnrcf pontlficU Ne qiuMi viVfH Conrttrv iiiflixliiL jonxit, Hortuoi coriHtn* (liMrtin* m«oIiiti» disfolverct, llic una cuutll vuluerv. The rK^ntiflciil sincrr*, Arixi»ii4 th'it ttiM^L- Whom h:\riiiunv iiiiit'-il in life Should 11. .t bt- ii'ii inili'il in cl.iUh, Wished Ulis lU Ui^-lr buri^l-pluce. Though his abilities as a singer were not very conspicuous, yet he was reckoned a cojnplete master of harmony, and was in such estimation with the performers of his time, that he was ap- pointed by the pope, A. D. 1G29, to a situation \i\ the choir of his chapel. His priucipal compo- .Hitions are of a sacreil and solemn d&icription ; and many parts of the church service in Italy, remarkable for the di^•ine simplicity and purity of the hannouy, are at this day the evidences of his successful application to the musical art. To his >kill as a composer he added a gentleness of dispo.ition, and a wannth of bcnovolen e, which showed that he was pos-.c8sed of merit still higher and more enviable. The poor tlocked around his abode, and were reheved by his charity, and guitl- ed by his exhortations. It was his d'lily busi- ness to visit the prisons of Rome, and to attend to the wants of the unhappy persons wlio wore shut up iji tho;e tlreary mannons. At length, altera life spent in useful emplo.\Tnent and active benevolence, he died, in Ui.32, and was buriod in the Chiesa Xuova, before the chapel of San Fil- ijjpo Xeri, near the altar of annunciation. Of all his works, the " Miserere " is the most distin- guished. It was, for upwards of a huncbed and hfty years, annually performed in jiassion week, ot the pope's chapel, on Wc.lnc.-.day and (iood Friday ; it is in apjieiirance so simple as to make those who have only seen it on paper wonder whence its be i\ity and etiect co»ild arLse ; but it owej its reputation more to the manner in which it is pcrfonned 'Jian to the composition ; the fame mu ic is many times repeated to different words, and the singers have, by tra lilion, certain cust>m<, expre,< sions, and graces of convention, which produce great e'lccts ; such as swelling and diminishing the sounds altogether, accelerating or retarding the measure at some particular words, and singing some entire vcrse-j quicker than others. So says Signor .Sautarclli, who had often heard the " Miserere." Anilrea .Vdami, in a work of his, mentions that " after sevenU vain attempts, by precc.Ung composers, for more than a hundred years, to set the snmc words to the satisfaction of the heads of the church, Gregorio Allegri succeeded bo well as to merit eternal praise ; for \\-ith few notes, wr U modulated, and well understood, he compose 1 such a as will be continued to be sung on the same dayp«, every year, for ages yet to come ; and one that w conceived in such just proportions as will astonish future times, and ravish, as at present, the soul of every hearer." However, some of the great etfccts produced by this piece may, perhaps, bo justly attributed to the tune, place, and solemnity of the ceremonials use I during the performance : the pope and conclave are all prostrated on the ground ; the can Uc ; of the chapel and the torches of the balustrade are extinguished, one by one ; and the Inst verse of this psahu L» tenninated by two clioirs; the nutcilro
  • t verse ; he says, " I have seen several spurious copies of this composition in the pos- sesion of ditierent persons, in which the melody of the soj)rano, or upper part, was tolerably cor- rect, but the other parts differed very much, and this inclined me to suppose the upper part to have been written from memory, which, being so often repeated to dilfcreut words in the per- fonnauce, would not be very dithcult to do, and the other parts to have been made to it by some modem contrapuntist al'tenvarcb. The Emperor Ix-opold I., not only a lover and patron of music, but a good comjioser himself, ordered hLs ambas- sador to liome to entreat the pope to j)ennit him to have a copy of the celebrated " Mim-rere " of Allegri for the use of the imperial chapel at Vienna, whi'h being granted, a copy was made by the senior maejtro of the pope's chapel, and sent to the emperor, who had then in hLs service some of the best singers of the age ; but, not- withstanding the abilitie:? of the performers, this compo^iition was so far from answering the ex- pectations of the emperor and his court in the execution, that he concluded the pope's maestro di cajteUa, in order to keep it a mystery, had put a trick upon liim, and sent him another compo- sition. Upon which, in great wrath, he sent an expr&ts to his holiness, with a comjilaint against the m,v~,tro di cajwlln, which occasioned his imme'liate disgrace and disrais.ion from the service of the lajal chapel ; and in so great a ilegree was the pope oifcnded at the supj)Oscd imposition of his composer, that, for a long time, he would neither sec him nor hear his defence ; however, at length the poor man got one of the cardinals to ])lead hLs cause, and to acquaint hi« holiness that the style of singing in hLs chapel, particularly in ];er.'orming the " MiMrcre," wa.s such as could not be cxpresseil by notes, nor taught or transmitfeil to any other place, but by exam- ple ; for which reason the piece in question, though faithfully traascrilicd, mast fail in it* effort when performed eLsowhcre. IILs holin(>4 Miserere' ' did not understand music, and could hardly com- 35 ALL ENCYCLOPAEDIA OF ML'SIC. ALF prehend how the snino notes xhould Houiid so dilforeutly ii» ditfcrput pliicos ; however, he ordered hLs nuiestro ili ai/x'lla to write down hLs defence, in order to be sent to Vicnnn, wnich wiw done ; ^nd the emperor, Hecin;; no other way of f^riitity- ni;; his wishes in rcspc-t to this composition, bOL^jjed of the pope that some of the musicians in the ser\-icc of his holines:) mi^^ht be sent to Vienna, to instruct tho;e in tlie ser\-ice of his shapcl liow to perform tlie " MUcrere" of Allegri. ALLEGUI 1)1 BUAVUIIA. (L) Brilliant and striking compositions, or movements. ALLEGRLV. (L) Joy, gladness. ALLEGRO, or ALL'O. (I.) Gay, quick. A term expressive of tlie third dejjrce of masical rapidity. Generally applied to lively movements ; but sometimes, in conjunction with another word, placed at the bej^innin;^ of compositions intended to rouse and stimulate the more violent passions ; as alieyro agitato, quick and agitated ; aUer/ro fiirioso, with rapidity and vcheraonce. AlUnfro also denotes one of the six distinctions of time, ■which succeed each other as follows : grave, adagio, largo, vivace, alkgro, and presto. RO ASSAI. (I.) Moif quick, or exceedinclv quick. KO COMMODO. W.th iic(iiivcnicntdc(.'n>fof uuickneM. HO COX nillO. yuick, with brillinncv. RO CO.N riOCO. Quick nnd sniinatol. KO CO.\ .MOTO. Quitk, witli more than the usual dc- vcnu'iit. RO ro>f SPIRITO. Quick, with «pirit KO ,MA OKAZIOSO. l.ivilv an 1 graceful. KO MA NOX I'KKSTO. Quick, but not in the ex- RO MA NOX TROPPO has* aimilarmeaning ; IWcly, » flpirilcd. KO MOI.TO, or DI MOI.TO. Very quick. RO XOX MOI.TO. Xot verv quick. RO VKI.OCE. With rauidity. KO VIVACE. With vivacity KO Vivo. With nnUiiiinl brisknesi. RISSIMO. The supcrlutivc of Allegro; very quick. ALLELUIAII. Praise to Jehovah. A word M'ed to denote pious joy and exultation, chiefly m hymns and anthems. ALLE^LVXDE. (F.) A slow air, or melodj-, ill common time of four crotchets in a l)ar. A sjjecie.i of composition supposetl, from its name, to be of German origin. We meet with the Alle- mande in Handel's harpsichord lessons, and other works of about their date ; but as a sonata move- ment, it is now obsolete. The dance known by the same name is, however, still used in (iermany and Switzerland, and is written in common time of two crotchets m a bar. ALLENT.WDO. (L) Retarding the time, slower and slower, to the end. See Rallex- TAXDO. ALLLSON, RICHARD, professor of mu.sic in London, in the reign of Queen Elizabeth, was one of the ten composers who adapted the I'salms to music ; they were lirst published by Tliomas Este, in 1591 ; some of the tunes are still in use. ALL' IMPROVIST.V. (L) Extempoi-ancous. Tlus expression is applied by the Italians to the perfonuance of any extemporary strain ; as, " He sang .1/^' Improvista;" i. e., he sang without pre- meditation ; he invented as he proceeded. A L'lT.VLIEXXE. (F.) In the Italian style. -VL LOCO. (I.) A terra chiefly used m vio- lin m\isic, to signify that the hand (having been shifted) LH to be used lus before. ALL* OITAV.V. (I.) In the octave. Instni- ALLEO AI.LEG AI.LKC .^LI.Ed -Vl.I.EG grt-c of nio AI.I.EC, AI.I.EC AI-I.EG Ireiiie, AI.I.EC but not tNnicn cither part exceeds these seven, either a9- 3r> A.LP ENCYCLOPAEDIA OF MUSIC. ALT I •ending or descending, the some scries is repeated, Dbser\-uig the siune order. ALPINE IIOUX. An instrument made of the bark of a cherry tree ; and, like a speaking trumpet, used to convey souiuU to a great di.s- tance. ^\^ien the last rays of the sun gild the Kuminit of the Alps, the shepherd, who inhabits the highest peak of those mountains, takes liis horn, and cries with a loud voice, " PraLicd be the Lord." ^Vs soon as the neighboring shep- herds liear him. they leave their huts and repeat tlie words. The sounds arc promulgated many minutes, while the echoes of the mountains, and grottoes of tlie rocks, repeat the name of God. Imagination cannot picture any thing more sol- emn or sublime than this scene. During the Kilcnce that succeeds, the shepherds bend their knees and ))ray in the open air, and then retire to their huts to rest. The sunlight gilcUng the tops of those stupendous mountains, upon which the blue vault of heaven seems to re-t, the magnif- icent scenery around, and the voices of these shepherds sounding trom rock to rock the praise of the -Vlmighty, must till the mind of every traveller with enthusiasm and awe. ALSTED, or ALSTEDIU.S, JOHN HENRY, a OeiTuan divine, wrote, among other works, the followiug, which was translated into English : " Tcmplain Mitsiciiin, being a compendium of the rudiments both of the mathematical and practical parts of music, on wliich subject not any book Ls extant in the English tongue. Faithfully trans- lated out of the Latin, by John IJirchcnsha. Lon- don, 1664." ITiis book consLst-s of little more than nearly unintelligible and dry detinitiomi. Alsledius died in 1G38. XLT, secretary to the town of Glognu, a composer and violinist, i)ublLshed some quartets at Berlin about the year 1790. ALT, PHILIPPE SAMUEL, composer and organist at Weimar, was born in 1689. jVLT. An abridgment of the Italian adjective a!to, liigh. A term appUed to that portion of the great scale of pounds wliich Ues between F, on the upper line of the treble staff, and (J of the octave above. Thus the .1 ou the first added line above is called A iit alt. ALTA. (I.) High. Tliis word is frt^iuently to be understood in the companitive degree ; as, S ca. altu signifies an octave higher. ALTEIl-VTA. (I.) One of the terms given by the old theorists to the first deviation from the eocle-iastical mode ; ; which modes, till this inno- v.ifiou, were so rigidly contined to the diatonic scale, as to admit of no semitone! but those Irom E to F, A to 15 flat, and B natural to C. ALTEKATION.S IN ANCIENT P.SALMO- DY, illustrated in the history of " Old Hun- dred." \Ve tJike the fol'owing interesting and able article lVr>m the columns of the " New Eng- land Puritan." The melody of " Old Hundred " wa'^ printed for the first time, as we conclude after a careful investigation, without any accompanying part whatever, about the year l.').)0, and set to the French version of the l.llth psalm; and it was printed alone, in England, in l.)t>2, to Sternhold tnd Hopkins's version of the 100th psalm, but differing from the French copy in several uotoa, probably through mistake, in part, at least. It wiLS harmonized or arranged in parts, iu France, by Claude {joudiiuel, and printed in l.jiio, to the I.'Uth psalm, three part-s being added to the original melody ; and a tew years after, it was done by Claude Le Jeune, and set to the same ])salm, but was not printed till 16 1. 3, several years after his death. It was harmoni/cd in England, by AViUiam Damon, in 1.^79, and again by the same author, differently, iu 1.591 ; also by Dr. Dowlanrl, in b)91, and set to the 100th psalm; likewise by Uicliard .Vllisou, iu l.)99, and by llavenscroft, still differently from the rest, and publislied in 11)21, to the I.'Uth psahn, Dowland's copy beiiiij included in the same volume with the latter. Wo have it again, in three parts, iu John Playford't collection, published in l(i71, which wius \erj pojjular, and continued in use during a mucb longer i)eriod than any other ever made. Various arrangements of this tune have been made in different ages and countries, tim(!S al- most without number, in two, three, four, and five parts. Many of the greatest composers have exercised their ingenuity upon it ; yet among all the arrangements that have ever been made of thLs tune, no one can claim, by its sujierior merit, to be established as the standard for all after ages ; and we venture to predict that no such arrange- ment will ever appear. In the reign of George IV., Gardiner, the author of " Music of Na- ture," made the trial, under the sanction of the king, to supply tlic churches with a collection both of poetry and music, as a " standard book of psalmody ; " and although the work produced was highly creditable and much admired, the re- sult was no less than a royal failure, in respect to the object for which it was designed. ANTiat one age considers periect, or looks upon with complacency, another may view in a vcrj different light. ITiis fact is exemplified in all our experience, and perhaps in notliing more striking- ly than in music and metrical i)salmody. Stem- hold and Hopkins's version of the Psalms, in Eng- land, was satisfactory for a long time ; but at length complaints being made and imjirovements de- manded, almost every succeeding impression was altered to the fiLshion of the day. So it was with that of Marot and IJeza in France, which, it is be- lieved, is still wfcA. to some extent in that country. They have been altered from time to time, through a great number ofeditions, so as to correspond with those variations to which all languages are liable. The melody of " t)hl Hundred" is common property, and any qualified compo-er has both a legiU and a moral right, as we think, to aild to it such hannony as he tiehevcs will 'oe an improve- ment : if he succeeds, it is well ; if he fiuls, he will have his trouble and the expense as hLs re- ward ; and how many have ex|>erience(l this re- sult ! Hut what true lover of the art would stay the hand of improvement, or forbid the correction of errors, in a case wherein all have an equal right to try their skill : and who will rehnquUh the use of this tune, lus it is now arranged, l)e< au.-c in the course of time it has undergone tin said changes ? On such a principle, we should hare to relinquLsh a considerable portion of the Ei jli:-h language. Some of the most celebrated musicians h-we constructed parts upon the simple melot i of 37 A.LT EXCYCLOl'^TiUiA OF MUSIC. A LI " Old Iluiulrcil." Eii^^lLsh publications of different H^os pre-^out it witli durercat harmony from thoso that i)vecedcd tlicm, and different Iroiu others of the same ai^c. One work, published more than two hun(b-ed years ago, contains two different ar- raus;euients ; a later one };ivcs us Jiee, and one edition of Tate and IJrady's I'salmti, which was accompanied with music, presents sL\ variations of the nu'hdij, as it Ls rejjeatod to difl'erent psalms ! Dr. Croft only rearran;;cd " London," and Kirby " Windsor," both of wliicli had already been done by Ravenscroft, and probably by others ; and John ^Iilton (father of the poet) altered his own ar- rangement of " York," and Lisued both copies at the same time ; and tlic one iiaw in use is mdtlier of his. The melody, says llaveuscroft, was ori;j;lnally a Xortlwrii tunc. The melody of " St. David's," \vhich was harmonized by llavcnscroft, was of M'elsh origin ; those of "Dundee" [Dundy] and " MartjTs" were Scotch. The feelings of our nature require a constant succession of new tunes, (we do not mean to the exclusion of all former ones,) and neither choir nor congregational singing can long be sustained without them. Dr. Busby says, " In general, without variety, pleasure ceases, and nothing more urgently requires relief than an old soiiff." Metrical psahnody had its rL-e in Germany, and there is no doubt but German musicians were authors of some of the old melodies ; and tradi- tion, in Germany, accords to Luther the author- ship of several. Schamelus and Walther assert that one John Galliculus had a share in them. Many persons have entertained the behcf that " Old Hundred " was at least Lutheran, while others have been disposed to grant it still higher antiquity. Its origin is very uncertain, and enveloped in great obscurity, although it is gen- erally ascribed to liUthcr in the American singing books. But history supports a luuch stronger claim for a musician by the )iame of AVilliam Franc as its author. Yet it may have been one of those very "secular tunes, such as were easy to learn and play on the viol and other in-^'ru- ments;" or one of the " most favorite songs of the times ; " * or one of those " ballad airs as would best suit its metre ; " or an " opera song ; "t all Mhich were sung to the psalms early in the reformation, not only by Lutherans and Calviuists, but Roman (.,'atholics : the latter, however, soon became alarmed, and pronounced psabn singing heretical, and forbade its practice. But it may have originated in an ancient Roman char.%, some of which, or adaptations thereirom, wcrs 3ng retained in the Protestant service. One. author says it was a " love ditty written long before Luther's time." Ravenscroft, who pub- lished It in 1621, was ignorant of its author even at that early day. .Vdnptations of the melodies of profane songs to sacred poetry, three hundred years ago, were not uncommon ; and Luther himself, it ajipears, was not very scrupulous about it, for he set the Lord's prayer, or the following words, " Our Father, who art in heaven," to a melody of this kind, one which had been used in singing " lils- tories in rhyme, something like the romances or OaUads of the pre -ent day ; " i. e., near the middle of the eighteenth century. The King of Navarre sang, " Stand up, O Lord," to the air of a fosliiou- t Mi'iU'itriL able dance ! and in an ancient religious work occurs a Christmas subject set to the tune of " O ca))er and frisk it," and another to the tune of " O Mother Rogers." But such examples wt highly de])recate, and hojie never to see followed in our times. It Is probable, nay, almost certain, that some tunes of the above character crept into the number which were afterwards adopted and printed to the Psalms, and wliich have como down to us ; but it should be borne in mind that, whether the association was ever offensive or not, no objection on this score can be made by us at the present time, as relates to these tunes, for we have only known them as used for sacred pui-jjo >es. In justice to Luther, the fact should be staled that, before Marot and Beza's Psalms were ))rinted with the melodies, the Lutheran reformers in Gennany made great use of psalms, hymns, and spiritual songs. Luther hunself published a small psabn book, with a few melodies. In lo2'>- which was subsequently enlarged ; and, before his tune, IIuss and the Bohemian Brethren had l)een psalm singers. 'Hie latter, also, had a small Ivvsnu or spu-itual song book, with notes, printed at U'lm in 1.538. The people, high and low, were every whei;e infatuated with the notion of psahn singing, on the appearance of Marot and Beza's version ; and, before the melodies were printed, each one sang such tunes as he thought fit — dances, jigs, operas, and merry tunes. (Bayle.) Xew tunes were, also, set to the psalms, by " e.xcellent composers, that chimed so sweetly that every one dcsurcd a new psalter." (Strada.) It is ■\\ell settled that some of the old melodies had their origin in Germany, whence they wer( transfcncd by the reformers to other parts of Eiu'ope, where many were adopted or imitated : thus they may have become an ingredient in Marot and Beza's collection ; but whether or not " Old Ilunchx'd " was among the number so transferred is unknown. In no (ierman choral book, nearly all of which contain tliistune, do we find Luther's name attaclicd to it — a circumstance which would be very strange if the Gcnnans could rightfully claim their countryman as its author ; and it was not ascribed to him, we beUeve, in any English pubhcation until the time of Handel, who cxpre-.-sed an opinion that Luther wrote it ; but of that Burney and other writers say they have not been able to find autlientic ])roof. Ravens- croft, who published his work in 11521, calls it a " French tune," which he would not have been hkely to do, If there had been any chance of its having been written in F.iKjland. He states that his work con-.nsts of " psalms, with such tunes as have been and are usually sung in England, .Scot- land, Wales, Gennany, Italy, France, and the Netherlands." Most of the old melodies were at first sung alone, by the whole congregation, and subse- quently underwent the same chewing up, and have had ahuost as many ne»v suits as " Old Hundred." They have been hanuonized at dif- ferent times, in from two to six parts. The i)ractice of choir singing, that is, singijig performed by a few select jicrsons, sufficiently skilled in music to sing each by hunself the jiart assigned him, arose soon after the mcilodies be- came harmonize2. 33-lJj»- 'ff^fp. ««^^^ at Ai p«oid« (Jut OS tortii du« dwell, 8in{ u th« Lord witb «bMrcful , Hiin Hm« wiUi few*, Hil pnlM furt)il«U, C«iu je tMfur* hia And njoW. The same, published in IGOS, in Barker's Bible. (C?~ We K>vu the above spcrimens exartly ns we find them : our object would not t>e attained by moderuiziDg them with tars, new key, &c. ; or even correcting the errors. Dessus. 0ITi }l{untir(ti, as harmoniied by Claadc Le Jeune, printed in 1S13. -'TNt ..-x^ ^i^-, \ — I J /. Caxtvs. C>lll lUuntlf'B, as harmoniied by Dr. Dowlaml, in 1594. X ^^S^^^:^ i8t 7 MEDrvs. '^g^-» 323t sr«^ i^0-. ^e:*!^ i^jz: ^^\^ !lSE^ ^i^E^^i^^^^^i^^ rsrz.rs 7S — rg-r t gs^f'g^t Te.nOR, or I*UtVN80N0. h^^^^^^^^^^^ V LI- ENCYCLOPEDIA OF MUSIC. ALT Ca.ntvs. C'li munCrtti, ail harmouizcd by RaTcnscroft, in 1G2I. ^ ^^^E^^^^^rrr^^^V't^ri^^f^^ Memts. M ^:^=^ ■'- ^ — ' ' a> 'g^' s.*-i5».#^^- — — -•- Cantus. ©IB lljunfirflr, as harmonized by Playford, in 1671. ^i^ii ii3t ^E^ n HEnios. ■^Jj^P^^^^t^-^ [SIS^ ^f^?^^^JE^ 55- =2^ J=^S- Ail pMplt thkt oa «u11i Jo dwell, SiDf to Ux IiOid with cheerful roiot. Him Mire with fcftr, hia praiM PortbteU, Come j* before him kad rejoice. Ba^e. t=^^ fc=P25-±=t4 =£:^rs: 5«y aggagaa &»fH» &<» 1-^ Treble. ^ WIUi ou •tMMBl bl tU lh« nrth. Bam. tf^^-^ ggji ^<^5- o- - — & SZ^^SI WIUi giu HMralbl tU lk< wtb, A Sad Uxli abMrful ralMa nlH, 01^ toufa p4; »lth >wful alnk, A>J liiit brfora Ua «cs <£ pnili \_ ig^spsiii^^assi O pg- 40 A.LT ENCYCLOPAEDIA OF MUSIC. ALT Compare these early arrangements witli most of those wluch appear in the singing books of the present time, and we think there -nill be no question but some progress hn i been made in the art of composition since " Ohl Hundred " wiis tirst hanuouized ; notwithstanding the author of one of the early copies (Dr. Dowland) was a great favorite, and, Anthony N\'ood says, was styled the " rarest musician tliat the age did behold." Yet Dr. Buruey has since .said of this author's com- positions, " I have been equally disappointed and a-stonishcd at hi* scanty abilities in countcq)oint, and the great reputation he obtained with his contemponiries." Wc are not told that the copy ui the above-mentioned work is therein original ; indeed, but a small part of it, if auy, appears to be so. Regarding the old tunes, generally, as used in this country at a former period, we adopt the following language of tl'.e venerable and highly respectable editor (the lion. Nahum Mitchell) of the " Bridgcwater Collection " ; which work, we will stcid this opportunity to say, was the most popular binging book pulilished in its day, and one of the most important in the musical reformation of Xew England. " ^Vheu the English books, containing these tunes, wore tirst brought to thw country, as Tansur, Williams, Kuapp, J. iVrnold, i"ic., who were by no means musicians of the first cla.ss, they wore evidently set or hannonized, as Tansur professes, in the most simple manner ; containing principally the coQunon chords, without any regard to the modem rules of rehition and progression." Music, says Dr. Buruey, " is pursuing her slow ftud steady course towiurds taste, elegance, sim- plicity, and invention, under the guidance of judgment and (t imliiije the idea tfutt nothing more is to bo done." Tlie Uev. Dr. Hooker, of Vermont, an able advocate for musical education, in a late tract, says, " It in gratifi/iny to observe that both the ait and the prtifession of teaching it are advancing." This is uutloubtediy true in rcgai'd to musie in this country, more than in any other. AXTio has been aciiuaintcd with its state, here, for any length of time, but knows that since the first elforts of such men as Mitchell, Hastings, Ma;e iustriuuents are rc- mark'ibl'j for a full and peuelratiug tone ; his signa- ture Ls as follows: " Jiuu)btui Stiiner, in Abso/n pripe JEnipontvin, 1Q17." .'Ihiipons Ls the Latin name of lnspru;;k, in Germany, the chief i-ity of the TjTol. Matthew Albani, also a TjTolose, signed thus : " Matthias Albaniis fecit in Tt/rol Bulsani, U;.51. " 'Ihc tirst violin ever made was constructed in Italy, about the year KiOO ; but those which are esteemed by musical men as most valuable, were manufactured by the family of A. and J. Amati, at Cremona, in the yotu: lij.jO. The A-ioliu was tirrt introduced into concerts about two hunched years a;^o, and when first played upon, it was i)ro- nouuieil a failure, never capable of beiug used with any success. " Nicholas Amati was the head of this family of Amalb, so celebrated among violinists and instrument makers. It was he who, assisted by his brother, Anilrc Amati, made for the chapel of Charles IX. those superb instruments, chcf- d'wacres of the art, which yet ornament it by their color. Their number was twenty-four, and con- sisteil of sLx treble violins, sbc alto ^•iolins, sLx tenor vioUns, and sLx violoncellos. Hie elegant simpliiity of the form, \uiited with an exquisite quality of tone, distinguished the works of the two artists. It is only to be regretted that their mo-t common patterns were small or medium, as their violins constructed upon the large model are r:irc and very choice. Their tone is admi- rable, and the only f.iult that can be brought against them would be, that the fourth string has a sUght degree of drpicss. " Jerome -Vmati, eldest son of Andre, worked wjually upon the two models, of which tlic largest arc likewise the most esteemed. His violins difi'er 8 httlc from those of Nicholas and Andre, and the clianges that he introduced in his coiustruc- tion ra:»ke the tone of the first string often too tine, and always too clear. " .\ntoine Amati followed the principles adopted by his brother ; his instruments have the same qualify and the same faults with the ))receding. " Nicholas Amati, son of Jerome, who has been often confounded with the old Nicholas, has made some very choice violins, and worthy of being so — particularly of the large patterns, in which he wpe.'ially excelled. His seconds are sometimes nasal, owing to the thinness of the bottom. The artist Koliker owns the finest Nicholas Amati that is known. The preservation, the form, the material, the color, the tone, all are admirable. " Jacques or Jacobus Steiner, native of Absom, a small village of TjTol, near Inspruck, was pupU of .Vntobie Amati, and worked in the same line with his master. Wishing to have a model of his own, he began to shorten tliat which is in common US", llis numerous counterfeiters, without sus- pecting it, have all missed this mark, in restoring to their imitations the accu: ed, in Hat- toning the tops, increasing the thickncrv), and diminlsliing the model. They have given a great celebrity to their works, but it is to be regretted that their fourth string should possess an exces- sive dryness, and that it should be, so to speak, sacrificed to their others. The violijis of I'ierre Guarnerius are much superior to tho^^c of Id) brother, with whom he Is often confounde 1, but the works of the latter have a much finer tone. Joseph Guarnerius had for a pupil Franrois Supot, maker to the Duke of Wurtemberg, and came into France in the year 17C!). " Nicholas Supot, who has been sumamcd the Stradivarius of the age, was son of the preceding, lie was born at Stuttgart, the tth of De^'embcr, 1758, and received from his father the first ele- ments of the art which he pushed to so high a degree, -'yter having long worked under the best masters of Germany, he set himselt" to study the models of the celebrated artists of whom we have just sjioken. 15y dint of care, of patience, and of multiplied efforts, he succeeded in discov- ering a second time the varnish used by the Amatis, tlie .Stradivarii, and the (iuarnerii. The violins that he made alter the patterns of the great masters have deceived connoisseurs, and espe- cially a renowned manufacturer who had obtained one of his violins, beUeving it to be a Guarnerius. M. Supot is one of those who have reflected deeply upon the art which he practised with success. He is the author of a little work entitled ' La C'helonomie,' or the complete Musical Instrument Maker, one vol. 12mo. pp. 301), I'ari-*, 1S0>, which has been com])iled by M. I'Abbc Siliire, so well knowni for his love for fine instruments. " M. .Supot came to France in 1701, and when it was decreed that the Con.servatory of Music should give a violin as the grand pri/.e tor this instrument, Gavinies petitioned, and gained hia re que-it, that Supot should be chargeil with it4 construction. This artist owns n superb bosi spoken by Charles IX. '• The maker to the co\irt, Mr. Zacharie Fischer, to whom the art is already much indebted lor the perfecting of stringed instruments, ha-*, notwith- standing his advanced age, invente\-ith great applause at Vienna. AMBROXX, PETER CHRISTIAN, chamber musician to the Uuke of Saxe-Meiningen, was born in 1742. He is said to have been an emi- nent contrapuntist. AMBROSCII. A celebrated singer at the Ger- man theatres, and a composer of vocal music, up to the year 1800. AMBROSE, ST., introduced what Ls called the " Cant IIS Ain^ji-osianiis" into hLs church at Mi- lan, about the end of tlie fourth century. He is gaid by St. Augustine to have brought tliis man- ner of singing from Greece. Those who have written on the subject agree that St. Ambrose only used the four authentic modes, and that the four plagal were afterwards added by St. Gregory. AMBROSE. An English composer of ballads, (dementi's Catalogue.) He is a professor of mu- eic, resident at Chelmsford. AMBROSIAXUS CAXTUS. (L.) Ambrosian Chant. -V kind of cbaut used about 374, by or- der of St. .Vmbrose, Bishop of Milan. AMBROSIXE. A first female singer about t'^e year 1722, at the conservatory of La Pieta at Venice. AMK. Ilie sound post of a vioUn, tenor, &c. AMK. A viohnist and composer. He led the bandnt the ItaUan Opciu at Paris i;i 1760. AMEX. So be it ; or, taking the word in tho sense in which it is frequently used in the Gos- pels, truly, veiily. The word amen forms, gen- erally, the conclusion of antliems, hjnnns, and other compositions ; and has so long been one of the principal themes of choral hannony as to have given birth to a distinct appellation for mu- sic adai)ted to its expression ; as when, using the word adjectively, we say, such an oratorio, or an- them, concludes with an .iVmen chorus. AMEX DA, a vioUuLst and composer for that instrument, is the son of a clergpnan in Cour- land. He was at Riga in 1799. AMEXDOLA. An Italian composer of operas towards the end of the last century. AMERBACH, E. N. Organist at Leipsic in 1.57 1 ; he composed several works for that instru- ment. AMERIGIII, SIGXORA, of Bologna. A singer of extraorduiary merit at Xaples, at the com- mencement of the liist century. A MEZZA ARIA. (I.) An expression ap- plied to the compass of an air, the notes of which have no great extension, either in height or dej)th* that is, which Ue towards the middle of the com- pass of that species of voice for which it was com- posed ; as a bass, tenor, or soprano, llus phrase is also used to signifj- a style of composition be- tween air and recitative ; a kind of aria parUintc. A MEZZA DI VOCE. (I.) An expression implying a soft t-ne, or gradual diminution of voice. AMICIS, ANNA DE. An Italian female singer; she performed in the coinic operas in London in 1703, and was afterwards selected by J. C. Bach to take the principal parts in serious operas. Her figure and gestures were in the highest degree elegant and graceful ; her countenance, thougli not perfectly beautiful, was extremely high bred and uiteresting, and her voice and manner of singing exquisitely polished and sweet. She had not a motion that did not charm the eye, nor a tone but what delighted the ctur. De .Vmicis al'- terwards held the first rank among female singers in the serious operas of Naples and other capital cities of Italy. AMICO, RAYMUNT)US, a Dominican monk, born in Sicily, published some motets at Messina, in the year 1621. AMICOXI, AXTOXIO. A Xeapohtan com- poser for the theatre at the end of the last cen- tury. AMIOT, a Jesuit and missionary to China, translated the works of Ly-koang-ty, which the Chinese consider their best pubhcation on music. He sent tlus translation, in 1754, to the secretary of the Academy of Inscriptions, who deposited it in the royal library at Paris, where it is stiU to l)e found among the manuscripts. Amiot also sent to Paris an original treatise on the music and musicid instruments of the Chinese. A^^.IXG, MA'IT'ILEUS, music master at Niu'emburg, was born in 1 603. Some of liis com- positions are to be met wth. AMMERBACH, EUSEBIU.S, organist and organ builder at Augsburg, Uved in the latta paxt of the sbcteeutli century. 44 \MM EXCYCLOr.EDIA OF MUSIC. ANC AMMKUlLVCirEU, J. G. SiiiKor at XordLu- geu, jjublisheil iii 1717 a short method lor siuijint;. AMMOX, AXTOX BLASIUS, a native of the Tyrol, died in the year l.i'.tO. Many of hLs Bacred mu-iical corapositioiu wore afterwards col- leeted aud published at Munich. AMMOX, DIETRICn CIIUISTIAX, a rau- Biciau nt llaiubur;,', coiupo.iod an opera there iu 17!)1. AMMOX, J. Director of the music nt Ilcil- tronn. lie went to Paris about the year 17U0, snd has publi-shcd there many instrumental work". AMMOX, JOIIAXX CnRISTOPII, a cler- gyiuiin at Eiishcim, in Franconia, published in 174:i, in the journals of lliitisbon, a dissertation, iu which lie endeavors to produce proof that there Li rc^illy excellent music in the life to come. AMXER, JOriX, bachelor of music, and or- ganist ot the cathedral of Ely, lived in the be- Kinning of the seventeenth century. lie pub- ILshed " .Sacred Iljnnns of three, four, five, and six I'lU-ts, for Voices and Viols," London, IGlo; likewise some anthems, the words of wliich are to be found iu Clitford's collection. AMODEI, CATALDUS, composer ami chap- el-master at Xaplcs, died in 1G9.5. lie published soiuc cantatas, S:c. AMo, or pipe ; a reed. Any instruments with rc<<oso of pro»cr%-ing mui-ic which, in the fashionable world, is calletl ancient. Tliey gave concerts, at wliich were perionued the masterpieces of Pcrjf lose, Leo, Dumutp, Mar- io fc.NC ENCYCLOPAEDIA OF MUSIC. ANC polio, and Scarlatti ; in a word, they performed the rau>ic of t)int constellation oi' distinguished racu, who ajtpeared, almost at the siime time, about the year 1730. It Ls certainly unwLse to neglect the productions of penius, to whatever period they may belong. Yet, as music, like every other branch of art and knowledge, is pro- gressive, it cannot surely be expedient constantly to refer to the works of our forefathers, as did tliis society, for the only models of excelleuce. AN'CIEXT MODES. The modes or scales of tlie ancient Greeks and Romans. ANCIENT MUSIC. Tlie epithet anondon, Print- ed bv Thomas Ilarper for the company of Station- ers, 1633." Extracts from the Preface. "To all that have ^kiU or Will unto Sacred Musicke, I will Coxcoitu among thcmsclces, with God, and with their own consciences. " llarmouicall Brethren, I have here under- taken, with no small labour and charge, to In-ing the Tunes of the Psalmes, Iljnnnes Evangelical, and Songs Spiritual, (as they are usually sung tliroughout Great Britaine,) into one entire vol- ume ; which are so composed, for the most part, that the musickfull may, with little practice, be enabled to sing them in parts, alter a plausible manner. " But whatsoever the tunes were in David's time, there is no question but they were concord- ant and harmonious, which could not be, had they not been divided into parts. For if ye look into 1 Cliron. chap. 15, 16 verse, ye shall see how the I'ropliet David, at the dedication of tl;e Aske, as likewise Solomon his Sonne, at the dedication of the temple, 2 Cliron. chap. 6,31 verse, distin- guished all their musicke in ])arts, and appointed such to bo Masters and Overseers of it, as were most eminent for their knowledge in that kind, as Chenaniah the chiefe Levite, to have the chiefe l)lace, which was to be master of the song. . An office which consisted not only in the diiTCtion of the Quire, but likewise in the tramming up of others to sing, that there might still lie a supply of able persoiLS for that service : Asajih the next, and so Ilcman his Brother, likewue Jeduthun 46 INC ENCYCLOPAEDIA OF MUSIC. ANC and Ethan, all of them tlie most renowned chant- ers of those times, and such as successively in one another's absence, were to dli-ect the due jicr- fomiaai-o of that char;rei>are their Minds for the easier reception of all other Accomplishments of Wisdom and Vcrtue. " 'Tlio most Learned of the Ancient Heathens, the Greeks, were so much of this Oi)inion, that they carried their Veneration for this Admirable Facidty too far. TTiey believetl they could not do it right, but by assigning to it, for its IVotec- tion and Improvement, some peculiar tutelary (iods of its own. Nay, when to all the other Ornaments and Perfections of human Life, they seldom appointed more than one single Deity trt preside over each of them, to Musick alone they allotted a greater number of Guardian Diviiutie? than to any of the rencli>nt ilgnatiire of one nhiir]) \* nppIirriMe to tlie ki'Vsof 1) ini^jnr and U niini>r; hut tile ■harp sik'ivittiri!! of Ihi* nncirnt invthiMt nre in-vrr f'luiiil in the nii- H(ir ni",l ■ : fur, a« tin* sfCoinl, or finihTt'>nic of the key wnnM tlii-n require on aeciilentil !)harp, the irrecutiiritv of the fliftnntnre wnnlil pcrpetuiilly oeeiir. In tl\e *oios u( Corelli, hitwevcr, several in- ■tance« i»cenr of the nneU-nt nhnrp siftniitnre in the mnjor nioc sharps and is In the key of E ln;ijor, the I) i»harp being inserted aceidentall^. Handel's duet, in the onibirio of " .ll/iahVi, "Ji>y8 in gentle train ►Pr^'^nc."' is also ill thi-* key. and ha* thi>i signature. The aneient llguatiire of four sivirps is foilnd in Hiindel's lieiililiful air. " /f/'H//i U »-re«« ill cifilin" lr*>in the opera " S'>*ason, and from the va- riuhle ii:itii,-e *'f the sixth, or stilimedjint. in the minor scale, the an- cient rtiit Kigniitures an* very frequently found. The signature of one flat liel.'iigs to U tint ni.ijor and (j minor. The following ex. ample in tliu opening of CoreiU's flfth conccrlu is in li flat mtgor. TWi example affords a very striking instance of the use ond effect of harnionv in deciding the key ana mmle, indepen.lent of the sig- nature. 'i\v eiyhth eoncerto o^ Corelli opens willi Uiis signature in O minor, as in ttic following example: — This also depends upon harmony for the decision of Its key and mmle : the inelodv. as it stands ah,',ve. miu-ht Ik- e<|iiii1ly In U fl.it ma- jor, or (f minor 1 liut the K sharp, which iiee.)iii|,iiiiie* the (' in the scroii.l in.asiire, deri.les the key. The signature of fuo Jintt bo- \onga to K flat inigor, as The flgnntnre of three 0at» U nnusnal In the mnjor mode of A flat, hut extremely frequent in the minor of F. Handel, indeed, hois •eldora, if ever, used the niixtem signature in thi* mmle. In the ahore example, the E natural Is the leading nole, and polnta •o the key note, F i of which A Hal is the leucr third, and decide* »he • ANCIENT TIIE.VrUES. These buUdint^f wore so constructed, ori;;;inally, that the aclorf could uot be heard at the extremity of the stage. The (Jreeks, therefore, contrived a i)Lin to supjily that delect, and to augment the tone of the voice, and make it more distinct and articidate. For this jjurpose they invented lar;re copi)er vessels, wliich were disposed under the scats of tlie tlio atrc in such a manner as made all souiult strike U]>on the ear with more force and distinctness. ITie orchestra was divided into three parts. The first and most considerable was more particulaily called the orchestra, and was apjiropriated to tlio pantomimes and dancers. In the second part were placed those who sung in chorus ; and in the tliird were disposed their sj-mpliony or band. The passion of the Athenians and all the (irccks for comedy and dramatic representation is inconceiv- able. Their eyes, ears, imagination, and under- standing, all equally shared in llic satLsfaetiou. Nothin;; gave tliem so sensible a pleasure, how- ever, as the strokes which were aimed at the affairs of the pubUc. Frequently mere accident was the occasion of sudden application, which was very afjreeable to the peoi)le. Upon the fol- lowui}r couplet of yEschylus bein;; spoken upon the stage in praise of Amphiaraus, — " 'Tis his desire Not to apixnr, but to be, great and gooil."— the whole audience rose up, and unanimously appUed it to another person. A similar circum- stance hai)pened to I'liilopfrmon : at tlie instaiii he entered tlie theatre, they were singing, — "He comes, to whom we owe Our liberty, the noblest go,id below ; •• — and nil the Greeks cast their eyes upon him, and with clapping of hands and acclamations of joy, expressed their veneration for the hero. ANCILLV. (L.) The sacred shields on which the ancients beat the time of their music at pub- lic festivals. ANCOKA. (I.) Again, once more. ANDANTE. (I.) This word seems to have had, in times past, a signification dirferent from that attached to it by the musicians o/ the jjreseut day, and is frequently to be found at tlie begin- ning of old movements of a grand and even cheerful style. IJut now, it Ls used to imply a time somewhat slow, and a performance distinct and exact, gentle, tender, and soothing. ANDANTK AFFETTTOSO. 0) SI .w ,in.I nff cti.inate. A.NDANTE (ON Mori). (I.) All' Andante. ANDANTK <;lt VZlilSO. (I.) SI.. v. ANU.VNTi: I.AKdil. or I.Atir.O \ - - 1' Ily thU ex[. ri-*«i>. 11 w.' iiTi.li r*t .11.1 that the |H'rT.<. .uovinienl to which it i* pr.rtx-"l i. to Ik« slow, distin^-t. jn 1 ■ xa. t. A.NDVN I K MAKS roSO. ,1.) Slow, with uajestr. ANDA.NTK MI.N rKDl'Pt). (U Slow, -i-.t n..t t<«) mneb •«. AM>.V.\TE I'AS TOKALE. (I.) Slow, and with poslora: •im- plicit)-. AND^VXTINO. (I.) Diminutive of Andiuito. Gentle, tender, and somewhat faster than An- dante. ANDER.«!, IIEINRICIT, organist of the olJ church at .\msterdam, was horn in (Jcnuany in the year I'JOO. He publish wl in 1720 two books of sonatas. ANDERSON, .^OIIN. A composer of Scotch music, considered oy some as unrivalled since th« days of Oswald. He dieil at Inverness in 1.S03 (Clemouti's Cat.) ANDER.SON, LUCY, daughter of Mr. John Phillpot, music seller and professor of music, wm 49 AND ENCYCLOPAEDIA OP MUSIC. AND 1mm at Bath in 1707. The only instruction Mrs. Anderson over rc-pivpd on the jiiano-fortc was from her cousin, Mr. Windsor, of liath, and that was very irrc:;ulnrly p^'cn ; hut her natural love for the art induced her to persevere with no other assistance than what she derived from hearing the BBveral eminent perfonners who occasionally ap- peared at the Hath concerts. At a very early age, Jlrs. Anderson (then Miss Phillpot) followed her profession, and played with f^eat success at the Bath concerts, liut in conseiiueuccof her health uufferini; from a residence in that town, she was induced to go to London, where the success she met with determined her finally to settle. In July, 1820, she was married to Mr. Anderson, also a professor of music. AXDEUSON, (JEORGE FREDERIC, hus- band of the preceding;, and professor of the violin and piano-forte, was horn at Carlton I'lilace in the year 179.5. lie wa:} a pupil of Wiechscll. An- doi-son for many years jjlayed at the Opera, Ancient, and Philharmonic Concerts, of which last society he was an a:>sociate. He was also musician in ordinary to Ills majesty. ANDRE, JOHN, was born at Offenbach, in 1741. He was first intended for trade by his friends, who had a silk manufacton,' in that town. Andre was not re;;ularly taught music, though he had a p^eat taste for it ; all the instruction he obtained in that art, tiU the age of twelve, was fiom one of his little companions, who went to Frankfort to take lessons on the violin, wliich he repeated to Andre. In thw way he improved much : he soon afterwards taught hunself the hari)sichord and the rudiments of composition. TUl the age of twenty, Andre liad only composed a few songs ; but being at Frankfort about the year 17G0, he heard the French and Italian comic operas there, which determined him to attempt composition for the theatre. His first work of this description was the little opera called "The Porter," which was played at Frankfort, and pleased the public by its gaj-ety and simplicity. He next composed Goethe's "Erwiu aud El- mira," which aLso succeeded. In a short time these two pieces were performed at Berlin, and were so successful that their autlior was sent for to compose for the theatre of that metropolis ; ■where also he followed up his studies in compo- sition under the direction of the celebrated Mar- purg. Andre continued at BcrUn for several years, and comjiosed many operas ; he afterwards returned to Oll'enbach, wl-.erc he had previously established a large music warehouse. This was one of the most famous of its kind in Europe. He directea all departments of the work in per- son, and emj)lo',od more than fifty workmen. He died in 1799. His compositions consist of more than twenty opera:i, including music to the trage- dies of Macbeth and King I,car ; tliree sonatas for the piano-forte, violin, and violoncello ; songs \\-ith quartet accompaniment ; Burger's " Leo- nora," a romance for tlio piano-forte, which went tlirough five editions, &c. His style, says M. Fctis, is not remarkable for novelty of ideas or harmo- ny, but liis melodies have a natural grace aud gayety. ANDRE, JOHN ANTONY, son of the pre- ceding, was born at Olfenbach in 177.5. At two years of age lie is said to have shown a musical 'eiidency. He received hia first lessons on the violin and piano-forte in Berliu, when liis fathei directed the orchesti-a at the opera there. Marsch- baUm, the tenor, taught him singing, and at the age of nine he sang difficult airs with taste and accuracy. Reluming with his father to Offen- bach, he devoted himself with ardor to his in- struments, besides lessons in hannony and ac- companiment, and in the art of reading a score. A couple of years, under the tuitifii :>f Ferd. Frflnzel, made him a finished violini>t. HLs first compositions (before he was thirteen) had been sjinphonies for amateur concerts ; but his first avowed work was a sonata for piano and violin, composed on a journey to Maidieim aud Strasburg, wth his father, in 1788. In 1790, aged only sixteen, he was conductor of an or- chestra at Offenbach, where the business of his father had recalled him. He composed much and with great facility. From 1793 to 1796, hLs time was divided between the music publishing establishment and the practice of his art. At the age of twenty, he went to the University of Jena. In 1793, he made a second musical tour in the Rhine cities. The death of his father threw the music warehouse upon his hands in 1799, which did not prevent, however, a third_ and larger musical tour through Xuremburg, Augsburg, Munich, Vienna, Prague, Dresden, Jena, "Weimar, &c., during which he made the acquaintance of all the great German composers. %\'liile at Vienna, he purchased the Mi^zart manu- scripts of the widow ; and those priceless treas- ures are yet in the hands of the Andre house, which has a branch, conducted by a son, in Phil- adelphia. In 1800, Andre visited England. The list of his compositions, printed since 1783, includes twenty-one spnphouics for orchestra, three concertos for violin, seven concertos for wind instruments, several collections of military music, two masses, an opera, (" Rin ildo and Al- cina," 1799 ;) seven opera of stringed quartets ; sLs of piano-forte sonativs ; serenades, dances, fantasias, &c., for orchestra ; cantatas, ri)mances, and songs. HLs music, it is said, lacks invention, but is agreeable and pure in harmony. In 1832, Andre announced a general treatise on music, in six large octavo volumes. The first volume ap- peared the same year, and treats of the scieuee of harmony, modiilation, the ancient modes, the harmonizing of chorales, &c. Volume two con- tains single and double counterpoint, fugue, aud canon. Volume tliree is destined to mclodieo and rhythmics ; four, to instrumentation ; five, to song wTiting ; aud sue to style, form, the u;** of voices and instruments. ANDRE, LE^^^S, was, in 1729, chapel-mas- ter and composer to the King of Poland. ANDRE, Y^'ES MARIE, a Jesuit, was bora at Caeu, iu Normandy, in 1675. He wrote a treatise on the beauties of music. It Is contained in his work called " Kisai aur k liiiu," Paris, 1711, wliich has gone through many e;Litions. ANDRE, of Modena, a monk, published is 1690 a work on vocal music. ANDRE, LUCREZIA, often called Cara. A celebrated Italian singer at the beginning of th« last centurj' ; she wa;* in the service of the Grtnd Duke of Tuscany. ANDREA, HONOFIUO D', a NeapolitAn 60 AND ENCYCLOP.EDIA OF MUSIC. A N F, poet, ^\Tote a discourse on music at Naples, in 1636. ANDREA, NICOLAUS, pastor in Swedish lyRplnnd, published some church music at Stock- holm, at the begiuuiiig of the seventeenth ceu- ^ury. ANDREAS ARUOENSIS, a composer of the leventeenth century, publLihed the I'sabns, set to music, in 1626. ANDREAS, CRETENSIS, Archbishop of Crete, ilied in 721. He composed much music for the Greek church. ANDREAS. SYLVANUS. A renowned con- trapuntist about .lie yeiu: lotO. ANDREINI, ISABELLA, a celebrated singer, poet, and a'.'trcss, bora at Padua, in 1.5')2. She lived a long time in France, and died in 1601. ANDREONI. An Italian soprano singer. He was engaged in 1741 for the opera in London. ANDREOZZI, GAETANO, bom about the middle of the ciglitccuth century, was a relation and pupU of Joiuelli, and master of the Royal Chapel of Naples, lie composed for all the prin- cipal theatres of this capital, and also lor tlie greater part of Ital^ His principal operas are " Arbace," " Olympiads," and " Catonc," Florence, 1787; " Affi'siliio," Venice, 17>S8. His favorite air, ''Ah! qxiest' anima non sjicri," is still much cele- brated in Italy, and the oratorio " Ln Pu-isin/u; rli Giesu Cristo" is justly esteemed. lILs style was learned, graceful, and digniticd. Andreozzi also composed some quartets for the violin, in excel- lent taste. ANDREOZZI, ANNA, wife of the prccetUng, wiis principal female singer, in 1791, at Florence ; and in 1801, at Dresden, where, shortly after, she lost her lil'e by being overturned in her car- riage. ANDREWS. An excellent performer on tlie tenor, resident at Manchester. He jjlaved at the York festival in 1823. ANDRIGIIETTI, A. L., published, in 1620, lit Padua, a work on music. ANDROIDES. In 1738. M. Vauranson ex- hibited at the Royal Academy of Sciences, in France, a machine capable of playing several airs on the Gcnnan flute. Ry means of springs, valves, and levers, he produced all the motions rc(iuisite for an expert player on the flute ; and he executed music in such a mimner as to have it acknowledged equal in beauty to that derived from the exenions of a well-practised living per- fonner. 'Hie same gentleman attenvnrds exer- ci -ed his ingenuity in the construction of another mu-iical androides, exhibited to the Academy in 1711, and which was not less admired than I'.is (lute jdayer. In constructing liis pipe and tabor play- er, M. Vaucnnson made some discoveries which he little thought of ; and among the rest, that this kind of flute is one of the mo-- proach, the dece])tiou could hartUy be dLscoveroX ANDRON, a flute player, born in Sicily, is said to have invented, about the year 130, the art of dancing in correct time to music. ANDRONICUS. A Neapolitan musician of antiquity. He composed a h\nnn, which was solemnly chanted by a chorus of young \-irgins, to appease the wrath of the gods against the Ro- mans. (Vide SaUuit.> In the private as well as public sa''ritices of the ancient Romans, music was considered an important aid *» their cere- monials, nie flute was the ijistrument in u -e, as also in Greece, to accompany the voices of their priests. The flutes u-^ed in the temples were made of boxwood ; those for the theatre; and public garner, of silver. Tlie trumpet and the lituus were also ijitroduced (according to the Grecian custom) during the hecatombs. To .shov/ the importance which was attached to the musi- cal characters in ancient Rome, it is related that, early in the hi.--tory of that city, the musicians formed together a college or society, and were accustomed to partake daily of a dinner at the capital, given them by tlie state. On account of tliLs dinner being suppressed, they all retired to Tibiu: ; and the only terms on which they would agree to retiirn to Rome were, not only the renewal of their usual daily repa/.-t, but to be treated with much more magni;icence ; a-s a foretaste of which enjoj-ments, a banquet was prepared for them at Tibur, where they all became inebriated, and in that state were removed to Rome. ANDROT, A. A., was bom at Paris in 1781 : he was aibnitted, in 1706, a pupil of the Conser- vatory, and in 1802 gainetl the prize for compo- sition. He then went to Rome, where he wa? patronized by GugUclmi, and corajKised some chun'h mu:iic, wliich was perlbnue<• pn^ fnndis," he died, in the twenty-third year of his age. ANEAU, RARTHELEMY. Author of two book-i, the one containing church mu^ic, nn I the other the fourth eidoguc of \ irgil fct to music, jiriiited at Lyons in l.">39 and 1359. ANKMOCIIOKD.' .Eolian harp. ANERIO, FELICE, is said by Wnlther to have been a pupil of Maria Nanino, anil by Adami tc have succeeded Palcstrina as marstro Hi ntpcUa of the pontiflcal chapel. These two circumstancfsi alone imply no common degree of merit ; and, according to Adami, many admirable comjK - sitions by this author were prc?-er%-ed in tit pope's chapel, and in daily use. He sooras jc have been regarded as a great raa^.ter of his profe— sion. His madrigals for six voi<;e9 were printed a' AXE EXCYCLOP^DIA OF MUSIC. AN a Antwerp, 1.599, and canzonets for four voices, at Frunktbrt, in MIO ; wliicli, for a tiiuc, eujoyod a ooit-.iderable share of public favor. AXERIO, G. F., a Korann composer and chnpol-mnster at A'cronn at the be^innin!» of the foventeenth century, published macb:ij;al.s and other works at Venice and at Home. AXFAXGS-RITOIIXEL. (G.) An intro- ductory symphony to an air, &c. AXFOSSI. An eminent performer on the doulile bass, resident some years since in Lontival in 1823. AXFOSSI, PASQUAI.E, bom about the year 1736. He first applied himself to the practice of the violin, in the conservatories of Xaples ; but fcclin;^ that hLs imagination was too much, re- Ktrained by this study, he preferred tliat of com- ])o;ition, under the auspices of Saccliini and I'iccini ; tlie latter of whom, perceiving in him m;irks of vigor, tact, and most of those qualities which lit a musician for liis art, conceived an af- fection for him, and soon communicated to him some part of the fine talent which he himself jtosscsscd. Picciiii procured him his first engage- ment, in 1771, for the theatre Delle Dame in liome. 'riie first attempt of Anfossi was unfor- tunate ; but Piccini made a like engagement for the following year, and notwithstancUng a second failure, he concluded a third for the next, and exhorted Aiiibssi, who had prepared to leave Home ui disgust, to apply with greater ardor, in- stead 01 being discouraged by the first obstacle.? he might encounter in his arduous career. His counsel was ])rophclic, and so favorable to his j)upil, that tl'.ey soon turned to the disadvantage of the master who gave them. Anfossi hesitated not to follow them. He composed his opera of " II Scoiiosciufo perscguito," which, when per- fonned in 1773, experienced so brilliant and so continued a success, that Picciui beheld his re- po; e comj)romlsed, less by the merit of the work, which could in no case have siu-passcd liis own, than by a spirit of euvy and intrigue, wliich made use of it to inflict disgrace more unjust than painful to liira, hut wliich obliged the master to give way to the disciple. Anfossi, freed from the presence of his master, and proud of the unexpected favor of the Romans, (he only was talked of at Rome ; liis music only was listened to,) redoubled that ardor with which I'icciui himself had inspired him. He became more laborious, more active than ever he had been ; he composed w ith the greatest care and the most scrupulous attention ; and ha%-ing com- jilcted the opera of " La Finta Clardinicra," it was performed ui 1771, and he beheld, with less joy than surprise, that the public continued its j favor. It was followed by " // Gcfoxo in Chncnto," 1 in 177i>, which met with the same good fortune, 'i'his composer had, however, not yet essayed his i talents in the most dilHcult style. He had not I yet written a serious opera ; which, if it demands ; less vivacity than the comic, recniires more real I geiiivis, ami a knowledge of the noblest, most in- I tense, and most expressive emotions of the human heart. He WTOte the opera of " L'0/i/mj)ia," Rda])ted to French words ; but whether the Italian style was not yet perfectly understood at Paris, or whether the translation of the words was prejudicial to its effect, it certainly did not succeed according to its merit. It was uncertain whether this was the cause of Anfossi's lea\Tng France, but he quitted Paris in 1782, and re- paired to London, where he remained till 1785 ; but he arrived at an unfavorable time, for Sac- cliini had preceded him, and the affairs of the opera were in so embarrassed a state, that hia reputation was diminished rather than increased, by his visit to England. He returned to Rome in 1787, where he composed several works, and had the happiness to meet with universal ap- plause. He died in that city about 179.5, in the enjo>Tnent of considerable reputation. The com- positions of Anfossi do not boar the stamp of genius like those of his two predecessors, PicciiJ and Sacchini, on whose style his own was formed. He understood the art of developing and retiuing musical expression, and mauy of his finales be- came models of this department of art. His clearness of style may be compared to the same quality in literature, and lus fecundity proves that he wTote with facility. His opera of " L'Avaro" is considered as his cli^f-d'cpucre ; and among his oratorios, " Betulia Ltberata" is most distinguished. AXGEBER, "W., published some piano-fort* lessons at Augsburg about 1799. AXGELI, LE PERE, Uved at the end of the seventeenth century. He published, in 1691, a work on counterpoint. AXGELIXI. ORAZIO, a fine performer on the organ, lived in Italy in 1-580. AXGELO, COUXT, bom at Venice, wn.s author of several musical dramas perionned at ^'enice about tlie yeiu- 16.51. Among the^^e are " Cleopatra," " Demetrio," and " Aureliano." AXGELO DA PACCITOXO, a Franciscan, published at Venice, in lo47, a work on music. AXGELO, MICHAEL, of Bologna. Princi- pal soprano at Munich in 1780. AXGERSTEIX, JOHAXX KARL, a prieic and dancin;.^. ANGLEUEUT, J. K. Chamber musician of the Kiuf? of France, and organist. lie jnibUshed some works for the orjjan and harpsichord, about the year 1(579. ANGLERIA, CAMILLO, a Fmnciscnn, at Cremona, stutlicd counterjioint under Corejjfgio. lie died in lliiiO. lie is tho author of rules for composition, published at Milan in 1022. ANGLOSINI. A composer of songs published by dementi. ANGLO-S.\XON MUSIC. Among the An- glo-Saxons, music was much jirnctiscd ; and though their strains would in all jirobability have sounded harsh to a modem ear, yet over the simple and strong sensations they had a powerful iiitluonce. ilusic had not yet been dis- joined from its natural alliance with poetry — a circumstance which gave to both arts a fasci- nation unknown to them separately. 'Hie most astonishing etfects are ascrit)cd to their music ; stories are told of the perfect witchery which their barcLs exercised over the passions of their Budieni e ; of companies being melted into tears by tlu'ir doleful airs ; then exhilarated to laugh- ter, dancing, and shouting, by their sprightly songs ; and roused at last to madness and mutual Wounds, by tlie tierce notes that provoketl re- venge. All tlus is perfectly intelligible, without sui>[iosiug tlicir musicians to have possessed any secret iu melody that is lost to the present age, when we consider tlic convivial nature of those assembhes where music wius generally introduced. It id not uncommon to see the manliest natures melted into teai-s by simple melody, or a com- pany to join in dancing and shouting, when the glass has circulated and the fiddle has struck up. ()>u- northern ancestors drank very heartily ; and it is much more credible, that the strong potations which they had swallowed, rather than the hand of the harper, introduced riots into their meetings. From an illuminated manuscript of the Anglo- Saxon HiWe, it appears that they had a variety of musical inslrumcnts, sutHcient at least to make a considerable uoi.-e in their concerts. In tho picture alluded to, there is a harj) of eleven strings, n foiu-striugcd instrument like a vioUn, with a bow, a short trumpet, aiul a curved horn. In the reign of Edgiur, the famous St. Dun.stan gave a fine organ to Glastcnbur}", which is describtjjl by AViUiam of (ilastenbury. lUit it was to vocal and church music that the greate-st attention was paid. Teachers were sent for, at a great cost, from ilistant countrie;*, and the monks ireviueutly travelled to Rome, that they might learn to excel their bretliren in an accomplishment on which their promotion often depended. In the reign of Athelstan. the lirst set of bells was introduced into England, and pre*entcd to the monastery of Croylaud by their abbot, Turketul. Single belK however, must have been known in the seventh centurv, as thcv are mentioned by the vcucrabla Bode. ■ ANGOSCIOSAMENTE. With aiuuety ; ap- prehensively ; sorrowfully. ANGRI, ELKXA, the famous contralto, was born on the Island of Corfu, May 11. 1«24, anil, judging from the name alone, ol Italian paicnts. 'llic misfortunes of her father forced Eleiui to cultivate her musical talents, and she went, undet the care of an uncle, to NapkM and Florence, to enjoy tho Instnu'tions of tho distinguished mas- ters, TagUoni and I )oglia. At the age of eighteen, Lilian engaged her for tlie Scala at Milan, whence she went to Vienna, and was appointed first singer to the imperial court. Iler next engage- ment was for .St. Petersburg ; but an attack of cholera forced her to give tliis u)). In IHIO, she appeared in the Royal Italian Opera at C'ovent Garden, in London, and during tlie winter of 1849-.i0 was prima donna at the Italian Opera in Paris. In the autumn of LS.'iO she retunieaiiy to the I'hieta Siim-n, or New (.'hurch, at Rome, on Sunday evenings ; whence sacn--mns alterna-toly, or iu dialogue. This word was after- wards used by the primitive Christians in the latter sense. St. Ignatius has generally the cretlit of its revival, and Ambrosius of introducing it into the Latin church, 'llie present signification of the word extends to certain short pa-ssages occa-sionally drawn from Scrijjture, and allusive to the particular feast or celebration of the pass- ing day. AXTIQUIS, GIOVAXXI DE, chapel-ma-^tcr at a town in Xaplcs, published some madrigals at Venice iu 1584. £6 ANTISTllOPIIE. (G.) The name given to the second couplet of the periods of the Greek odes. AXTISTIIEXES, a disciple of Socrates, wrot« several works on music, 324 years before Jcsuj Chi'ist. AXTOIX, FEllDIXAXD Vf, published some dramatic music in I7U2 and 1794. AXTOIXE, I)', captain in the service of th* Elector of Cologne, was a scholar of Miu-i)urg and Kirnlicrger. He set to music several 0])eras, and ]uil)hslied some sjiuiihonied and quartets since the year 1780. AXTOX, COXIIAD GOTTLOB, a leanied Orientalist at W'ittenburg, published some works on sacred music, and on the ancient metres, since the year 1770. AXTOX ELLI TORRES. A Portuguese com- poser of operas since the year M V.\. AXTOX ELLIO, or AXTIXELLIO, ABUX- I)IO. A Xe.ipolitan composer of motets, 4cc., about the year 1614. AXTOXEI, PIETIIO DEGLI, a chapel-mas- ter at Bologna, i)ul)lished several workis at the end of the seventeenth century. AXTOXIO. A composer of violin sonatas and motets, about 1729. AXTOXIO. A tenor singer at Rome in 1790. AXT(3XIO, DAGL- ORGAXI. A celebrated organist at Rome about the year 1460. It is said that foreigners went to Rome from various nations purposely to hear liim play. AXTOXIOITO, or AXTOXIOITI, GIORGIO, an Italian musician, resided many years in I^ii- don. He pubhshed, in 1760, a work entitled " L' Arte Armonica," or a treatise on the compo- sition of music, originally written in Itahan, and translated, under the eye of the author, into Eng- lisli. Tliis, in the opinion of some very good judges, is a work of merit, though it is now sel- dom refeiTcd to. Great expectations were excited on it-s first pubUcation ; so much so, that all th.e principal musicians of the time subscribed to it. AXT()X"IU.S a reiiownies, and em.phasis, he is said to eiug a plomb. APOLLO. One of the heathen gods, and said to be the inventor of music. lie raised the walls of the city of Troy by the music of his harj) alone : — ** Trrty you dliall 8eo, nnd walla divine admire, liuilt t>y the muitic of Apollo's lyre." It is said there was a stone, upon which Apollo only laid do\m his harp, and the stone by the touch became so melotlious, that whenever it was Btruck with another stone, it sounded like a harp. It has been thought that Apollo was the uame of the sun, for it may be observed that Apollo's skill in music seems to agree with the nature of the sun, which, being placed in the midst of the jilanets, makes with them a kind of harmony, and, as it were, a concert ; and because the sun is thus placed, the middlemost of the seven planets, the poets assert that the instrument wliich Apollo plays on is a haqj with seven strings. APOLLIXO. The name of an harmonic in- strument, or rather machine, completed by one Mr. Plimpton, who had labored hard upon it for more than tilt eeu years. It combineil the tones, characteristics, and powers of a great number of instruments, and was cxliibited first in 1820, at New York and Boston. It contained twenty- eight diiforcnt kinds of instruments, which could be j)layed all at once, separately, or any number of them united. It combined, at the same time, the music of a full church organ, a grand orches- tra, a martial band, and the .Eolian haqj ; it con- tamed twcnty-tivc flageolets, twenty-five imita- tions of birds, twenty-five clarinets, four bugles, twenty-five trumpets, eight French horns, twelve biussoons, ten serpents, twenty-eight flutes, twen- ty-eight fifes, thirty-seven strings on ^•iolin and violonccOo, thirty-seven strings on harp ; bagpipes, bass drum, cjnnbals, hannonica, twonfy-tive music glasses, &c. ; the whole inchuled in one machine, and played hy one man assisted by a small boy. Mr. Plim])tou was a self-taught artist, and from liLs laachiiic would give forth music from the soft breathings of the -Eolian liarp to the swelling majesty of the organ; from the sweet warbling of the canary bird to the hoarse trumpet's inspir- ing clangor ; from the mellow, licjuid notes of the musical glasses to the astounding " thunder drum of heaven." In order to pcqictuate the genius of Mr. Plimpton, the inventor of the AjtolJiiw, it was afterwards called Plimptonia, and Itill again I'limptonithnrd. APOLLOXI, CHEVALIER GIOVAXXI.was bom at Arezzo. lie composed the grand operas »f " Argia," •* Astiage," and of " tichiavo liegio," also " Don," which we believe to be either a pas- toral or comic opera. APOLLOXI, SALV ADORE, bom at Venice towards the close of the eighteenth century, was, at an early period of Ufe, nothing more than a barber and bad fiddler. He afterwards became celebrated for the composition of barcaroUea a sort of local music sung by the boatmen of Venice. Emboldened by the success of these songs, which were not wanting in. a peculiar de- scription of grace, Apolloui attempted a higher flight in composition, and wrote tluce operas, entitled " Fama deW O/fjre," " Le Metamorfosi,' and " II Pastor Ado," which procured him much api)lause from his townsmen, who were probably more indulgent to his talent than satisfied with it. APOPEMPTIC. A farewell h>-mn, anciently sung to a stranger about to return to his own country. Apopcmptic strains were also addressed to the gods on certain consecrated days, from an idea that each deity, at that period, jjaid a visit to his own country. APOTOME. (Gr.) Tliat portion of a tone major which remain* after deducting from it au, interval less, by a comma, than a semitone major. The ancients called other intervals also by this name. The little interval which Rameau terms " the enharmonic quainter of a tone," they knew by the appellation of apotome major. And a cer- tain interval still less than this they denominated ajKlomc minor. The curious relations which the magnitude of musical intervals bear to each other have of late years engaged the attention of sev- eral ingenious and learned men. They aflix cer- tain letters and chiuacters to the most important and useful intervids, in their calculations, in order to exhibit their relations in the form of algebraic equations. Dr. Royce has described this inter- val {ajntome) as equivalent to that hy which a shaq) elevates any given note ; and Dr. Callcott describes it as the chromn'ic semitone, by which, according to his calculation, a sharp elevates, and a flat depresses, any given note in the scale ; biit other authors have assigned different values to these very common marks in use. APPASSIOXATO, APPASSIOXAMEXTO. (I.) With intensity of fceUng ; in an impassioned style. APPELLES. This man, a tragic actor of Asca- Ion, was one of the civil counsellors of Caligula, and one of the sweetest singers of the day. Sue- tonius relates that " as he was standing with Caligula near a statue of Jupiter, the emperor suddenly asked Api)elles which of the two was the greater. Apj)elles hesitated, and Caligula ordered him to be scourged with the utmost violence, praising the sweetness of his voice all the time that he was slirieking in agony." APPLICATUR. A position or shift on the violin, ^^oloncello, &c. APPOGGIATURA. or LEAXIXG NOTE. From the Italian ApjMggiare. A small additional note of embelUshmcnt employed in slow move- ments to connect the greater inter\-als ; but in rapid movements, to give an opi)ortunity for dis- playing flexibility in voice or finger, and for using intonation and impassioned expression. Appoggia- tiira, or leaning, or preparaiice notes are notes to lean on, in passing intervals, and must be dwell 06 4.PP ENCYCLOPAEDIA OF MUSIC. ARA i upon according to the value or the length of the note. It is n smaO leading note, or note of embel- lishment, placed bcl'ore the princii)al note, on the accented \nirt of the mciisure, and borrows half its time, unleis it should occiirbeiorea pointed note, in which case the uppoggiatnr,. takes the time of the note, and the point takes the time of the appoggiatura. 'lliis, however, is not an arbitrary rule, peribrmors being at liberty to vary their length according to their judgment. Kemomhcr, that since the appoggiatura is a small note, reversed and added to other notes for the sake of expression, whatever length Ls given to the timiU note must be taken out of the time of the principal note, which is the note immedi- ately after it. There are two sorts of nppoggiatu- ras, tl'.c greater and the lesser. The greater ap- poggiatura is most frciiuently iLsed in slow move- ments ; and at the end of a strain, when properly performed, sets oH'the perfonnance to the utmost advantage. (Sec examples above.) The lesser ap- poggiatura is chiefly made use of in quick move- ments ; and when it occurs, is always slurred immediately into the note to which it belongs. It is also jjlaccd at the beginning of a lesson or piece of music, to take oti" that harsh and disagreeable effect which it otherwise would have, were it not for the appoggiatura. .^* wm^ I The appoggiatura has been termed a kanin^ note, fi-om its fre.juently bearing the expression of a concluding cadence, or from its deciding the climax of a musical period. It is called pn'para- tive from its causing asuspensionof the resolution of a chord. " An appoggiatura is a note of decora- tion. In slow movements, its chief office Ls to Fofteu and smooth the effect of certain distances, and, by dwelling upon a note of any chord, to retard the completion of the subsequent harmo- ny. In bold, energetic, and voluble movements, a chain of appoggiatme not only serves to link the greater intervals, but affords the singer, or player, full scope for the display of flexibility in voice or' linger, and for the employment of intonation and unpnssiined expression. 'ITie appoggiatura not being always in consonance with the bass and athcr pai-fs to avoid a riiihle breach of the laws Dfhannony it is generally written in a small note. The apijoggiatuni may be placed either above or !)elow the principal note, of which it may borrow •naif the value, and is then accented more strong- y than 'the note which follows it. The appoggiatura, in an harmonic point of view, fonus the highest class of discords ; as in the fol- lowing combination, every note of the scale it struck, of which the upper four resolve them- selves as appoggiatura notes into the coiumou chord. f^m^m ^^'hen so einployetl, the hanuojiy may be said to be susi)ended ; but when substantially or em- I)hatically used, this combination is termed the chord of the thirteenth. APRII.I, GIUSErrE. born about the year 17(14, was a so;)rano singer. He sang at many of the theatres of Italy and (iennany, and finally set- tled at Naples. I)r. Ihiniey heard him there in 1770, and says that he had a weak and unequal voice, but was jjerfectly in tune and had an ex- cellent shake. lie was a good singing master, and a collection of his solfcgtil are jiublishcd in London, wliich are still much used. He wa^ one of the masters of Cimarosa. Signor Aprili, in his solfcgrii, has attended to the practical part of singing more than the theoretical. He tirst gives lessons for the intervals, both quick and slow, and the di\nsionsmost tJeriuently met with. His tii-st solfe'/f/i are in a cantabilc style, and well adapted to form the voice. They are intenuixcd with lessons that are ([uicker, but they still pre- ser^-e the same character. They rise by degrees to higher execution, and are throughout elegant and graceful. They are of great comjiass, and contain much execution, and are of a kind most likely to be beneliciid to a singer. APYCNI. A collective name given by the Greeks to those three sounds in their scale, or system, which, separately, were called proshunhu- fio/neiioi, ncte syintieitu-nott, and lutc lnjiH-rhiUvon. Tlinse notes received the common appellation of api/ciii, the sense of which is, uiu-rotmlcd, because they did not, on either side, touch, or press upon the compact intervals. A QUATIIE M-VIXS. (F.)>^ . , , A QUATllO MANI. \l.) \ ^°^ ^"'"^ ^^•'"'^• AfiUAVIVA, ANDRKVS MATITLErS. a Neapolitan diike, died in 1528. lie wrote somt works on music. AQUINO. See Aigiixo. AQUINO, JOSEPH. Aji exceUent (omii musical perlbrmer at Milan in 1683. AQUINUS, a Dominican of Suabia, MTote about the year ll9i, a treatise on the propor- tions of niunbers and sounds. -VllAIilAN MUSIC. Lieutenant I,ynch, in his " P^xpeilition to the Dead Sea," gives a graphic description of some Arabian music, which the company enjoyed, and he endured, at one of their evening encampments, on the River Jordan, .Vjiril 1-5, 1848. At Acre and at Tiberias, he had cn- piige Certain extemporaneous preludes. See llEcnEttCUF.. ARDUTHNOT, DR., was a warm partisan of Handel. He WTOto several anthems, among which the words of one, '• As pants the Hart," are in a collection printed in 17ri, without a name, but made by Dr. Croft, wlio wrote a Erel'ace to the book. He wrote also several urlesiiue poems, and what he calls " Mani- festoes," on the subject of theatrical affairs, always espousing the cause of Handel. ARCADELT, JACQUES, was chapel-master in Lorraine. In 1572 he pubUshed at Venice five books of madrigals. Ills melodies are, foi the age in which he wrote, natural, soft, and agreeable. He seems to have spent the chief part of hLs lii'e in Italy. ARCADI.VNS. A people of Arcadia, wh« were not distinguished in any of the Uberal arts, except poetry and music. Durujg their repasts, they aU occasionaUy joined in singing. Musia was a stated branch of their education, and under the special patronage of the magistrates. The Arcadian music and jioetry were, probably, like those of aU nations in their early stages, artless and uncouth ; but they jjossessed a natu- ral expression and fervid sensibiUty, that have procured this scquestorod nation the first rank in rural song. But music, though it unques- tionably softened their domestic manners, did not by any means render the ArcatUans effemi- nate, nor the less formidable to their enemies. On the contrary, the very flute which soothed them in their retirement aiumated them with rage in the day of battle, and regulated the evolutions of their battalions. To Pan, the god of the shepherds aud the patroii of rustic festivals, they paid their daily homage, by exer-' cLsiug their skill in the song and the dance, %vith the music of the pipe. ARCANZA, MLLE., a favorite Portuguese singer in Lisbon lu 1822. ARCATO, or COLL' ARCO. (L) Sig- nifies that the movement, or the passage, against which it Is placed. Is to be played with the bow. This word is used in coutradistinction to pizzicato. ARCH. A curve fonnerly placed over a bass note, to signify- that it waj accompanied with the imperfect fifth. ARCIIANGELUS. A church composer of the sixteenth century. He pubUshed many of his works at Venice in 1585. ARCHENIUS, or ARRCIIENIUS, L.. pruitad at Upsal, in 1729, a dissertation on the first uiventors of music, ARCHESTRATUS, an ancient Greek com- poser at Syracuse, was the pupil of Terpsion, and wrote two books " De Tibici'ilbus." ARCHET. (F.) A bow. See Arco. ARCH-LUTE, or ARCIELUTO. (L) A theorbo, or large lute, the bass strings of which are doubled with an octave, and the higher strings with a unison. This instrument was formerly in such repute, in most parts of Europe, that soios were frequently performed upon it ui pubUc. It is still used in Italy, where it is caUed the arcithU/). ARCIULEI, LA VITTORIA, celebrated by the poet Guarini, was the original performer of the part of Euridice, in Jacob Peri's opera. She UkewLse sang in " La Dcsperazione di Fiteno," in which recitando she is said by the composer, CavaUere, to have drawn tears from every hearer. ARCHILOCHUS, one of the first poets and musicians of ancient Greei-e, lived about 721 years before Jesus Christ. He invented several sorts of verse, with their musical accompani- ment ; also ancient dramatic mclo ly, which WM similar to modern recitative. In his youth h* fiS ARC EXCYCLOP.-EDIA OF MUSIC. AllB sei-vod hi tlio army, and in his ftrst buttle ho lost i is the know-n inventor of the bbc notes claimed his buckler, and saved liis lii'o by tiikiiig to hia i by Guy ^Vretin. heel AUCIIIMEDES, an ancient Greek philoso- pher, proposed a theorem to demonstrate the Bnalo;^y between the proportions of certain nolid -UlETIXA, GUIDO, a native of Arezza, in Tuscany, celebrated for his improvements in music, HourLshed in the eleventh century. He became a monk of the order of St. IJeiieiict, in bodies and those of the musical consonances, j Pomposa, near I^venna, and was a:ter\vard3 lie thought the discovery of such importance to ' '' ' " "' ' " '' ■»•<'• mankind, that he caused a diagram thereof to be engraved on Ills tomb. ARCIUXTA, M., of a noble family at Milan, about the year 1520 composed the words and sjx'osic of many songs and madrigals. AllCIIYTAS. Au ancient Greek composer at Mityleuc. AIICHYTAS, a Pythagorean philosopher of Tarentum, lived about 400 years before Jesus Christ. He is said to have invented some musical instrumeuts. He wrote on the harmony of iiutes. ARCHYTAS'S GEXERA. One among the many modes which the Greeks pretended to liave of dividing the tetrachord, or minor fourth, in forming their scales of musical intervaL>. ARCO, (I.) or ARC. ITie bow; the utensU with wluch the ^^olin, viola, viol da gamba, vio- loncello, and double bass are perfonued. This word is frequently used in violin masic, in opposi- tion to the tenn pizzicato, to denote that the bow is again to be used, instead of applying the lingers to the strings. ARCOLEO, A., of Candia. Author of some music in 1090. AJIDALUS, according to Pausanias, was the Inventor of the flute, and of flute accompaniment to the voice. ARUEMANIO, GIULIO CESARE, of Milan, was organist and chapel-master of that town ; he died in 1C.50. He published motets and other music. iUlDESPlN, MELCHIOR D\ A composer at the beginning of the last century. ARDES'A pubhshed, about 1784, six sj-mpho- nies for a full orchestra. ARDrrO. (I.) Bold and energetic. ARDORE, M.VRQUIS DE ST. GEORGES, ET PRINCE D', Xeapolitiui ambassador at Paris from 1767 to 17S(), was a very ingenious amalciir. He published several cantatas. AREXA. GIUSEPPE. A Xeapohtan dramatic lomposer, about the yew 1741. He set to music the " Tiipane " of Goldoni. ARESTI, FLORIAXO, of Venice, was a com- poser of moderate abilities, about the year 1712. Ho \\Tote the operas of " Ciiippo," and " Enigma discioUa," and several others, both tragic and comic. ARETTX, GUT. A Hcnedictinc monk, who lived in the eleventh century. He rendered himself famous by discovering a new method of learning music, ond was said to have been the inventor of the six notes of music, " Ut, Re, Mi, Fa, Sol, La." 'lliere can be hut httle doubt that Guy vVrctin and Guido Aretina are one and the same. Guido .:Vretina. mentioned below. made abbot of the convent of the Holy Cross, at Avellano, in the neighborhood of liLs native city. HLs new mode of musical notation was suggested to liira during the performance of the hymn to St. John, composed in 770 by Paul, a deacon of the church of Aiiuilia. The reiteration of the words of this hymn, and the frequeu; returns of ut, re, mi, fa, sril, la, made such an impression upon his mind that it suggened ta him the thought of using these sbc syllables in perfecting an improvement, viz., that of convert- ing the ancient tetrachords into hexachords. 'ITus new system, though oi)posed at its first j)rom- ulgation, was soon universally introduced, and thus spread the fame of its inventor over all Europe. -Vretina was invited to Rorne by Bene- dict Vni., in 1022, and afterwards by Pope John XIX. He was received by tliis holy father with great kindness ; and upon showing him an antiphony, with the syllables marked according to the iiew notation, the pope was so mujh delighted with it, that he refused to stir from hii seat till he had learned, by means of it, to sing a verse. On his return from Rome, Guido visited the Abbot of Pomposa, in the Duchy of Ferrara, who persuaded liim to settle in the monastery of that place. ITiere he composed a tract on mnsic, entitled " Microlog," which was finished in the .34th year of his age. He pub- lished also another treatise, entitled " Antiphona- rium ; " but it Is in a work entitled, " Argiimen- turn imct Cantiu inrenicndi " that he has explained his new system of notation. It was Guido Aretina who improved the ancient method of wTiting miLsic. Formerly, all the notes were placed upon one line, and distingxushed by tl'.e letters of the alphabet ; but Guido introduced the use of lines and spaces, upon wliich points were placed instead of the letters of the alphabet. The,-e points were first disposed upon four hues, and aftcnvards upon five, and from them the term coHit(t'ri>oint is derived. ITie hymn which sug- gested to Guido Ills new method of notation was aa follows : — •• I'T qucant Uxif, RR.fnnnrv fthrif, Ml-rm vcftoriiin, FA-niiili tunruin, SoL-ve pulluli*. Lt-tiii* rcatum, Sanctc JrMuine*.' Giudo's method of solmization was pre^erve«l in Italy until about the end of the last century, and it is still used by some; but lUter the rest of the world had adopted a seventh monosyllable, called si, the Italians did the same ; and hence the modem scales of the two modes, major and minor. This author had either some well- founded tradition, or some fragment of the Greek music, or else, by means of his studies and of his labor and genius, he formed three hexachords into a system, wliich includes in sub- stance the true principle of the Greek music, and that of all ages, for there can be but one. ARETINIAX SYLLABLFJ^. Those syllable! mentioned above, invented by Guido .Vrctiua, ARETIXO, GIOVAXXI APOLLOXI, pub lished some madrigals at Venice, in 1007. 69 ARE EXCYCLOP.EDIA OF MUSIC. ARI ARETIXUS, PAOI-O, of the lloman school of luusiciauH, publislied some sacred music at Venice, iu 15G7. AUEVALO, FAUSTIXO, published some sacred music at Rome, in 1784. AUEZETO, A., leader of the band of the Spanish re;^iment Guadalaxara, composed some mu:iic for wind instruments. ARGENTI, AUGUSTIN, a nobleman of Ferrara, died in 1.5TG. He ■wTote a drama, in 15G7, called " Lo Sfortttnato," wliich was set to music by Mphonso de la Viola. AlUiEXTILLY, CARLO D', a chapel-master at St. Peter's at Rome, composed some music, which was much esteemed, about the year 1.543. ARGEXTIXI, STEFFAXO, called also Filip- pini, chapel-master at St. Stephen's at Venice, published some sacred music there iu 1033. • ARGEXTIXI, CESARE. Chapel-mn'4cr at Rimini, noticed by Walther, but probably the same person as the preceding. ARGR'ES. This ancient people is said to have excelled in the practice of music ; whether vocal or instrumental, or both, liistory is silent ; probably both, as many instruments were used by them. ARGYROPILUS, a Greek professor at Flor- ence in 1430, died at Rome in 1474. He \\T0te a volume of songs entitled " Moitodia." ARIA. (I.) An air. See that word. ARIA BUFFA. (I.) A comic air. Tlie appellation given by the Italians to the humor- ous songs in their comic operas. ARI.V D'ABILITA. (I.) By the expression nrin d'abilita Ls to be understood a melody of difficult execution ; a song that ranks far above the plain and familiar style, and the just jierform- ance of which calls forth all the powers of the singer. ARIA COXCERTATA. (I.) Tlie aria con- certata is a grand species of vocal composition for a single voice, the accompaniments of which are constructed in the concert style, enriclicd and embellished with solo passages for the various instruments concerned. ARIA DI BRAVURA. (I.) A melody at once Uorid, rapid, and energetic. Its tlivLsious arc volatile, and the passages every where striking, bold, and heroic. 'I'he execution of tills s])ccies of air is generally confined to sopra- no voices, and it is only to powers of the tirst order that we can look for its just pcrfonnance. ARIA DI CAXTABILE. (I.) ^^^len tliis expression is WTitten at the bc;^inning of a melody, or movement, it implies that its style is riowin:; and chdnt.intc, and that its performance should be smooth and tinislied, elegant, grace- ful, and replete with feeling. ARIA FUGATA. (I.) Fuguod r.j-. An •Iftborate si)oi'les of melody, much used fonnerly, \nd fro. With harp in hand, i>y which he ciUni« the iea5, And fur hi* passage with a song he pays." He had previously resided at the court of Periander, King of Corinth, and had amassed his fortune by the profession of music. From Cape Tii'narus, he returned to the court of Periander, who ordered all the sailors who had conspired to tlirow him overboard to be crucified on their return. He invented the dithyrambic )ucasurc, and comjiosed many hymns. ARIOSE C.VN'T ATE. (L) A kind of speak- ing airs. The ario.ie cantate., by introducing fre- quent changes of measure and manner, firs ; 60 ARI ENCYCLOi'^DIA OF MUSIC. Altl «erved to draw the line between air and recita- tive. ARIOSO. (I.) Air-like; melodious. Bythb ■word the ijoriorracr is to understand that the style of the music requires a pert'ormancc smooth, gracoail, and siiti/iu;/ in its style. AKIOSTI, ATTILIO. This master, was born about l()f)0, at Bologna, and intended t'orthepriest- hood. But he had, in early youth, such a passion for music, that, dcrcatin^ all tlic intenlions of his family, he devoted his whole time to the study of it, and, in spite of all rcmonstriinccs, dcfennined to make it liis profe ision. lie was known Li Germany much earlier than in Ejigland, having composed " La Fcnta it Ime/iei," and " AtU," at Brandenburg, in 1700, wliere ho was appointed chapel-master to tlie eleetriue. But beore he quitted Italy we find his name en- rolled among the opera composers at Bologna and Venice ; in the hrst city he set an act of Apostolo Zeno's "Daphne," in KiOtJ ; and in the second the opera of Eritile, " Lpears by the " London Courant," that at tb.e sixth rep- rcfcutation of Ilaudcl's " Anri'lU," July I'i, he perfonuei a new sjnuphony on the v'o'e tramoiir, an instrument unknown in England till that time. We hear no more of him till the establish- ment of the Koyal Academy of Music in 1721, when he composed the opera of " Vim," or "O.lio <•(•/ Ainorc," the tirst act of " Miuiio Sccrola," and aflervviuds " Caii(3 Marciiis Corhlaniu," and " Vespasiaiio." Kespectuig the opera of " Miisio Scovola," wo should mention that the directors chose to divide the task of setting it to music among their three composers ; assigning to Attilio the lirst act, Bononeini tlie sci-ond, and Handel the third. This opera has been thought to tbnn an epo^-h in Handel's life ; as it has been con- cluded, though without sutKcient proof, that the partition of the same drama among the three compo iers was a premeditated plan, to try their several ablUties and determine prcr-minence. But it seeiu--< to have been thus distributed merely for greater despatch, without meining it as a tinal competition. The same expedient has been fre- quenily practised in Italy, lor variety as well as expedition, when two or tliree great masters have been in the city ; and nothing wa-s deter- mined in coHLieiuenoe ot' tliis concurrence in London. When -Vriosti was at Berlin, he gave Ilandel (then a child) lessons on the haq)si- chord, holiling him, it is saiil, for hours together on his knees. AIIISI, F., doctor of laws at Cremona, died in 1713. He left a work, dated 1706, containing a list of the celebratetl musicians of the seventeenth century. ARISTEAS, an ancient Grecian, wrote a bool relating to performers on the cithara. ARISTIDES QUINTILIAXUS, a Grecian musician, lived about the year 130. 'Direc of liis books on music are still extant. AKISTOCLES. A Greek comjioser and per- former on the tlutc and cithara at Athens in the tune of Xerxes. ARISTOXICUS, a performer on the cithara at CorcjTa, was in the service of King Philip of Macedonia. ARISTOXOUS, a famous flute player, gained sLx prizes at the I'vthian games. ARISTOXYMl'S. A renowned performer oa the cithara, at Athens. ARISTOPIIAXES. Tliere are two ancient Greek authors of this name, the one a writer of comedi&t, the other a grammarian. It Ls probably the latter who wrote a treatise on music. ARISTOTLE, the celebrated jiliilosopher and preceptor of Alexander the Great, wrote a work on music, which Ls now lost. He also treats on the utiHty of music, in the eighth book of his " Politics." It was in his old age that he ajiplied himsclt' to the practice of the science of music, wliich he calle-' " the medicine of heaviness." ARISTOXEXU^ SELIXUXTIUS, cited by Eusehius as a musician of ancient fireece, lived in the twenty-eighth Olpnpiad. He must uot be confounded with ^Vristoxenus of Tarentum, who lived more than three hundred years after him. ARISTOXEXrS, of Tarentum, a philosopher and musician, lived about tliree huu'lred and hfty years before Jesus Christ. He is snid to have written four hundred and fifty-tl:ree vol- umes ; but there are only now extant three vol- umes of hid " Harmonic Elements," which Ls the oldest musical work at present known. Aristoxenus was born at Tarentum, a city in that part of Italy called Magna (Jrecia, (now CiUabria.") He lived in the time of Alexander the Great, and subsequently, viz., about A. M. 3')10. He held it was absurd to aim at an arti- ficial accuracy in gratitjing the ear bpi/omt it.n own jKitcer of distinct inn ! Tliat he had anticipntei.1 the satisfactory discoveries of modem ages by hut doctrine, is sutHciently clear nowacbiys, al- though a distinguished ancient, Cicero, ( '• I>ti Finibuji,") speaking of the elements of Ari-.!r>x. enus, pronounces them as utterly unintelligible^ We should not wonder at this ignorance, w hen we find people in our owni time asserting ll:c ex- istence of quarter tones. Sec, in our subdivision of the octave, seeing that it can be j)la;nly i)rovctcrer, in King Street, Covent Gar- den, at whose house the Indian kings lodged in the rci.;n of Queen Anne, as mentioned in the Spectator, No. 50. Anie had a good education, having been sent to Eton by his father, who in- tended liim for the law. But his love for music operated u]ion him too powerfully, even wliile at Eton, fiir his own peace or that of his compan- ions ; for, with a miserable cracked common tlute, he use;l to torment them night and day, when not obliged to attend tl;e school. AMien he left Eton, Buch was his passion for music, that he used to avail himself of the privilege of a scr\-ant, by bor- rowing a livery and going into the upper gallery cf the opera, which was then appropriated to domestics. At home he contrived to secrete a (spinet in his room, upon which, after muflling the strings with a handkerchief, he used to prac- tise in the night while the rest of the family were asleep ; for had his father discovered how he spent his time, he would probably have tlirown the instrument out of the window, if not the player. ITils young votary of Apollo was at length obliged to serve a three years' clerkship to the law, without ever intending to make it his profession ; but even during this servitude he dedicated every moment he could obtain, fairly or otherwise, to the studj-ing composition by himself. He contrived, during his clerksliip, to acquire some instructions on the violin, of Fes- ting ; upon which instrument he made so consid- erable a progress, that soon after he had quitted his legal master, his father, having accidentally called at a gentleman's house in the neighborhood upon business, found him engaged with company ; but sending in his name, he was invited up stairs, where there was a large company and a concert, in wliich, to his great astonishment, he caught his son in the very act of playing the first fiddle ! Finding him more acbnired for his musical talents than knowledge in the law, he was soon prevailed upon to forgive his unruly passion, and to let him try to turn it to some account. No sooner was the young musician able to practise aloud in his father's house, than he bewitched the whole family. On discovering that his sister was not only fond of music, but had a sweet-toned and touching voice, he gave her such instructions as enabled her to sing for Lampe, in the opera of " Amelia ; " and finding her so well received in that performance, he soon prepared a new char- acter for her, by setting Addison's opera of " Ro- samond," in which he employed his younger brother likewise, in the character of the page. l"he opera was performed ten nights successively, and with great applause, the last time for the benefit of Mr. Arne, Jr., the composer. Having suc- ceeded so well in a serious opera, our young mu- sician tried his powers at a burletta, and fixed upon Fielding's " Tom Thumb " for that pur- pose, wliich, under the title of the " Tragedy of Tragedies," having met with great success in 1731, he now got it transformed into the " Opera of Operas," and setting it to music, (after the Italian manner,) had it performed, May 31, at the new theatre in the HajTnarket ; the part of Tom TLIiumb by Ma.ster Ame, his brother. In 17.38, Arne established his reputation, as a hiic com- poser, by the admirable manner in which he set Milton's " Comus." In this masque he intro- duced the light, . airy, original, and pleasing melody, wholly different from that of Purcell or Handel, whom all English composers had hither- to pillaged or imitated. Indeed, the melody of Ame at this time, and of his VauxhaU songs af- terwards, forms an era in English music ; it was so easy, natural, and agreeable to the whole king- dom, that it had an effect upon the national taste ; and tiU a more modern Itahan style was intro- duced in the pasticcio of Messrs. Bickcrstaff and Cumberland, it was the standard of all perfection at the theatres and public gardens. It was in 17G2 that Anie quitted the former style of melody in which he had so well set " Comus," and fur- nished Vauxhall and the whole kingdom with such songs as improved and polished our national taste ; and when he set the bold translation of Metnsta.sio's opera of " Artaxerxes," he crowded the airs, particularly in the part of Mandane, foi Miss Brent, with all the Italian di\-isions and dif 62 ARN ENCYCLOr.^DIA OF MUSIC. ARN ficultios will :]i ha.l ever boon hoard at the opera. ITiis drama, by t!ic novelty of tlic music to Enj;- ILsh ears, with the talents of Tenducci, Peretti, and the doctor's scholar. Miss Brent, had very great success, and still continues to be reprc- sented whenever sin;;ers can be found who are possessed oi sufficient abilities for its perfonn- tnce. But in setlin;; " Artaxcrxcs," thouqh the melody is loss original than that of " Comus," Ame had tlie merit of first adaptin-; many of the best passarjcs of Italy, which all Europe admired, to our own language, and of incorporating them with his own pro;)erty, and with what was still in favor of ionner English composers. Dr. Anie 6old tho copyright of " Arta\cr.\os " for sixty guineas — a sum which, though at present consid- orcd inadc'iuate to the value of a good open*, was iu his time reckoned a heavy sum for such a projierty. The general style of Dr. jVme's melody, if analyzed, woukl perhaps appear to be neither Italian nor English, but an agreeable mixture of Italian, Eni;lish, and Scotch. Many of his ballads, indeed, wciC professed imitations of the Scotch style; but in his other songs he fre- quently dropped uito it, perhaps without design. Ame was uei-er a cloic imitator of Handel, nor thought, by the votaries of that great musician, to be a sound contrapuntist. However, in the science of harmony, though ho was cliiefly self- taught, yet, being a man of genius, quick parts, iiul great jienetration in his art, he betrayed no ignorance nor want of study in his scores. IILs aratorios were so iiufortuuate, that he was a loser wlienever they were ])erl'onned ; and yet it would be unjust to say they did not merit a better fate ; for, though the choruses were much inferior in force to those of Handel, yet the airs were fre- quently admirable, lint besides the great repu- tation of Handel, with whom he had to contend, ^Vnie never was able to have his music so well |.erformed ; as his competitor had always a more numerous and select band, a better organ, which he played himscK, and better singers. None of this ingenious and pleasing composer's capital productions had full an. I unequivocal success but " Comus " and " Artaierxcs," at the distance of twenty-four years tVom each other. " Ro.:a- mond," his first musical drama, produced in 1773, had a few songs in it that were long in favor, and the " Judgment of Paris " many ; but except when his si:^ter, MLss .\.nie, aftenvards Mrs. Cib- bei, sang iu them, he never gained any tiling by either. " Thomas and Sally," indeed, as a farce, with very little musical merit, was often acted ; and previous to that, " Eliza " was a little while in favor ; but the number of his unfortunate pieces for the stage was prodigious ; yet none of them were condemned or neglected for want of merit in tlie »iii.iic, but in the irorrLi, of which the doctor was too frcqucnily guilty of being the au- thor. Upon the whole, though this composer had fonued a new style of his own, there did not aj)- jiear that fertihty of ideas, original grandeur of thought, or those rewurcea upon all occasions which arc discoverable iu the works of his prede- cessor, I'urccU, both for the church and stage ; yet, in secular music, he must be allowed to have suriiassed him in ea-e, grace, and variety, which is no inconsiderable praise, when it Ls remembered that trom the death of I'urceU to that of Arne, a period of more than fourscore years, no candidate for musical fame had appeared, who was equally admired by the nation at largo. Dr. Ame died in 1778. Of near one liundi-ed and fifty musical pieces that were brought on tho stage at the national theatres within forty years a;tor his death, thirty of them, at least, wore set by Anie. A modern critic, of high authority, thus speaks of Arne : " He was a singular instance of that prede.tiuatc taste, which is to be accounted for only by peculiar organization, tho existence of which, among other less si)leiidid instances, has been since confinuod by Crotch, llimmel, and Mozart. His first stealthy acquisitions in musi- cal science, made chiefly during tho night, con- trary to tho direction of the principal jnirsuit of his life, and in opposition to the will of his fa- ther, arc proofs of that irrc-iisfiblc propensity by which genius, perhaps universally, governs its possessors. 'Iliis was the pure and unbought love of the art, generated by the j>leasurablo jier- ccption of sweet sounds ; for although Handel's operas had begun to draw tho atteulion of tho public, Anie was too young either to compre- hend or to covet the chances of jirofitable exer- tion, when he resorted to the means by wliich he obtained the first rudiments of liis futme pro- fessional skill. Perhaps tho highest testimony that Ame's music has obtained from time haa been the continued reception of ' -Vrtaxerxes,' against the universal souse and feeling of tbamatic effect. Excellent and attractive ijideod must the airs be that can atone to English sentiments aud habits for the recitative and consequent destruc- tion of all interest in the language, the incident*, and the plot. It is sufficient that scarcely a second attempt of tho kind has been since made, lliere was in Ame's compositions a natural ease and elegance, a flow of melody which stole ujion the scn.ses, and a fulness and variety in the har- mony, which satisfied, without suri)risiug, the auditor by any new, affected, or extraneous mod- ulation. He had neither the vigor of Purcoll, nor the grandeur, simpUcity, and magnificence of Handel ; he apparently aimed at pleating, and he has fully succeeded. The fault of ' .Vriaxerxes,' if we may bo allowed to complain of an almost faultle-ss ijorfonnance, is the level uniformity that pervades the entire i)iece. It is sweet, elegant, and appropriate ; but the songi of most preten- sion do not strongly affect or carry the hearer away. It was allotted to Ame first to give to English sijigers passages of execution which e!iuallcd, in ])oiut of difficulty and compass, those that had only boon heard from Italians of the best school. In the present reign of brilliant ex- ecution, it is hardly possible to fiml songs of more crowded notation. ' Fly soft ideas,' and ' 'n»e Soldier tired,' are still mdeed amongst tho standard airs of agility in concerts ; and the en- tire character of Mandane has been, ever since .Vme's time, the universal trial of an English singer's abiUtie*. With this composer ended the accession of new principles to the art of dramatic ■WTitiii^. Whatever of novelty has since been ap- pended to our musical ilraraa will not be found to sink beyond the original ca«t which particulai composers have given to their air or accompani- ment. Ame's use of instruments was certainly del- icate, but he is neither so scientific nor power I'ul a» later comjjosers. We perceive from the score of ' .Vrtaxerxcs,' that he employs the hautboys prin- cipally, the tint OS seldom, and the clurincts iu two songs only. h\ the beautiful air of 'If o'er the ARN ENCYCLOPAEDIA OF MUSIC. ARN cruel tjTaiit/ the violins arc generally in unLson with tlio voice. Wo dislike this mode of accom- pauiiuent upon piiiuijde ; it adds nothing to the tarmony, and in disagreeable both to the singer and the hearer ; for it the precise accoril bo by any rocan^ broken, (and who can insure it in the ViU-ious neocisilics ol' brcii(hin!», "I'eakin";, &c. r) tlic cll'ect is iiiterrui)ted and diminished ; delicate and ta.steful arc, however, the epithets wliich charnctcrlze Arne's instrumentation, as perhaps they best descrilie the attributes of his style and manner." (Mus. licv. vol. i. p. 201.) AUXE, MRS. Wile to the preceding. Her maiden name wa.s Cecilia Young ; she was a pupil of (ieminiani, and sang in public for the first time at Driiry I.aiie, in 1730. With a good natural voice and hue shake, Mrs. ^Vrne had been so well tauglit, that her style of singing was intinitely superior to that of any other English woman oi' her time. She died about the year 179.5. AKXE, MICHAEL. Son of the preceding. So early did the genius of this musician develop it- self, that at the early age of ten or eleven years his performance on the harpsichord was such, that he was able to execute all the lc?sons of Ilaudel and Scarlatti with wonderful correctness and rapidity. Even at this early age, so great had been his practice, and such wa.s his perfec- tion on this instrument, that it' was thouglit he coidd i)lay music at sight as well as any perform- er then living. In conjunction with Mr. Battislull, he produced at Drury Lane Theatre, in 1704, the opera of " Alcmcna ; " but its success was not very flatter- ing, lie afterwards produced at the King's Tlicatre the ojiera of " Cjinon," from which he derived both emolument and fame. Several of the airs have been lasting favorites ; and particu- larly tlie two, " Yet a whUe sweet sleep," and " Tlie sweet passion of love," which wUl be for- ever remembered. The attention of Anie was, not long after this tune, turned so strongly towards the study of chemistry that he not merely neglected, but, i'ora wliiie, entu'ely abandoned, liis professional i)ur- suits. Uidiculous a.s it may seem at the present day, he became a convert to the absurd notions of those persons who believed in the philosopher's stone, and tl;c transmutation of metals. In order that lie might discover the former, he was at the ex- pense of building a laboratory at Chelsea ; but when he found himscLt' deceived in his expecta- tions, he had the good sense to return to liia pro- fessional avocatioiLs, and he afterwards composed music for Covcut Uardeu, Vauxhall, and Itane- lagh. As a composer, Ame did not possess that hap- py taste, nor that jjower of writing bcautilul melody, whicli were so conspicuous in his father ; yet tliere Is a certain good i-ense which pervades all Ids works; though it must at tlie same time bo observed, that if some of them were less com- jdex, they would perhaps be more pleasing. I' poll the whole, however, his merits very justly entitle him to a high and dLitinguished rank amongst English eomposcrs. ARXE, MISS. See CninER, Mas. AUX]:sTrS. Tlic first Bishop of Prague, in the lourteonth century. He WTOte some sacred music about the year 1350. AllN'KIEL, T., a pa.stor in Sclileswi^, pub- lished, in 1683, a treatise on the use of horns in music. AKXOLD, GEORGE, organist of the Bishopric of Bamberg, wTotc much sacred mu;;ic about the middle of tlie seventeenth century. ARXOLT), FERDIXAXD, bom at Vienna, was a celebrated tenor singer at Riga in 1790. ARXOLD, IGXATIUS FERDIXAND, an Lli. D. at Erfurt, born in 1779, wTote several works on music between the years 1799 and 1809. ARXOLD, JOIIAXX GOTTFRIED, a pood composer and violoncellist, was born in 1773. He lived chiefly at Frankfort on the Maine, where he died in 180(>, in his thirty-fourth year. He published six concertos for the violoncello, which are used as exorcises by the pupils of the Conserv-atory at Offenbach and Bonn; he also composed much other music for his instnmicut. which is chiefly printed. ARXOLD, DR. SAMUEL, an English mu- sician and composer of considerable eminence, was born in London, about 1739, and received hia musical education at the royal chapel, St. James's, under Mr. Gates and Dr. Xares, who discovered in him the most promising talents, wliich he afterwards cultivated and strengthened by constant study. In 17(iO, he became com- poser to Covent Garden 'Ilieitrc, of which the celebrated Mr. Board was then one of the man- agers, and had the advantage of having his com- positions introduced to the public tlu-ough the medium of the vocal abilities of that popular singer and Ills associates. For them he com- posed " The Maid of the MIU," which has ever been a favorite with the public. But, in 1767, he tried his skill in a higher species of com- position, (the oratorio,) setting to miLsic Dr. Brown's " Curse of Saul," in which it was uni- versally coni'essed that he was eminently success- ful. 'Iliis encouraged him to proceed in the same style ; and he produced " Abimelech," " The Resurrection," and "The Prodigal Son," the various merits of wliich have been justly ap- plauded by the best musical critics. 'l"he latter became so much a favorite, that when, in 1/73, it was in contem])lation to in-tall the late Lord X'orth, as chancellor of the University of Oxford, the stewards appointed to conduct the musical department of the ceremony apjilicd to Mr. Arnold for leave to pcrlorm " 'ilie Prodigal Son." Ills ready compliance with this request, wliich, however, it would have been very impru- dent to refuse, i)rocured him the offer of an hon- orary degree ; and his refusal of this did him real honor. He was not insensible of the real value of a degree, but determined to enrn it in the usual academical way, and, confonnably to thf statutes of the university, received it in the school room, where he jieribrmed, as an exer- cise, Hughes's poem on the power of music. On such occasions, it Is usual for the musical profess- or of the university to examine the exercise of the candidate; but Dr. Win. Hayes, then the profess- or of Oxford, returned Mr. Arnold his score un- opened, saying, "Sir, it isunnecossaryto scrutinize the exercise ol the author of ' The Prodigal Son.' ' About 1771, he purchased Mary-le-boiie Gardens, for which lie composed some cxccllcut burlottos. 64 AKX EXCYCLOr.^I)IA OF MUSIC. ART ami oUicr piet-ci, to wliicli he ndl manager of the pcrfonnaiiccs held It. the Academy of Ancient Music, a post of hoi> '. in wliich he actjuitted himself with the highest ejgiatura. ARPEGGIO, or ARPEG. (I.) This term is derived tiom arpa, and signifies reiterated succes- sions of the several notes which compose any shord. The violouceUo,\-iola, violin, and all instru- ments perxbrmed with a bow, are capable of per- forming an arpeggio ; but it is to the harj^sichord and piano -forte that its execution more particu- larly appertains. ARPEGGIO ACCOMPANIMENT. An ac- companiment, the passages of which chiefly con- sist of tlie notei of the several chords, taken ii" returning succeasions. .VRPILCUETA, of Navarro. A Spajush mu- siciiin in the sixteenth century. AlUil'IER, JOSEPH, a Frenct compo»er of petit opera music, since the year 1789. ARRAXGEMEXT. That extension, or sel«c. tion and disposal, of the movements and parts of a composition which tit and accoinmodato it t« the powers of some instrument, or instrumenls, for which it was not originally designed by the composer. .\RRIIEXIUS, LAUREXT. See Dun^cs. ARRIAGA. JEAX CHRYSOSTOME DE. Rorii at Bilbao, in 1808 ; self taught in music , for which he showed rare talent, until the age oi tliirtcen, when he was sent to tlie Conservatoiie at Paris, nnd studied the violin under M. Haillot, and counterpoint under M. I'Vtis. He had al- ready, with no knowledge of harmony, written u Spanish oiiera, in which there were charming and original itleivs. His jirogress was nstouLshing : in less than three months he had a jierfeft knowl- edge of harmony, and l)y the end of two yeius he could laugh at any ditHculty in counterpoint and fugue. He had two gi.ls rarely united ; viz., ready invention and a scientitic turn. He wrote a fugue for eight voices, on the words of the Credo, " El vitam venluri," which Cherubini did not hesitate to pronounce a masterpiece. On the violin his progress was equally remarkable. He was tormented by the continual need of com - jjosing. His first work was three quatuors for violin, itc, which appeared in Paris in 1824. These were original, elegant, nnd purely written 'I'hen came an overture, a sjnuphony, a mass, a " Salve, licgiiia," several cantatas antl romances. &c. Exhausted by intense labor, he died, la- mented and esteemed, m 1825. ARRIGHI, PIETRO DOMIXICO. An opera composer between 1783 and 1790. ARRIGIIUS, JO AX BATl'ISTA. A monk of Florence. He died in 1607. He wrote on th« science of music. ARRIGO TEDESCO. See Isaac. ARRIGOXI. See .\uiooxi. ARROR AT, CO.STE I)'. A French opera com- poser soon alter the time of Lulh. ARS C.A.NEXDI. (L.) The art of singing. ^ ARS COMPOXEXDI. (L.) llie art of composing. ARSIS and THESIS. (L.) Terms appropri- ated to prosody and melody. Ar.ii.i signifies the elevation of the hand, or that pnrt of the bar at which it Ls raised in bcatuig time. Thesis, on the contrary, implies the fall of the hand, or that part of the bar. Thesis denotej the em- phatic or accented part of the bar, and arsis the weak or unaccented part. Arsit and thesis, therefore, is but another expreasion for raising and faUing, as apphed to the action of beating time ; and Ls e [uivalent to accented and wuk. ccnted, as connected with the phraseology of the melody. AR'rEAGA, STEFFANO, a Spanish Jesuit, died at Paris in 1799. lie wrote a work in thre* 65 ART ENCYCLOP.-EDIA OF MUSIC. ART volumw, ciititlod " />• RcvoUizioni del Teatro ^fu- m'l-aJfi Ilaliann, iolla sua oriijiite, sino al prcicntr," the pcooiid f(l tiuii of which appeared at Venice n\ ITS.). lie also wrote on the rhj-thra of the nncieiits, and wo,-* the most philosophical and profound of all authors upon the melo-drama. AUTEMAXIO, G. C, court organist and chapel-miislor at Milan, died in 17o0. lie pub- lished sevcrul collections of motets and other pieces. ARTinTR AUX COirrEAUX, music master to the College of St. (iuintin, lived about the year lG:iO. He composed psalms and other Bacrcd music. He was the most eminent com- poser for the church during the reign of Louis XIII. ARTICULATION. This word is one of the most important in the musician's vocabulary. It refers equally to vocal and instrumental per- formance ; to words and to notes ; and includes that (Ustinctness and accuracy of expression which gives every syllable and sound with truth and perspicuity, and forms the very foundatiou of pathos and grace. ARTICULATO. (I.) Articulated; distinctly enounced. ARTIFIC'L\L. Not natural : any note or chord Ls arliticial when chromatics are introduced with it. ARTIFICIAL COMPOUND. The artificial compound, which alone comes under the mu- Ficiau's province, is that mixture of several differ- ent pounds, which being produced by art, the ingredient soundu arc separable, and distinguish- able from one another. In this sense the distinct sounds of several voices or instruments, or sev- eral notes of the same instrument, are called simple sounds, in contradistinction to the com- pound ones, in which, to answer the purposes of music, the simple ones mu-it have such an agree- ment in all relations, chiefly as to acuteness and gra^-ity, as that the ear may receive the mixture with pleasure. ARTIFICIAL HARMONY. Those combina- tions whicli, though discordant, are allowable, B8 bearing some relation to the triad, or common chord, of the fundamental note. ARTIFICIAL SCALE. Not natural. See CunoM.vTic Sc.VLE. ART OF MUSIC. The Greeks, who were fond of chiiining to themselves the invention of every art and science, have not scrupled to a.s.sign the origin of music, and to name the inventot. To Mercury they ascribe the honor of inventing the l\Te, the iinit of musical instruments. The shell of a tortoise, they say, (having been ex- posed on the shore, till the flesh was entirely dried up, and nothing but the sinews remained, Btretched over the cavity,) was observed by Mer- cury, when breathed ui)on by the wind, to emit musical sounds ; and it was this that suggested to him the construction of the Ij-re, which was first formed of tortoise shell, with cords stretched across it. In music, the fittest subjcfts for imi- tation are all those particulars which are emi- nently characteri/.ed by motion and sound. Mo- tion may be eith ;r slow or quick, even or un- even, broken or continuous. Sound may be either soft or loid, high or low, i. e., acute or grave. Wherever, therefore, any of these specie* of motion, or sound, may be found in an eminent degree, there is room for musical imitation. Thus, in the inanimate world, music may imitate th« gliding, murmuring, or roaring of water, as per- ceived in fountains, cataracts, rivers, seas, &c. ; the noise of thunder, and of winds, a-- well the stormy as the gentle. In the animal world, it may imitate the voices of certain animals, but chiefly those of singing birds ; and it may also faintly copy some of their motions. In the human species, it can also imitate some motions and sounds ; and of sountLs, those most perfectly which are expressive of grief and anguish ; for grief naturally expres-^cs itself by sounds which are not unlike to lengthened notes in the chro- matic system. Music, as the practice of it is of more easy acquisition than that of either of the other fine arts, as it is more indiscriminately ad- dressed to all, of every age and condition, from youth to age, from the daily laborer to the prince, and as it is in fact more universally practised, may more unhesitatingly be treated of by those but moderately initiated, without fear of the charge of presumption. The right of music to be enumerated among the fine arts has never, been disputed, although its relative place in point of dignity has often been matter of contro- versy. Without touching this question, as being one of very little interest and less importance, we shall be satisfied with \-indicating its utility and its just claims to the respectful not^c and diligent cultivation of every civili/ed community. It' we needed to appeal to the authority of names in support of this position, we could easily sum- mon a formidable an-ay. One, however, shall suffice ; but that one, for strength of intellect and purity of moral character, is e(iuivaleiit to a host of ordinary names. I allude to Dr. Samuel John- son. Were not the fact well known and fuUy acknowledged, that he was the author of the passage I am about to quote, its peculiarity of style would indicate its origin witla an almost ab- solute certainty. In the dedication to Bunjey's great work on the " General History of Music," we find this striking passage : " Tl-.e science of musical sounds, though it may have been depre- ciated, as appealing only to the ear, and affording nothing more than a momentary and fugitive de- light, may wth justice be considered as the art that unites coqioral with intellectual pleasures, by a species of enjoj-ment which gratifies sense without weakening reason ; and which, there- fore, the great may cultivate without debase- ment, and the good enjoy without depravation. Those who have most diligently contemplated the state of man have found it beset with vexa- tions, which can neither be repelled by splendor, nor eluded by obscurity; to the necessity of combating these intrusions of discontent, tiie ministers of plcivsure were indebted for that kind reception, which they have, perhaps, too indis- criminately obtained! I'leivsiue and innoieiuc ought never to be separated ; yet we seldom find them otherwise than at variance, except when music brings them together." To the truth of the last remark of the great moralist, that pleas- ure and innocence are generally at variance, ex ■ cept when music brings them together, we ma> surely demur ; and certainly a moderate expe- rience in the ways of the world would excite in the mind of every serious person the earnest wiah 60 IRT ENCYCLOPAEDIA OF MUSIC. ART ♦hat no other associations than such as are char- acterized by pleasure in combination with inno- cence were ever occasioned or encourap;cd by this delit;htful art. But the assertion that music unites coqioral with intellectual pleasure, and gratifies sense without weakening; reason, and therefore that the great may cultivate it with- out debasement, and the good enjoy it with- out depravation, is as true as it is forcible. An opposite conclusion would be at war with our convictions of the wisdom and benevolence of the Deity, who made the hearing ear and formed the melodious voice, and strung the soxil of man ■with chords ever responsive to the influence of sweet sounds. Music is as truly the voice of na- ture as speech ; that Ls, it is as natural for man to convey and to receive the movements of senti- ment by the inlluence of sweet sounds as by the use of ^rords. And when I say it Ls natural, I moan to ascribe this arrangement directly to the wise ordinance of the Great Being who framed us as we are. It was he who, while he gave us the element of air to breathe, gave it also the pe- culiar quaUties by which it conveys the vibra- tions of sound ; and while he made the ear to re- ceive the impulses of the articulate voice, ren- dered it susceptible to musical intonations ; and while he made the wonderful mechanism by which words are uttered, enabled it also to pro- duce effects sweeter than the song of birds. The philosophical theory of musical sounds is very remarkable, and gives the clearest evidence that their employment, for the benefit and jjleasure of man, was originally designed by the -Vlmighty. In illustration of this position, I will instance a few of those laws or principles of sound which have been discovered by experiment and proved by demonstration. In music there Ls no such thing as a simple sound ; that Ls, no tone of a musical character can be produced wliich is, strictly speaking, one and indivisible. It is capable of separation into distinct constituent parts. As the rays of light arc the result of the combination of the seven primary colors, which can be separated by the prLsmatic glass, so musi- cal sounds are themselves combinations of other soiuitls. Every tone which proceeds from a stringed instrument, as a violin, a harp, a piano- forte, or from a pipe, as a flute, or an organ, or from a bell, gives out at the same time other sounds which are not the same, but yet unite so a- to form one whole in their effect. In a large boll thLs can easily be perceived when it is tolled slowly ; the note sounds, and immediately after we hear others, more particularly the twelfth, fit'tccuth, and seventeenth. A delicate car will perceive the same in a j)iano-forte ; for a string sounded in its whole length, the parts of it also sound in certain exact sections or divisions which bear a definite proportion to the whole. Now, in the greater of these divisions, as the twelfth and fifteenth above mentioned, wliich are most easily perceived, the combination is harmonious ; f)ut in the lesser and intermediate parts, the vibra- tions run into discords, and arc not readily dis- tinguishable by the car. Were they so, there could be no such effect produced as music, be- cause dLscord would be as freijuent and as prom- inent as concord. Tliia law of sound has been •dduced by an eminent ecclesiastical writer to »how the wLsdom and goodness of God in this sonvspondence between the physical nature of man and the con^.titution of the material world " Tliere Ls another providential circumstance,"' says he, " in the theory of sounds, tliat if a jiipf is blown to give its proper note, a stronger bla-1 will raise it to its octave, eight notes higher 'ITiis is done by an instantaneous leap, which, if it were done by procession from the one to th« other, as bodies in motion rise or fall, not music, but a noise, would be the consen7t. TrunipctJ. Klule«. ClariiicU. IlaifooniL lUutboyn llonm. Troinlxine*. Clarlnelj. TninipflU. Kvttle Drtiini. Itiiiiuoni. Daitsoont. Kiril Violin. Kint Violin. Trcrtilntne*. Si-conil Violin. Second Violin. Ki'ltle Druint, Tenor. Altn the mind than a good moral book, which convinces oui reason, but does not influence our habits." ARTUFEL, DAMIANUS D', a Spanish Do*, minicau, published at Valladolid, in Io7'.', a treatise on vocal church music. ARTUS. Court musician to the Emperor MaximiUau, about the year 1.512. AKTUSI, fJIOVANNI MARIA, a canon of Bologna, ])ublished, in 1.398, a work called " The Art of Counterpoint," which redin es the i)re- cepts of Ziirlino into a compendium. In li>03, ho gave a continuation of tills work, in which h« treats more especially of the impcrtections of modem miLsic. In IGOO anil ICOl, he published some further tracts on music. -Vrtusi wlshetl to prove, by extracts from celebrated authors of anticiuity, especially from Plato, that the Greeks understood music in parts ; in other words, tlie rules of couuterpoLut. AS. (G.) A flat ASAPH. A musician of the tribe of \a:v\, in the age of Da\'id. Twelve psalms bear his name, but it is not generally thought he composed them. I'robably he set them to music, or some of his descendants did, and called them by his name. Kings had their piulicular music and music masters ; and iV.saph was King Da\-id's music master. Ho taught the Bweet Biuger of Israel. ASCENDING NOTES, or ASCENDING SCALE. Thus : — ASCILEXBRENXER, CHRISTLVN, was bom in 16.34. He was a celebrated vioUnlst, and composetl si.x sonatas, which he presented to the emjjcror at Vienna, and was recompensed with a chain of gold and a metlal. He died in 1732. AS DUR, (G.) A flat major. ASHE, ANDREW, was bom in the town of Lisbume, m the north of Ireland, about the year 17.59. His parents sent him to a school near Woolwich, in England, before he was nine years of age. At this early period he showetl a great disposition for music, and devoted a certain sum of his weekly allowance to the master of the artillerj- band, (who occasionally attcndeoring noble- man and his grandl'ather, tcnuinatiug to the great disadvantage of the latter, rcndercD," says the eilitor of the Lomlon Times, " Ashe miuiied a pupil of Rauzzini, whose vocal •xcelleuce (as Mrs. Ashe) is too generally known to make any comment from us necessary. They have had a numerous lamily, nine or ten of whom are now living : the eldoit daughter is a very finished i)erfonuer on the harp, but is not ill the proiession, being married to a gentleman of property in the West Lulies. We have fre- quently been delighted with the second MLss Ashe's accomplished style of singing, and very superior perfonuancc on the piauo-lorte, although from appearance she is not yet nineteen. AVe can only speak of Ashe as an author, from hav- ing heard many of his flute concertos performed by liimselt', which abounded with new passages fancifully ilispersed, and the melodies highly pleasing. The reaion we have heard assigned for their not being as yet given to tlie jiublic, is a tenaciousness in the composer to resen'e them for liis own performance ; but we understaiul he purposes shortly to print them, when, we have no doubt, they -will be eagerly sought after by both ililettniUi and profe-sors. We have dedi- cated rather more space to this article than we can conveniently atford, having been anxious to lay Ix-fore our readers a somewhat detailed ac- count of a gentleman so highly esteemed as Mr. Ashe, both in his i)ublic and private character. He continues in full pos-ii^sion of Ids powers, is iu robust health, and we have heard liim sav he has been but a bad customer to both law and ph)-sic ; never having expended a shilling on the former, and only a single guinea fee to the latter." ASHE, MILS., wife to the preceding, was n good singer, and for some years sang at the oratorios and other public conceits. ASHE, MISSES, daughters of the preceding, were e.\celleut pertbrmeni on the harp and piano ; they aLso sang jjleasingly. They performed before the London public in 18'2I. ASHLEY, GEXERAL, a celebrated English violinist. His father was the jnanagcr of th» oratorios at Covcut (jiirden Theatre, which per- formances ho led with great aliility for many years. After his death, liis sons, (jenoral and Charles Ashley, succeeded him as joint managers. General Ashley was educated in music undei Giardini and Harthelemon, and was esteemed an excellent j)erformer on his instrument. He was considered also as the best modern judge of violins and violoncellos ; of which, in the hittei years of his lil'e, he had a very valuable colliC- tion. He died near London in 1818. ASHLEY, JOHN" JAMES. An eminent or- ganist and singing master. He presided for seven years at the oratorios at Coveiit Garden, where he introduced many of his pupils ; among whom were Mrs. Vaughan, Mrs. Salmon, Master EUiott, C Smith, and other lavoritc vo.nl performers. He was in early life a scholar of the celebrated Sclu-uits as mav be seen bv a volume he pubUshed, called "Trilles in Rhjnue." With regard to music, Ashley never abjured to any thing great in composition ; his efforts were confined to ballads and songs, serious and comic ; and it Is believed that he has written the words to, and composed more of, thc^-e trifles, which have been sung by eminent performers, anJ favorably received by the jiulilic, than any English comjOTser of his time. The following is a list of some of Ashley's compositions : bal- lads, " Honest Ben," " I'oor Joe the Marine," "'nie Sailor's Cree, T. a church oorapoecr in th( time of Henry YtU. and Edward VI. Many of his works, are still prcserred at Oxford. A.SH\VORTH, an Englishman, «-rote an in troduction to the art of singing about the y«H 1787. 71 \SM EXCYCLOPyEDIA OF MUSIC. ASP AS MOLL. A Hat minor. ASPEROES ME. (L.) 'ITie opening of the miisH. ASPREZZA. (L) With dryness ; coarsely. ASSAL (L) Very; as, adayio a«ai, very slow. ASSOLL'TO. (I.) Solus; alone. One voice, without an J' nccornpaniment. ASIOLI, BOXIFAZIO, was born at Correggio nbout the year 17G0. About the year 179G, he went to London, where he remained some time, and then returned to Milan, and was appointed chapcl-mitster and chamber musician to the King of Italy. In 1808, a new conserva- tory was established at Xaple^ to the direction of which A doli was aijpointed by the king. Among hLs numerous dramatic and vocal works, the following list is given by Gerber : 1st, " La Voluhile," ojiera buffa ; 2d, " // Ratio di Proser- pina," intermezzo, 1785 ; 3d, " Six Italian Duets," London, 170G; 4th, "Six Italian Aus, in the Style of Canzonets," London ; 5th, " Variaz, p. it Ccmb. siiW Aria, V ame Dettiiml a me'l h-a fatta," Vienna ; fith, " Ottaoiiio a 2 V. 2 Fl. 2 Viole. Fag. e Vc," Vienna; 7th, Capriccio p. Piano F.," Op. 1, Zurich, 1803; 8th, "Z Arivtte colV ace. ch Piano F.," Op. 2, Zurich; 9th, " Capriecio p. Piano F. a 4 Mani," Op. 3, Zurich; 10th, "Ca- priccio p. Piano F.," Op. 5, Zurich, 1803 ; 11th, " 3 Arietta coW ace. di Piano F.," Op. i, Zurich, 1803; rith, "3 Daetti p. 2 Soprani coW ace. di Piano F.," Op. (}, Zurich; 13th, "La Campaiia i/i Morte, Sonetto, coll' accotnp. di Piano F.," Zurich, 1800. Tliere are several other vocal works of Asioli, some of which are published by Rirchall in London, and evince a taste in melody eijual to that of any of the modern Itahan com- posers. He never attempted the more severe order of comjiosition ; but his works are in music what those of Propertius, Catullus, and Tibullus wore in poetry, as compared with Horace and Virgil ; as true music di camera, they will very long be admued. ASOLA, or ASULA, GIOVAXXI MATTEO. A composer of church music at Verona, between the years 15G5 and 1600. ASOR. An ancient instrument, very much resembling the tiuadrangular lyre. ASPELMEYEIl, or APPELMEYER, FRAXZ, musician to the emperor, and ballet composer at Vienna, died in 178G. He composed some instru- mental music and two operas. ASPULL, (JEORGE. nie London Musical II WW, for 1825, contains the loUowing notice of this extraordinary youth : " In the more select musical circles of London, there has been, unob- trusively stealing into notice a child, in whom is developed so early and so extraordinary a talent lor music, that the most fastidious predict for Lira a reputation of the highest order, and speak of him as a genius born to bastow a character for eminence in that art which hits hitherto been withheld by foreigners Ixom the natives of this country. His father was formerly, we under- t-tand, in business, but, not being successful in the i)ursuit he at first chose, was compeUed to resort to mu>ic an a profession, and by diligent and successful praitice has acqviired some repu- l-ation Bfi a ]ier.brmcr on the violin. It was not till Ilia son had ccusidcrably passed the age of five years that he gave any indications ot that decided bent which his mind has smee tcken but the marks of genius he then discovered wer4 so evident, that Mr. Aspull determined to ui der- take himself the care of liLs education in music, and, foreseeing the advantages to wliich it might lead, devoted the whole of his time and attention to that object. Ilie fruit of liis care and assi- duity is apparent in the surprising talent which young Aspull now displays. The instrument on wliich he perfonns is the piano-foite, at which he does not usually sit, his stature bting so small as to render the position of standing that which gives him the most perfect command of the instrument. His lingers are extremely short, even for hLs age ; with the left hand he cannot reach an octave so as to press down the two notes which fonn it at one time, and is only enabled to do so with the right hand with much difficulty, and by depressing the wrist. The im- pediment thus ionned to the acquisition of the mere mechanical difficulties of the piano-forte wUl be perfectly understood by all those who have ever attempted that instrument ; but they have not prevented young Aspidl from conquer- ing the most complex and rapid passages that ' have ever appeared in the form of musical com- position. With some slight aUowaiice oidy for those passages reijuiring greater strength than that to which his little Irame Ls adequate, or combinuig more distant intervals than liis lingers can possibly command, there is no difficulty of execution that can stop him for a moment. The compositions of Kalkbreuner and iloscheles, prepared for displaying in public the manual skill of those celebrated professors, are played evidently ^s-ithout the smallest effort by this ex- traordinary child. He has also made himself master of a piece of most singular dilficulty, by a foreign composer whose name is Czerny, and w-ho wrote it as a trial of skill for all the eminent professors of Europe, and in order to combine all the mechanical niceties of execution of which the instrument is susceptible. Thi- piece, consisting of oidy one movement, occupies nearly forty pages of printed music, every one of which is crowded with rapid di\-isions, intricate modulations, and the most clu'omatic passages that the art of the composer could devise. Some idea may be formed of the complexity of this movement, by the fact that some of our most eminent professors, to whom it has been shown, have shrunk Irora the attempt to play it. But the mechanical skill of young Aspull is that which has least surprised those who have had the pleasure of hearing him perfonu. A cliild, with a certain cleverness and quickness of parts, may be taught, by repeated elforts, to conquer the greatest intricacies, and when conquered, there will remain nearly the same im;)ression from them wliich results on \-iewing an exhibition on the tight ro])e, or the antic tricks of the unfor- tunate pupils of the postiue master. Mr. Aspull's i)upil Ls not of this class ; the boy's mind eWdently participates in all that his hand executes. A passage wliich he is compelled to leave imperfect, through a defect of phj-sical power, does not stop or disconcert him, as it would an ordinary pupil, but he passes on to the next, and is as certain to give it with effect as if liimself had composed it. Short as the period is which young Aspull has devoted to th« 72 ASS ENCYCLOPAEDIA OF MUSIC. ATU study of music, he has cultivated every style, and »11 with success ; in these are included the con- certos of Ilandcl, and the fugues of the Baclis and Scarlatti ; than which latter, perhaps, no works could i)ossibly be selected less accessible to a juvenile student. Young Aspull unites with these the talent, which is rare amon^ pro- fessors, of extempore ])laj-ing ; at which, if per- mitted to do so, he will jiass horns, and with a fluency that would indicate musical notes to be that vehicle by which he could best express his ideas. "VVc ought not to omit to state of him, that he sings ballads to his own accompaniment on the piano-forte, in a voice thin and weak, owing to his extreme youth, but with peculiar taste and delicate expression. Ilis appearance anil behavior do not diiicr from those of otlier chililrcu of the same age ; but hLs manner, when per.bnning on the piano-forte, Ls that of a person deeply attentive. The most rapid and involved passages do not produce a change of counte- nance, nor any sign of effort. Little study is requisite, even for the most elaborate pieces ; and those of ordinary dilKculty he can execute at once, on being permitted to cast his eye over them belore taking his station at the piano-forte. Certainly this child bears about liim prognostics of futiue eiuineuce, wliich could not have been greater or more conclusive in the person of Mo- zart himself. In February, 1SJ5, Master .Yspull was introduced to his majesty and a party of dis- tinguislicil personages at Winilsor, when he de- lighted the company for two hours with his per- fonnances. lie playe.l many of tlie most dilhcult compositions oa the piano-forte, with a power of execution scarcely exceeded by the most ex- perienced professors, and with a tivste and feeling which no practice alone can give, 'llie king, during the whole performance, expressed his most unnualiiied delight, and bestowed \ipon this mtcrcsting boy that encouragement and commendation, which, to the frienrls of this phe- nomenon, are doul'ly valuable, from liis majesty's exalted riuik and scientitic knowledge ; and as the greatest jjroof of lus m ijesty's opinion of him, he commanded his attendance at the castle the fol- lowing evening, to have another opportunity of ^vituessing liis powers. The Princess Augusta w;is equally delighted and a-stouLshcd by the genius of tlvLs cliilil, and condescendingly turned over the leave < of liis books during the whole performance. In addition to his display on the piano. Master Aspiill sang four songs in a style which called forth tlie most enthusiastic plaudits." Ila died JOth .Vugust, 1832. Af^SM AYEIl. Composer of some quintets and other instrumental music for the piano-forte, &c., at Vienna. (NVe:>sel and Stodart's Cat. 1822.) ASSOUCI, CHAUIJiS COYPEAU D", a French composer for the theiitre, died in 1679, at Piuris. ASSUXI or ASUNI. GinLUNI DI. A composer for the tlule and guitar. Preston published some of his music about the year 1705. (See also dementi's Cat. 1823.) ASTAUITA, GEXNARO, is celebrated both as a serious and comic composer, but particularly the latter. His nntiu'al and aijreeable style con- ciliated the lavor of the public, although the opinion of the connoisseurs was not always cqual- 10 7 ly favorable. HLs air, " Come lasciar poss'io,'' was uiiivei-sally sung and applauded. His oj)enw were, " l^i Cjiitdjisu ili Bimhi.ipuU," 1772 ; " /.« VUtDiMri," 1772; " Fiitezzj it Aiiuire" 1773; "I Marito che 7U>n tui Mo /lie," 1771 ; "La Critical TeairaU;' 177.5 ; " // M'xtodella Luiui," 177.5 ; " Ui Dama iiiui'/iiutria," 1777; " L' IsoUt iti Benijoli," 1777 ; " Armiila," 1777 ; and " Circa e i'tiue," which, in 1787, was given under this title, in all the theatres of Germany, as a now jiiece. Neither the nature nor the niuuher of the com- positions of thLs master entitle him to a high rank among classical compo-orj ; but he ia worthy to be jihiced at the head of the second class of the musicians of Italy. ASTER, DAVID. A German organist and voluminous composer at the begiiuiiug of the eighteenth century. ASTIER. A French composer at the begin- ning of the livst century. ASTON. An English organLst and comjioser ui the time of Henry VIU. Some of his music ia preserved at Oxford. ASTORGA, BARON EMANt'ELE D', a Sicilian, composed an elegant and refined " i^ahat MiUer," a considerable portion of which is in the first volume of Latrobe's selection ; also several cantatas, which were much celebnited. He came to England some time in the beginning of the last centiu-y, and passed one or more Vinters in London. Dr. Bumey states the three best of Astorga's cantatas to be " Qtuindo jkiiso," "Tonie ApriU," and " In ijiieito core." In these, he says, there are expression, grace, and science, devoid of pedantry. AST(JRGA, J. O., published at London, in 17'iO, sLx trios for the flute, and in 1780, some Italian ariettes. ASTRU A, GIOVANNA, of Turin, was an ex- cellent singer, at first in the sen-ice of the Sar- dinian, and subsequently of the Prussian court. She died in 17')8, in her thirty-third year. ASUK.\. See .Asol.v. A TEMPO, or .\ TEMP. (L) In time. Of similar signification with a brUtiita ; and, like that cxprc>sion, seldom used but when the regu- lar me;vsure has been designedly intcrrupteo, denotes that the per- former must return to tlio original degree of movement. ATKMPODI OAVOTTA. (L) An expres- sion denoting that the movement before wliich it Ls placed is to be performed in the time of a gavot. See G.vvotta. A TEMPO GIUSTO. (I.) In equ.al and ju-n time. An expression generally applied to the manner of performing a steady, sound move- ment ; a movement less directed to the feelings than to the judgment ; more scientitic tl\an im- passioned. ATHANASIUS, Bishop of .\Jexandria, died in the yeiu- 372. He wrote some works rclatiiii; to church music. ATHEN.EUS, a Greek grammarian, was horn in the year liiO. In the fourth bo<-)k of his works, he ticata of mu^nLc, musician; , and musical iualru ments. ATn EN'CYCLOP.EDIA OF MUSIC. AUB ATIIERSTAXE. A composer of some piano- forte music published iu Loudon. (Clemeuti's Cat. 1823.) A THE, or A 3. (I.) For three voices. ATI.S. A good flute player, born at St. Do- mingo about the year 1715. He resided chiefly iu P'rauce, and composed much instrumental music. A'lTACCATO SUBITO. (I.) To be com- menced immediately. ATTACCA, ATTACCA SUDITO, (I.) impUes that the performer must directly commence the following movement. AITEXDANT KEYS. AccorcUng to Boyce and Callcott, attendant keys are the keys on the fifth above and lifth below (or fouith above) any given key, wliich in modulation are intro- duced by the addition of a new flat or sharj) to the signature. Mr. Maxwell, in his essay on tune, proposes a system of eighteen notes on the octave, which shall make the keys of C major and A minor, with the attendant keys, or six auxiliary scales, perfect, iu their harmony, throughout. ATTERBURY. A celebrated English glee com])oser in the latter half of the last century. His most popular works were, " Come, let us all a-Mnying go," glee, four voices ; " With horns and hounds in chorus," catch, three voices ; " Take, {), take those lips away," round, three voices ; " Sweet enslaver," round, three voices ; " Joan said to John," catch, tlvroe voices ; " Lay that sullen garland by," glee, three voices ; "Come, till the board," glee, four voices; " O, thou sweet bird," glee, four voices ; and " Adieu, ye streams," glee, four voices. (Birchall's and Clemeuti's Cat.) Atterbury died during the per- formance of one of lus benelit concerts. ATTEY', JOHN. An English composer of some songs, published, early in the seventeenth century, in a collection entitled " Ayres of four and more Parts." ATOLIO. See Aeiosti. AITO. (I.) Act. The word otto Ls found in all Italian operas, in conjunction wth one of the words expressive of the ordinal numbers ; as, cdto prima, act the first ; atto sccondo, act the second ; otto terx, act the tliird. See Act. ATTO DI CADENZA. (L) An act of cadence. This expression denotes that disposition of the parts which indicates a cadence ; as when, at tlie end of a strain, the bass rises a fourth, or iftUr. a fifth. ATIOIII, ATT'RICI. (I.) The principal sjigers in an opera. AITWOOD, THOMAS, was born in the year 17'>7. ANTien nine years of age, he was admitted a chorister in the chapel royal, and received the rudiments of his musical education under Dr. Narc^, (the master of the chapel boys,) and his successor. Dr. A)Tton, remaining »inder their tiiition about five years. AVhon Attwood had attained his sixteenth year, he was so fortunate as to i)orrorm at Buckingham House before the Prince of Wales who most graciously proposed to send him to Italv, to stud>-' under the cele- brated masters of that school, and for this pur- pose settled a handsome income ujmju him paid out of liis royal liighness's private purse, for the whole period of hw absence from Eng- land. This unlooked-for patronage and bounty was remembered with the deepo-it sense of gi'atitude by Attwood, who ascribed to that gen- erous act his subsequent professional successes. In the year 1783, he accordingly went to Naples, where he resided two years, receiraig instruc- tions during that time from FiUppo Cinque and Latilla. From Xaplw he went to Vienna, where he was so fortunate as to become the pupil of the celebrated Mozart, under whom he studied till the year 1786, when he returned to England. HLs royal highness, still most nobly and gen- erously continuing his patronage, nominated Att- wood one of the musicians of his chamber band, to which the celebrated Scluwder was at that time attached. Soon alter tlie marriage of the Duke of Y'ork witli the Princess Royal of Prus- sia, Attwood was applied to by the duke to instruct her royal highness in music. On the amval of the Princess of Wales in England, he was also selected by his munificent patron to be her royal liighness's musical instructor. In 1795,' Attwood succeeded Jones as organist of St. Paul's Cathedral ; and, m 1796, obtained the situation of composer to his majesty's chapels royal, succeeding the late Dr. Dupuis. Lastly, in 1821, his majesty added to the numerous in- stances of royal favor already shown him, and which he had continued through so loug a period, by appointing Attwood to the situation of organist of the private chaj)el in the Pavilion at Brighton. All these situations he is said to have had the gratification of obtaining either directly from his majesty, or in couicjuence of his majesty's generous recommeudatiou. For sev- eral years Attwood devoted much of his time to di'amatic music, m which he was so eminently successful, that the pubUc exijerienced a great loss when he thought tit to change the line of his studies. He composed several operas, of wliich the foilo-tting were the most popular : " The Prisoner," " The Mariners," " 'I'he Adopted Child," " Tlie Smugglers," and " The Castle of Sorcuto." Among his other works the lollow- mg are the greatest favorites with the public, viz. : songs, " llie Soldier's Dream," " The Adieu," " Sweet Charity," and " The Convent BcUs ; " glees and trios, " The Curlew," " Iii peace love tunes," " To all that breathe," " Quai aileiizio," and " O, heavenly sjnupathy." Attwood has fiuther produced several pieces of cathedral music ; and of late yeai's has employed a consider- able poition of liis time in this species of compo- sition. In virtue of his otKce, as composer to the chapels royal, he A^Tote the coronation anthem, " I w!us glad," wliich was perionued at the coro- nation of George IV. In sj)eaking ot this comiio- sition, a modern critic observes, " We have tire- quently heoi-d, from persons of undoubted author- ity, that Attwood has a profound knowledge of orchestral effects, and we now have a proof of the fact before us. In particular, we admue the use wliich he has made of the wind instruments. His admirable disposition of them is, indeed, worthy of a pupil of Mozart." He died in 1838. AUBADE. (F.) A concert given in the morn- ing, in the ( \ en air, and under the windows of th< AUB ENCYCLOPAEDIA OF MUSIC. AUB party whom it is intended to celebrate or enter- tain. See Sekexade. AUBEULEX, S. G., was livinp; nt Tubingen in 1802. lie has composed many aUcmandes, &c. AUBER, DANIEL FRANCOIS ESPRIT, born at Cncn, the 29th of January, 1784, on a journey which his parents made to that city, was tlie son of a print seller of Paris, who was in easy circumstances. Endowed with a most hap])y disposition for music, M. Auber tlrst studied this art a-i an object of pleasure. After having learned to jjlay upon the piano under the diiection of Ladumer, he was sent to Loudon to pursue the profession of a merchant ; but being soon dis- gusted with a situation for which he did not feel tht.l ue had been bom, he returned to Paris. Being well received by the public because of his talents and genius, he began to make himself known by some small compositions, such aa ro- mances, some of which met with success. A trio for the piano, violin, and violoncello, which he pubhshed about the same time at Paris, proves that he could treat instrumental music with ability. But some other more considerable works soon increased his reputation among artists. He was an intimate friend of Lamare, the celebrated violoncellLst, who had a style altogether peculiar in his manner of plaj-ing the bass, and which he desired to propagate by a species of music adapt- ed to that purpose ; but by a remarkable circum- stance, which it would be difficult to explain, he had neither a melodious idea nor trait in his head which he was able to employ in a piece of music. At his retjuest, M. Auber wTOtc all the bass concertos which have appeared in the name of this virtuoso, and also some others which have remained in manuscript. 'ITie public thought tliat these concertos were the compositions of Lamare ; but all artists knew that they were due to the talent of M. Auber. ITie original charac- ter of tliis music produced a very great sensation in the public, and it could be foreseen that, from that time, the youthful composer to whom it was due would one day enjoy a brilliant reputation. About the same time, M. Auber wrote a concerto for the violin, which was performed at the Conser- vatory of Music at Paris, by M. Ma/as, and which was eminently successful. TTie desire of laboring lor the theatre had already caused him to set again to music the old comic opera entitled " Julie," with an accompaniment for two violins, two altos, violoncello, and contraba.sso. This work, which contained many cliamiing pieces, was represented at a theatre of amateurs at Paris, and received much applause. A short time af- terwards, M. Auber wrote, for the small theatre of M. de Caraman, I'rince of Chiraay, another opera, with orchestra complete, from which he has since selected many jjieces for his other works. Notwithstanding his success, which until that time had been confined within the circle of a certain number of artists and araatciirs, M. Auber was sensible that his musical studies had been incomplete, and that his knowledge failed him in the art of writing ; and being desirous of com- pleting his education in this respect, he devoted hunsell' to some arduous labors under the direc- tion of M. Cherubini. Tliese studies being fin- ished, he wTote a mass for four voices, from which lie has since taken the prayer in his opera of "La Muette de Portici." In 1813, he made his debut in public by an opera in one ad. which lie caused to be represented at the theatre Fey- deau, under the title of " Sijoiir Militaire." 'ITiid work did not answer the expectations which the first attempts of M. Auber had excited, and con- tained nothing of that grace and originality of ideas which had gained applause for his fonnci productions. A repose for many years followed this check, and the composer seemed to have renounced a career in which brilliant snccose awaited liira, when the derangement of his for- tune, and the death of liLs father, obliged M. Auber to seek some resources for his sujjijort in the exercise of an art which until then had been to him only a relaxation. In 1810, he caused to be represented, at the Opera Comique, "Le Testa- rnentet le ISilkU-doux," an opera in one act. Thi* work was still less fortunate than the first j>ublic attempt of the talents of M. Auber hail been. ITie eulogiums wliich had been la\Tshed ui)on him were now considered as the opinion of a coterie, and arising from partiality ; but the com- poser soon retrieved himself by " La Bergire chAtelainc," an opera in tliree acts, which was played at the same theatre during the first part of the year 1820. The original ideas, the melody, an elegant instrumentation and dramatic effect, distinguislied this work, which obtained com- plete success, and which may be coitsidered as the fii-st foundation of the brilliant reputation of its author. " Emma, ou la Promesse impriulciUe," an opera in three acts, performed in 1821, com- pleted what a " Bcrrjire chatelaine " had com- menced, and from that time M. Auber has known nothing but success. Aul)cr was first brought into notice in 1823, by liis opera " La Nei'je," wliich became very pop- ular, not oiUy in France, but in Germany, and \a frec found in " Pra DiaKolo." Among Aul)cr's minor iiroduc- tions, a comic opera (■alleal notes of the melodies are confined within the octave above the key note ; in distinction from the pUi'ial modes or tones, introduced by Gregory the Great, in which the principal notes of the melodies are confined within the octave below the fifth of the key. AITIIENTIC or PERFECT CADENCE. The chord or harmony of the dominant, foLlowcvrotc a work entitled " Musica RudimeiUa." AVERTEL. A composer of music for ■wind instruments at Vienna, at the end of the last century. AVIA, J., a musical amateur, published in 1650, at Constance, a collection of convivial songs. A^^ANUS, JOHAN'N, of Eisenbcrg, died there in 1617. He wTote some works on music. AVICENXA, a celebrated Arabian physician, died in 1036. He wrote a treatise on music in the Persian language. AVILES, MANUEL LEITAM DE. Chapd- master at Granada in 1625, and composer oi several ma-sscs. AVISON, CHARLES, orgamst at NewcasU^ AVI ENCYCLOPAEDIA OF MUSIC. AZO and pupil of Geminiani, was the author of an essay on musiciil expression, published in the C17i)2. He assisted in the publication of rello's miLsic to the Psalms, adapted to Eng- lish words. Of liis own compositions there are extant five collections of concertos for \-iolins, and two sets of sonatas for the harpsichord and two violins, (dementi's Cat.) The music of Avison is light and elegant, but it wants origi- nality. In his essay on musical expression, he was tlie encomiast of MarccUo and Geminiani, frequently to the prejudice of Ilandcl. His work was answered by Dr. Hayes of Oxford, who proved AvLhou to have been by no means a profound contrapuntist. Soon after Avison republished his book, with a reply to Dr. Hayes, and a letter con- taining many detached particulars relative to mu- sic. 'I'liis last edition of Avison's work is now very scarce. A ^^STA. (I.) At sight ; a prima vista, at first sight. AVOLI.O, or AVOLIO, J., appears, by Breit- kopf 's Catalogue of 1802, to have been a com- poser of instnunental music at Leipsic. (See also dementi's Cat.) AVOXT.VNO, PIETRO, a NeapoHtan com- poser, published, in 1732, twelve sonatas at Am- sterdam. AVOSAXI, ORFEO, bom near MUan in the early part of the seventeenth century, by no means justified by his talents the title which he chose to bestow on himself of Hitsband to Euryd- ice. He published some church music. AXAMENTA. (L.) A denomination given to the verses, or songs, sung by the Sahi, in honor of all men. Tlie axamenta were never accompanied by instruments. AXT, F. S., died in Germany in 1745. He ■«TOte a work entitled " Anmis Masicas." AYLWARD, THEODORE, was one of the assistant directors at the commemoration of Han- del, in 1784, at AVestminster Abbey. He com- posed some church music. AYRTOX, DR. EDMUXD, was bom in 1734, at Ripou in Yorkshire, of which borough his fa- ther was an active and upright magistrate, whose three immediate ancestors held, successively, the consolidated Uvings of Xidd and Stainley, witliin the liberty of that town. He was intended for the church, and received his education at the free grammar school of hLs native i)lace ; where, during live years, he was a contemporary of Beilby Porteus, afterwards Bish- op of London. But his father, finding it pnident to indulge liis son's natural incUnation for the study of music, placed him under the instruction of Dr. Xares, then organist of the cathedral at York, with whom he commenced an acquaint- ance, which ripened into a friendship that death alone terminated. At an early age he was elected organist, auditor, and rector chori of the collegiate church of Southwell, in Nottinghamshire, where he resnded some years, and married a lady of good family, by whom he had lilteen cliilclren. He quitted that place in 17G4, upon being ap- pointed gentleman of the chapel royal ; shortly after which, he was installed a vicar choral of St. Paul's Cathedral, and subsequently became one of the lay clerks of Westminster Abbey. In 1 780, he was promoted, by Bishop Lowth, to the office of master of the children of hLs majft^ty's chapels, upon the resignation of his valuable friend Dr. X'ares. In 1784, the University of Cambridge conferred on him the degree of doctor in music ; and, some time after, he was admitted ad eundem in the university of Oxford. His exercise was a grand anthem for a fuU orchestra, which merited and gained so much praise, that it was ordered to be performed, with a complete band, in St. Paxil's Cathedral, on the 29th of July, 1784, being the day of the general thanksgiving for the peace. This work was afterwards published in score. In the same year he was chosen one of the assistant directors of the far-famed commemoration of Handel, in Westminster Abbey ; which situation he filled at all the succeeding performances in that venerable buUding, till they were discon- tinued at the troublesome era of the French rev- olution. In 1805, he relinquished the mastership of the cliildren of the royal chapel, having been allowed for many previous years to execute the duties of all liis other appointments by deputy. He died in 1808, and his remains were deposited in the cloisters of Westminster Abbey, near those of his -wife and several of his children, whom he survived. Dr. A>Tton was an excellent musician, of which his compositions for the church bear mdubitable evidence. The performance of these has been confined chiefty to the royal chapel ; but the publication of them, which has long been ex- pected, would usefully augment the miLsical re- sources of oxir various choirs, and add uo small lustre to the name of their author. AYTOX, FANNY. An English soprano of eminence, educated in Italy. She could utter more than twenty syllables in a second of time, with a neatness and precision not easily surpassed. Her first appearance in England was in 1828, as Ni- netta, in " La Gazza Ladra," and an engagement of considerable extent was offered her, had she consented to Italianize her name to Atonini. AZAIS published, in 1776, "A Method for Music, according to a new Plan," and, in 1780, some sonatas and other ijistrumental music. AZIONE SACRA. (I.) A sacred drama. AZOPARDI, FRANCESCO, chapel-master, published, about the year 1760, a small treatise on composition, which 5 as translated into French. 78 ENCYCLOPAEDIA OF MUSIC. BAC B. B is the nominal of the seventh note in the natural diatonic scale of C ; to which De Xcvcrs, a French muiician in the beginning of the la.st centur>-, is said to have first applied the syllable 11 ; Oiiido Arctina havini» only furnished sylla- bles for the six notes C, I), E, F, G, A. B is the Bubtonic, or seventh uote, thus : — B is also sometime? used as an abbreviation for bans. The ( ierman> call B natural, II ; and they call B flat, B, to di;iiiu^uish it from B natural. BABBI, C. Chamber musician to the Elector of Saxony, at Dresden, where he published some instrumental mu-.ic about the year 1 780. lie was a pupil on the violin of Paul ^Vlberghi. BABBI, (iUEGORIO. A celebrated tenor singer at the opwa at Lisbon, in 1775. BABBINI, MATTEO. A celebrated tenor singer of the Bolognese school. lie performed at the opera in Loudon, in 1785. BABELI-, AVILLIAM. An organist in Lon- don. IIi.< first ei.^ay in composition was to make the favorite airs in the o'lenus of "Pj-rrhus and Demetrius," " Ilydnspts," and some others, into lessons for the liari)siehord. After that he did the same by Ilniidcl's opera of " Rinaldo," and Bucccedcd so wcU in the attempt, as to make from it a book of le:ions, which, by the way, few would play but himself, but which has long been deservedly celebnited. lie also composed twelve Bolos for tlie violin, or hautboy, twelve solos for the German Hi\te and hautboy, and some con- certos for small tlufes and violins, and some other works enumcmted in ^Valsh's catalogue. Balwll died a young man, about the year 1722, having shortened his days by intemperance. It seems the fame of BaV.ell's abilities had reached Ham- burg, for Matth(-;ou says he was a pupil of Han- del ; but in tlii* he Ls mi-itaken, for Handel dis- dained to teach hi-i art to any but princes. BABTICOrCHI publishetl, in 1786, some so- natas in lA^ndon. B AHuVE n r.AMI'T. Xhnt n, or that not», which U > third highiT ttin'i G ff-itntit ri AMOVK TlIK HASS ri.EF NOTF. Thll B. or th.t not«, which i^ n fourth hiirhcr Ihnn Ihp hfl«« clrf nntf. B ABOVK TIIK TRKIII.K ("I.EF NOTE. Th»l B, or that Dotc, which is a thinl higher Ih.in the treble clef not«. BACCHirS, senior, a Greek writer and great musician, lived ])robably in the second cent\iry. He wrote an introduction to music, which was translated into I.atin, and published at Amster- dam, in lfi52. Fi'tis says, that of aU the (Jrcek writers »ipon mur-ic he was the least pretentiously learned and most practical. BACCI, PIKTUO GIACOMO, was bom at Pemgia, n town in the Roman states, towards the middle of the Beventecnth century. He com I)osed several operas, the most approved of which was from a sacred subject, and entitled " Abigail." BACCUSI, HIPPOLITA. An Italian monk, chapel-master at Verona, about 1590. Cerreto assures us that he composed m\isic as early aa 1550. He was one of the first who sustained the voices in church music by instruments plajing in uubon. BACH, JOHN SEBASTIAN, was bom on the 21st of March, 1685, at Eisenach. His father, John Ambrosius, was musician to the court and to the town, and had a twin brother, John Chris- topher, who was musician to the court and town of Amstadt, and was so very like him, that even their own wives could not distinguish tlicm, ex- cept by their dress. ITiese twins were, perhaps, in this respect the most remarkable ever known. They tenderly loved each other ; and their voice, disposition, and style of music were alike. If one was ill, the other was so likewise : they died also within a short time of each other. ITiey were, indeed, a subject of astonishment to all who knew them. In the year 1695, when Jolm Se- bastian was not quite ten years of age, his father died ; he had lost his mother at an earlier perioil. Being thus left an oqjhan, he was obliged to have recourse to an elder brother, John Christopher, who was an organist at Ordnitf. From liim he received the first ijistructions in plaj^ing on the clavichord. But his inclination and talent for music must have been already very great, since the pieces which his brother gave him to learn were so soon in his power that he be:,'nn with much ea-^cniess to look out for some tliat were more difficult. 'Yhc most celebrated composers for tlie clavichord, in those days, were Frotterger, Fischer, John (Jaspar Kcrl, Pachelbel, Buxte- hude, Bruhn, Boehm, .tc. He had observeer- former on the harpsichord, Kollmann thus pro ceetLs : " It might perhaps l)e supi)Osed that on* so famiUor with the deep and heavy touches of a large organ, and with a true crgan style, could not be ctpially great in the brilliancy, expression, and style colculntod for strijiiTed iu:«trumeats liAC ENCYCLOPEDIA OF MUSIC. BAG But the nature oC all liis compositions for the ('lavicr, (liiirj)iichord and clavichord,) as well as the uiiauinioui tcitimouy of all the writers on that Kuhjcct, convinces ua of the contrary; which iH also i)rovccl by his uncontested victory over the ele;;ant harpsichord player Marchand, mentioned before. Tliat ho must likewise have been a great j)erformcr on the violin, follows, not only from his first appointment, which was as violinist, but also, and particularly, from Ids s^jIos for the violin. A;»ain, his solos tor the violoncello i)rove that he also had the (;re»tcst practical knowledge on that instrument." The following; list of S. Bach's works in j^ivon by Kollmann : " 1. ' ClauierUbnny,' part first, consiitinj of preludes, allemandcs, rouraute;, saraban:ls, giguei, meuuets, &c. In the Leipsic edition, this work is entitled ' Exercicci pvir le Clavecin.' 2. ' Claoierilbuny,' part second, (Excreta-^ pour le CUiceciu,) contain- ing a concerto in the Italian style, and an over- ture in the French style, for a harpsichord with two sets of keys. 3. ' ClacierUbiuig,' part third, [Excrcices, kc.,) containing Vor.ipiule, or the giv- ing out of hpnus for the organ ; and four duets (pieces in two obligate parts only) for the harp- sichord, wliich are a complete harmony tlirough- out. 4. ' .SL\ 6%Dco/er Suites, containing allemande-s courante;, S:c., also called French suites. B. Works J'tr tlic Harpsichord, with Accjmpanimcnis, 1. Six Sonata;) for the harpsichord, with a viohn obligato ; 2. Many single Sonatas for the harj)- lichord, with accom;)animeuts for the violin, flute, viuld du g'unba, vScc. ; 3. Concertos for the harpsichord, with numerous accompaniments; 4. Two Concertos for two harpsichords, with accompaniments for vioUus, tenor, and violon- cello ; 6. Two Concertos for thiee harpsichord.s, with the same accompaniments, which are aLsr concerting atuong them iclves ; 0. A Coiwerto for four harpsichords, with the above ac- companiments. C Wjrki for the Orjan. 1. (irand Preludes and Fugue i, for miiuuals and obligato pedals; 2. Vonpiele (Preludes) on va- rious hymns ; 3. SLx Sonatas or Trios, for two manuals and obligato pclaLi. D. Wirks for Bj:d Instrument. 1. .Six Solos for a ^aoliu, without any accompaniments — these are a mo*t unique work ; 2. Six Solos for a violoncello, without any accompanimcat — the -e are simiLir to the pre- ceding ones. E. Vocal Work.^. 1. Five complete annual choruses of church pieces, (like cantatas,) with recitatives, airs, and choruses, for every Sun- day and other festival ; 2. Five Paiisioit-, amon;? wliich there Ls one for two choirs ; 3. Many Orato- rios, Masses, Magnificats, and single Sanctuses also Pieces for Birthdays, Xamedays, and Funeral Pieces ; Weddmg Masses, Evening Pieces, and several Italian Cantatas ; 4. Many Motets, for one and two choirs. — X. B. Of those for two chou-s there are at present only eight extant." BACH, CARL PHILIPP EMMAXUEI„ second son of the great Sebiuitian Bach, and born in 1714, was commonly named Bach of Berlin. He was chatH-l-master to the Princes^; Ameha of Prussia. IILs father was his only master in mu- sic ; but it appears that he acquired from Hasse's operas his fine vocal taste in compo-ing lessons, so different from the dry and laborious style of his father. lie modestly gave a;? a reason for choosing a style of liLs own, or at lea-t for differ- ing from that of his instructor, that he was aware, is he had followed his father's method, he never could have equalled him. In the yi^xv 1767, he was chosen director of music at Hamburg, hi which town he resided many years, and died there in 1783. Emmanuel Bach de-lares that, of all his works, those for the clavichord or piano- forte are the chief in which ho hidulzed his own feelings and ideas. His j)iincipal wish was to play and compose in the most vocal manner pos- sible, notwithstanding the great de.ect of all keyed uistruments, except the organ, in r ot sus- taining their tone. To make a harpsichord or piano-forte sing is, indeed, not easily accom- plished, as the ear must lie tired by too thin a hannony, or stunned by too full and noisy an ac- companiment. In his opinion, music ought to touch the heart ; and he never found that this could be effected by. running, ratthng drum- ming, or arpeggios. If Haydn ever looked up to anv great master as a model, it seems to have been Emmanuel Bach. The bold modulations, rests, pauses, free use of semitones, aid unex- pected flights of Haydn, remind us tien-ently of Emmanuel Bach's early works, more Xiv.ix of any otiier composer. But in wTiting for Aiohns, it must be confessed that Haydn surpiussed his model in facility and invention. Emmanuel Bach's compositions consist of sjnuphonic-, concertos, sonatas, and much church music. In the whole, there are more than fifty tlifferent ]mblished works of his composition, some of which wci-e printed after hi* de-'e:vse. ■ BACH, JOHX CHllISTLVX, called Bach o< 82 BAG EXCYCLOl'.KDIA OF MUSIC. II AC Milnn, nud iil'tcrwards Biich of London, was a son ol" St'haitinu by his second wile. He wna very early in lie deprived ol' the instructions of liis father, and wa:* for some time a scliolar of liis elder brother, P^mmanuel, under whom he bci'ame n tine performer on keyed instruments, lie sub- KCiiucntly went to Italy, where his chiet study was the composition of vocal m\i-ic ; here he added new lustre to his name and family, by liis several dramatic compositions, and wa:« aj)- pointed, by the empress queen, or|;anist of the l)uomo of Milan. In 17G3 he was eu^njjcd by Mattel to compose for the opeia in London, and he soon alterwards arrived in that country. His (irst o]layed without the accorapanimcnt.s, wliich are admirable, and so masterly and inter&.ting to the audience, that want of execution or eom- j)lication in the harpsichord i)art is never dis- covered. There are many aibnirable airs in the operas he composed for the stage that long remained in favor. The richness of the accom- paniments, perhaps, deser\-e more prai>e than the originality of the melodies ; which, however, are always natural, elegant, and in the beu tiuste of the Italian school, at tlnit time. The Neapolitan hchool, where ho studied, is manliest in his " (.'iintileita," and the science of his father and Lr »tiier, in his hannony. J. (.'. Bach had tlic merit of giving a more dramatic ell'e.-t to his o era airs by not bringing back alter the allegro t'.e slow movement of the commencement, as •»d the Italian comjjosers bc.bre him had done, liach seems to have been the first compo-er who observcil in music of his father and ehler brothers ; and he published some instrumental works not unworthy the name of Hach. lie held the sit- uation of master of the concerts at the court of Huckeburg. J. V. V. Hacli imitated Uramanuel Hach's manner, b\it did not equal him. Accord- ing to the te-timony of W. Friedeiuann, he was, however, tlie ablest ])erfonner of all the brother^, and the one who played most readily his lather's compositions for the clavichord. IJACII, AVILIIKLM FUIEDKM.VXX, eldest son of Sebastian Bach, was born in 1710. He approached the nearest to his father in the origi- nality of hLs musical concejjfions. All his melo- dic * have a different turn from tho^o of other compo ers, and yet they are not only extremely natural, but, at the same time, uncommonly in- genious and elegant. When perfonued with delicacy, lui he himself used to play them, they cannot fail to enchant every connoisseur. It Ls only to be regretted that he tried more to jilay from his fancy, and to seek after extemporaneous mu 'ical delicacies, than to wx"ite ; the number, therefore, of his compositions is but smaU. AV. F. Bach died at Berlin in 1784. BACH, CECILI-i. Wife to John Christian Bach. Her maiden name was Grassi. She per- formed the first woman's part for several succes- sive yciirs at the opera in London. BAt;H, FIIIEDRICH LUDWIG, a music master at Berhn, was liviixg m 1790, and ha-i made many good scholars. BACH, GEORGE CHRISTOPHER. A singe* and composer, who lived, in the year lij8'J, ut Schwciniurt. Among the music of Emmanuc' Bach was found some church music by this com- poser. BACH, JOIIAXX BERXHARD. nephew of Sebastian Bach, was organist at Onlrutf', wher* he died in 1742. One of this name was chambei musician and organist at Eisenach. He com- posed some very fine overtures in the French style. BACH, JOIIAXX CHRISTOPH, was prob- aldy one of the greatest contrap\inti.'ts and most expert organists iu Germany towards the clo-e o: the seventeenth century. He was court and town organist at Eisenach. In the lu-chive; i lus ther were called) of the Bach family, which Emman- uel Bach i>osse*,-ed in Hamburg, there was, among other pieces, a motet of Johann Chri.toph's com- position, in which he had vent\ired to make u-se of the extreme sixth, which, in his days, wbj* considered an extremely l>olil attempt. He wb.-i also an uncommon master of f\ill harmony, as is proved by a piece of church music, compo^eL\XX, (JO'lTLOB. Organist at Zeitz in the vear 1791. He published much vocal and instrumental music betweeu the years 179j and 1806. B.VCIIM.'VXX, J., composer of sonatas, &c., published at Vienna iu 17'J(>. BACIIM.VXX, PATER SIXT, an exceUent contrapuntist and organist in Suabia, was born in 17')i. He published mucli music for the or- gan, itC. B.VCIIOFEX, a composer, lived at Zuricn, in Switzerland, in the year 171-5, and publishevh< hav« tht honor of its invention, aie reckoue Pan, Mercury, Faunus, Mai'syas, and Dai)hnis the young Sicilian shepherd. The ancient bag- pi|jc.s of the Greeks, anil the tiliia ii(ric>ileriod by less civilizeil nations, lly the Uomaus it wius callesionnta attachment which the Highlanders (Usplay lor it, and the use of which it \\n> actually l)een in gain- ijig victories, in the day of battle, render it a fit sul>ject for encouragement. BAlIIIVr, a celebrated performer on the haut- boy at Copenhagen. B.VIIN, T. (;., publishe pub- lisheil several musical work*. B.VII.DON, a celebratoil English glr* com- poser, tlourLihcv uiifted.' iiisic in hiirm-lf, 'iH-onl of nvrt- 1 aoundt, iii«, nixl sjMtils ; ' An' iliiil u night, > Krrbuf : Well may this be said of an art which has power to raise the coarsest veteran to noble sen- timents of deeds, and to inspire the rawest and most timorous recruit with a contempt of death. 87 It Ls worthy of remark, that as the »U'rofound con- sideration that, in all the intimations which the Bilde gives us of a fviture world, music is associ- ated only with the em->loj-ments and happiness of heaven ■ We read of no strains of music coming up from the regions of the lost. To asiiociate its melodie-i and hanuonies with the wailings and convulsions of roi'rolmte Ri)iriti would be doing violence, as all feel, to our con- ceptions of its true character. We think thai the great Milton offore 1 violm^-e both to natnrt and revelation in the picture which he diaw^i towards the close of the firt ho<->k of hLs " P»ra- dLse I,gions ol .St. tan as moving " ir pcrlect phalaux to the Doriao RAL ENCYCLOP.TiDIA OF MUSIC. Ti\l mood of fliilfri nnd soft recorders," " soft pipes that clianucd theu' painful steps," &c. Music can have couiici-tion only with our bettor nature. .\buscd it doubtless may be; for which of God's gii'ts is not abused? but its value, when properly einploved an a menus of culture, as a source of refined i)lcasurc, and as the i)ro])er aid and ally of our eHbrts nnd asjjirationt alter };ood, is clear and uu(iue>tionnble. " In music," Hays Hooker, " the very imnijo of vice and vii-tue is perceived. It is a thiu^ that deli;-liited communities where the youth had been trained from child- hood to exercises ui vocal music, of such a character as to elevate instead of deba -ing the mind, and have found that it served in the same maimer to cheer the social assemblies, in place of the voice of folly or the poisoned cup of intoxi- cation. We have seen the young men of such a community assembled to the number of several hundreds, from a cii-cuit of twenty miles ; and, instead of spending a day of festivity in rioting and drunkenness, pass the whole time, with the exception of that einployeroceed8 of the exhibition to some object of benevolence. We could not but look at the coutra;-;t presented on similar occasions in our own country with ablush of shame. We have visited a village who -e whole moral aspect was chnnged in a few years bV the introduction of music of this character, even among adults, and where the aged were com- pelled to express their astonishment at seeing the young abandon their eomi])ting and riotous amusements for this delightful and improving 88 BAL EXCYCLOPiEDIA OF MUSIC. BAL exercise." Music Ls one of the fine arts; it therefore dcnln witli r.bstr ict beauty, and so lifts man to the source of all beauty — from tiuite to infinite, and from tlic world of matter to the world of spirit* and to God. Music is the j^rcat handmaid to civiUzation. WTicnce come those traditions of a revered anti(|uity — seditions quelled, cures wroufjht, fleets and armies gov- erned by the force of son;; ? whence that re- sponding of rofk-i, woods, and trees to the harp of Orpiieus » whence a city's walls uprising beneath the wonder-working touches of Apollo's IjTe r These, it Ls true, are fables ; yet they shadow forth, beneath the veil of allegory, a profound truth. They beautifully i)roclaira the mysterious union between music, as an instru- ment of man's civilization, and the soul of man. Prophets and wise men, large-minded law- givers of au olden time, understood and acted on this truth. The ancient oracles were uttered in loug. The laws of the Twelve Tables were put to music, and got by heart at school. Minstrel and sage ai-e, in some languages, convertible terras. Mvisic is allied to the highest sentiments of man's moral nature — love of God, love of country, love of liieuds. Woe to the nation in which these sentunents are allowed to go to decay ! What tongue can tell the unutterable energies that reside in these three engines — church music, national airs, and tinished melo- dies — as means of inlorraing and enlarging the mighty heiurts of a fiee people ? IIALLAD SINGER. One whnsc employment It il to ling bal- lads. BATJ, \l) STYLE. In llie nir or mnnnir of n hollnrl. HAI.I.AI) TINT- The ciiininoii xtng or tunc of n Imllad. Bal. lad tune itonerjllv mean* a kind of (tone, iidnpti'd to the nipocity of the lower elasa of penplf. Thi- ballad hojf not, howevcT.alwayii been eonftned to the low and Inf.-rior onler of couiliositfoui. lu'an olil Enffli^h version of thu Hihlc, Solomon's Sons ii dealimnted on the Uiillii'l of hiillii /». Som.' suppose Ihitt a knowli'dfte of the Imllnds in common usr is neci'*«Ary t*> a miuisler of state to Icurn ihi- tem- per and dis)i.>sition of the iH'opIe ; .mil I»nl Ci-fil, prime miniiler Ui Queen Kli/iilieth, is s itd to liave made an ample rollei-tion of h»l- l.lds for this purpose. .See Dr. Perey's Collection of old English and Scotch Bull.id-, and a dissertation predxed to Dr. Alkin't Collection of Ballad TuiiL-s, or Soni;s. BAI.I.AKE. (I) To dance. B.\LI..\T.V. (I.J A term applied by the Italian! toany song, the melody of which is calculated to regulate the measure uf a dauce. BAUXO. A celebrated tenor singer at the Chapel Royal at Lisbon. He died in 1700. B.\LL.\RO'rn. A composer of opera music at Venice, at the end of the seventeenth century. B.VI-LF/nT, MADEMOISELLE. First female singer, in 1708, at the Opera Butfa at Paris. BALLET. A kind of dramatic poem, repre- senting some tabulous action or subject, di^'idctl into several acts in which several persons appear, and recite ihings under the name of some deity, or other illu-.triou8 character. The term is now particularly u-cd lor a sta;;e dance. Ballet is hkewise the name given, in France, to a whim- sical kind of opera, in which dancing is a princi- pal part of the perfonuaiuc. In most of the>e ballets the several acts seem so many different subjects, connected only by some general relation foreign to the a'/tion, which the spectator could not discover, if it was not made known in the prologue. Ballots are accompanied with music, *nd sometimes aonsist of a series of airs with lilferent movements. UAI.I.ETTD. (1.1 A hallelto is a theatrical representation of Icmii- lide^ or table, t4>ld in danre. or metncml octluu, sccum|Minied kith music I on inter.udei acunilc danc«. BAM.ET MASTER. The artist who inrenU and »upertnlend» the rehearsal aiid iH-rfunnaiiee of the balleL B.VLLI. (I.) Certain analogous dancc«, which the Italians first uitroduced about the year 1730, betweeu the at^ts of their operas, but in the com- j)osition of which they were not suffered to in- trude so much on the attention of the audience as to rob the poet, composer, and vocal liorlorm- ers of their due rank and importance in the ibama. B.VLUCOUUT. A celebrated flutist and com- })oser for his instrument iu Loudon, about the year 17 ft. BALLIEUE, C. L. D., died at Ilouen in 1800. He wrote, among other works, a theory of music, which, although approved by the academy of Kouen, Ls essentially false. (I.) A sort of ballet ; any dancing BALLO. tune. BALFE. A good vocalist and fine composer. lie sang in Xew York in IS 31. He hasacijuired such musical reputation as few Kngli.sh singers or composers have ever done. Ball'e was born in Ireland, and was first distinguished as a singer. His voice was a baritone of moderate i)Ower ; but his style was most beautifully finished and full of feeling. He has since merged the singer in the composer. His sparkling and effective opera:*, the "Enchantress," the "Bohemian (iirl," &c., enjoy great popularity. Balle has jjresidetl over the orchestra for some time in one of the great rival opera e. ' perance, and is ttaid to \ave shortened h j> dayi 12 89 DAL ENCYCLOPAEDIA OF MUSIC. BAN oy exce%-.ivo drtiikini;. He was buried in West- minster Abbey, iii the year 16G3. BALVAXSKY published twelve IlongroUea at Vieiiim in 17!)-5. BALZLVXI, LEONARDO. A violin com- poser at the bcj;inuing of the last century. BAMBElKiEK, ^L\DAME. A celebrated liermiin singer at Frankfort. BAMHLN'I, F., of Bologna, Mcnt to France, when ten years of age, with his father, who was manngcr of a company of Italian coinoclians. I'hey pci-foiTued abo\it the year 1760 in Paris. F. Bamlnni composed several operas, also some instrumental music. BANCIIIERI, ARIANO. A celebrated Itid- ian comi)0:5er between the years 1598 and 1638. . BANCZ.VKEWIC, a chapel-master at War- saw, composed some sacred music, and was a wanu promoter of that style of composition. BAND, or BANDA. A company of practical musicians, associated for the puqjose of i)erfonn- ing together on their respective instruments. Some bands use brass instruments only, and are called brass bands ; others use various instru- ments, and such as are common in orchestras. BAXDERALI, professor of singing at the Conservatoire at Paris for twenty years previous, died of cholera, in that city, in 1849. BAXDIXL AXGELO MARIA. Among the musical manuscripts purchased by Dr. Burney at Rome, in 1770, was the music book of Salvator Rosa, the celebrated painter, poet, and musician. Number eleven, in the above-mentioned curious maniiscript, contains a grumbling, gloomy his- tory of Salvator Rosa, in which the comic exag- geration is not unpleasini; ; but it is rather a satire on the times in which he lived than a IjtIc composition. However, it is set by Bandini ; but being chiefly narrative, the music is almost whoUj- recitative. Dr. Burney has published a transla- tion of this cantata. Bandini was a native of Florence. BAXDORE. (I.) A stringed instrument of the lute kind, used many years ago, but now aban- doned. B.VX'ESTER, G. An old English composer about the year 1190. BAXISTER, JOIIX, succeeded the celebrated Baltznr, as leader of King Charles's new band of l\*cnty-four violins. He was the lirst English riolinist of any note. lie died in 1()79. lie set to music the opera of " Cinv," written by Dave- nant. and jjorlormcd at the theatre and in Dor- set (iardens in 1(>7<). He also comjiosed several songs. Banister was the tirst musician who es- tablished lucrative concerts in London. The-o concerts were advertised in the Loudon Gazette of the times; and in Xo. 742, December 30, iri72, there Is the following advert i'^ement ; "The c arc to give notice, that at Mr. John Ban- ister's house, now called the Mvi'-ic .School, over against the (ieorge Tavernc, in ^Vhitc Friars, tliis pre-ent Monday, will' be Musiok performed by exccUeut masters, beginning precisely at four of the clock in the afternoon, and every aUenioon for the future, precisely ut the same hour." BAXLSTER, JOIIX, son of the preceding, was an eminent performer on the violin ; he wai one of King William's band, and played the first violin at Drury Lane, wl:en operas were tirst per- formed there. He died about the year 172.5. H« composed several grounds, with divisions, in- serted in the " Division Yiolin." BAXISTER, CHARLES. A bass singer at the London theatres in the latter part of the last century, and father to John Banister, the cele- brated comedian. C. Banister's voice and style were aUke powerful by nature and feeling, though rough and unpolished. He gave Carter's very spirited description of a sea tight, " Stand to youi guns, my hearts of oak," with a corresponding animation. Shield wrote "The Wolf" for hiiu. BANISTER, H. J. A composer of vocal mu- sic, and teacher, resident in London. Some of his songs were published at the Harmonic Insti- tution. BANJO. A favorite instrument among the negroes of the south. It is a rude imitation of the guitar united with the tambourine. Its head, and neck are formed like tlie guitar ; it has five strings. Is played with the fingers and hand, and its body Is m the form of a hoop, over which parchment is stretched as over a drum. SC.\.LE POK THE n\XJ0. l5t 9tring. -M ►triug. :'A strillK. • 4th or ImM ttring. C 5th string. Position. — Hold the banjo in the left hand, about two inches from the nut ; let the neck rest in the hollow of your hand, wlii.^h wiU briu;} your fingers and thumb diiectly over the string:-, and let the instrument rest against your right side, which will bring it in a proper po.-.itiou to perform with the right hand. You must sit in an upright and graceful position, as it is less tire- some, and will give your right hand a fuller Use of the instrument. Oil tuning the Banjo in the Key of C. — Tune the middle or tliird string to C, the tirth or shorter to C an octave above ; tune the fourth string to F a fifth below lower C. Tune the second string to E a third above the lower C, and tune the first to G on a third above the second or a tilth above lower C. SCALE FOR TUE B.VXJO I.V THE KEY OF C. i ^^- Kunii oTDotM, 0 TOAB C D CrOAno'nEFOABO tigixif, 0 0 1 ' 1 ii 3 The 0 above represents the open strings, the figures 1, 2, 3, and 4, the fingers to place upoa them. On tuning the Banjo in the Key of (£).) i* J* Tune the middle or third string to D, the fifth M D an octave above, the fourth to G, the second to F, and the first to A, which corresponds to A on the violin. BAX'K, J. C. H., a composer and organist at 00 BAN ENCICLOP.EDIA OF MUSIC. BAB Magdchurj», publLshctl some miuic for the piano at Leipsic, about the year 1797. BANKIIART, professor of music at Leices- ter, was an eminent violoncellist. Ho performed at the York musical festival in 1823. liANN'EUX. A theatrical composer at Paris about the year 1798. BAXXUS, JOIIX ALBERTUS. A writer on music in the first half of the seventeenth century. His works were ]>ublished in Holland ; amon!;st other:', n book in the Italian language, called ' AUnu^nta Miisiae." BANTI, BUKiADA GEORGI, a celebrated female Itnlinn siuijor, was the daughter of a Ve- netian gondolier, and in her youth nothing more nor les;t than a street singer in Georgi, her native town, where a noble amateur, having noticed the brilliancy of her voice, had her instructed in singing at his expense. It is probable she vran Bhortly after ailvi^cd to try her fortune in a for- eign country, for slie soon left Venice on her road to Paris ; not, however, as it would Rccm, in prosjiorous circumstances, since she sang at cof- fee hou .e* and inns, at Lyons and other towns, for small sums collected from the guests. Mon- sieur de Vi:uitv, tlicn manager of the opera at [ sel, between the years 1760 and 1770 Paris, relates, that, in the year 1778, he stopped ' Battista. one evening at a coHee house on the Boulevards, being struck bv the sound of a verv beautiful I BAPTISTIX, or JOIIX BAPTISTE STRUK, voice; it was Banti whom he heard, as she was I » musician ot Florence, died 1740. singinii in the cotfee room. He put a louis d"or | B.\R, or B.VR.S. A bar is a line drawn into her hand, di>suing her to call on him tlie j tlirough the stntf at right angles to the statf it- next morning. The result was, that Monsieur de self, for the purpose ot dividing the notfti into by Francesco Bianchi, and then first produced. The celcbroted prayer in it, " Cran l)io die refjoli, was given in a style of tenderness and appropri ate devotion, which perhaps has never been ex- ceeded on the stage. We believe tliat the yeai INO'2 was the hist season of Banti's singing iu England. She died at Bologna, in ISO i, aged about fifty. It Ls said, that, on opening her body, the lungs were found to be of an unu.sually larga siite. BAXWART, JACOll, a composer of mo- tetj), &c., in the latter half of the sovenleenth century, was born in .Sweia and Fugue on a German Air ; " " Fugue Canon ; " " Introduction and Rondo on an Air irom Beggar's Opera ; " " Fanta,sia on an Air from Rosina ; " " Three Waltzes, brilliant." Vio- lin ; " Fantasia, in which are introduced two Airs Kusses, Piano-forte ace." Flute: "Fantasia on an Air fi'om Mozart ; " " Solo, in which is mtro- duced an Air in the TjTolian Style," &c., &o. BARXI, CAMILLE, of the Lombard school of musicians, was born at Como in I78 to Rome, where ahc was considered the finest singer in Italy. BA1U)QL'^. (F.) An adjective applied to n com]io-iuon, the hannony of which Ls false, and overcharged wit>i modulation, wliile the intona- tion is forced anJ unnatural. BARRb2. (F.) In guitar playing, a tempo- rary nut, formed by placing the fore finger of the *ft hand across tlie stiings. BARRE, ANTOXIO. Publisher at MUan, in 1.588, of a largo collection of motets by various composers. BARRE, TRILLE LA. See Labarre. BARRED C. C ^vith a bar across it; the second mark of common time. BARRED SEMICIRCLE. Used to denote a quicker movement than the semicircle without the bar, and is called aUa breve, because it wa.s formerly written with one breve in a measure. BARREL ORGAN. Any organ or music box which produces music in consequence of the turning of a barrel or cylinder in which ])ins an- fixed to represent notes upon the staff. A hand organ. BARRETT, JOIIX, a pupil of Blow, wa.s an organist in London at the beginning of the last century. In the " Pills to purge Melancholy " are many songs composed by him, among others the air, " 'When he holds up his hand," iji the " Beggar's Opera." BARRETfl. See Baketti. BARRIERE, E. B. J., a French violinist and. composer, was born at Valenciennes in 1749. BARRIXGTOX, HOX. DAEs'ES, ^^Tote in the " Philosophical Transactions," vol. Lx., an account of a very remarkable young musician. This was the celebrated Mozart, who had been performing, as a child, in London. D. Barring- ton published also a volume of "Miscellanies," in which there are some particulars of Dr. Crotch's precocity of musical talent, also of the early genius for music ennced by Samuel Wesley. BARSAXTI, FRAXCESCO. A. native of Luc- ca, born about the year 1690. He studied the civil law in the University of Padua, but, alter a short stay there, chose music for his pro.cssion. Accordingly he put himself under the tuition of some of the ablest masters in Italy, and havuig attained to a considerable degree of proticieucy ui the science of practical eompo-^ition, took a resolution to settle in England, and arrived there with Geminiani, who was also a liUccese, iu the year 1714. He continued many years a perform- er at the Opera House ; at length reflecting that there wius a prospect of advantage for one of his profession in Scotland, he went thither, and, with greater truth than the same i;j asserted of David Rizzio, may be said to have meliorated tlie music of that country, by collecting and making basses to a great numl)cr of the most popular .Scotch tunes. About the year 17.50, Barsautirctui-nod to England ; but being advanced in years, he wis glad to be taken into the opera band as a p»r- fonucr on the tenor violin, and in the summer Bea;ing the continuance of his regard. .Success never altered him, applause never e^ rvated him ; and he died KAR ENCYCLOPAEDIA OF MUSIC. BAS I am coutidcnt, as he had lived, beloved beyond the usual dcjp'ee of love bcfltowcd on those whose cxcellenoc, to use Wordsworth's beauti- ful words respecting; lon;;evity, ' has no com- panion.' " — So far Miss Hawkins. We have now to reniiirk that Hartlciunn, as he advanced to manhood, became celebrated for his powers as a bass, or rather baritoim sinj^cr, in which line he first appeared in pubUc, we believe, at the con- certs at Kreemason.-)' Hall. He was next engaged at the ancient concerts, and lastly became one of tlic proprietors and conductors of the vocal concerts at the Hanover St^uare rooms. He died in 1820. B ARTLETT, JOHN. Author of «' A Book of AjTes for the Lute and Viol da Gamba," IjOU- dun, IGOG. BARTOLI, DANIEL, of Bologna, was the author of a work entitled " I)d Suono de Trc- niore Armonici e dell Vdito," published in 1680. In tlus truly scientific and ingenious work are to be found several discoveries in hannouics that have been enlarged upon by posterior writers on the subject. It contains four dissertations : the first treats of the similarity between tlie circular undulations occasioned in still water when a stone is tlirown into it, and the propagation and motion of sound. The second, of the motion of sound compared with that of light ; of echoes or reflection of sound, and of its augmentation in a whispering room or gallery. Third, of hanuonic vibrations and ratios of sound ; of sympathetic sounds ; of the breaking a glass with the voice. Fourth, of the mixture oi sounds ; of consonance ; harmonics ; and the immense increase of sounds in a vessel or enclosed place, by repercussion ; with many other curious inquiries, and ends with the anatomy of tlie ear. He was the author of many other profound and learned works, and died at Home in 1685. BARTOLINI I'ERUGINO, SIMONE. A singer in the pope's chajjcl at Rome about the year 1513. He was sent with eight other singers, by the pope, to the council of Trent. ■ BARTOLOZZI. An excellent performer on the tenor, recently living in England. BARTOLUS, ABRAILVM. A professor at Leipsic, at the beginning of the seventeenth century. lie wrote a mathematical work on music. BARTON, JUSQUIN. A composer of the French school in the sixteenth century. BARTSCH, C. F. Author of a collection of Airs, published at Halle, in 179'2. BARTSCH. A pianLst in the orchestra at the theatre of Venice, and composer of some operas, about the year 1796. BARUTA. A celebrated violinist at Padua about tlic year 1800. BAUVl'HONUS, HENRY, a skUful theorist, flourished about the year 1630, and was author of several treatises, particularly one in Latin, entitled " Plfjofies MiisicT," which Walthcr styles excellent. B.VRYPICNI. (Gr.) Tlie ancients gave this name to tivc of the eight sounds, or princi- pal chords, of their system, viz., the Hypate- lI}^5aton, the Hj-pate-McAou, the Mese, the Par- amcsc, and the Nete-Diazeugmenon. BARYT'ONE, or BARITONE. This word means literally deep-toned, pertaining to or noting a grave, deep sound, or male voice. The bary- tone Is the lowest but one, of the six registers, into which the scale of the human voice is com- monly divided. It Is, perhaps, tlie most common kind of male voice, Ij'ing between the bass and the tenor as to compass, and correr.ponding, at the distance of an octave, with the mezzo soprano, or middle female voice. BASANIER, MARTIN. Author of a work entitled " I'laswnrs beaux Secrets toiichant la The- orie et la Pratitjite de la Mitsiqtie," Paris, 1584. BASILE, ADRIANA. See Baroni. BASILICAPETRL CARLO, Bishop of No- vara, died in 1615. He wrote a work entitled " De Chords." BASIIiU, D. F. A composer in the latter part of the seventeenth century. He lived at Perouse. BASILIO, FRANCESCO. An opera compo- ser at MUan about the year 1790. BASS, BASE, or BASSO. AU have the same meaning ; the lowest or deejiest part. Basi is thus written in imitation of the Italian bcviso, which is the English base, low, or, substantive- ly, basis, foundation ; yet with the pronuncia- tion of base and plural bases. The bass, or lowest part, is, with sound musicians, the most important of all the parts. It is, indeed, the foundation of the harmony — the support of the whole supei-structure of the composition. The word bass is technically used ui various connections ; as. Thorough Bass, Fundamental Bass, Ground Bass, Figured Bass, iS:c., all of which will be noticed. A Figured Bass is a bass with tigures written over or vnider each noto, to mdicate the accompanying harmonies. I'he term Figured Bass is also u^ed as synonjTnous with Figurative Bass, meaning a bass not confined to the plain canto-fermo style, but moving with more freedom, and with a melody of its own. For instance, the Bass in Bach's arrangement of "Old Hundi-ed." (See Ai.teu\tioxs.) Funda- meiUal Bass is that bass which forms the tone, or natural foui\dation, of the incumbent harmony, and from which, as a lawful source, that harmony is derived. To explain tliis by an example : If the harmony cousUts of the common chord of C, U will be its fundamental bass, because from that note the harmony is deduced ; and if, while that harmony is continued, the bass be changed to any other note, it ceases to be fundamental, because it is no longer the note from which that harmony results, and is calculated. (Iround Bass is used sometimes as STOOnymo'xs with Funda- mental Bass, and sometuues as a bass which starts with some subject of its own, and continues to be repeated tlu'oughout the movement, while the u])per part, or piu^ts, of the compositii\i» pursue a 8ei)arate air, and supply the harmony. This kii d of bass was greatly in fashion about haL''a ccntuiy since, but has for some time been rejected as an unnatural restraint upon the imagination, and productive of a monotonous melody. Tfiorvugk 86 BAS EXCYCLOl'.EDIA OF MUSIC. fiAS Baas is the art by which hiinnony in supcrnJilcJ I to any proposed bu.s>t, ami includes the I'uiulu- mental rulor) of composition. This brunch of the musical science Ls twofold, theoretical and prac- tical. Theoretical Tliorough Ba.HS comprehends the knowleds^* of the connection and disposition of all the several chords, harmonious and disso- nant, and includes all the established laws by ivhicli they are formed and regulated. Practical ITiorough Bass is conversant with the manner of takin'j the several chords on an instrument, as prescribed by the figures placed over or under the bass part of a composition, and supposes a familiar ac'iuaintance witli the powers of the-e figures, a faciUty in taking the chords they indi- cate, and judgment in the various applications and effects of those cliords in accompaniment. The Bans Is that part of a concert which is the most heard ; which consists of the gravest and largest sounds, or which is played on the longest ])ipRS or strings of a common instrument, or on instruments birgcr than common for the pur])oso. BASS BK.VM, or BAS.S BRIDGE. 'Di* name given by instrument makers to the Hmall beam uiside the viol, and nearly under the bass string. B.VSS IIORX. ThLs instrument, formerly much used in bandtt, has declined much hinc« the introduction of the Ophicleidc, whidi instru- ment it somewliat resembles. The player of the bass horn should possess a (juick and correct eiir, and a knowledge of thorough bass, in order to perform u])on tliat instrument acceptal)ly. Tlie instrument hiLs been found rather imperf'.-ct, and Ls not now much used. 'Hiere is a French honi called bass horn, and the directions for learning that instrument will be found under the term French Horn. SCALE FOR TUB B\S3 UOKX. H — I — I — I — h ^^#^^^ ^^ ,,^^^^^M B c c^ D D^ E) zq r rj a 1^ Aji g^ tj c c)| ob d|| i>8 i9 >3 * f'i o eg ii;? a); aJJ b^ bJ c cj( d? D|j d<) ib >S f '•> o aq • • • o o • o o o o o • o o o i«*«oooo •••• ••••oo*o ■ 0 0 09 000 •••o oo*«o««o ^••OOOOO •••O 00000*00 0 O O O GO O o o o o o o o o o o O O o o o o o o • • oaooo o o • • o o o • o • • o O 0* o o 0 0* o o o O O • 00 O 03 O O O • 00 o oo o O O • 30 O 00 O o ooooaoaoo o o o • •• o •• • oo eooooo*«««« 00 aooooo***** oo aooo oo***** o o * *o*oo*o* * o o** *o*c BASS CI.F.F NOTE. Thit nol» which In Ihi- Nim tlalT i< plucd on thr mmc line wilh Ihc Imi clif: I. c, the fuiirth liin-. HASS (JRVCE. A «iimll now, like ft ihort (iiu-ov^Vifwrrt, «nd very iiTiiilnr ti» the ar^KiociifMi-rt of (he Italinn*. It i» ttnick onlr once, aixl at the uitni- tinu' uilh the principal note, but !• immeill- •tely qnittfd. It i« frequently \tM-<\ up-in tJie ori^n to ttrengthcii Uie piirt«. an the tnnie or kry noit, the naruml h.tniimiy brlnn)dnK to it ronnLtrmir the thirvl. fifth, nii'l elghih, making the common chord of 0, thus: Common chords, whether major or minor, require no fljcunu, though formerly they were marked with one or both of the flxunai &. A key is min'ir wlien the third is *t the di«(unr« of three acml- tnoes fntm the tonic, and major when -C, gB, «t four. The order in which the sounds / «re huilt upon the bnss note is at the y tute of tlie performer, tliat is, wlic'her the third shall come next to the tonic, be placed in the middle, or be upper- most, thus : Whenerer the b«ss note steps otit of Its place Into that of the third of the key, this change U called the Jirtl derieatirt 13 q; of the chord, Is marked wilh the tgan 6, and U termed tb* cnoRD or THE bixtii, as it lakes the har- mony of the sixth note at>oTe It. The | dominant of the key Ls alwayi the fifth ' note above the key note — and when llie ba.«s steps Into the place of the fifth, dominant, it is called the srcomt rlrrir lire of the chord, and lakes the figures 8 or simply 4: The flKures denote the Interrals abore the bass note, finiplr a sharp or fiat placed under s note, signifies that the third is to Iw sharp or flat. An example of a succession oj Kt Chord oflht Sixth. (5 •*• I A ^ n fi -9 — (O- I Example of the Chord » . 5f 5! Fo'S'. ^ridiiliiiij a^M-£^I^M^ggEj^g UAS ENCYCLOPAEDIA OF MUSIC. BAS A minor. l^BH ^ g C7" When a sharp prfcrdps or follows a fipnrf, U f i(.Tiifles Ihat the note which that fipire reprefenta, niuet be iharptd. Another mode of indicating the sharp, sometimes used, ia by a stroke or d-TJ-h drawn through the figure. Another pet of combinations, called Discords, are procured fWim the Chord of the Dominant Seventh, termed the caoBD OF THE SEVENTH. (Ste above.) When the bass steps into the place of the third, as before mentioned, it is termed the Jirst derivative of Iht stvrnlh, and takes the figures «, being the chord of sixth and fifth. When the bass steps to the fifth, or dominant, it is termed the second deritaine of the sen nth, and lakes the figures 4 being the chord of the fourth and third. T^Tjcn the bass tleps still a degree Cirther into the place of the seventh, it is termed the third dirtvative of the seventh, and takes the figures 21 and is called the chord of the fourth and second, or sim- (ily the second. The Seventh and Us Derivative. Thai far the figure* show wliat harmony is built upon the baas; and when the bass ascends from its foundation place nto Ihooe of the di'rivative.i. the hannonv is then said to be jivfrted. as the key-note, which ought to be at the bottom, « then abecome so very complex. It Is doubtful whether they tend to simplify our notions further than iminting out Uic root or fcumlaiion note of the chord The distorJ of the ruilNlgBED iEVt-Wil, is produced by raising the bass note of the dominant Mrventli a semitone, which forms a compoimd •f thrao minor thirds, ^^ ^naturally resolving t^'t^ "JIntn the harnmn; of a semitone abovi Ithe ba^s note, #" -^ — and having the same derivatives as the dominant seventh. The eHi^m" of this chord in modulation are strikingly power- ful ; and it rraclily admita of a transition to any chonl in which one of i's notes may form a part There is still a higher cla** of dl^^o^d« to be mentioned, which are produced by pliu-lng the chord of tlie dominant seventh upon the coni- Dion chord of the tonic, funning the chord of the eleventh, (vcolnng into the common chord, tliu* - ^na §=«I2- ny adding iLe third above the dominant seventh, we | f^ ^ [^ j obtain the chord of the thir- V ' ' / " 1^ teenth. which involves every ^ \^.,^ note in the diatonic scale, ' ^ ^ and resolves into the com- i^^'.-yj— ^j| <_| mon chord These di.«cord8 are in fact a compound of ap(X)CL'iatiira note*, forming suspended hiirmonies, which ultimately melt Into the common chord. The following examples, with the chords filled up at length In notes, v/111 be found simple and u«cful Persons, who have not the advantage of a master, will find themselves much a'-'isted in their progress, by first wridTig out the figured ba.«ses and the top notes of each chord as here given, and then, without looking at examples, supplying- the remain- ing notes according to their own ide.ia. After which, a rom- (mrison of their perf'irmance with the corresponding exampli^s in this key, will enable them to correc*. any errors into which they may have fallen. /^ KXA.MPLES ON COMMON CHORDS. Exercise 1. &mmM v— =^ §js ^m Exebcibi 2. §^=Ie^^ i^EE I Exercise 3. BAS ENCYCLOPEDIA OF MUSIC. HAM ^K^^^ • • • Here the fifth Is umlersfood to b« ahnrp, to »Told the inhnnnoniouK interval Fjj Dj, which cannot beloog to a cod- wnuit chord. KSERCISE ON TTTE COTDION CHORD AXD ITS TWO INVERSIONS, THE « AND « s <■ Exercise 5. iS To aTold octnTes ^-S>- ^ rtziOq 1 — 1 — \—\ c) -g- =5=i= — 9 1 ^ — •"" — 1 ^ 1 '^ s~T % Isi. — U -=M- 6 1^^ [iS3=a c* o ^Sr i! =?^tS 'i^r^ 6 • In thorough-baF«, the major third, ai F shArp, may occ»- «ionaIljr dcscund to the fifth D, when the former ii not ths upper note of the chord. •Told oeUTfl*. i ^ S ^ m gj^-iH -« — f- ^ ^^ g^gEi^ ^"^^tn fi liss: r^ o o :^ -^ a m • m "J I S 8 • _ • _ • _ 99 ^r^ HAS ENCYCLOPEDIA OF MUSIC. BKt m^^^^m y^imm J«6*)0 _ _66 0_ 6 CHORD OF THE SEVENTH AND INVERSIONS. £SEECI3£ T. ^ ^^§^ 677 7777 77 :r3c 3=t: -1— i_j- d d ^ d J J «' O §177 1^ ^^W# ii!^g^fe^£fjifeg I ''' ' %? J '.i^f- >^rif^rV^r^ EURCWE 10. E \ 1 — '< I # , "f", f^bfa ,!7UJOR SCALE WITH CHKOMATIC NOTES INTER- MIXED. EXCBCISE 11. iE il ^s 6 'A 6 JS ^ :«= I "2 i? »! -Ci i-f k^ 100 BAS ENCYCLOPiEDIA OF MUSIC. BAH ^^^Es^ if-=-^ shS: ^ :^ ^ MINOR SCALE WITU CHROMATIC NOTES. Exercise 12 ^^ §iE ^ ^y^^=|j^^^^^^z:|^ ^* 'v* ^:s=«= 9^:e^ 82 f* 7 jM EXZKCISI 13. a ^^-^^rr I ^rr •*»■ •*• i^^^ g — I « - » i;« t^ ^mt^ 9- p r I ,j.r4 :^raz 26 /di i Exercise 14. = --:^ G3 aLEi'-H^! ^ fe te: I^SI £ ^ m -IS= i ^r=^ m EXERCISES ON SUSPENSIONS. Exercise 15. ii^ p ii 1 9 H 5 T 5 DOUBLE SUSPENSIONS. i^^^^^m IS S S 3 -^=^3^1 ^- — ^-j*" -y P §? 2 § 5 5 T^ ExERriSE IG. m ini BAS ENCTCLOPiEDIA OF MUSIC. BAS SCALE Vma SUSPENSION'S. ExzacuE 17. i^^^^^m m^^M-^A^^^ ^#ft4^^^^i^^ -T — \- jit=± ^- l ' I \ r^ « 0 8 ^SP -« — * fT^FF^^^fr^ 7 6 I2 , 6 g P 2ii V fe^Ot-i r-f-j^ir^^^TT^ 9iEE 4 3 I 1^ t^.i t I ^^ ■^ \fi ; ti- -$r "« h:^l i S 1*1 I EXEBCIBE 20. W^T^ k \ z It 5 I? 2b ■r^i BAS ENCYCLOPEDIA OF MUSIC. BAS v- EXIBCIBI 25. H h ^= ii^ -^,— ■ I 1- 1=1: 8 t « 4§ sa T" ExxKCisi 27. I *Lli^ 5^ ^^ m U' S DOMINANT CADENCES. £X£KCI8( 28. *i=S ^ ^ I^ •f ^ ^ i=fh^ iEEE ^ ^: I [^ j=«i S J- z s T i INTERRUPTED CADENCES. Exucul 29. m ^ ExzBCisi 80. Interraptad. it -^>- 5^ ^ .<»rSE: ^ 2: 9^^ I EXAMPLES ON MODULATION. EXIBCUI 81. ^^^^^P S ^ -^-iji- b2 6 «b 'i St" BxiBcm 8S d=3^: 1 a Se ::^ 1 f- f! s}3 i 103 BA3 ENCYCLOPEDIA OF MUSIC BAS ExtnciBE 33. iS "^ I I.— J I ■:». i\\ ^ -j 4^8 48^ 7 6 4 „^ 4 8 ^ I !« a ' « t 6- Exercise 84. ^ ■■ fa ' ->>-•—#• S E^ §iEz :ii^ ::«: «^ '^^Sp 6 Bg 6 45 6 - 5 Exercise 35. ife -^^- t^r^ :^ 5p Exercise i (^ ±5t *=g£ iS I III + 1 r «if 4 8 Exercise 38. 1 h?» ^ Ji^ g ' .Jt ! » •} " i **! i w EXEBCIBS Exercise 40. PrrY-TT*^ ^^m % 6: P^ Ob 5 Exercise 41. ^ ^'^ t u ■^^^^p^ ii^s ' 8 2-ii* 6ji >? 2ff ^ *if j? Ezekcise 42. ^7 6t) 6 4 - 6/ "_ h\) In order that the stuclent maj more readily learn Thorough Ba«s, we give some of the most simple sfudieo. The differ- ence between Harmony and Thorough Hms lies in the first being a science, the second an art. Thorough BxirioiiM. positions from those in the ma- U •'~ , ^ f^ jor : and the chromatic scale is A. i i i g 0 0i formed by semitones only. The y '^ — 1-— f-^ m ^-^—'' major contains five whole, and %J two halftones, distributed thus: ^ f ■- Wbolc too«f. The real minor scale cont.iins three whole tone interrals, three half tone intervals, and one interval of a tone and a half, (from the 6th to the 7th,) thus : a^ruM. B^ BM. This is the only minor scale, Q ^^ '~' ', ''""-1 both a-scenilinc and. lescending, JL. . I I Uji^# I*- which is justifieil hv the har- mj -^J^' Iodic minor scale the sixth and WboltKaua. ToMudb^t. seventh are variable ; a law of euphony compels us sometimes to sharpen the sixth and seventh by accidentals, in oicmditK^, and again to flatten them in descending, thus : I & xi ^"^ S^^^^IP^ •^^ There arc four kinds of intcrfob; major, minor, >>lDUmI. Htaur. Mlnar SmoikI. H>Ji>r. MhorTkM. i ^Ff^^ S ^^B^^^ HtJorTUrd. HIbot Fonxlh. Ut)mT0>nih. ^^;^^^ i Htjm EliMb, m each. All Icrrals beconie •harp interrah one semito: There are two primitire harmonies ; a simple harmony, often denomln.ttexl a common chonl. and a. oompount r' If the flfth meicly doublim; the tonic. No fimires are necwsary to denote a simple harmony ; therefore, whenerer you see a bass note withc^ut any (imire oxer it, you must pUy the simple harmony of r~t~v» 1 means tou that note. Pzj' _ I should play Intervals, by Mt|i» M. Iiinw ik«n> M- ■ A semitone Q j 1 1 All maj..r in-^ ^ , ll , i I . ' Ti ala by adding i/^oA^ ^ ^Ajk^^T^'^Si ) to each. ^ , two primitire harmonies ; a simple harmony, len denomln.tlevl a common choni, and « Q impound hannony. frvijuently. but impro- ^ f I T/y, called a disconl. A simple harmony fm , — I the tonic, or key note, with its thirl and ^+ 8-j^ — • rth : the eighth may be adH-ani a diiiiinUlied har- mony, because Its third and flflh are bnik minor. The Ihitd bean a major hannony, lx.cnuse lis third Is major. The fourth b«an a minor harmony, Ix'cause Its third is minor. The fiflk bean a minor hannony, because lu third Is minor. Tonic. 2th. When the fifth of a minor scale Is used as a ilnminnnt. the third of its hannony must be shar[>ened bv an acciilental. All dominants bear major harmonies. — The stTth and s^vrntK of a minor scale, in a.%renilins, bear diminished hannonles, becau.«e the third and fifth are 6o(A minor. In rlrti-tnJinf, they bear major harmonies, because the tliird is major. Dominant 5e appliivl to all hannonies. The majlef its tonic minor, thus : The third resolution of the dom- inant seventh is inio the harmony of the minor third below the tonic, and is formed exactly the same na the first remlution. with the single exception of the bass rising one whole tone, instead of to the tonic. tbns: The third of the second harmony is doubled by the third and fifth of the first harmony, (the one a«ocnd- ing and the other descending to the same note, ) because, had the D, tlie fifth of G, ascended to E, it would have formed consecutive or following fifths, which, with one exception, is never allowed. The exception to this rule is, that an imperfect fifth may follow a perfect fifth, thus : or thus: rhere is one other rule, which forbidi the use of hidden fifths, which ocy in pass.igcs similar to the following In this Instance B is the hidden fifth, which, although not actually sounded, would have nearly the same effect upon a delicate car, as if it had been sounded. Consecutive octaves arc equally to be avoided ; they occur when two notes of the same name move in the same direc- tion, thus : The difference between octaves and uni- sons is, that octaves are accompanied by harmonies, unisons never. The fourth resolution of the dominant w'venlh is into the hiinnony of the major third l>clow the tonic: the pro- gression of each note is the same, with g=^=S= one exception, as Id ise second resolution ; the bass In tlill resolution ascends a semitone only, thus : In this resolution we are compelled to double the major third of the second harmony ; for did we make D, the fifth of 0, a.scend to E flat, the fifth of A flat, consecutive mivjor fifths would be the result, which if never allowed. Exercise oftht Dominant Seventh, with it$ Four Re»olution$. i^ stisS: ias: I JiL :^ bs J3_ E7 St ^ « -5«s- ~g5- a REGARDING THE DERITATITES OF THE DOMINANT SEVENTH. The dominant seventh has three derivatives : the 8, 5, and 6 ; the 3, 4, and 6 ; and the 2, 4, and 6. The first derivatlT* is formed, as in the case of simple harmonies, by taking the third for abass instead of the fundamental, and placing OT«r i A note bearing 5 means that you must play the harmony of the sixth note above, to which you are to add the fifth. Exercise of the First Derivative of a Dominant Seventh. b6 B 8 b8 !>•■* A straight Une placed over two or more notes, means that you should hold on the harmony you have tJiken with the first note, while you play all the notes which fall under the straight line, thus : I m m ##^r^ ^ ^ ±3#- rf^r^ =E^ iV 11 OL=f=i^ =t J- 7 106 BAS EXCYCLOP^.DIA OF MUSIC. BAS The deconj doriTatiTO of the Jominant m>Tenth is formed ty Ukin{( the fifth for a ba«ii, inntvad of the fUndomeuCal, ■nd placing over it the flgum) i, thua : 1 yoadiiriOTiul. Birnnil Dtrindf*. A note bearing g means, that yon miut plaj the bannony of the fourth cote above, to which you an to add the third. Sxercise of the Secotvi Derivative of the Dominant Seventh, The third derivative of a dominant acventh i» formed by t4king the seventh for a basa instead of the fundamental, and {3aclog over it the figure 2, thus : m ^^m FundAmMIAl. ThlrJ DvrlntlT*. A note bearing a 2, means that you must play the simple Harmony of the note above. Exercise of the Third Derivative of the Dominant Seventh. 2 be be be f-\>» ^^ a be ^b* ^f"/^^^ ^'^ b All the notes of the scale may bear sevenths ; but the domi- nant or fifth of the scale is the only note which bears a major third and a minor seventh. Koch seventh (the dominant excepted) Is resolved Into the harmony of the fourth note above the t>a«s note, thus : or into the harmony of the note above the basa, thus: The doubling of the eighth of the bass in the second exam- '>le is omitted to avoid consecutive octave*. UEa.VRDINO THE DIMINISIIED SEVENTH. The harmony of the diminished seventh may be formed by iml4ng the l>ass note of any dominant seventh one semitone, khoj: ^m -^^ A diminished seventh is to be re- \ solved Into the harmony of the semi- tone above the fundamental, thus : in^^ Exereite of the Diminished Seventh. msaiii A diminished seventh has three derivatives, the same afl the dominant seventh, and they are formed by the same rules ; but in the derivatives of a dlinin- t^n ished seventh there will always be found an accidental sharp, tlat, or natural, at- tached to one part of each derivative, thus : p* You will know the first derivative of a diminished seventh by the figures. Whenever you see a note bearing the flgurM fie, you will know it to be the first derivative of a diminishml seventh, and you must play the harmony of the sixth note almve, which note you j will sharpen, and to which harmony you I will add the fifth note above the boas, thus: The second derivative of the diminished | seventh is indicated by the figures >■> 3 being placed over a bn.'is note. Play the harmony of the fourth note above, which note you will sharpen, to which you must add the third, thus : The third derivative ^ is iniiicated by the SCi.^ - figure Jj^ being pla- '^i- ccd over a Imu*s note. Play the harmony of the note above, which note you must sharp, thus: Each note of the derivatives is to move in its resolntion, exactly in the same manner as when the fundamental waj taken for a bass. The bass note bearing a diminl'hi-'l wventh is always the fundamental of that hamiony, alilioiiKh some writetv assert, that the fundamental is to l>e fi'und a third below, bearing a minor seventh with a tlat ninth ad-led; thus they would say, the diminished seventh on G sharp is the simple harmony of E, with a minor seventh and a Hat ninth added. E luvs no more to do with this harmony than F has to do with the simple harmony of A minor. The fundamental is always to be found in each separate harmony. For example : This U the harmony of C bearing a minor seventh : if you first take away the C, the harmony immediately becomes ttiat of the dlminlshnl har- mony of E, E now t>eing the fundamenL-U : take awnv the R, it becomes the harmony of 0 minor, O now l>rlng the funda- mental ; take away the 0, and the B Oat becomes the fund»> mental. PASSING NOTES. Passiog note* are those which, &y license , ynu are allowed to sound in passing from one note to another, without in anj way altering the harmony fh>m which you move, or the on* to which you arv moving. In the following harmonies of C and F, between the 0 and A, there is a Q sharp which may be lotuidcd, Ibnninc th* paaing note : &^^^^ PiMlng note* may be rarrled to alnuvt tny x ent. log ftom on* C to It* rctave, evtrj semltCDk betw 107 BAS EXCYCLOPyEDIA OF MUSIC. BAS two notoK mlilit he pounJeJ, wiUiout iu the least altering the boniioiiy. Lxiuuplo : The extreme sharp sixth is formed by the system of pasnog notes more thi of the Uai of the iiiaj' know, bc.irs a iliiiiinished har- Diooy,) the third being flatten- rd by licenM; as a pasing note, thus : Some authors consider 0 as the fundamental of this harmony. TIIE DIFFERENT POSITIONS OF HARMONIES. A harmony can be taken in six different positions — three close positions, and three open positions. B 3 5 thus: i i^^=n m The three open positions are thus: IV ''^~ ^^gs 1 Z^SSZ The deriratives hare also six positions. A sequence is a succession of similar harmonies ; as a sequence of thirds, a sequence of sixths, kc. A sequence may be formed of mixed harmonies ; the following is a se- quence of fifths and fourths : i :S= &c. ^^ §g £ The next, of fifths and sixths, descending and ascending : DESCEKDINO. 6 !> 6 Re i^^^-^^^fl^ KS 66 68 66 m^^m^: JTie next Is a sequence of sevenths and sixths by suspenMon, which might nllh equal propriety bo called a lequeDce of appogglaturas ; the seventh, in this case, being nothii g more: o g>"-|-'J yg ei^ &c. A sequence is seldom composed of more than three notes In each harmony. CADENCES. A cadence, in harmony, means a termination or close. There are two sorts of cadences — perfect and imperfect. There is but one perfect cadence ; all the rest come under the latter denomination. A perfect cadence is formed by the harmonies of the subdouiinant and the dominant seventh, fol- lowed by that of the tonic, thus : All other cadences are imperfect. jC^} To prevent the harshness between \z^~ the two first harmonies, it is usual to introduce the harmony of the tonic before taking that of the dominant seventh, thu< : SUSPENSIONS. A suspension Is formed by holding on a part of one har- mony, instead of at once mov- ing the whole to the following harmony, thus : This is the suspension of the third. Suspensions are generally prepared, which preparation is accomplished by sounding the note in the first harmony, the note in the second. m m which is employed to su.ipend A suspended note is prepared by the note above ; thus, the third is prepared by the fourth ; the fifth by the sixth, and so on. MODULATIONS. Modulation is the passing from one key to another. The easie.'it modulation is from a given note to the harmony of the fourth note above. This is accomplished by merely adding a minor seventh to the first | harmony, which immediately changes it to a dominant sev- enth : its tonic is to be found a fourth above, into which har- mony you resolve, according to | the rules heretofore given, thus : An enharmonic change is formed by changing the name and position of a note without (on keyed instrument*) chaug- ing the sound, thus : The enharmonic change is of great use in modulation, as il enables tlie modulator to go, by a very short road, from liat to _ sharp keys. Suppose we wished to modulate from the key of C through all the major key*, and back again to C by means of the dominant seventh only , this could only be done by the assistance of the enharmonio change, thus : BAS ENCYCLOPAEDIA OF MUSIC. DAS ^^^^^^ ^^^M^^ §ia=^ b' bs 5* , fc JZSE SO — -vi*ntli, we shtill quickly accom- plish our aim. HARMONIES WlllCir ARE NOT TO BE CONSIDERED AS INDEPENDENT HARMONIES. The harmony of the seventh and flat ninth added Is nothing more than the dlmliiislipd seventh on the seventh of tha scale, using the dominant as a bass, thus : The resolution of this harmony Is exactly the same as it would lie were the U not played ; namely, into 0. The harmony of the 2, 4, 5 and T, is merely the dominant seventh played upon the tonic ; and its resolution is the aame as if the fundamental had tteen taken ai a ban, thus : Any harmonies may be played upon the tonic or dominant, and at times upon both combined. This latter obserration applies more particularly to movements in the pastoral styla. m ^ *s i ^3 fr=r-iP? f^ -»-^—f^=r =P=^?F i ^ #-i- 3^E^ BEQ ^ RrrvTiiM. Rhythm, or rhythmos, means proportion. There are two kinds, a simple and a compouml rhythmos ; into one of then all music can be divide 1. Music is in simple rhythm wheo it can 1»' divllol Into proportW ns of two bars each ; the final close coniing upftn the second bar of the last rhythm. A compound rhvlhm is forme the supeiflu- 3 3 a ous sixth variously accompanied, the chord of the ^, and the imperfect common chord, altered chords, &c. 110 HAS ENCYCLOPEDIA OP MUSIC. ilAS BASS VIOLIN. In inMtrumental music, when the pas.sai,'e ascends above the bas.s staff, the tenor clef is sometirncs introduced, and the notes are thus performed on the violoncello, as a bass violin. BASS VIOL. Properly, violoncello. (See that instrument.) A stringed instrument, rc- semblini; in form the violin, but much larger. It hits four strings and eight stops, which are sub- divided into scmistops, and i« performed by a bow. niis instrument has long been in use, and is much esteemed. It has a noble effect in con- cert. See VioLo-NCELCo. COMPASS OP TUB BT&INOS. i8t,ftnng, A.- _-P — _-A- „-C--- 2d, D. r-D- p-r »i, O. ;rT~^ —B-i —i7-r BASS VOICE. ITic gravest or deepest of the male voices. BASS CIIANTANTE. (F.) Slnrinff bun Thii exprMvion ii ■ppLiiMl to nny b:i*R, tho nntea of which flow In ft fmooCh and pleft»> ing manner :'t<»rmii((r in thtwr»r mtttHnfa cnmptvtition are placed, and wrvinu ti> di-ti rinine Ihit nilrti trnd namt-i of thoflo notea. UaSs coin ri:R,or Ci»\TKA UASS. The under boaa. That part which, whrn there are two ha.4'«<'!t in acompoaitlon, ia performed by the ublt: bosaea, the viulunccUoa taking the upper baaa, or boMO ettncertttntr, BASSA. (I.) Lower. BASSAXI, (JIOVAXXI BATTISTA, of Bo- logna, the violin master of Corelli, was a pupil of Carissirai, and a man of extensive knowledge and abilities in his art, having been not oidy a Buccessful composer for the church, the theatre, and the chamber, between the years 1680 and 170.3, but an excellent performer on the violin. His sonnta-s for the violin, and accompaniments for that instrument lo his masses, motets, psalms, and cantatas, manifest a knowledge of the finger- board and bow, which appears in the works of no other composer anterior to Corelli ; and the lov- ers of the jnirc harmony and simple melody of that admirable master would still receive great pleasure from tlie performance of Bassani's sona- tas for two violins and a bass. BASS.AM, GEROXIMO, bom at Venice to- wards the close of the seventeenth century, was an excellent singing master and composer of tragicomic dramas, among which are especially cited " Bertoldo" and " L' Amor per Forza." BASSAXI, OR.VZIO. A celebrated ItaUan composer ui the sLxtocnth century. I'urcell is said, but we believe without reason, to have im- itated some of the compositions of this master. BASSE. (F.) The bass part, whether vocal or instrumental. BASSE CmFFRE. (F.) The figured bass. BASSEGGIO, I.OREXZO. An Italian com- poser about the year 1715. BASSE'lTO. (I.) The diminutive of b«iUoD, u well o-i those whirh i-mi)Ioyca«s which, initead of beinn ' '«■ of the chonl t*» which it ia applied, i 'i.of the fundamental note. Suchabn*- i dia- tinaui.h it from the fundamental ha..., wfinJi i« callnl l^i-- • f.runo. BASSO SECO.NDO, A aecond baafc BASSOOX. Tlie compa-ss of the bassoon ex- tends from double B fiat up to B flat in alf, three octaves, including all the intennedinte semitones except B natural. The notes C sharp and D flat, however, are very bad, and should not be uscfl. ^^'hen the ba.'jsoon a-sceniLs very high, tho notes are generally written in tlie tenor clef. C OR TE.NOR CLEF, IN fXISOH WrTK THE BASS, OB F CLEF. This in.strument serves as the ba.ss to tlie wind instruments, and frequently doubles the bass of the orchestra ; its tone Ls so a-ssimilatrd to that of the hautboy, as to render it the natural bass tc that instrument. The ba.ssoon i« imperfect, and requires the a.'«.si5tance of a gor^l mu.siral c«r to blow it in tolerable tune. To make it mnr« portable, it divides into two part.s, whence it aLv bears the denomination fticot, or faifuttn, l>ec«uMk 111 fiAS ENCYCLOPEDIA OF MUSIC. BAS when taken to pieces and bound together, it resembles a fagot, or bundle of stickR. Its diameter at bottom Is nine inches, and its holes are stopjied, like large tiutes. A good bassoon is said to be worth four or five hundred pistoles. ITie bassoon has fourteen holes, as represented by the fourteen lines in the scales, eight of which are stopped by the thumbs and fingers, and six ■with the keys. The six first holes are stopped with the fingers ; the seventh with the F, or great lower key ; the eighth with the A b or Gif key, which is the small key at the bottom ; the ninth with tlie Frf key, or the key governed with the right hand thumb ; the tenth is the right hand thumb hole ; the eleventh with the long key above the right hand thumb hole, which is governed with the left hand thumb ; the twelfth with the small key above the right hand thumb hole, wliich is the E b or Bff key ; the thirteenth Ls the left hand thumb hole ; the fourteenth with the upper long, or double B b key, which is the lowest note on the bassoon, to make which, you must stop at once, with your left hand thumb, two keys and one hole, as may be seen by the scale. The bassoon was probably introduced into England by Ilandel, as it does not appear to take B part in any composition prior to the publication of "Tamerlane," in 1720. In hLs oratorios, Han- del introduces the bassoon as a mere helper, and it rarely appears as a principal ; it joins the hautboy in reply to the stringed instruments, and these alternate changes from the violins and basses to the wind instruments were the first attempts at orchestral effect. ITie bassoon was a drudge in the orchestra for more than fifty years, before it was raised from its menial station to become a principal there. It is now made a very eloquent and interesting instrument. DIATONIC SCALE FOK THE BASSOO.X. jjj^'rrr' £ CDEFOABCDEFGABCDEFO 1 2 3 4 6 6 7 8 9 10 11 12 13 U • ••00 o o o o o o o o • o o««***oo« oo o«««^ooo« oo o«««ooooo oo o*«oooooo oo oeooooooo oo ooooooooo • • o o ooooo ooo ooooo ooo ooo 0 0 0 • ooo oooooo oooooo oooooo oooooo CHBOMATIC SCALE FOK THE BASSOON'. ^^^^i^^ i^^M-^^ 1 Bpii$it)F]|ot>o$^AjE!)cj|ii!) D;{i^Fj)ebeSiit) AJtEticjiiiii>J^rj{ob 1 2 3 4 6 6 7 8 9 10 11 12 13 14 The holM In the aboTe Kmlo are nnmbercd ; and the niimhen are the aame In the diatonic acale. It vfll be eeen that the mianer of ■harping double C and flotting double D ii not given, bccauie thty cannot be founded perfectly without an additional key. b^ ^^ h^. )^ %^ "^ First learn the notes on the bass clef, and then those on the C or tenor clef may be attended to. The C clef, occurring frequently in bassoon music, ought to be well understood. \Micn the U-arncr has a suflicient knowledge of the notes. and can readily call them by their names, it will be ad\'isable to practise the scale. The black dots represent the holes which are to be stopped, and the ciphers those which are to remain open. Great care should be taken to have the reed in good order. \xx old reed, if sound, is far better than a new one. It should be sufficiently thin to blow easy, and yet so stiff as to sound the notes full and distinct, ^^'hen you have your reed in good order, be sure and preserve it so, and let no person but yourself ever touch it. The holes are numbered in the direction the wind passes 112 BAS ENCYCLOr.EUIA OF MUSIC. BAT through the instrument : beginning nt the mouth piece, it passes to near the bottom ; thei\, return- ing, makes its escape at tlie licU above the mouth piece. To transpose a tune I'or the bassoon, or any other instrument, observe, tirst, wliat key it is in, which may be seen by comparing the key note, anil the number of fiats or sliaq)s prelixcil to the clef; and having raised the key note to (J, I), or F, S:c., taking care to keep within the com- pass of your instrument, raise or lower every note exactly in the same proportion. The same finger- ing, in some instances, on the bassoon, gives dif- ferent sounds ; the alteration being produced entirely by blowing and pinching the ree-mn to be sounded, to which the soldiers answered with a loud voice. ITiis hjnnn was dedicated to Castor and Pollux, and whenever it was sung, it seemed to inspire the soldiers with both military and religious ardor. So aLtus, his troops" faced about on every side, keeping a pro- found silence in expectation of the event. The prince now thought it time to sing the song of battle. The nhole array answered it with loud 114 BAT ENCYCLOPJJDIA OF MUSIC. 11 A Y ehouts and invocations to the god of war." At ftie battle of Cunaxa, when the armies were not far distant trom each otlier, " the (jrceks began to sing t!ie hjnnn of battle ; and after the death of young C'jTus, on seeing the victors approach, they sang a hj-mn." During the wars sustained Dy the ancients in Africa, Agathoiles, desirous jf putting his soldiers under the necessity of :on(iuering, by leaving no other refuge than victory, resolved to burn every ship in liis tloct. Therefore, " taking a Hambeau in his hand, and causing the battle song to be sounded, he hastily le • sichord, in the year 17G0. BAVERINI, FRANCESCO, an ItaUan com- poser, wrote a sacred ojiera called " />i Conver- stone di S. Paolo," at Rome, in 1410. BAYART, CON.STANZ A. M. .V Gcrma:i composer at Osnabruck about the year 1790. He has pubhshcd some piano-forte music, and also songs. BAYER, JOSEPH D., a composer for th« piano, published his Op. 1 at -Vugsburg, in 1801. BAYER, ANDRE, an organist and compoiici at Wurtzburg in 1710., B.VYER, MLLE. A female composer at Vi cnna in 1797. 115 n.vY ENCYCLOP^DIA OF MUSIC. BEA BAYLY, AXSELM, LL, D., published " The AUinncc of Munic, Poetry, aiul Oratory," Lou- dou. 1789. liAYOX, MLLE., published sLx sonntaa at Paris in 1770. B AZZINO, or B AZZANI, N ATAI.E. A com- poser of masses, motets, &p., at Venice. lie died in 1G:V.). BAZZIXO, or BAZZAXI, FRAXCESCO, yount;er brother of the preceding, was a celebrated theorist and composer, bom in the Venetian Ptates in IfiOO. He died in 1660. B nOfnLE. or DOT'BI.E B. That B below G gamut ; or the twelfth below the ha«. elef note. B Dl'RU.M, or IIAKI) B. 11 XATiir.AL. So named in opposition to n Mnlh: or »c,n II. See B Mol.MAIiE. B KI.AT ii the flnt seventh of the nntiiml key C. onrl the flr«l flnt introduced, in inoduUlting by fourths, from the natural diatonic mode. BEALE, JOITX. An En<;lLsh pianist, and pupil of the celebrated Cramer. In 1820 he was elected a member of the I'hilharmonie, having jierformcd repeatedly at the concerts of that pociety. About the same period he became n.sociatcd with Messrs. Attwood, Braham, Sec, in the unfortunate speculation of rebuilding the Argylc Rooms, was a performer and du'ector in the concerts undertaken by that musical combi- nation, and contrilmted as a composer in the for- mation of their musical catalogue. In 1821, a com- memoration of Mozart took place, at Beale's sug- gestion, on whicli occasion Cramer united with his pupil in the performance of a duet, (on two piano- fortes,) selected from the most classical music of that dejiartcd genius. Beale was since recent- ly appointed a professor of hLs instrument, in the Royal Academy of Music, and to cue of his pupib was adjudged the annual prize medal distributed at the first concert of the students. Among various pleasing compositions by Beale for liis instrument may be mentioned the two flramatic airs, " Will great lords and ladies," from the. " Haunted Tower," and " Fra tante anyoscic," by Caralii, both arranged beautifully as rondos for the piano-forte. BEAI.E, WIIJJAM. An English composer of madrigals, glees, and other vocal music. He wa.s educated as a chorister of Westminster Ab- bey, and was an e.vcellent part singer. In 181.3, he obtained the jirize cup given by the ^Madrigal Society, his composition on that occasion being " Awake, sweet Muse." W. Beale published at BirchaH's, in 1S20, a collection of glees and madrigals, which did him great credit. " He bor- rows," says an eminent modern critic, "from the old school, with the lofty and indeiicndent air of a man who is conscious he can repay ; and as he has given us sufHcient proof of lus ability to copy other styles, we trust tliat he will go on to form and ira])rove a style of his own." Certainly we may add, that the jjeculiar harmony of the old madri- gals has never been so well imitated a.s by Beale, cince the publication of Dr. Cooke's "In the merry month of May." Among various songs by Beale, the cantata of "Brutus" is especially worthy the attention of amateurs. BEAI.E, profes.sor of music at Manchester, was «n excellent violoncellist. He performed at the lork meeting in 1823. BEARD, JOIIX. .\n English suigor of celeb- rity. His name first appears in the dramatU per- sontr of Handel's operas ])erfonncd at Covent (larden in 17.'i'). Beard had his masical e, and then stop and begin again at C, the octave above the former note, "vud tune downwards, through the fifths F, Bb, a «1 Eb, and thus the resulting fifth A b , E b . produces bcariud notes ; owing to each fifth having been made more or less flat than the system of twelve notes will bear, the ka-tt sum of all their errors or temperaments being the Diase/iisma. Some tuners are in the habit of throwing their too//" into the fifth Ab, Db, and others into that of Db, Gb, which last, as being nearest to the middle of the whole progression of fifths, seems its most appropriate place for general use. BEAT, or BATTEMEXT. (F.) A transient grace or ornament in the perfonnauce of a note, denoting that a kind of shake is to be made, by beginning with the half totie below the given note, and quickly repeating the given note and that ; on the contrary, the shake, marked ti\, is effected by beginning on the note aboce the given one, (whether a half or whole tone distant,) and re- peating the given note and it alternately. The turn differs from both of these in using the notes above and below the given one. When, there- fore, a whole tone lies below any note marked for a beat, an accidental sharp Ls to be supposed on that lower note, e.Kcept that A is seldom thus sharpened in a beat. The beat is, therefore, the reverse of the shake, (but without the turn,) and is made generally at the distance of a semitone below ; and all the note-s, excepting C and F. re- quii'e the note below to he sharped for the beat. The beat upon B natural, however, Ls seldom made with A sharp, on account of the great harshness arising from the vicinity of the semi- tone B C. In some cases of regular accent, it is recommended not to make the beat with the semitone, unless particularly so marked. BEATIXGS. Tliose regular pulsative heav- ings, or swellings of sound, produced in an organ, by pipes of the same key, when they are not ex- actly in unison, i. e., when their vibrations are not i)erfectly equal in velocity ; not simultaneom and coincident ; which, as Mr. Emerson observes, occasions a repetition of noises like iraw, atr,aw,nto, or ;/a, ija, ya, ;/a ; the:;c are called beats by Dr. Roijcrt Smith, Sir. I^merson, and we believe every other mathematical writer that notices the phe- nomena. Earl Stanhope, in a letter in the "Phil- osophical Magazine," vol. xxviii. page 150, has labored to nuike a distinction between the mean- ing of beats and beatinrjs, in order to identify the former with the pulses or viiir.vtioss of the sounds themselves, and to denominate the above 116 BEA ENCYCLOPiEDIA OF MUSIC. BEE phenomenon by the exclusive use of the term teatiitiis. BEATS. ITic audible phenomenon ottenduig the sounding of two notes at the Kamc time, which approach within certain limits to the pro- ducing of a concord with each other, wliich the late Dr. Kohert ijmith, in his " Harmonics," has applied, with the happiest eti'et^t. to the practical tuning of instruments, according to any given Bvstem or arrangement of tlie inter\'als. 'ITie phenomenou of beats forms, also, the means by which practical tuners, unac(iuainted with theory, or the exact comparative magnitudes of intervahi, adjust the notes of organs, piano-fortes, hiu^is, &c., by the judgment of their ear, in the daily exercise of the tuning profession. BEATIN(; TIME, lliat motion of the hand or foot used by the performers tlieiuselves, or some person presiding over the concert, to specify, maik, and regulate the measure of the move- ments. If thp time be common, or equal, the beating is alSo equal — as, down, left, right, up, or one down and one up ; if the time be triple, or unequal, the beating is also unequal — as, dowii, left, up, &c. BEATTIE. DR. JAMES, the celebrated au- thor of the poem "The Minstrel," wrote also an essay on poetry and music as they affect the mmd. In his essay on the nature aiul immutabihty of truth are UkewLse to be found several ingenious obsen-ations on the subject of music. Born, in Scotland, 1735, died 1S03. BEAUJOYEUX DE — . See Baltazaiuxi. BEAUMESXIL, MLLE., composed the ope- retta " Les LeijiaUUrices," at Paris, in 1786. Died there in 1813. BEAUMONT, SAUXIER DE, a French au- thor, wrote a letter on ancient and modem music, Paris, 1743. BECARRE. (F.) The sign b , or natural. BECIIE. There were several brothers of thus name, musicians to the King of France, about 1750; one of them assisted in editing the sol- feggi of Italy. BECK, C. F. A piauLst and composer in Ger- many, ill the latter part of the eigliteeuth cen- tury. BECK, FRANCOIS. An eminent composer at Bounlcaux. Ills •• iitahat Matt-r" was pertbnned at Paris in 1783, and highly applauded, lie died in ISO;), at an advanced age. Four operas by Beck, each consisting of six sjnnphonics, were published at Paris about the year 1776. BECKEN. An ancient musical instrument, much used by tlie Turks on festive occasions BECKER, or BEKER. C. L. Organist at Norilheim, and an instrumental composer since the year 1790. BECKER, D. Violinist and iustrumcutal com- poser at Hamburg in 1668. BECKER, FRED. AUO. Composer of vocal music at Frankfort in 1775. BECKER, JEAN, died at Cassel in 1803. He trtui organist tliere, and composed much muidc lor the church. BECKMANX, JEAN FREDERIC GOTr. LIEB, a celebrated poptilar instrumental and vo- cal com])oser in (jermany between tlie years l7i>C and 1790, one of the best pianists ol the Li:-t century-. Ho published sonatas, concertos, &c. He died in 1792, aged hlty-six. BECKWITH, DR., organist of tlie cathedral and of St. I'eter's at Norwich, was a very able theoretical and jiractical musician, and a scholar of the Hayses of Oxford. Some very simple in- structions by him, for ])laying thorough ba-^s, are given in the tirst voliuue of the " (iuarterly Mu- sical Review," j). 380. Dr. Beckwith was the master of Vaughan, the singer. Ho composed the glee, "Hark o'er the waves," and "The Sup- pliant's Prayer," a song. " Six Anthems" ot his are also published by dementi. BECZWAliZOWSKY, A. F. Vocal and in- strumental composer in Gcnnauy between the years 179 J and 1801. BEDARD, JEANE BAPTISTE, bom in Brit- tany about 1765, died 1815, composed vioUn music, two sj-mphonies for orchestra, aud in 1800 a method for the viohn. BEDE, surnamed " the venerable," was bom in G72, in the tliocese of Durham, iji England, and was brought up in the monastery of St. Paul, at Yarrow, in which he passed his whole lil'e. He was ordainwl deacon at the age of nineteen, and priest at thirty. He Ls believed to have died in his convent, in 735, at the age of sixty-three. An edition of his works was published at Cologne in 1612, (8 vols. foUo,) in which we tind two treatises upon music, one entitled " Miuica qumi- rata sett mciuiurata," (Music s(in!U"cd or measured,) and the other " Miisica T/worctiai." Burney and Forkel both tliiuk that the tirst of these treati-^es must have been the work of a later writer. Yet it is not proved that no notions of meius\ire(l music existed among the northern nations in the eighth ccntiiry. In his " Ecclesiastical History," Bede mentions a harmony in two consonant jjarts, of wliich there were examples in England in his time. 1IL< two works on miLsic have been united under the title, " I'ciu-rMIU IMr da Mu-iU-A Lihri Dim," (Basle, 1565.) 'Die l)ook is exceedingly rare. In the eighth volume of liia works is found a little essay entitled, " IiUerpre- tatio vocum rariontm in I'salmU, f/iii/iiui inslrumriita musica tel aliom nu't yft rest aK«uri-(l you huvi- i*viT lived In my n-colli-ctitm. I have often e<^nver«i-d with von and yonn, nlthoiiffh not with thot penie of min'l which I could'h ivr di'ind, fur the lute wrelchwl ol- terCiition wa.t tlo\eriniI bef<»rv* lile, ullowln;; me inyown Ie eunduet. Hut tn it was : und whnt would f not irlve, coulu», lay the chief wiurce of the KroWini; evil. We Iwth im- ai^tied that we trjoke from conviction, and yet It wut but in ansi-r, and we were lK>th of u< deceived. Vour grxVl and noble minrl hai, I know, lon^ f.-miven me : but tbcy iiav that •elf-iiccu^ation in the liureit !ii>,m of rontritioii, and it i.4 th'iin 1 wunte*! t>> ^taiid befon' you. Now let u» draw a veil over the whole atliiir, tnkini; a wnrninir liy it, that, should a ditferiMire arise between friend*. Ihev should not liuve recourse to a in.-diator, but explain face Ut fare. Vou receive here- with a dedication fr\un me to you, and 1 only wish the ui>rk were ITTcater and more worthy of voti. . . . Let it be a revival of the many bles^.-d hours which I spent at yonr hr>use: perhaft* it mav tend t() recall nie to your mind until 1 T\>turn, which, however, will uot be so soon. How we will rejoice then, my dear friend ! Vioi will And me a more cheerful creature, whose davs of trouble have passed away, their furrows smoothed by the lot of K-tter days," Ac Vienna was too much the seat of the Muses, with its princely amateurs, its congress of great artists, Haydn still living, the spirits of Gluck anil of Mozart (only a year since departed) still hovering over the place, ever to let him " return ; " und " i titer ilaya " he was destined never to KUOW. He went to Vienna, already a distinguished conij i)ointment. Its objects, it is said, wers generally ])crsons of rank ; for with such, necessarily, he chietly associated. Here was the beginning of sorrows — one of tlie causes which hhut his heart against the world, and made him soll'ary and reserved, while it infused a dej)th Rud slrcngtli of passion, an unutterable longing, into his compositions of that time. His " Sonata Pathetique," (Op. 1.3,) his Sonata in A b, (contain- ing the "Marcia Finwbrc," (Op. 2(>,) and that other, in Crf minor, (Op. 27,) called the "Moonlight Sonata ; " his incomparable song " Adelaide," &c., fee, may be regarded as confessions of a platoiiic love, which shi'uuk from the cold air, where words pa,ss current. The Giulietta Uuicciai'di, to whom the latter sonata Ls dedicated, was for a long time the " bright particular star." Nothing is told concerning her ; but we have several of his let- ters to her, written in 1806, which are full of the purest passion, while their abrupt, impatient style seems all along to curse the coarse and unman- ageable nature of speech. In the year 1800 he composed his only oratorio, the " Mount of Olives," which he ^note during a summer residence in a pleasant village adjoin- ing the Imperial Gardens of Schiinbrun. Both tliis and hLs only opera, " Fidelio," a few years later, were composed in the thickest part of the wood in the park of Schonbrun, where he used to sit between the two stems of an oak, which shot out from the main trunk a couple of feet above the ground. But before thb time, " the evQ principle," (as he called it,) in the shape of his brother Carl, had begun to govern him, taking advantage of his ignorance of worldly affairs, and making him suspicious of all the world. His younger brother, John, soon followed and joined the interest of Carl. It was he, who, having by his thrift some yeiurs later become an owner of real estate, sent in his card one new year's day, as if to provoke and tantalize his unsuccessful, nobler brother : " John von Beethoven, Land- owner." Beethoven returned it, " Ludwig von Beethoven, Brain-owner." Add to these troubles the rapid and alarming increase of his deafness, and we see how WTetched was to be the worldly lot of uo.f wb ; was soaruig higher and higher into the jjure heaven of art. 'llie rcmaikable " Will," which he addressed to his brothers during a severe fcickness in 1802, describes hi.» state: — "For Mr Brotiif.iis, Cabi. axii BcKTnovEX. — O ye, wlin convi'lcr or tU-cUrc ine to t>o lioHtili*. oI)i*tiniiU', or niisnnthronic, wiiut injustice yi- (io me I Yc klun*- not the (t«'cr»'t cauncs uf tlliit which t.iy>)u wi-;tni lucti an apiH-uinnt'e. My heart and niy mind wi-n* frotn I'hihlhcvHl nr«ne li the liivernii.nn t'f wH-ielv, 1 w.ib lnr\'ed lit an e.trly aye 10 n'ni.mice tUcin. mul l.> pjiKi my lite In veeluainn. If 1 htrciveat any tinie t.»»el invit'lf nlx'v,' nil thin',0, how cruelly wa« I drivcu Ihick hy the tluublr |.nlnfiil eiperieii.e ol iny detVetive hearing: And yet it «M not |><'MibI« for nie ti> iiiiy to people. ' Speak louder, hnwl, for 1 nm deaft* All, h.or could 1 pn«-laini the defect of a iienae th:it I once rwiMetved ku the hifhett perie4tion — in a perlin-tion in which few of my col leaxtletf poMrna or e me, then. If yt nlid iMinfefit ttt Indeed. 1 cannot! Forgive mw luck w hen I would gliuilyniitiKlc among y*Mi. IkixiiAr mortifying i> m> niiffurtiine toiiitf, a« it niuat lend to •aiuc lut: iu he iniicunccivcd. Frvui ivcrvAtlOU iu the society of my fellow-creaturt'g. from the pleanur^s of conversation, frf.ni the efl\i- sions of friendship, I am cut otfl Almost alone in the world, I dare not venture in^^ society more than ahsolute necessitv n-quires. I am obliged to live as in exile. If I po into conipriny, a p:unful anx- iety comes over me, Airice 1 am apprehenittve of beiti^' cxiiosed to the ilan)ier of betrayinu niv ■iluation. Such Utui been inv state, bn, durine this hall vear that 1 have 6])ent in the country. L'niolned by my intelliL'eiit pliysician to spare my heuriiiK as mu'i-h as [Mssible,! have U-en almost eneourii;?efI by him in mv present natural dispo- sition ! though hurried owoy bv mv fondness for scK!ietv. I sometime! ■uttered myself Ui he enticed into iL But what a hun'iiliation.when any one standing beside me could hear at a distance a flute that I could not hear, or any one heard the shepherd singinp. and 1 could not distinguish a sound! Such eircuinetal^es broujiht me to the brink of despair, and haiinnii>o»iiiir, and A^nitr with u shrill nnd ititTcintr vuii-e that niudt' tlu> liiurer thrill with wul'uhu-«s, 'Knitwcst thou the land.* ' Is it ntit iH'Uutiful ? ' nid hf, t-uthuKiaslirullv : ' i-xiiMi^iti'ly tenutiAil I I will Ktntf it uxain.* lie wiw pli-iui'd with my chevrfiil C raise. * .%Ioit iH-o|ile,' he lenuirkeil, *ure i/kesoniit«;ouatelv'. : nil nil ttiiit h" utte ed starve 1 me S4<. that I forKot even llie street They weie all not a little .ur|irls.-.l ul home un seeinu' me enter the n>om with him. in the midst ol a hirife dinner purty. \n<-r dinner he siit dow ii to the instrument, and pluj-ed uu- ojked, woudert'ully, and ut great length." . . . M'c linvc not room lor the many wonderful tnyino;s nscribetl to licplhovcii in this letter ; the render will find it entire in the " Corresjiondciu-e o;' (ioi"tho with a Child," a triinfilntion of which was puhli.'ihed in Lowell, Massachusetts, soiuo yeai-s siiuc. Schindlor (the bio!;rnphcr to whom we ore in- debted I'hietly for our tnctsl is disturbed by seein;; so much fine Uilk put into tlic mouth of the down- rijjht laconic arti-it ; and Bottiue adds, that when she showed Uecthoveu what she had written, he exclaimed, " And diit I say all this 5 Then indeed I had a niptus ! " But the letters which he wrote to her a short time alter, when she had become the wife of \'ou .Vmun, are in quite as high a strain, and tjuite as fluent. (See Life of Beethoven, bv Moschcles, published in London m ISU.) 'llius iar, (1813,) Beethoven's troubles were all of that nature that he could escape from them into liis inner world of art. They rather favored the creative imjiuliie. DLsnppointed love, deaf- ness, want of worldly tact, which, if it drew him into many dileiumas, also brought him exemption from many cares, and his proud, indopendent spirit, — these only made hLs abstraction from tlic outward world more complete, and increased his feeling of the greatness of his mLssion. Abstrac- tion, entire devotion to liis art, and liring in music, is the key to aU lus peculiarities and eccentricities in liis way of living. Inspired with new musical suggeslioiij, he would even forgot his food. 'Ilius there v- a story of his going into an inn, and tlurowing lumsclf down ujion a scat, buried in thought ; alter some time he rose and called for the reckoning, quite unconscious that he had ordered nothing. One of his habits was to stand by the hour pouring buckets of cold water iqion his hand;, while in the frenzy of composition. And this may have had sometiung to do with his Irequent change of lodgings ; for otien he would be paying for three or four dwell- ing-places at once — since his humor would have it that now he could not compose unless he were on the north side, and now unless he were on the south side of the city. Once a certain baron R-ssigncd to him a suit of apartments in his beau- ful villa, and supremely happy was he as he surveyed the cliarming landscape from his win- dow ; yet he soon took a dislike to the place, and for no other rcivson than l)ecause " the baron, whenever he met him, wivs continually making too profound obei.sances to him." He was ex- tremely fond of the country and the open air, and would olteu walk alone, absorbed in his work, till the day was far sjient, nay, be gone for ;'ays. Klos relates tl-.e lollowing anecdote : — " In a walk, in which we wauderetl about a lii 12 great wliilo before we got home, Beethoven had ke;)t all the way muttering or partly howling t« himself, up and down continually, without siugin^ any definite notes. To my iiuiuiry wliat it was, he answered, ' A theme has just occurred to me for the last allegio of my sonata, (Op. .57.)' When we enterotl his room, ho ran to the piano, without taking ort' his hat. I seateil myself in a corner, and he soon forgot all about me. And now he thundered away at least an hour at the new and licautiiiil finale of that composition. Finally he stood tip, astonished to see mc still there, and said, ' I can give you no lesson to-day. I mu.st trork.' " Think, too, of his improvisntion-s on tho piano, at which he was fond of seating himself in the dusk of tho evening. " In the latter part of his life, his ])laying at such times was more painful than agreeable to those who heard it. The inward mind alone was active ; the outward sense no longer cooperated with it. Sometimw he would lay his left hand Hat Ui)on the key- board, and thus drown, in discordant noLse, the music to which his right was feelingly giv-* ing utterance." In the soft passages he i)resscibility was strong ; nnd he woidd leave uo stone un- turned to secure to himself the untUsputcd guardianship of the boy, to whose welfnie he studiously devoted himself. Meanwliil'.', xnn, in pre])aration for his new duties, he hiul under- taken housekee])ing, of which, with his bachelor iuexi)erieiice and eccentricities, he of r<>»u>e made a sorry pitn-c of work — petty vexations all the time. Finally, the boy, who ha»l tine taleuto, and of whom no father could l>o more fond than he, provetl unworthy ancl ungrateful, and poisoned his last source of worldly hope. His letters to the young man, isce Mi»chelcs) in ISJ.), poxMiss a most mourninl iutcre^^, and e.\hihit liis deep seu^flbility, hia coiiscieatiotis ragazd for dut j, I b* 1 DEE ENCYCLOPAEDIA OF MUSIC. DEE struggle between his tender love and liLs stem, uncoiuproinisiuK nense of truth, in the noblest and most iiirectini; liiiht. We pity and admire the noble-minded suHerer when we read the ^hort, pithy, buruinfj sentences. Every thins seemed to conspire to try the en- duranie of the lii^jh-soulcd Prometheus, chained to the rock of necessity. Deafness now become almo'it total, decay of general health, anxiety about the means of subsistence, the intrigues of enemies, the death of his old friend I'riuce Lich- nowsky, and, above all, the degeneracy of pub- lic taste in Vienna, (the florid, sensuous manner of Rossini having carried all before it like a flood, BO tliat he, Beetlioven, was now considered out of date, though several of liLs noblest compo- sitions had never yet been heard in pubhc,) — all these things served to cloud and depress him. But he trusted in his soul. There was that in him that was greater than fate. Inwardly he felt aUied with the good and all-prevailing I'ower, the soul and essence of all thbigs. He felt that God was near him in his art. He had been true, and bowed to no meanness ; he had sacrificed self, and wrought for truth and beauty with a single aim. So that even now hLs creative energies did not fail him. The greatest of his works (as time is slowly and surely dis- covering) were produced in those dark days. His Mass, (the second, in D,) wldch he com- l)0sed for the installation of the Archduke Rudolph as Archbishop of Ohuutz, he himself esteemed liis greatest. He made a subscription for a certain number of copies of it among the crowned heads of Europe ; and it Ls remarkable that Goethe, to whom he wrote as prime minister to the Duke of Weimar, found it convement to re- txuii 110 answer to his old friend. The minister of the King of Prussia suggested to Beethoven whether he would rather receive a royal diploma iu lieu of the price proposed. " Fifty ducats ! " rejiUed Beethoven firmly, to whom all the badges princes could bestow were no temptation. At the Bame time his brain was teeming with the concep- tion of liis gigantic " Choral SjTuphony," his ninth and last, in which, having exhausted all the usual orchestral effects, and being at a loss how to carry out his thought on so sublime a scale, he at last exclaimed, " I have it ! Friends, let us sing the immortal Schiller's ' H>nnn to Joy; ' " and a choir of voices accordingly are in- troduced. These works, as well as the sonatas and quartets of that period, which bring the number of liis printed works up to about one liundied and forty, are but beginning to be understood, yet are fast outgrowing the preju- dice that they are only the wild and ouiri clfu- eions of a mind nearly insane. Indeed, this insanity bids fair to be the wisdom of ages to come. Some few bright signs there were to cheer him in the surrounding darkness, ^^'hat must have been his feelings wlien, after long withdrawal from the public, his ])lace usuqied by the modern Bhowy style, he received a letter signed by many of the noblest names, of persons who had a sense for genuine art, codling upon him, for the honor of music and of Germany, to ajjpear once more, and suffer his Mass and " Choral Symphony " to be jHjrfonneil at a benefit concert. " Let thLs summons," they write. " to so uoblo a vork not bo heard in vuin. Delay no further 1 to transport us back to those long-departed days when the power of Polyhj-muia moved with mighty spelLs alike the hearts of the multitude and of the consecrated priests of art. Need we say with what deep regret your late retired mode of life has tilled us ? Is any assurance reijuired that all eyes have been turned towards you, and that all have seen with sorrow that he, whom they acknowledge as the lughest of UNdng men in his own domain, should have looked on in silence while our German soil has been invaded by the footsteps of foreign art, the seat of the German muse usurped, and German, works have be- come but the echo of those of strangers, threat- ening a second childhood of taste to succeed its golden age ? &c. . . ." Beethoven declined reading the paper till he should be alone. " I arrived," says Schindler, " oidy just as he had finished its perusal. He communicated to me the contents, and alter run- ning them over once more, handed the paper quietly to me ; then turning towards the win- dow, he remained some time looking up at the sky. I could not help observing that he was much affected, and, after I had read it, I laid it down without speaking, in the hope that he woidd first begin the conversation. After a long' pause, whilst Im eyes never ceased following the clouds, he turned round, and said, in a tone which betrayed his emotion, ' It Ls really gi'ati- fying ! I am much pleased.' " " To Schindler's entreaties that he would accept the proposal he rephed, ' Let us get into the ojieu air.' After a great deal of discussion and management, not without innumerable provocations, intrigues on the part of selfisli managers, &c., the concert was arranged. Still it wjis a glorious day for Beetho- ven and for art. The theatre was crowded. The master, standing with Ids back to the pro- scenium, was not even sensible of the tumultuous applause of the auditory at the close of the sjnnphony, until Mme. Unger, by turning round and making signs, roused his attention, that he might at lesist svc what was gouig on in the front of the house. This acted, however, like an electric shock on the thousands present, who were struck with a sudden consciousness of his misfortune ; and as the floodgates of pleasure, compassion, and sjTupathy were opened, there followed a volcanic explosion of apphiuse, which seemed as if it would never end." Beethoven died on the 26th of March, 1827, aged lltty-six, during a tremendous hail storm, after a most painful sickness, brought on by a cold taken while travelling, and aggravated by carelessness on his own part and neglect on the part of those who should have been nearest to him. Several beautiful anecdotes are told of his last sickness. Thus, only a tew days before his death, he received from an admirer in England a magnificent present of all Handel's works, whom he had always reverenced as the greatest of com- posers. The volumes were laid upon his bed ; and he exclaimed, pointing to them. "That is the true thing," {lias ist dossesses remarkable talent us a piauLst, and who has practLsesiu\v to devote his whole liie to composition, llie cata- logue of his productions comjirises thirty-tive sonatiis for the piano ; thirteen pieces of diHerent kinds for the same UL^trument, such as andantes, fantasias, preludes, rondos, and dances; twenty themes with variations for the ])iano idone ; twenty-two otlier themes with variations for the l)iano, with an accompauiiuent for the violin, violoncello, or flute ; a sonata, two themes with viuiatious, and marches for the piano for four haniLs ; ten sonatas for the piano, with an ac- companijueut for the violin ; sLx duets for a piano and violoncello ; six trios lor a piano, violin, and violoncello ; it trio for a piano, clarinet, and vio- loncello ; a quartet for a piano, violin, viola, and violoncello ; a quintet for a piano, liautboy, clari- net, bassoon, and honi ; seven concertos for the piano, the tirst in C, the second m B flat, the third in C minor, the fourth in C minor, (with violin, violoncello couccrtante, and orchestra,) the tilth in (i, the sLvth in I), and the last in E Hat ; a fantasia for the piano, with a chorus and orchestra ; five trios for a vioUu, viola, and violoncello ; a serenata for a violin, tlute, and olto ; seventeen quartets for two violins, viola, and violoncello ; thi-ec ([uintets for two violins, two violas, and a violoncello ; a sejituor for a violin, viola, violoncello, clarinet, bassoon, horn, and contra-basso ; a sextuor for two \-iolius, viola, two horns, and a violoncello ; two romances for a violin and orchestra, the first in U and the second in F ; a concerto tor a violin and orches- tra ; seventy-four pieces for the voice, with a piano accompaniment — among which we may mention the cantata of ' Adelaide," the ' Invita- tion to the Waltz,' romances, ballails, conWvial songs, canons, and the ' War Cry of Austria,' a national song comiK>scd in 1707 ; twelve song-.* for one or more voices, with an orche.-tni, in one scene of which Ls the air ' Ah .' jx ;;.i'././ . ' tlic song entitled 'Genuania;' three scries ol ,S-otch airs ; a march and chorus of the * liuins of Atheiui ; ' the trio, * Trematc, empi, Irematr,' and an elegiac song ; two mavises for four voices, chorus, and orchestra, one in C, (op. 8f>,) the other in D, (op. 123;) the oratorio of ' Chii:«t on th* Mount of Olives ; ' a dramatic cantata, (''Ilio glo- rious moment ;') ' Fideho,' an 0{>cra ; ' Egmont," a melodrama ; nine symphonies tor orchestra, the first in C, (op. 21,) the second in I), (op. 3ii,) the third ui E llat, (■ Heroic,' op. 5j,) th< 23 DEE ENCYCLOPAEDIA OF MUSIC. BEE fourth in B flat, (op. GO,) the fifth in C miuor, 'op. 67,) the sbcth in F, (pastoral, op. 68,) the »c\-enth in A, (o)). 9'2,) the eighth in F, (op. 9.3,) the ninth in D minor, with a chorus, (op. 125;) 'The Victory of Wellington at the Battle of Vittoria,' a military 8>'mphouy for a double orchestra ; ten overtures for a full orches- tra, viz., ' Prometheus,' (op. 43,) ' Coriolanus,' (op. 01,) ' K^;mont,' (op. 81,) 'Leonora,' (op. 87,) ' Fidclio,' and tic ' Ruins of Athens,' (op. 113,) ' Xahmen.sfei/ri;' (a patronal festival, op. 11.5,) 'King .Stephen,' (op. 117,) ' Wci'ie dfs lldttuci,' (The Dedication of the Temple, op. 124 ;) a characterLstic BjTaphony, (op. 138 ;) Bome detached works for an orchestra, consLstinfj of two minuets, Gcnnau dances, two waltzes, and the ballet of ' Prometheus ; ' a trio for two haut- boys and an English horn, (op. 66) ; a sextuor for two clarinets, two horns, and two bassoons ; a piece in full hannony, a piece for four trombones, and a march for a military band. Some works had been commenced by the illustrious com- poser, but were not completed before liLs death ; among which we may mention the plan of a tenth symphony, (an allegretto in E tiat, pub- lished at Vicuna, by Artaria, has perhaps been extracted from this work ;) an octet tor two clarinets, two hautboys, two liorns, and two bas- soons ; a harmony of eight parts in B fiat, a part of wliich has been published by Diabelli, at ^"ienna. Tlie first two parts of a (quintet for two violins, two violas, and a violoncello, were pur- chased by the same publisher ; aLso a rondo for the piano and orchestra, (Vienna, Dialjelli,) be- sides three (luartets for the piano, and some other jiicces of less importance. There have been found, aLso, among the man\i.scripts of Beethoven a great number of unpublLshed pieces, the greater part of which were written in his youth, and con- demned to oblivion. " The works of Beethoven may be divided into several chvsses, each of which indicates a pro- gressive development of his genius. Being iiom the first an enthusiastic admu-er of ^lozart, he could not escape the effect of tliis admiration — an effect wliich always manifests itself among n\cn the most original, and the best qualified for in- vention. Thus, notwithstanding the incontesta- ble originality of his ideas, the trios for the piano, violin, and bass, (op. 1 ;) the sonatas for the piano, (op. 2, 7, and 10 ;) sonatas for the i^iano and violin, (op. 12 ;) the trios for the violin, viola, and bass, (op. 3, 8, and 9 ;) and the quartets for the violin, (op. 18,) remind us, in form aud arrangement, of the style of Mozart, although different shades of a more distinct in- dividuality are observed wlien we have ad- van(X'd as far as op. 18. In the symphony in C, (op. 21,) this shade becomes more vivid, and the scherzo is indeed the jiiu'c fancy of Beet- hoven. And the richness of the composer's imagination shows itself still more brilliantly in the (juintct in C for violins, violas, and bass, (oj). 29,) and in the beautit'ul sonatas for the uiano and violin, (op. 30.) The symphony in D (^op. 36 > is a composition less remarkable for origiuahty of ideas than for the merit of its arrange- aient, wliich is very great ; it Ls in this symphony thai we perceive tor the first time that remark- able iustijict lor instruuentid ::ombinations which allerwards gives to the sjinphonies of Beethoven a beauty so varied, bo vigorous, aud so brilliant. But it is in the third sjTniihony particular!}', (tli« Heroic,' op. 5.5,) that the genius of the artist iLsplays itself in the absolute character of crea- tion ; there every trace of anterior form disap])ears, the composer is himself, hLs individuality rises up with majesty, and hLs work bec^omes the type of an epoch in the history of the art. " The second epoch of Beethoven's life, which Ls so distinctly marked by his ' Heroic Sj-mpho- ny," comprises a i>eriod of about ten years, during which he wrote, besides tliLs work, the s>tu- phonies in B flat, C minor, aud • the Pastoral, the beautiful quartets of op. 59, the opera of • Fi- delio,' the overture of ' Coriolanus,' the bamti- ful sonatas for the piano in F miuor, F sharp, and E minor, the concertos for the piano in C, G, aud B flat, a concerto for the violin, a sextuor for two violins, a \-iola, two horiLs, and a violoncello, and his first mass. ,V11 these are, in general, founded ujjon a fancy free and full of boldness, but yet confined within bound* fixed by taste, and by a true feeling of analogy in the hannony, and of the necessity of precision in the idea. To the same epoch belongs also the oratorio of ' Christ on the Mount of Olives ; ' but a kind of restraint which is fie(iuently felt in tlie vocal compositions , of Beethoven, when he wishes to use scientific forms, has tlirown over this work a certain hue of coldness which injures its merit, notwith- standing the beautiful ideas which are diffused tlu-ough it. " It appears that the residence of Beethoven in the country was more permanent after 1811 than before, aud that at this jjcriod he devoted him- self, in his lonely walks, aud in the silence of his closet, to historical and philosophical pursuits, of wluch, until that time, he had known but the outlines. His readings became frequent, and he was every day more fully convinced of the neces- sity of confining himself, as an artLst, to the design of ideality, inde])endent of all exterior communication. Insensibly, and without his per- ceiving it. Ills philosophical studies gave to his ideas a sUght tincture of mysticLsm, which dif- fused itself through his works, as we may ob- serve by his last quatuors ; and without his observing it, his originality, iu becombig sys- tematic, lost something of its spontaneousness. and the bounds, within which he had until then kept it, were destroyed. The repetition of the same thoughts was even carried to excess ; the development of the subject which he had selected sometimes approached rambling ; the idea 'i<>- came less clear in proportion as it was niort melancholy ; the harmony was characterized by more harshness, and seemed from day to day t- indicate the weakness of his recollection of sound-. — finally, Beethoven wished to find new forms, not so much for the effect of a sudden iusi)iiiilioii as to salLsiy the conditions of a preconcerted plan. The works composed under this direction o; the ideas of the artist comprise the third period o; his life, and his last style, upon wliich we have remarked iu the sjTuphony in A, the trio lor the piano in B flat, (op. 97,) and the last five sonatas for the piano — those fine works in ■vvhich i the beauties more than make amends for the de- lects. ThLs style arrives at its limit in the grand miuss iu D, the last ovcrtuies, the sjnnphony with a chorus, and especially in the (juatuors lor the j violin, (^op. 127, 130, 131, 132, and 135.) I " Thus we see that the compositions of Beet- 124 BEF ENCYCLOPAEDIA OF MUSIC. BEL hovcn arc divided into three classes, each indica- tive of the particular direction of his j;enius : those of the first class IJcethovcn did not value ; he disliked to hear them si)okcn of with ])raise, and really believed that those who praised them did it merely with a de-.ii,'n of undervaluint; others. Such a di <])osition of mind is not without exam- ple amon^ f;reat artists, when they are advanced in life. And, uotwithstandin;^ his o|iiuioii in this re-ositions of the second period are those in which the great musician has shown the most power of invention, combined with the most extende and 180.5. (G.) Exaltation, excite- mXiEISTEUUNG. raent, enthusiasm. BEGLEITUNG. (O.) An accompaniment. BKGUEZ, PIERRE-IGNACE, was bom at Namur, in Belgium, in 17S7. At the age of sLx years he waa entered as a chorister in the cathe- dral church of St. Aubain, where the bcautv of Lis voice was much admired. A few yeius ajfler- wards, he quitted the Netherlands for Pari-S where l;e was received as a violin pripil at the Conservatory of Music. .Vftcr this time, he wa^s during several years, emiiloycd in the orchestra, »t the Italian Opera at Paris, which was under the direction of tlie celcbrateil Oras-et. He then quitted the violin, his voire having settleear to have hubstituted the beat of a drum. instead of the ringing of a bell, on Sabbath and lecture days. This, however, was attributable to the necessity of the case ; and bells were imnorted from England almost as soon as the Pilgrims had excliangetl the canopy of forest bougliri for a temple built with hands. Tiie earliest use of belLs in North America was prob- ably in the French and Catholic city of Quebec. Every little chapel in the wUdemess, where the French Jesuits preached to the red men, had its bell. AVe recollect to have seen, in the museum of Bowdoin College, one which, we believe, had belonged to the chapel of the martyred Father liaUe. After the priest was slain, and hLs altar desecrated, by the bloody hands of the New England rangers, this beU, if we mistake not, lay hidden many years beneath the forest leaves ; until, being accidentally brought to light, it was suspendetl in the belfry of the college chapel. BELLA, DOMENICO DALLA. A performer on the violoncello, and composer in Italy, in the beginning of the eighteenth century. BELLAMY, THOMAS LUDFOIID, was born in the parish of St. John, Westminster, in 1770. He was the son of llichard Bellamy, the cele- brated bass singer of his day, from wliom he received his first musical education. Ilis next instruction was from Dr. Cooke ; and afterwards, when his voice changed to a bass, he became a pu])il of the celebrated Tasca, with whom he was to have gone abroad in the year succeetling to that in which Tasca died. Thus disappointed Bellamy pursued his studies in London for some time, and was appointed deputy to his father, and others, in the King's Chapel at St. James's, and in St. Paul's and ■\Ve..tminstcr Abbey. He was also employed, from time to tune, at the An- cient Concerts ; on one of which occasions, and some time preceding the last commemoration of Handel, in 1791-2, he was particularly noticed by Joah Dates, who kindly volunteered giving him a series of lessons in singing ancient music. In consequence of such instruction, Bellamy's per- formance at those concerts was soo:i crownied with the most flattering success. In the year 1794, find- ing little hopes of promotion but in the event of deaths, Bellamy resolved on accepting an offer made him to go to Ireland, as agent to a nobleman's estates, which he enjoyed but a short time, as cer- Uxin mortgages were foreclosed, and he was super- seded, and left to sjjeculate In a theatrical career, which commenced by his being appointed stage- manager to the Dubliji Theatre, in the yciu: 1797. Here he was extremely successtul, and in the year 1800 purchased into the Manche-.^tcr, Ches- ter, Slirewsbury, and Litchfield theatres, as joint ]>roi)rietor ; which projierty he sold in the ycai-s 180:i— 1, and purchased the Belfast, l/ondonderrj-, and Newry theatres, becoming sole proiirietor. This last speculation proving unfortunate, Bel- lamy accepted an engagement at Coveut Uarder Theatre for five years, and was also ap])ointed a member of the Ancient and Vocal Concerts, Oratorios, &c. In Ifil'i he was engaged at Drury Liuic for five years, retaining Ills concert engage- ments and the country meetings, in conjunction with Bartlcman, who was his friend and contem- porary (man and boy) untU the day of his death ; u])on which event Itellamy was appointed prin- cipal bass singer of the Ancient Concerts. Ho also held the appointment of master of the choiz 20 BEL ENCYCLOPEDIA OF MUSIC. 15 EL of his Catholic majosty'B chapel, luider the Bpanish embassy, to which he was nominated in the year ISl!). Bellamy had not time to write for publication, all liis hours unoccupied in pub- lic performances having been engaged in tuition, in the conduct of his music actulemi/, established upon the Lo(/ierian system, hluco the year 1818. BELLAXDA, LUDOVICO. A very cele- brated Italian vocal composer about 1590. BELLAVEll, VIXCKXT. A poet and com- poser of madrigals at Venice in lofiS. BELLEUMAN, t'ONSTANTIX, bom at Er- furt in 1690, publislicd many vocal and instru- mental musical works bctweeu the years 1726 and 1735. BELLETO, GIOVANNI, the barytone, who accompanied Jenny Lind on her Wsit to the United States, was bom in Genoa in the year 1815. He liad ever been passionately fond of music ; yet, deeply as he loved it, he did not com- mence his regular stiidies with the view of adopting it as a profession until he had attained the age of seventeen. At tliis time he was admitted as a student in the Conservatory of Bologna, under the direction of Signor Donelli. Under the tuition of this master he speedily arrived at a sutKcient knowledge of the piano to make liis appearance in publiu. He then placed himself under the tuition of Signer Pilotti, a master of counterpoint in the same institution, and ui the space of a single year and a half was enabled to ])as3 his examination, at which lie acquired the diploma of a comi)oscr and teacher of singing. Alter this he returned from Bologna to his native city, and became tlie master and com- po:ier attached to the cathedral. Ho was paid by a purely honorary stipend ; but after hLs voice had been tried in a few miusscs it attracted notice, and many of his friends, seeing that he had the means of making it more lucrative than he would probably ever make hLs present ])osition, advisod him most strongly to undertake the far more largely paid career of a theatrical vocalist. After long hesitating whether or not to comply with their advice, his indecision was brouglit to an end by the Chevalier Bystrom, the sculptor to his majesty the King of Sweden, who, alter some difficulty, induced him to follow him to Stockholm. Here propositions were made him of an engage- ment at Uie Uoyal nieatre. 'fliese he determined upon accepting. He consequently found himself singing at the side of Jenny Liiid, who had not at this time commenced the career which ha.s so completely dazzled and bewildered Europe. His dibitt was maile in the " l.iirin di Lamnurmnor." In tliis ojH'ra he obtained a highly-satisfactory success, and in conses, and some other piecas of religious music. HLs first opera, " AdeUon r Salriiut," was pcrfonned in 18'i4 in the little theatre of the lloyal College of Music ; two years after which he funushcd, for the Saint Charles Theatre, " liiaiim e (Jmiaiuin." lliese, hLs first productions, made known the talent of the youthful composer, and excited high expec- tations of him for the future. 'ITie sxiccess of " liianm e (Irnianih " procurcil him an engage- ment for the theatre Delia .Scala, at Milan, in 18'.'7 — a privilege which a musician rarely attains at hLs dibiit ; for the most celebrated ma:itcrs have fTC-ing, with a hammer in each hand, on five beUs hung up before him. In the great tower of the cathedral at Antwerp were suspended thirtj'-three music bells, the largest seven feet wide and eight feet high, the melody of which is liighly celebrated. The late Mr. Joseph Strutt obseri'cs, that he saw a man in London ring twelve bells at a time ; two were placed on his head, he had two in each hand, one was affixed to each knee, and two upon each foot ; all of which he managed with great adroit- ness, and i)erfonncd a vast variety of tunes. BELL RINGER. One whose occupation is to ring a bell or bells. A company of Swiss bell rmgers visited many of the cities and large towns in the Eastern and Southern States in 1844, and with their unique performances excited con- siderable attention. Four of these men had be- gun to practlic their difficult art seven years before. At first they used but seven bclLs, but gradually increased the number to twcuty-sLx. The company consisted of seven, ar A they used forty-two bells, varying in size froc a large cow bell to the smallest dinner bell. Tne clap- pers ore upon a spring. A piece of leather goea 12A BE I. ENCYCLOr.EDIA OF MUSIC. BKL Jhrough the ball of the tongue ; the leather strikes the bell, and rcjulers the tone more soft and sweet. The lowest boll is the lowest C ot" the treble clef, and tliey run up three octaves and one fourtli, with all the semitone^. Four of them j)laye(l the air ; the others played a hanuon y in the lowest octave of the bells, similar to a guitar nccompaiiiment to a song, 'lliey trilled notes beautifully. Kvery i)iece of music is necessarily arranged for them. Ueing unable to read music, the) learned it altogether by the ear Ihit i\\- ture and art have made them so perfect in this matter, thut one of them cannot ring a false note without its being instantly detected by nil the others. 'ITieir memory, too, is wonderful. Any •ne of them can tell instantnmeously all the notes ihat arc to be played for ten bars ahead. Their ncUs have to be changed frequently, often with as much rapidity os jirinters take up their tj'i)es. Kach peribrmer appeared to have liis own lot of bells upon the table before him ; but the result showed tluit the use of thnm was sometimes in- terchangeable along the whole line of perform- ance. The performance began by each advancing one step to the table, and seizing a bell, which they elevated, with its mouth outward towards the audience, and moved it so as to cause the tongue to strike once, when that was retunied to the table, and anotlier .seized ; and thus the music went on — some of the richest sounds, the most nicely varied, that we ever heiurd. All the parts of the tune were carried on, each one striking his note or notes at the exact instant ; and the time was iterf'ct. lliere is, to be sure, somethuig per- fectly wonderful even in the manual and mechan- ical dexterity with wliich they manage to extract B\ich ex(iuLsite melody from such apparently un- promising material-, and to make forty-two com- mon-looking bells discourse such eloquent music ; but this is not all, or even one half the mar\-el of their performances, 'lliey play all sorts of music, and execute the most dilKcuJt passages with a precision and harmony that delighteth even the fastidious and most scientific admirers of the art. ITiere are peals of beUs rxuig in the towers of many cli\irches m Germany, called cariHons, or chimes, on which, by the contrivance of a rope fastened by the clappers, and collected together at the lower extremities, tunes are played at stat- ed hours in the day. Let us next consider the duties of the bells as they hang, a m\isical octave, in their airy home. ITiese duties are threefold — to cliime, to ring in peal, and to toll ; and they arc tlius dctiucd in tome quaint old vcrsides : — " To cmll the fold lo church In time, Wc chlinr. When joy and mirth arc on the wIdc Wc rin«. When we lament ■ driiartnt eoul. We tulL- Uncomraon as the prnctice Li — at least in this part of the cotmtry — only to chime the bells as the call to church, (this being generally done by half an hour's good round ringing with changes, and closing perhaps by tolling a sini;le bell.l there Ls, nevertheless, no doubt of its being the proi>cr way. Lest any of our readers, however, should not understand what chiming is, it consists of swinging the beU to and fro by the rope, so tliat it moves like the pendulum of a clock, and comes In contact with the cUpper, which remains nearly •tAtiouory inside, owing to its weight and the 17 l: loose manner of suspending it. Nor let any one despise this method as a dull substitute for th« wilder pe;il, which seems to cheer the i)e<5ple on their walk to chiu-ch by its sonorous changes. It is possible that those who obje<'t may never have listened to good chimes. If so, let them withhold their judgment, for wo can assure them that eight sweet-toned bells, if well cliimed, af- ford as beautiful music as ever channed a C'lu^is- tian's ear. 'ITie effect, too, being more solemniz- ing than inspiriting, Ls only more becoming the occasion ; and this inlluence, though viu^-ing ac- cording to circumstances of place, time, health, and state of mind, will seldom fail to induce feel- ings in harmony with devotional exercises, and to move the sensitive with tendere-.it impressions. Ringing a jital hiw next to be noticed. This is done on idl occasions of congratulation or festiv- ity ; such as marriai;es, births, victories, election!!, the arrival of distinguisheil persons, &c. A peal, in technical language, is a performance on the beUs of more than .5000 changes ; and it occu- pies the ringers a considerable period of time, generally more than tlirce hours. But a touch or flourish on the bells, wliich b the ordinary method of notifying any joyful occurrence, Ls round ringing varied by changes at the option of the ringers, or according to the custom of the beltry. It is usual in the first instance to set the beUs ; that Ls, to throw every bell, with its mouth upward, in a stationary position in the frame. And then, every ringer being ready in his jdace, the treble beU is first dropped, and off they all go in quick succession, closing the round with the stroke of the heavy tenor. ITiLs performance, often repeated, is called round ringing, to distin- guish it from change ringing ; and fonnerly it was the custom to close every change, as well as every round, with the tenor bell. liut this prac- tice is discontinued, as any bell may conclude a change. A common peal of rejoicing might be arranged thus : First, round ringing for one hundred times ; then firing a number of cannons, which means a simultaneous crash from all the bells ; then the belLs trip off lightly again, 1, 2, 3, 4, 5, G, 7, 8, from treble to tenor. And again, and yet again they go, quicker, at each rotation, until the sounds flash past the ear just as the sjiokes of a turning wheel dazzle the eye ; and then, on a sudden, they all stop as if the whole jieal were demolishetl. liut no; the belLs are only set, — mouths up agaui in their cage, — and first one of them drops for a single stroke, and then an- other, just to prove tliat they had not lost their voices. Let us try a wedding peal, which our fair rend- ers may ])ractise for amusement on the piano-forte, since it is certain thit they will not attend to it when it gilds their own nuptial mom. Wo will first ring twelve rounds in regular order, 1, 2, .3, 4, 6, (>, 7, », then twelve changes on the l>ell» in the following rota, 1, .5, '.', fi, ;{, 7, 4, 8, then twelve changes thus, 1, .1, .5, 7, 2, 4, fi, 8, then twelve chorda thiL«, e !! - -, and conclude the peal with twelve rounds, as at starting. Ah I was it not the merry peal thus dc!icribcd which holds that i>oor lad's attention, who Icau.i against a mile stone nt llnllowoy on a certain cold Xovemlwr mom : His small wallet L* over hli i shoulder, containing all that he has in the world. 29 BEL ENCYCLOPJSDIA OF MUSIC. BEN He has run rwbv from his employer. He is go- in^ he knows not whither; any where to which a chance or u kind word may inWte him. But who Is there to siiciik to the lonely runaway ? Hark ! R voice of Providence tlirounh the air seems to j^rcpt him. The wind is pently blowing from the Pouth-eiist, and it wafts the sound of ei-^ht bells in full peal into his oars ; and, as he listens, his fancy extracts from them a clearer promise than Delpliic oracle ever spoke. 1 2 .t 4 s 6 7 8 Tum a pain, a pAn, Vi'hit ting ton, Lord mayor, lord mayor of Lon don town. And again in the chords, the notes of which are struck slightly apart, but they soon mingle in the r vibrations. 1 a 2 n 37 48 Turn Ofrain, Whilting ton. Lord mayor London town A dumb peal, to commemorate a death, ought a- ways to be conducted in round-ringing order ; and it is thus managed. One side of tlie bulb of the clapper is covered with a thick cloth or felt, and over this a lirm piece of leather is tightly strapped. When aU the bclLs are thus prepared, one round Ls struck with the uncovered side of the clapper, and the usual tone, somewhat dead- ened, perhaps, is produced. At the next rotation, the padded side of the clapper strikes the bell, and a dull \-ibration, scarcely perceptible, follows. ITiese alternations produce a very saddening effect. But the ordinary way of noticing a death or a funeral is by tolling. This is done by a succes- sion of single strokes on one bell. It needs no further explanation. Few who read this will not be able to recall at least one occasion in their past lives when each toll of the bell went like a shock to their own hearts ; and they knew that nearer every stroke was the moment coming ■when the grave would evermore hold the beloved dead. There are, generally, rules and regulations for good order in the bell chamber ; and it is very desirable to make these conducive to the deco- rous beha^•ior of the ringers in the dLscharge of their important duties about a church. In All Saints' Church, at Hastings, a maudlin exertion in this direction seems to have been made by the subjoined inscription, which is painted on the wall: — " TMt in a Iwlfry that if free y*iT fUI t)io8e that civil be; And if you plciiie tt> chime or ring, Xt i« a Tcry pleoaaiit thing. •• Then' i» no ninxic, plnypd or snnp, I,llt*' lint.. iH-ll* wlu-n llu-v'rc well ning: Tlifii riii/r y.iiir Ixlli wolf if you can — 8tlt'no< li lH'»t fur every man. 'Bnllf jrourfmi In (piirorhtt, 6ixn«DCv jou pay — he sure of that I And If J.jur beil voti overthrow, l*rny |»y a groat before you go."' (Doled 1756.) BELL OF A HORN. Tlie large, open part of the horn, from wliich the sound ultimately iasues, BELLOWS. A pneumatic appendage of cer- tain wind instruments. BELLOAVS OF AX ORGAX. The bellows are the pneumatic part of the machine, by which it is sujjpliod with wind, and is wroiight by a man called the l)lowcr ; but in small organs by the loot of the player, lliis machine is of various constructions, but in general is composed of two flat boards, sometimes of an oval, sometimes of a triangular form ; two or more hoojis are placed between them, and bent according to the figure of the boards ; a piece of leather, broad in the middle and narrow at both ends, Ls nadod on the edges of the boards, that the leather may the more easily ojjcn and fold again ; and there is a valve withiii, that covers the holes in the under board, to keep in the air. BELLY OF AX IXSTRUMEXT. llie beUy, in a harpsichord, or jnano-forte, is that smooth, thin boarding, over which the strings are distend- ed, and which, by its vibration, greatly contributes to the tone. In a double bass, violoncello, tenor ^•iolin, and all instruments performed with the bow, as also in the guitar, it Ls that part of the body which lies immediately under the strings. BEL !*IETALLO DI VOCE. An expression used by the Italians to signify a clear and bril- liant-toned soprano voice. BELTRAME. An eminent organist and church composer at Verona in 1799. BEMETZRIEDER, bom in Alsace in 1748, went to Paris, and formed an acquaintance with Diderot, to whose daughter he taught music' Bemetzrieder has written several didactic works on music, published at ParLs and in London, in which latter capital he resided several years. Some of his music for the piano-forte was pub- lished by Preston. BEMOL. A French term for B flat. BEX. (I.) Well ; as, ben marcato, well markfid. This expression indicates that the passage must be executed in a clear, distinct, and strongly- accented manner. BEXCIXI, P. P. An Italian vocal composer at the beginning of the eighteenth century. He is the author of the oratorio " L' Innocetiza Piv- tetta," arranged for four voices. BEXDA, FRAXZ, or FRAXCIS, mus.cian to Frederic II. of Prussia, and founder of a Gor- man school of violinists, was bom in Bohemia, in 1709. He was appointed a singing boy to the Church of St. Xicholas, at Prague, in 1718 ; and from thence he went to Dresden, wl\ere he was engaged at the Chapel Royal. About the same time he applied himself to the study of the vio- lui, and had no other resource to save himself from poverty (having quitted the king's chapel) than to engage with a company of street mu- sicians, among whom there hapjjcned to be a blind Jew, named Lobcl, an excellent violinist, and who became Bcnda's master and model. Fatigued with liis wandering IL'e, Bcnda, then eighteen years of age, retiunied to Prague, and soon afterwards went to Vienna, where he re- ceived lessons from one of the first masters of the place. There he remained two years, when he proceeded to Warsaw, and procured the situation of chapel-master. The prince roya! of Prussia, afterwards Frederic II., took Benly to liis earlier productions, be.'ore he went to Italy. In 1778 he settled at Hnmbiurg, and afterwards went to Vienna, and then returned to Gotha, where he was re\vardeTnan, near Han- over, publLshcd some sacred and dnunatic mutie at Hanover since the year 1787. BENEDICT, JULES, was bom December 24, 180 1, of an Israelite family. He is a native of Stutt- gart, in Germany. While yet a boy he exhibited so decided a passion for music that hLs parent* determined on indulging his inclinations. He was accorilingly jdaccd under the tuition of Hummel, at Weimar. Under the care of tlJi master he made au improvement so rapid that in the winter of 1820 he left him to pursue his studies as a pianist and composer at Dresden with Carl Maria von Weber. For more than four yciu-Lt did Benedict remain with this illustriou* master, treated more as a beloved son than as a mere student. During this period of hLs life ho accompanied Weber both to Berlin and Vienna to witness the first performance of his c/tef tCccuvres, the " Fi-eyschutz " and the " Euryanthe." In Berlin it was that he became acquainted with Mendelssohn, then a boy, and formed a lasting friendship with the author of " St. Paul " and the "Elijah." At Vienna he was also introduced to the immortal Beethoven, and obtained, through Weber's influence and his own talents, the posi- tion of musical director to the Italian Opera. At this time he was scarcely seventeen years of age. Barbaja, who was then its manager, also conducted the theatres of Naples and Milan, and shortly alter proposed to Benedict to take the position of macitro di ca/MiUa at Naples, in the theatres San Carlo and Fondo. This was in the spring of 182.5. In this position Benetlict re- mained for more than four years. In 1830 he became acquainted with Malibran. This great singer took a warm interest in Benedict's career, ajid formetl a high opinion of his talectii. She accordingly urged him to accompany her to England. HLs departure wa«, however, deferrea." ITi* j first of these works was an opcrn bulTa, and the second an opera seria, each of them being iu two acts. In 18:)'), " I'n muui eH un ymmo," a rharrn- ing little opera bulfa in a single act. was given U 131 BEN EXCYCLOP-EDIA OF MUSIC. BEN »he public. After his arrival iu London, the first apera which he prodncod was the " (jj-i)sy'8 Waniinj;." ThLs was in 18.'iS. It was only in two acts ; hilt such were the sweetness of the inelodie> and the art displayed iu the instrumen- tation of the opera, that it at ouce stamped his reputation ; and when, in 18H, " llie Brides of Venice," a fjrand ojiera in four acts, was produced by the manaReracnt of Drury Lane, he had already been reco<;nizcd as one of tlie (greatest composers then iu the country of liis adoption. Since this he has produced but one opera, called " llie Crusaders," at the same theatre, llie talent dispLiycd m this work confirmed his reputation. The aiTangements and direction of the Musical Festivals in London, Norwich, and Liveqiool, have also been intrusted to him, and he is prob- ably the only conductor in England who is as well known and as well appreciated in the provinces as he is in Loudon itself. In 1817 he was introduced, as we have heard, to Mademoiselle Jenny Lind, who made her first appearance as a singer of sacred music iu England at the performance of Mendelssohn's " Elijah," at Exeter Hall, on the 1.5th December, 1848, under the direction of Mr. Benedict, lliis per- formance, which was given by a committee of Mendelssohn's personal admirers, with the view of providing a fund for the purpose of instituting two scholarships in the name of the deceased master, at Leipsic, proved eminently successful, and deserves commemoration as the fii-st intro- duction of Jenny Lind to the English public. He was the conductor of her concerts ui the United States in 1851-'2, until the termination of her connection with Mr. Bamum as manager, when he returned to Europe, and passed a sad season in Italy, where he buried his wife and son. M. Benedict now resides again in London, and has been dLstinguished during the past year as con- ductor of the Norwich Festival, and of the New Harmonic Society. BENEDICT, of Appenzel. A composer of church music in the middle of the sbcteenth century. BENEDICTUS. (L.) A movement belong- ing to a mass, or Catholic morning ser\'ice. BENEDICTUS, JOH. BAPTIST A, a mathe- matician at Venice, died at Turin in 1590. He wrote some works on music. BENEDIKT, a pianist at Dresden, was a pupil of C. M. Von Weber. He was said to have great firmness of finger. Bl'^NEKEN. See Bexeckex. BENELU, ALEMANNO. See Melom. BliNELLI, ANTONIO. An ItaUan tenor singer and composer. He sang, about the year 1798, in England; and in the following year was engaged at Dresden, where he remained in 1810, and published some sonatas. BENELLI, SIGNOH. An Italian singer, and director of the king's theatre for the season of 1821. BENE PLACITO. (I.) At pleasure. An expression signifying that the perfonuer is at lib- 3rty to exerci:-e his own taste in ornamenting and varying the movement, oi the passage, over which is written. BENET, JOHN. See Bennet. BENETri. An Italian bass singer, engaged at the king's theatre for the season of 1824. BENEVENTO, GIUSEPPE J. U. An Ital- ian composer at Venice between the years 1680 and 1727, during which time he brought out eleven operas. bene\t:nto di san raffale, le COMTE. An excellent amateur violinist at Tu- rin. He publLshed six duos for the ■\'ioUn, in London and Paris, about the year 1770. Healsj wrote some letters on music. BENEVOLI, OllAZIO, chapel-master of St Peter's, at llome, was one of the greatest com- posers of the seventeenth century, and a pupil of Bernardo Nanini. Liberati asserts that Bene- voli was superior to liis master, and all other composers, in the art of wTiting fugue and coun- teq)oint for four and six choirs, each of four parts. Dr. Bumey cites a mass of this kind, composed by lienevoli, which suri)asses, in effect, every thing he had known of the same description. Tliis is probably the mass which BenevoU com- posed for the cessation of the jilague at Rome, for six choirs, of four i)arts each, the score cort- sLsting of twenty-four different parts. It was performed at St. Peter's church, of which he was vumstro di capclla ; and the singers, amounting to more than two hundred, were arranged m dif- ferent circles of the dome, the sixth choir occupy- ing the summit of the cupola. BENGRAF, JOHANN, published at Vienna, m 178'j, some instrumental music. BEN^NCORI, ANGELO. An instrumental composer in France and Germanv since the year 1802. BENINI, GIUSEPPE, bom at Florence in 1701, was a celebrated performer on the harpsi- chord, and composer for his instrument. He died at an early age, in France. BENINL SIGNORA. A buffo singer at the opera, in London, in 1787. BENNET, JOHN, one of the best EnglLshmad- rigalists, seems to have had a melody more i)hrascd and chantante than most of his contemporaries. Besides his madrigals ibr four voices, publLshed in 1.599, and of which several are still noticed by the admirers of old music, he contributed largely to tl;c compositions inserted in a work pubhshed by Thomas l{jivonscrolt, in lOU, entitled '-A briefe Discourse of the true but neglected Use of characterLsiug the Degrees of Mensurable Musicke," &c. BENNET, WILLIAM, professor of music, and organist of St. Andrew's Church, Phnnouth, was descended from an ancient and highly respect- able family. He was born about the year 17G7. He was educated in music at Exeter, by Bond and Jackson, both comjiosers and eminent musi- cians. He afterwards went to London, and fin- ished his studies under the direction of Christian Bach, at whose de.Uh he placed liiinself undei the celebrated Schroeter, who, it is well kno^vn. by lus su])erior and very elegant performance on the grand ]iiano-fortc, brought that instrument 1.12 BEN EXCYCLOPJEDIA OF MUSIC. BEn Into public notice, and superseded the use of the harjisichord. His pupil Bonnet did the same at Plymouth. Beinf; invited to settle there, he was the first person that introduced a grand pinno-forte into that town ; and by his perseverance and re- peated perlbnnancc on that instrument, at tlie public and private concerts, he overcame the prejudice of the natives and professors for harp- sichords. Soon alter hLs arrival at Plj-mouth, in the year 1793, Beunet was appointed organist of St. Andrew's church, and was considered one of the best extemporary performers in England on the organ. His musical compositions are exten- sive and classical. ITiey consist of " nirce So- naias for the Piano-forte, with Accompaniment ; " "A Concerto for the Grand Piano-forte, with Accompaniments for a full Orchestra ; " " Two Divertimentos ; " " Three Sets of sLx Songs, with a Glee to each Set ; " " Three Duets for two per- formers on the Piano-forte ; " "A Coronation March ; " "A Coronation Anthem ; " The cel- ebrated glee, " AVhen shall we three meet again: " with several other glees, &c., &c. Bennet also published very extensive works : " The Collects of the Church of England, in Score," for the use of cathedrals, or for other public or private perform- ances ; and the " Xew Version of Psalms, in four Parts," with a full accompaniment for the organ or piano-forte. He has likewise composed sever- al overtures and fugues, and voluntaries for the organ. BEXXEIT, THOMAS, organist of the cathe BEQUARRE. (F.) A natural. BERAIID, bom in 1710, published "Th« jVrt of Singing," Paris, 175.5, a work of much merit at the time it was written. BERARDI, AXGELO, a chapel-master a| Spoletto, published at Bologna, in 1G87, " Docu- nwnti Armonici," containing the rules of counter- point; in 1G89, " Miscetianea Musicale ;" in 1G90, " Arcani Musicali ; " and in 1693, " II Perch* Muaicale." Berardi's works were a high authori- ty in music at the time he wrote. Many of his precepts are ananged and given by Clioicn in his great work on composition. BERAUDIERE, MARC DE. A French com- poser of vocal music at the beginning of the seventeenth century. BERBIGUIER, BEXOIT TRAXQUILLE. A pupil of Bcrtou at the Conservatory at Paris ; ha is a good flutist, and has composed many works for his instrument. He is also author of an ex- cellent method for the flute, and some useful ex- ercises for the same instrument, licrbiguicr's compositions for the flute are excellent, full of beautiful passages, conducted with fine taste, knowledge, and correct judgment, and always written, l)oth for the jierformer and the effect, according to the genius of the instrument. BERCHEM, JAQUES GLVCHETIO, or JAC- QUET OF MAXTUA, a native of the Xether- , , ,».,„. , , , ^ f, T , ■ lands, lived for a considerable time at Mantua. dral. and ot the Episcopal chapel of St. John, He published motets and various other vocal y"':!?®j'*!':_'"_M ,"''/, '^.:°^ *^* !?!* ''v"'.*^':. I music of great merit at Venice, between the years 1539 and 15G1. Some of hLs compositions are received his musical education in the choir of Salisbui-y, under Joseph Corfe. Bennett's prin- cipal works ai-c, " An Introduction to the Art of Singing ; " '• Sacred Melodies," a selection which is allowed to be made with much judgment and good taste ; also " Cathedral Selections," consist- ing of anthems, commandments, and chants. Each of the above productions has met with much approbation in the musical world. BEXXEIT. WILLIAM STERXDALE. One of the most admired of the English composers now living, whose style, however, Ls so conqjlete- ly imbued with the peculiarities of Mendelssohn, of whom he was a favorite and devoted pupil, that it can scarcely be called original. He was bom in 181G. His early orchestral compositions and songs (quite in the manner of German iie- de-r) were hailed as evincing most rare i)romise. His romantic overtures, called " 'I'he XaiatLs," and The Wood Xpujih," are still favorites in the conceit room, ond are remarkable for a certain vein of delicate ond fairy-like imagination, and for their great resemblance to the overtures of Mendelssohn, of wliich, however, they ore but pale and lecble copies. We do not hear of any works of magnitude produced by this writer since these early efforts. BEXMARCATO. (I.) WcU marked. By thus expression the performer understands that the j)iece before which it is i)laced Ls to be execut- :d in a clear, strong, and pointed manner. BEXSER. A pianist and composer at London. He published sonatas, &c., for his instrument since the year 17iS4. Benser was a Gennan bv hirth, and the first master of the celebrated J. B. Cramer. preserved in the British Museum. BERG, a German, published some piano- forte music in Loudon between the veiu-s 1770 and 1797. BERGER, LOUIS. A celebrated pianist and pupU of Clementi, bom at Berlin in 1777. He published a valuable work, entitled " hou^e Etu- dei pour le I'iano-forte," which is reprinted at de- menti's, in Ixindon. The exercises are sfoted, in dementi's Catalogue, to hold a middle station between facility and extreme ditKculfy. They are fingered by the author, so as to render them of great advantage to performers who have small hands. BERGER, JOHAXN WILHELM VOX, died at Wittenberg, ui 17.51. He was professor and dean of the universitr there, and wrotii several works relative to music. BERGOGXOXI, BERNARDO. An open composer at Venice in the beginning of the liu'. t century. BERGOMUS, ALEXANDER. A composer of ma^vcs in lt572. BERGT, fHRISnAX GOTTLOB AUtU'ST. organist of St. Peter's Church at Baugoii, wa^ l>om at Freyberg in 1772. He originolly studied theology, hut soon gave up that pursuit for mu- sic. Since the year ISOl, he has pu'>lishe Chester Philharmonic C« ucerts. 133 BER ENCYCLOPEDIA OF MUSIC. I3ER REUI.IX ACADKMY OF MUSIC. ITic fiorliii Aciuleiuv of Mu^ic wns Ibumletl in the vcar ISoO, by Dr. A. H. Mnrx, Dr. T. Kulliik, and llerr Julius Stem, ol' liorlin, niul has risen rapid- ly in the estimation of tlie Kuropcau public. BERLIN, JOH.VXX DANIEL. Organist in Norway. He publislicd " The Elements of Mu- Ric," and some other didactit: works, at Copenha- pen, about the middle of the last century. He diehrn, and after- wards at that of the King of Fr.ince. The regent Duke of OrliMiis admired his works, ami patron- ized their author This musician died at Paris in 17:14. His live books of cantatas, anil .songs for one and two voices, the words of wliich were written by Rousseau and Fusciier, have procured him groat reputation. There are, besides, of his composition, "/,<.< .ViiiV.s de San>ix," and many motets, which are still in great esteem. Bcrnier was a pupil of ("ahhiia, and is regarded by M. De la Bonle as one of the greatest contrapuntisu and fuguists that ever existed. BERRETARI, AURELIO, called also Fie- soli, published a mass and psalms at Venice io 1656. BERTALI, ANTONIO, ehapcl-master at Vi enna, wiis born nt Verona in 1605. He composel much vocal and instrumental music. BERTANI, LELIO, born at Brescia in 15UQ. was chapcl-masicr there, and afterwards at Vi- enna. He was a voluminous composer of mad- rigals. BERTEZEN, SALVADOR, an It.nlinn com- poser, pulilished a work entitled " The Principles of Music," nt Rome, in 1780. BERTHAUD.or BF.RTAUD. A violoncellist and sic was effected. Gluck hnd such coutidencc in the talents of Berton, that he requested him to revise and alter the deitoue- vieiit of his " li>/iii/riiic en Aiilide," which is still l)erl'onucd lus Berton arrangeil it. Berton did all in his jmwcr to appease the parties of the Gluck- ists and PiccinLsts, by reconciling the cliicls. He tlie-atory of the MendwaiUi, at Venice, ■was bom in 1727. He was pupil of Padre Mar- tini. In the year 1776, he obtauied great renown by his composition of the opera of " Orf'eo," which was received with enthusiasm at the thea- tre in Venice. In 1779, Bertoni accompanied Pacchierotti to England ; however, Saccliini was then in too high favor in London for Bertoni to have much success. Few masters knew better than he the mechanical parts of their business; his melody was flowing and graceful, though not often new ; his parts were clear aiid well arranged, and his counterpoint perl'ectly correct ; still there was sometimes a pacific smoothness in liis music that bordered upon languor. Upon the death of Galuppi, in 1785, Bertoiu was appointed chapel- master to St. Mark's Church and the state of Venice, the most honorable and lucrative employ- ment to which a musical composer can aspire in Italy. Bertoni was the master of the celebrated singer Tenducci. He composed thirty operas, the words of most of which were \vritten by Metas- tasio, Apostolo Zcno, and other eminent Italian poets. BERTRAM, BAI-TOASAR CIIRLSTIAX FRIEDRKTI, chamber musician to tlie King of Prussia, and a pupil of Graun, died m 17S7. BERTRAXD, AXTON'Y, born ui Auvergne, set to music the songs of Ronsard, the favorite bard of France during the reigns of Henry U., Francis II., Charles IX., and Henry lU. He publishetl them in four parts, in 1578, under the title of " Amours do Ilonsard." BERTUCH, CARL VOLKMAR, was bom at Erfurt about the year 1730. He was organist of St. Peter's Church, at Bcrhn, and considered tc be a fine player of Sebastian Bach's music. BERTUCH, or BERTOUCH, OEORG VON, ■n-as bom in 1668. He was a Danish general 136 BER ENCYCLOPAEDIA OF MUSIC. BEV officer, and composed several cantatas and other music. BERWAI.D, JOIIANN FRIEDRICH, was bom at Stockholm in 1788. ^\^len between four and five years of age, he played at a public con- cert on a small violin. Alter tliat time he visited, with his father, various courts of Europe, whence he received medals and many other marks of roy- al approbation ; at the same time he prosecuted his studies in composition and on the piano-forte. Several of his instrumental works have been pub- lished in Germany since the year 1798. BESARDUS, JEAN BAPTISTE. A per- former on the lute, and composer for his instru- ment, at the commencement of the seventeenth century. BESNECKER, J. A. A celebrated organist and church composer at Prague in the beginning of the seventeenth century. BESOZZI, JOSEPH. A musician at Parma in the latter part of the seventeenth century. BESOZZI, JEROME, born at Parma in 1712, was bassoon player to the court of Sardinia from the year 17:{0. He went with his brother Alex- ander to Paris for a short time, wliere they were heard with tlie greatest applause. The two brothers subsequently lived together at Turin till their death. BESOZZI, ANTOINE, brother of the two preceding, was, in 175o, a performer on the haut- boy at the chapel at Dresden. He died at Turin in 1781. He performed, at different times, at the principal courts of Europe. BESOZZI, G.AETAX, brother of the three preceding, was born at Paima in 1727, and first entered the scr\-ice of the court oT Naples as per- former on the hautboy, and subsequently held the same situation at the court of France. His playing was much admired in London about the year 1793. BESOZZL CHARLES, son of Antoine Besoz- ri, was born at Dresden. He was also a perform- er on the hautboy. BESSEL, A. M. S. E. VON, pubUshed some instrumental music in Germany, between the years 1790 and 1793. BESSER, T. G. An organist at Halberstadt, and composer, between the years 1779 and 1784. BESSON, or BESON, a French composer, publLslied some sonatas at Paris in 1729. BETHISY, a French composer, published, in 1752, a treatise entitled "An Explanation of the Theory and Practice of Music, according to the new Discoveries." The author has availed him- lelf of Ramoiiu's principles. It is a work of little merit. BETTS, ARTHUR, was bom in Ijncoln- shire. He received instructions of Hindmarsh and Viotti on the violin, and of Eley, Dussek, and Steibelt, in the theory of music ; he also de- rived great bcnctit from the friendly lessons of Russell, and from his long practice and expe- rience, may be ranked among the most eminent teachers of the present day. The best compo- sitions of A. Belts are as follows : "Three Sona- tas for Piano-forte and Violin ; " " A Duet for two Performers on the Piano-forte ; " " Set of Duets for Violin and Violoncello ; " " Set of I)uet4 (easy) for Violin and Tenor;" "A Sonata int I'iano-forte, (violin obligato,) and Violoncello (ad Ub. ;") "A Divertimento for Piano-forte and Violin;" "Andante for Violin Obligato, with scjcond Violin, .Vlto, and Bass." He has aL-^o com- posed some songs, and arranged j)ieces, amongst which Ls the much admired " Overture to the Men of PromethciLS," by Beethoven, arranged as a quintet for two violins, alto, dute, anil vio- loncello. BEUF, JEAN LE, published at Paris, in 1739, a treatise on church music. BEURHUSIUS, FRIEDERICUS. A writer on music in the latter part of the sLxtecnth cen- tury. BEUTHNER, JOHAN^ HEINRICH, direct- or of the music at Riga, was born at Hamburg in 1693. Hepublished a cantata at Riga in 1717. BEUTLER, JOH-AJS'N GEORG BERN- HARD. Director of the Musical Academy at Berlin, and composer of piano-forte music. He was both an excellent pianist and violuiist. BE%"ERINI, FRANCESCO, one of the oldest, and probably the first, dramatic composers, lived at Rome about the year 1480. BEVIN, ELWAY, a musician eminently skilled in the knowledge of practical composition, flourished towards the end of Queen Elizabeth's reign. He was of Welsh extraction, and had been educated under Tallis, upon whose recom- mendation it was, that, in 1589, he was sworn in gentleman extraordinary of the chapel ; from whence he was expelled in 1637, it being dis- covered that he adheretl to the Romish com- munion. He was also organist of Bristol Cathe- dral, but forfeited that cmplopnent at the same time with his place in the chapel. Child (after- wards Dr.) was hLs scholar. He has composed sundry sers-ices, and a few anthems. Before Be- vin's time, the precepts for the composition of canons were known to few. Tallis, Bird, Water- house, and Fanner were eminently skilled in this most abstruse part of musical practice. Every canon, as given to the jniblic, was a kind of enigma. Comjiositions of this description were sometimes exhibited in the form of a cross, some- times in that of a circle ; there is now one extant, resembling a horizontal sundial ; and the resolu- tion (as it was called) of a canon, wliieh was the resoh-ing it into its elements, and reducing it into score, was deemed a work of almost as great dii- Rculty as the original composition. But Itevin, with a view to the improvement of students, generously communicated the result of many years" study and experience, in a treatise which is highly commended by all who have taken oc- casion to speak of it. 'ITiLs lx>ok wb.s jnihlished in 1631, (4to.,) and dedicated to Goodman, lliOiop of Gloucester, with the following title : " A bricfo and short Insfrviction of the Art of Musicke, to teach how to make discant of all proportions that are in use ; very necessary for all such as are de- sirous to attain to kuowleione Africano ; " " AHascrae ; " " Pizarro ;" and " II Hitratto ;" all for Xaples. BLVXCIU, FRAXCESCO, was born at Cremo- na. He composed either fifty-seven or fifty-eight entire operas, t>esides a considerable quantity of church and other music. He wrote a great deal for Pacchierotti and Marchesi, and some of his operas remain iji public estimation, and were performed, l)oth in It»ily and in England, at least as often oa those of any other master. He composed his " Disertor Fruiwht'se " at N'cnice in 1785, which obtained its celebrity in the follow- ing manner ; Pacchierotti perfonued the part of the deM-rter, and in the proper costume of a Frendi soldier, llio ilress of common life had never l>cfore been seen upon the opera stage, and to shocked was the classical taste ol the Venetians •t tliis innovation, that they actually refused the piece ft lair hearing. It happened, however, that some royal personage, passlug through Venice, expressed a strong desire to see this opera, and in deference to him, the music suffered no interrup- tion ; their rapture was equal to their first un- worrautable disgust, and the poor discarded "Disertor" became a reigning favorite. Bianchi wTote the fijst opera, both for Storace and for BiUington, " d-itore e Poliuce " for the for- mer, and " Inez di Castro " for the hitter. Ills forte lay in fine expression. Though his " Mcrope " (the best of his works) displays how thoroughly he un- derstood the use of instruments, his accompani- ments were rather natural and easy than recherches. He went hand in hand with the style of his con- temporaries, PaesieUo, Cimarosa, &c., preferring simplicity to the more complicated effects intro- duced by the Germans. His " Semiramide " is remarkable as having been chosen by Banti for her dibui in England, when it had an extraor- dinary run. I'he fame of his success induced the managers to send for him to England, where he remained till the end of his life. Bianchi was previously engaged by the court of Vienna, but hifl residence in the ser\-icc of the emperor was pre- vented by the death of that great personage. It is said that the emperor, ha\-iiig desired his presence at some town in Italy, after conversuig with him for near two hours with great familiarity, at length ' questioned him as to his willingness to settle at Vienna. Bianchi assented, and an engagement was formally made out by the Austrian minister at Venice. He had just read the i)aj)er of his ap- pointment, when news of the deatli of the em- peror was brought him, and his good fortune died with the prince. We may relate an anec- dote which is, perliaps, the strongest proof of this composer's talents, ^^^lile Haydn was in England, he a.ssured Bianchi that whenever the accidents of lif«{, disturbed his temper, he kept one leaf of Bianchi's works turned down for rel'erence ; to this he always resorted, and it never failed to restore his serenity. As a learned contrapuntist, Bianchi ranked high, and a great work of his on the theory of music remained unpublished at his death, in the hands of his widow, Mrs. Lacy. The entire work was intrusted to the care of the editor of the " Quarterly Musical Review," with permission to publish extracts. A series of these will be found in the above work, commencing at vol. ii. p. 22. BLVXCm, J. M. C, was a celebrated per- former on the violin. As a musician, both prac- tical and theoretical, he has not often been excelled ; and in other respects he was a liighly accomplished scholar. His manuscrijjts consist of Italian operas, English canzonets, \-ioUn con- certos, &c. This excellent musician died at Xeuilly, near Paris, in 1802, aged only twenty- seven years. BIAXCLVRDL FRAXCESCO. An Italian composer of madrigals about the year 1590. BIBEB, HENRY JOHN FRANCIS, vice chapel-master to the Bishop of Saltzburg, pub- lished in 16S1 a set of solos for a violin and bass. He seems to have been amongst the first violin players of his time ; and his solos are the most dilRcult and fancitul, saj'B Dr. Burney, of any music of the same period. One of the pieces is written on three staves, as a score for two violins and bass, but meant to be played ic 138 BID ENCYCLOP.'EDIA OF MUSIC. BU double stops. Others nre played in iliffcrcut tunings of fourths nnd tilths, as for a treble viol. A second work by this musician, entitled " Fidiciniuin sacro-profanam" consLsts of twelve •ouatas, in four and five parts, to bo played on three instruments ; and a third, " llarnvmica arti- ficioso-arioM," published at Nuremberg, consists of pieces of seven parts, to be played on tluree in- Btrumonts. BIDEAU, DOMINIQUE,' published an es- teemed method for the violoncello, and some other instrumental works, since the year 1796. BIEGO, PAOLO. A Venetian dramatic com- jtoser between the years 1G80 and 1C90. BI-E(iUAL THIRD. A name given by Earl Stanhope, in his " Principles of the Science of Tuning," to intcr\-als, two of which, added to a major third, make up an octave ; consequently two of them equal a minor sLxth. BIEUEY, GOITLOB BENEDICITS, cliapcl- master and chef-cForche-stre at the theatre at Bres- lau, was hopii at Dresden in 1772. He composed near twenty operettas, and much other instru- mental and vocal music. BIFERI, NICOLAS, of the Neapolitan school of musicians, was born at Naples in 1739. The characteristics of his style of composition are facility and good taste. After leaving a favor- able imjiression of liis talents in Italy, he went to Paris, where he was appointed a chapel-master. He then published a work entitled " Traiti de Mttsifjiie uhrtiji." in which the arts of singing, ac- companiment on the piano-forte, composition, and fugue are well taught, in language remarkable for its perspicuity. BIFFI, GIUSEPPE. A composer at Milan in the sbcteenth century. Many madrigals of his eomposition were published between the years 1582 and 1600. BIFFI, DON ANTONIO, a Venetian chapel- master to the Conservatory of the Meudicanti, composed some oratorios, &c., in 1701. BIGAGLL\, DON DIOGENIO, a Venetian Benedictine, composed some cantatas and other music about the year 1720. BIGAITI, CARLO, one of the best pupils of Pache Mattel, and aLso of Ziugarelli, was bom at Milan iu 1778. lie has pubUshed nearly twenty- tive works of masses, motets, and airs with varia- tions. He is said to show in his works a profound knowledge of harmony. BIGGS. A celebrated EnglLsh composer of iong-* aiul canzonets. He was a particular friend of Mrs. (.)pic, and set much of her poetry to music. Among his publications are a collection of Hindoo airs, and a collection of ^VeLsh airs, the words of both by Mrs. Opie. Biggs ranked very high in England as a teacher. BIULER, FRANZ. Chapel-master at Augs- burg. He publLshed much vocal and instru- mental music between the years 1792 and 1803. BIHLER, GREGORIUS. A composer at Douawert, in Germany. Some of his music was printed at the Hague in the year 1796. BILLINGS, WILLIAM. For one hundred and fifty years alter the landing of the Pilgrims at Plymouth, no native son of New England had attempted musical composition. This dLstinction was reserved for William Billings, a native of Boston, whose works were so much admired in his day, and so much neglected afterwards. He was born October 7, 1746, and died in Boston, S-jptembcr 26, 1800, aged fifty-four. He was the author of six distinct publications, namely : 1. " The New England Psahn .Singer," 108 pages, jjublLshed October 7, 1770; 2. "The Singing Ma^ftcr's Assistant," 102 pages, publisheunded at that time with the same flashy composition. Volumes Aere there publish«Kl, and are still extant, in w ich not • single solid tune can be found, not c c, of any description, which has found its way into any respectable collection of music there or here. TTiough their harmony may be more correct, th. melodies bear no compatison with those of Bil 139 BIL ENCYCLOPEDIA OF MUSIC. P.IL lin|;s, wlio therefore, in thU respect at least, far e.xcee;o I publLslied a book, entitled ' 'ITie New lin^hind I'salm Sin;ier ; ' and truly a most masterly jjerfonuance I then thought it to be. How lavish was I of encomiums on thu my infant iiroduction ! Said I, 'ITiou art my Keuben, my first born, the beginning of my strenfjth ; but to my f;rertt mortification I soon discovered it was llcuben in tlie seIr. C. Weichsell, the celebrated vioUn- ist, and Mrs. Billington, were young. These children were traijied to music at the earhest possible age, and even jierformed on the piano- forte and violin for the benetit of Mrs. N\'eichsell, at the Ilaymarket Theatre, at six years old. Her first master was Scliroeter, an excellent teacher of the piano-forte, and her father superintended her musical education with a degree of severity that could scarcely be justified even by the pro- ficiency of the pupil. Few persoius have attained the perlcctiou that MLss Weichsell reached upon this instriuuent. At fourteen she came before the public as a singer, at (Jxford, and at sixteen married Mr. Billington, then a performer on the double bass, who carried her immediately to Itubliji, where she commenced her theatrical career in the opera of " Orpheus and ICurydicc." Here, jierhaps, for the only period of her lite, she was doomed to suffer mortification, in the greater np])lause and respect obtained by MLss Wlieeler, a singer much Inferior to herself; and siich was the etl'ect on the ardent mind of Mrs. Billington, that it had nearly been the occasion of l;cr leav- ing the stage in disgust. The reputation of Miss ^Vheelor itrociired her an engagement at Covent Garden Theatre for three years. Mrs. Billing- ton followed her to London, and no sooner had she arrived, than Mr. Harris, the proprietor, and Mr. Lewis, the manager, waiteil upon her vfith a proposal to play three nights. So short a trial she positively reiused, expressing her desire to 6ubstit\jte twelve nights, under the apprehension that her too anxious solicitude to plea.«e her count rjnuen might defeat her first efforts. Such, indeed, was her distrust, that she considered this as a final experiment ; and she had determined, in the event ot any failure, cither in the ease of Belt'-posscssion or ot deficiency of jiowcrs and at- tainments, to quit the profession of an actress at once, lliey proceeded to discuss the terms of her engagement, and she desired a salary of twelve pounds j)cr week ; to which the managers objected, as being the hii/hrsC sum then ijicvn, and as the remuneration assigned to Miss Wheeler, whose reputation was so high and established. The comparison was unfortunate ; it irritated Mrs. BiUiugton, and she instantly declined to enter into any permanent contract. .She consented, however, to appear for the twelve nights, and .vas advertised for the part of Uosctta, in Ame's opera of " Love in a Village." She was an- nounced for the Wednesday night ; but the name of Mrs. Billington, late Miss Weichsell, having caught the attention of the kmg, liis majesty commanded her apjiearance to take place two days sooner — a circumstance highly tlatteriuii, as it was a solitary in.tance, and contrary to the custom generally observ'ed by the sovereign. It will readily be conceived, that Mrs. Billing- ton, whose habits of study and practice had bccu fixed by the severest exercise of parental author- ity, omitted no preparatory exertion to insure her success with the public under such auspicai. Indeed, she labored night and day, and nothing could be more complete than her triumph over the esteem of her audience and the rivalry of her former lavored competitor. MLss NMieelcr was laid on the shelf, as the thealiical phrase goPH, and at the expiration of the twelve ni;;lit<^, the managers a;;iiin waited on Mrs. Billington, to re- new her engagement on a pennaiient footing. They (juestioned her cautiously respecting her cx' pectations, and she, rather in jest than in earnest, demanded one tliousand pounds and a benefit for the remainder of the season, with which, to her \itter astonishment, they immediately complied ; and they after^vards voluntarily gave her a second night, in return for the extraonlinary emolument they had derived from the exercise of her talents. During tlus season, although her theatrical duties were unremitted, she never relaxed from the most sedulous general pursuit of the knowledge and practice of her art. She labored incessantly, and received lessons of Mortellari, an Italian master of celebrity, at that time inEngland. The theatre had no sooner closed than she availed herself of the interval to tty to Paris, where she enjoyed the instructions of the great Sacchini, the composer. Tlius she continued from the first to fortify and enrich her natural gilts with the strength and ornaments of high science. At this time, Madame Mara arrived in England, unenuaUed in the eminence she had attained. In 178.), the sul)ject of our memoir made her debut at the Concert of Ancient Music. Mara herself is said not to have beheld her reception quite un- moved, and some disjjutes even arose respecting place and preeminence in the seats of the orches- tra— a species of contention very tmworthy the transcendent abilities of these gifted individuals. Mrs. Billington's fame continued to spread, while her never-ceasing ardor and assiduity were day by day enlarging her stock of knowledge, acqxiirc- ment, and facility. She was a constant perform- er at the concerts of the metropolis, and she sang at the memorable Westminster Abbey perfonn- ances. She remained at Covent (iarden until 179:i, when she adopted a resolution to reti'e from public lite, which she vainly imagined she had finnness enough to adhere to. At the insti- gation of her husband and her brother, she was inducetl to make a continental tour, with a view solely to amusement ; and to this iiitent she de- clined all letters of introduction, intending to travel inmijnila. For some time they s\»ccoeded, and passed alon;; without notice ; but at Naples, the English ambassador, Sir W. Hamilton, pene- trated their sei'ret, and pentuadetl Mrs. Billing- ton and Mr. Weichsell to perform in private be- fore the king and (juecu, at Ca-^erto, a country residence. 'l"he gratification they received in- duced their majesties to retiuest Mrs. Billins;ton to I)erform at the great theatre of St. Carlo, then thought to bo the finest opera established in tha world. She acc^rilingly, in May, 1704, made h« 141 BIL ENCYCLOPAEDIA OF MUSIC. BI> lUbiti in " Iiifz (li Cailro," which was composed expressly for hor by the maestro, Frnncesco Bian- chi, who wTote nii opcni worthy the supcremiucnt ability of this prima ilonna. Her success was complete, for indeed her celebrity made her name known in Italy ; and previous to her quittin-; £np;land, the Wnetian ambassador had i)con in treaty with her to accept an engagement, which, however, she broke. Her pcrfonnance at Naples was interrupted by n sudden and affecting event. On the second night, as Mr. Dillington was seeking his hat to accompany his wife to the theatre, he fell down in a tit of apoplexy, and died in the arras of lii- Bnchi, at the residence of the Bishop of Win- chester. Nor was this the only circumstance that impeded her progress. About this time, un eruption of Mount Vesuvius took place, and the fuperstitious bigotry of the Neapolitans attrib- uteloyer. Conceiving that the air of Venice did not agree with her, she emitted the place. On her journey from Venice to Rome, Hhe was earnestly requested to give a concert at Home, which she at first declined ; but a society of CaraJieri undertook the whole of the arrange- ment, and she and Mr. AVcichsell perfoi-med to a very crowded audience. Between this period and the year 179S, she visited all the principal theatres in Italy, and in this year married Mr. Felissent, and appeared only twice subseou- Trent, he was appointed gentleman of the Cliapel Royal ; notwithstanding which office, ho seerat to have comjiosed the chief part of his choral music to Latin words, and to have published it in that language, as Into as the middle of the reigji of King James I. Bird composed a vast fiuantity of vocal music, chiefly sacred, between the years 1575 and IGll. Dr. Tudway's collection, in the British Muse- um, contains a whole ser\-icc in I) minor, by Bird, with responses, and the anthcin.s, " Sing jojiuUy unto (iod," " () Lord, turn thy wrath, ' (all jjub- lished in the second and third volumes of Dr. Boyce's Cothedral Music,) " O I>ord, make thy servant," " Save me, O God," " Prevent us, O Lord," and " L'irUas sanrti tut." One of hij sarrarum raiUlonum, or sacretl songs, published in 1589, has been long sung in the cathedrals to the EngUsh words " Bow thine ear, O Lord," and is one of the admirable pieces of hannony in the second volume of Boyce's printed collection. Dr. Aldrich was a great admirer and collector of the works of Bird, and adapted English words to most of his compositions, which were original- ly set to parts of the Romish sen-ice in I^tin. He be(iueathed to Christ Church, Oxford, beauti- ful and correct copies of these productions. HLs jjieces for the organ and virginals are almost innumerable. In a magnificent folio manuscript, curiously bound in red morocco, which Ls gencr- aUy known by the name of Queen Elizabeth's virginal book, there are nearly seventy of his compositions. It has been imagined that the rage for varia- tions, that is, multiplpng notes, and cUsguising the melody of an easy and generally well-known air, by every means that a iioie-splitler sees possi- ble, was the contagion of the present century ; but it appears from the virijiiuil book, that this species of induenza, or corruption of air, was more excessive in the sLxteenth century than at any other period of musical history. Xone of Bird's pieces for keyed instruments seem to have been jirinted, except eight movements in a thin folio book of lessons, that were engraved on copper, and publi.sheAi\', l>omim;" appears in none of his works published by himself, or col- lected by others, before the year liio'J, when Hil- ton inserted and prefixed the name ot Bird to it, in a collection of catches, rounds, and canons ; but as no claim was laid to it, by or in favor of any other composer before or since that time, till about the middle of the present centurj-, when it was given to I'alestrina by Carlo Ricotti, — who published, in Holland, among his concertos, a fugue in eight parts, on the same subject, — there seems no doubt remaining of Bird having been the author of that pleosing and popular comjjo- sition. Bird diixl in 1623, surviving his master, Tallis, thirty-eight years ; and if we suppose him tc have been twenty in the year 1563, when he wai Ud BIR ENCYCLOPAEDIA OF MUSIC. BIS chosen orcanLst of Liucolii, he must have been eij^hty nt his decca.«c. Jn n collection of music by this writer there are the loUowinj; reason8 why people Bhould learn to sing : — Rnuonf irt down bj Ui' auctcr to persuade ercrie one to Ifom to •Ing : - 1. It I* k knnwicdfre cmIIc tniijrht and quicklle learned, vhtn there b n fffMMl iniKUT and an ajit iirhf>lnr. X. The fxcrr isr of »\ngiug i» doliglitful tn nature, and good to pre- ■rrrelhi' health of man. S. It do ftrenglheu all (larts of the heart, and doth open the |ripca Wc). i. It Ii a lincular good rcmcdle for a stuttering and itammcHng in the ■iM-t-rh. 5. I! li thr bc't mrnni to prcwrre a perfect pronunciation, and to ntnkc a fftMMl orutor. 6. It iii thv onlic wn^v when nntnre hath bestowed the hcneflt of a forid vit> cr ; which ftxft l« n> rare, im there ii not one among a thou- aanil thut htith it ; and in rnnnni*- that cxccUeut gift ii lotl, because Uiey wnnt Ihv art tn expn-i'* natiin-. 7. Then- in not any muiicke of inntrunient* whatsoever compam- blc In tlint which is ina'lc by the voyrca of men, ichcn the voycea are 2; " Ilarouii Alraschid," (altered from t'le .Kthiop,) do. do., January, 18i:i ; "The Brazen Bust," melodrama, do., May, 181.'$; " llaiTy le Uoy," (comjiosed and selected,) burleila, ilo., July, 181.3; " I'he Miller and his Men," melodraui'i, do., October, 181.'5 ; " For En.;land, ho I " (with the exception of three airs,)melodrainatii- opera, do., December, 181.'}; " The Farmer's Wife," (withD.ivy, Reeve, &c.,) opera, do., F'ebruary, 1814; "The Wan- dering Boys," melodrama, do., February, 1814; " Sadak and Kahvsrade," (first act of,) grand spec- tacle, do., April, 1814; "The (iraiid Alliance," (composed and selected,) allegorical spectacle, do., June, 1S14 ; " Doctor .Sangrado," ballot, do., September, 1814; "The Forest of Bondy," melo- drama, do., .September, 1814; " 'llie Maid of the Mill," additional music in opera, do., October, 1814; "John of Paris," (composed and selected from the French of Boieldicu.) do. do., November, 1814; "Brother and SiMer,' (with Mr. Ueeve,) mu.ical entertainment, do., February, ISl.); "'Ilie Noble Outlaw," opera, do., Apnl, 181.) ; " 'I'elema- chus," (composed and .selected,) Oj.era, diveiit Garden, June, 181.i; " Magpie ami the Maid," melodrama, do., .September, 18 1.5 ; "John d u Bart," do. do., O.tobcr, 181.5 ; " C'jnnon," (overture and additional music in,) musical entertainment, do., Noveml'.er, 181.5; " t'omus," (additional music in,) do. do., 181.5 ; " Midsummer Night's Dream," (composed and selei-ted,) ojicra, do., Jonuarj', 181(); "(juy .Maunering," iwith Whitaker, &c.,) do. do., March, 1810; "Who want.s a Wife .= " melodrama, do., April, 1816 ; " Uoyal Nuptials" (selected nnd arranged,) occasional interlude, do., Novmber, ISl'i; "Tl'.e Slave," openi, do., No- vember, 181(i; "Heir of Veroni," (with Whit- aker,) operatic picjc, do., Febriuuy, IS 17; "Uu- 19 149 BIS EXCYCLOP.EDIA OF MUSIC. ULA •norou-t LieutemHt," opera, do., January, 1817; •"The liiljpiliiio," ( ndnpted from Mozart,) oponitic piece, do., 1S17 ; " Duke ol Savoy," opera, do., Sejitember, IS17; " Fatlier and liis Children," melodrama, do., October, ISl"; " Znma," (-with Hmlsiim,) opera, do., Febriiary, 1818; "Illustri- ous'IVavcUer," melodrnma, do., February, 1818; ' December and May," operatic piece, do.. May, 1S18 ; " liarber of Seville," (overture and addi- rioiial mu^ie, and adapte I from Uos>-ini,) do. do., October, 1S18 ; "The Mamai^c of Figaro," (compo'.;ed and adajjted from Mozart,) do. do., Mnrcli, 1811) ; " Fortunatus," melodrama, do., April, 1819; "The Heart of Mid-Lothian," (comi)osed and selected, 1 opera, do., .Vpril, 1819; "A lloland tor an Oliver," music arran^icd for musical entertainment, do., 1819; ".Swedish Patriotism," melodrama, do.. May, 1819; "'ITie (inoine Kins;," operatic piece, do., October, 1819 ; " Tlie Comely ot Error;," oi)era, do., December, 1819; "The Anti;iuary," (composed and se- lected,") do. do., January, 1820 ; " I5attleof IJoth- weU ]{ri;;," (composed and selected,) musical entertainment, do., 1820 ; " Henri (iuatre," opera, do., April, 1820; " TweLth Xisht," do. do., 1820 ; " Don John," {\)art of the music,") do. do., 1821 : "Two Ocntlemen of Verona," do. do., 1821 ; " Montro-e," (composed and .selected,) do. do., Fel>ruary, 1822 ; " The Law of Java," do. do., Mav, 1822 ; " Maid Marian," do. do., December, 1822; "Clari," do. do., May, 1823; "llie Boa- con of Liberty," musical romance, do., October, 182.3; " Cortez," opera, do., November, 1823; " Native Land," do. do., February, 1824. BISHOP, ANNA, was educated at the Royal Academy of Mu: ic, in I/ondon. Her first appear- ance in public was at a concert given by JJochsa, July;), 1839. Orisi, Pauline, Viardot Garcia, Per- siani, Kubini, Tamburini, and Lablac);e, all sang at this concert ; Thalber;; and Dohler presided at the piano, and Bochsa at the harp ; still, in spite of this brilliant phalanx of artists, who threatened to echp: e altoi;etber the talent of the new fh-hii- taiUe, she obtained the most triumphant success. Soon after she ventured on an artistic tour through the principal countrie* of Europe, and visited the most noted towns of Denmark, Sweden, Russia, Ike, in all of which jilaccs she was successful. Her visit and reception in the large cities of the I'nited State; will be remembered by the thou- sands who I'.eard and admired her. RIS(")XI A church composer at Lugo, in Tiuiy, m 1788. mSSET, CATHARINE. Elde=t daughter of Jlobert llis^et, LL. D., author o. the " Life of Rurke," and the " Reign of (jeorge III." At an earlv age, Miss IJLsset gave promise of musical abi- lities. In con: equence of the death of lier father, I ■when she was quite a child, she was advi- ed l)y many friends to study, as a profession, that art which sl-.e had ]reviously cultivate 1 a-- an accom- )>li:.h]aent ; and notwithstanding the hi'_'h rank of several of her nearest relatives at twelve years of age she was giving lessons to as-.i t in sujiport- uig her family. Shortly after, she became ac- quainted with J. R. Cramer, who, with the liberality of mind which so pecidiarly character- ized him, instructed her without any emohmient. In isll, Mii:t lli-set ]>er;"onue 1, at tl.e New Musical Fund concert, Cramer's dilKcult concerto in C minor, with the raont iuibounde prefixed i* odd, fantastical, and irregular; now quick, now- slow ; sometimes loud, sometime ; so:t ; just a" the carelessness, or whim of the moment, dictates to the composer. BLACKWELL, ISAAC. An En-lish com- poser of songs, some of which were printed in a collection entitled " Choice Ayres, ."^ongs, and Dialogues to sing to the Theorbo, Lute, and Base Viol," fol. Ifi".). Tliere are some composition!" of his for the church in the book s of the Chapel Royal, and in those of Westminster Abbey. BLAMONT, FRANCOIS COLIN DE, wa.s born at \'crsailles in the year 1090, and for hit merit in his j)ro:'ession, was made a ch.evalicr of the order of St. Michael. He was a composer for the opera, and enjoyed the places of superin- tendent of the king's music, and master of that of his chamber. He wrote the opera.* " Didon," " A»"^ Fttes Grrcr/ttes ct liotiiaiin^," " II PastorJUh," kc. He died in the year 17<)0. BLANC, DIDIEli LE. A French composer of four part songs in l.v97. BLANC, lU'BERT LE, published a work on th.c bass viol at Amsterdam in 1740. BL.VNCH.VRD, E. J. A., a celebrated French musician, died at Vcrsaillei in 1770. He wa-i chamber musician to the King of France, who granted him letters of nobility and tl c order of St. Michael. He composed some sacred mu.sic containing beautie-s of the Rrat order, among wl'.ich Ls a magnificent motet, calleJ " iMiidatt Duminum." BL.VNCHE. (F.) (Literally, 'vhite note.\ A minim, or halt note. BLANCIIIS, PETRUS ANTONIUS. Ser BlANCIIl, P. A. U6 P T. A ENCYCLOr.i:DIA OF MUSIC. ltl..\ HI-AND, MRS., i.; the dnu-ihtcr of an Italian Jewess of tlie name of lioraan/.ini, and was tir«t introiu'>c'l into public life by a Mr. Cady, hair dro;^er to the Koyal Circus, who heard and ap- proved of her voice while an infant, and by the consent of her mother she was eu;iaf,'ed at a small salary. She soon distin';:uished herself by lier wit and pleasing manner of sin!;ing, and rapidly advanced in the tjood opinion of her audience. Miss Uomanziui soon aspired to a re;^ular sta'^e, and was eiKjafiied by Mr. Daly, mannjjcr of the Dublin 'll'-catre, where she was well rei'eive 1. When Mrs. AVriijhten left the st«p;e, the raan- Bfjeri found fireat difliculty in siipjdyiiig her place. Amony; others, Miss Romanzini wiw cu- gngeil for that i)uri'0--e, and in a short time she proved herself an excellent sub -titute. The pub- lie were peally plev^ed with her perfonnance of the yia'^c, in " Richard Ciriir de Lion," wliich added much to the popularity of the pie^e, and hor fame. In the summer of 1789 she went to Liverpool, and became a favorite with the inhabitants of that place, both as an actress and as a concert linger. About this jicriod s'-.c married Mr. I Jiland, brother to Mrs. Jordan, by whom she ] had several chiltlren. niis lady, both a* an | actre-=s and as a singer, afforded much pleajure i to the public. I BLANGIXI, JOSEPH M.VRIE FELIX, was ! bom at Tiu-in in 17.S1. At the aj^e of t"olve or thirteen he di;l the duty of organist at the cathe- dral of that town, and at foiu^tcen led a mass with a full orchestra. He went to i'aris in 17Ji), and devoted himsell" with the greate .t sueccs;< in ginng lessons in singin<» and composition. He at the same time composed operas and many pleasing romances, and other light vocal pieces. In USOo he was invited to Muu'ch, and appointed chapel-master to the King of Ravaria ; and in 180'J the King of Westphalia conferred on him the situations of chapel-miister, chamber mu- Kician, and chef-cTorchestrc to t'lc the:itre. lUan- gini composed one hundred and sixty-four romances; one hundred and seventy noitunioB, for two voice* ; seventeen sets of canzonets ; six motets ; four masses ; and about twenty operas. Among the more favorite of his operas may be cited " LaJ'aiuse Dueiriu;" " yepAtnli," "XflieH Terrille," " lues de Vast m" " Let F; Stu-rifice '.l, also some church music. RLANKEXUriUJ. FRIEDRICH VOX. died iX Lcipsic in 17!>'l. He edited the new edition >f Sulzcr's "'I'heory of the Fine Arts," and »dded to the miLsical articles of tliat work. RLASEBL-VGE. (G.) The bellows of an i»rg!u». RLASIS, FR-VXCESCO AXTOXIO, com- posed at Milan the opera of •' Arminio," in 1790. RLASIUS, M.VTIIIEU FliEDIUC, was chrf- (Forrhextre at the Opera Comique in Paris. He published, in 179'>, a method for the clarinet, lie also arranged Haydn's sonatas as aggage. Two projects led him to the metro])olisof the arts — he wished to have represented there the " Don Juan" of Mozart, and some other oi)eras which he had translated and arranged for the French stage, and to puldidi thci-c a book, in liopes of future- renown. This book appeared, under the title of " The Opera in France," i Paris, 1820, 2 vols. 8vo. ) A man of talent, a writer full of fancy, M. Castil Blaze attacked with energy, in this work, certain prejudiced persons, who, in France, were op))0:-ed to dramatic music. He pointed out tl.e de.ects of the librettos of the operas, the vices of the interior administration of the theatres, tl-.e bad distr;b\ition of tlie parts, the false and arbitrary cla:isilication of the voices in tine, all the cause-< which prevente 1 th.e good execution of the ma-ik'. He al.o made war against the pas ionaJe taste of the French for songs, (rAro^ress of art. I'ntil the moment when ^L Ca.stil lllaze coramenceiquant orticle^ which were the foundation of his repu- tation, mere men of letters, ignorant of the tirsl elements of muMC, had aisumed tlie right of putting forth the false opinions, wliich they took m; n i.E encyc;lop,edia of music. BLB k>T (loctriiic«, upon an art of which they did not i in 1782. He was the son of Jonas li.ewitt, an (•■iiuiirchciul cvt-n the aim. To tliis wo must at liilmtc llio j)ii'ju(li(C' which existed amoiifjst the Kieat jiart of llif popuhilion nf;ninst harmony, the luxury of instrumentation, and wliat Li called kcM-/i///fc music. The author ol the Musical Cliron- ide, in the " Di'.hnts," was remarked for the specialty of liLs knowledjjc ; he silenced the non- ^ense of the men of letters, and bof^an to initiate the public into the technical lanj;uaj;e which he used. \Vhatever |)ro;^ress the art of writinij; on music in the jiapcrs has made in France, we must not for;;et that M. t'aiitil lilazu was the first who imturalized it in that country. The treatl-c ui)on the " Ojjera in France " iucrea ;ed to an " Essay upon the Lyric Drama and Khythmical Verse," wliich wius published in ISL'li. After havin"^ written for more than ten years the Musical Chronicle for the " Journal lies Dcbnts," M. Castil Blaze Icit that paper in 1832, to write for t};c " Coustitutioniiel." In 18.32, he piiblir.hed two works. One is called " Chajicl ^lusic of the Kinp;s of France," (I'arLs, Paulin, 1 vol. 12mo.,) and the other " The Dance and the BaUet, from Bacchus to Mademoiselle Taglioui," (^I'arii, I'aulin, 1 vol. 12rao.) The translations of the " Nozze di Figaro" of " Don Juan," " Zauberjlote," and the " Mairimouio Seijreto," were done by M. Castil Blaze before he went to Paris. The success of the music of llossini at this jieriod dctemiined him to con- tinue his works of translation, and succetisively he jniblisliod " T/ie liarbur of Seville" "La Gazza Ladru," " Otello" and " Slotse." He also at- temi)ted several pasticci, composed of a union of parts of the scores of llossmi, Mozart, Pacr, and several other masters. He even composed sojuc pieces himsell, of wliich the best known are " Les l-'olicH Aiii'>ureus!;s," and " Lc ForCt de Si/iart." The Theatre Odcon, in I'aris, was es- pecially dc.i;,'ned,in 1822, for the re])rescntation of translated tiermau and Italian ojjoras ; every thing played there was successful ; but tlic " J)er Frei/scliutz," by Weber, under the French name of " llMit dc liois," was received with the most enthusiasm. The translation of " Earijanthe " was also by M. Castil Blaze, but was not so well received. M. Caslil Blaze is known as a composer by some pieces of religious music, ([Uiutets for the violin, and a colleclio)i of twelve romances, amongst which are the " Cluint de T/wrmopi/les," and the pretty song of " Uoi Uent." (Coudeu:ied liom FetLi'.) BI.EIX, M. l.E BAUOX, a general ofKcer in the FrcMuli engineer corps, was lioru about 17G7. II:- publisheil in Pari:;, in 1827, an " Exp%it de r/uel- qucs I'ri'iiijHS uourcdiijc sur t' .\v!>usti']uc et la Thioric ties Vibrations, etc." In 1828 he labored to relbrm the diatonic gamut, ihe mode of writing music, S:c. Finally, he publisheil, in 1832, " Principles oi Melody and Harmony, deduced tr73, he was swoni one ot the gentlemen of the chapel, and in 1074, upon tlie ikvea.-.e of Humphrey, appointed master of tlie children, lu lii8.), he was nominated one of the private musiciaii<; to King Jamct II. , and in 1687 he wa-i likewise appointed almoner and master of the clioristers in the Cathedral ("hurch of St. Paul ; but in 1G93 he resigned tb.is last place in favor of his pupil Jeremiah Clark. l?low had hLs degree of doctor in music conferred on him by the special grace of Archbishop SancroU, without perlonning an exercise for it in either of the universities. On the decea.se of Purcell, in Iti!).), he was elected orgnnLst of St. Margiu-et's, Westminster, and in Ili'JSt appointed composer to the chapel ot their majesties Kins; William and (Jueen Mary, at a salary of forty pounds a year, which afterwards was augmented to seventy- three j)ounds. A second composer, with the like ap])ointiuent, was added in 171.5, when John Weldou wius swoni into that otKcc ; at which time it was re.piired that each should produce a new anthem on the tirst Sunday of his month in waiting. 1 hat Blow was a composer oi anthems while a singing boy in the Chapel Koyal ap|>ears from CliUbrd's collection of the words of the ser- vices and anthems used in the collegiate and cathedral churches in lt!(i4; for among the cc- ;-lesiastical composers mentioue/uii.i Jiriltitmiriui,' a similar collection of Purcell's dramatic and mis- cellaneous songs, published by his widow in 11)98. But whether Dr. Blow was stimulatetl to this ])tiblicatiou by emulation, envy, or the so- licitation of his scholars and friends, by whom there are no less than fil'teen encomiastic co])ie!' of verses jiretixed to the work, the ungrateful public seems to have always renuiined insensible to these strains of the modem Aniji/tinn, which were not only incapable of building cities, but even of supporting his own tottering fram*". ' (io, perjured man,' Is the best of all his secular jiroductious ; but that which was an imitation of a duet by Carissimi, ' J)ifi; o Cirli,' is r,verloa of this collection contain two of his bi-st ballads — ' Saliua has a thousand chanus,' and ' Philander, do not think of arms.' In these ballad* th« union of Scotch melody with the English is first conspicuous. The subject of a snrtH, he hoa 149 BLU EXCYCLOP.EDIA OF MUSIC. BOC perfonneil Don Juan, iind Cit-ipnr in the " Frey- lihlltZ." BLUM, CAUL. Born in 1788. A drarantic coini)oscr, (guitarist, Kingcr, and director of the opera at Berlin. lie composed several operas, as " (.'laitiline th: Villa ItelUi," " ZoraitU; oil la Paijc dc iiraiiiiflii," " I^'S I'df/cn da Due Vcnddiifi," SiC. Carl Blum was a great favorite with the Gcnnau public. BLYMA, F. XAV., director of tlie orcheitra at Moscow in 17!) i, published some violin music lit Vienna and Leipsic between the above year and 1803. B MOL, (Cf.) or SOIT B. B flat; so called in contradistinction *o B Uur. See B Duii. BOCCIIEUINI, LUIGI, was born at Lucca, in 1710. He rofcived his first lessons in music and on the violoncello from the Abbe Vannucci, then music master of the arch)nshopric. Boecheriiii, at an early a;j;e, showing; a great disposition for music, his father, himself an ingenious musician, cultivated his son's talent with care, and at length sent liim to Rome, where he soon ac- ijuired a high reputation for the originality and variety of his proe's selection ; it is a truly original and highly-finished pro- duction. BOCHS.V. ROBERT NICHOLAS CHARLES, WHS born in 17.S'.), at Montmedi, in the depart- ment of tlie Meuse, in France. IIU father iKsing first perform(T on the huutl'oy at the Grand nicatre at Lyons, the young musician, while yet an infant, had the means of hearing, and couse(iucntly imbibing, some notions of good muiiic. Xor were these opportunities neglected, for, at the age of seven years, he jjublicly per- fonued a concerto on the piano-foile. Even at this early period Ids genius for composition ako develoi)ed itself; lor, in liLs ninth year, he com- posed a duet and a s^^nphony for the flute. Xt eleven he i)layed ou the flute a concerto of his own composition ; and at twelve he composed several overtures for ballets, and soon after a quartet, without knowing a single rule of com- po.iition. At sixteen he set to music, at Lyons, the opera of " Trajan." At the same period, he applied himself to the study of the haq), and had made liimself familiar with that instrument, when he went with hLs family to Boui-deaux. Here, meeting with the celebrated Beck, he studied composition under him with the greatest enthusiasm, for the space of a year, and set to music the ballet of " La IXin-wntanie," and an oratorio, {" Li: Dclui/c Unircr.wUc,") in wliich he introduced a chorus for two orchestras. About this time, Bochsa had so far mastered the diffi- culties of the harp, the piano-forte, the violin, the tenor, and the flute, as to be able to perform concertos on cither of these instruments, besides being able to play in a slight degree on the haut- boy, and understanding perfectly the scale and capabilities of nearly all other instruments. Ou hLs arrival at Paris, he was received into the Con- servatory of Music, and placed as a pupil of Catel, under whom his progress was so great, that, at the close of the first year, he obtained the principal prize in harmony. After this, he studied the higher branches of composition, under the celebrated Mchul, who mauLi'ested for his pupil ]iarticular kindness and friendship. As Bochsa still continued to apply himscli' to the harp, he received also some lessons from Xader- mann, and afterwards studied more jjarticularly under the celebrated Viscomte Marin. But judging, with reason, that no one could rise to eminence by imitating the productions of another, he seems, from hLs iiublications, whia has obtained a generally al- lowed pre^'minence on the harp, which few uidividual performers on any other instrument liave ac(iuired. HLs comi)ositious for the haq), which were published at Paris, amount to about one bundled and fifty, consLiting of concertos, symphonies, quintets, quartets, trios, ducts, sona- ta-, lanta-.ias, capiiccios, \c., besides two method-s and filty studios, dedicated to G. B. Cramer. lu 18i;f, the Emixjror Xapoleon appoin'ed Bochsa first harpLst oi' his private concerts. Soon after 150 BOD ENCYCLOP.liDIA OF MUSIC. BO this he apijlied himself M-ith greiit eiithusinnm to dramatic coiuiiosition, and composed lor the royal Comic Opera " L'lIerUu:r tie I'aimpal," an opera in three acts, which oxpcricuced f,'rcat suc- cess. In 1814, he was ai)pointed (on the resto- ration of Louis XVIII.) to compose an opera called " />(•? Il-ritiera Michaiuc," which produc- tion received the approbation of the kin^ and of the Emperors of Aiustria and Russia. This opera is said to have been prepared by Uochsa in a tew days, and we have heard that the overture was positively composed in two hours. The follow- in;; Ls a list of some of the other dramatic produc- tions of tliii comjwscr, in the order in which they appeared : " Li Lettre de Change," in one act ; " Ia! Hoi it la Lif/ne," in two acta ; " Lea Xocen de (lamruhe," VL. three acts ; and " Le lioi (f Airayoa," in throe acts. On the 20th of January, 1815, a {;rand re [uiem wa.s perlonued for the service of Louis XVIII. , composed by Uochsa tor wind instruments only. -■Vbout this time he was appointed harpist to the king and the Due de Kerri, by whom, as well as by Monsieur, he was particularly patronized. Uochsa went to Euslaud in 1817; where for isome ttmo he published yearly more, on an aver- age, than Fcveuteen or eighteen pieces for the harp. In 182., he became dii'ector of the ora- torios, wliich, under his management, gradually improved both in sclcolion and perlonuance. At the o].ening of the Royal Aciulemy of Music in 1822, he became a life govenioi-, and was appointed professor of the harp and secretiirv to the masical department of that institution. For several yeivrs past Uochsa has been tUiector of the concerts and operas of Madame Auna Uisliop in the United States and in Mexico. UODE, JOIIAXX JOACHIM CIIRISTOPII. A printer at Ilamburv;, and composer of some music since the year 1773. lie published a tier- man translation of some of the workii of Dr. Uuruey. UODEXHUKG. JOACHIM CIIIUSTOPII, a ticrman, wrote a work on ancient music, espe- cially of the Jews, also a work on the music of the middle ages and modern times. Ho tliotl ui the year 17o9, at the age of sixty-eight. UODINI. SEUASTIEX. Musician to the Mar- grave of Uaden Dourlack about the year 17.5(5. He published much iustrumentul music at .\ugs- burg. UOECK, AXTOIXE and IC.XACIUS, broth- ers, were oxiellcnt performers on the horn in :"82 UCECKLIX. FR.\XCOI.>^ FREDERIC SI- lilSMUXD AU( JUSTE. UAROX DE. nn amateur composer, was bor>» at Stra-burg in 174.5. He was a favorite pujiil of Jomelli ; ho also took les- sons of Richtcr : he composed symphonies, church music, and abo some operas. UOEHM. THEOBALD, inventor of tho '• Uoehm tlute," so called, the most celebrated of (jerman riutists, was boni in Uavaria in 1802, and belongevl to the music of the king ot Munich. Ht has composed all forms ol music for the flute, lome with orche;t lutist and principal composer of songs of his time. Some of his " Court Ayrcs with their Dittie* En^- Ushed," were published in London by Filmor, 1629, of which it is now dlthcult to find tho measure or accent. BOErHIU.S, A. M. T. S. A Avritcr of five books on music m the latter part of the fifth cen- tury. His works were printed at Basle between the years l.54() and 1.570. BOEITXER, JOIIX CHIUSTIAX, organist at Hanover, pubUshcd some music lor that in- strument in 1787. BOOEX. (G.) Tlxe bow. nOGEXFUURUNG. (G.) The management of the bow. UOHRER, ANI'nOXY and MAXIMIIIAX, two celebrated performers, the one on the violin, the other on the violoncello, are lirothers. 'Ilicy performed, in 1823, at Milan. It Is said that in their performance of a duet, so great wa.s tho similitude of their tones, that the auditor could scarcely detenuine which of the two was the per- fonucr on the violin. Maximilian was well re- ceived in England in 1811. UOIELDIEU, FRAXCOIS ADRIEX, a cele- brated dramatic composer at Paris, was bom at Rouen in 1770. He went to Paris al)out the year 1795, and first became known by his talcnU c.n the piano-forte, and as a composer of romances, some of which had prodigious success, especially the two, " i>il cat vrai (jw tfitre Hcitx," and " I^. Mcnrstrcl." He soon after began to compose operas ; among the more favorite of which may be named " L*- Cali/c de Itaydiul, 1800," " Ia; Pe- tit C'Jui/wmn," and " Im I'oiliirc rer.si'i ." Uoicldieu was one of the jjrofc.isors of tlic piano at the Con- servatory at Paris since the year ll'tl ; afterwards he resided at Petersburg, having been ap)>ointcd, in 1803, chapel-master to the Emperor of Russia, after the death of Sarti. He dieil at his country seat, near Paris, October 9, 1831. nOISGELOU, PAUL LOUIS ROUAI.LK DE, wa;< born at Paris in 1734. He was cele- brated as an iuiiant muiucian, by J. J. Rousseau, 151 noi ESCY CLOT JET>1\ OF MUSIC. BON in the following passage of his Kmllo : "Tat vuc chrz un nui'jutrat, ann Jils pi'tit bon homme de huit 0(W, i/u'oH nutldit sar la tMe an dessert coinme uiie \latuc ail milieu des plateiix, jouer la cttm violon, ore.ir/iu; aiuai i/raiid giie lui, el snrprendre par son rreadion lea artislca mtmea." lie died at Paris in 1800. BOISMORTIER, a corupoFcr of some operas and other music, died at Paris in 175.5, aged BLxty-four. ]Io was remarkably absent, so much BO tliat lie would not undertake to diretit the or- chestra at the rehearsals of his own music. A motet of this composer, " Faijit Nox," has been much celebrated. 150ISSET, AXTOIXE. Chamber musician to the Kin^ of France at the beginning of the seven- teenth century. BOLICIO, NICHOLAS. See Wollick. BOI-LA, SIGXORA. A female buffo singer at the Opera in London, in the year 1800. BOLERO. A .S])anish dance with castanets. BOLOGXA, LUIGI. Born at Bologna. A composer of opera music since the year 1786. BOMBARDO. (I.) A wind instrument, re- sembling the bassoon ; formerly used as a bass to the oboe. B0M15IX. An inflatile instrument of the an- cient Greeks, consLsting of a long reed. It con- tained two parts, the olntos, or mouth, and the iiipholme, or main body. BOX, GIROLAMO, called Momoh, was born at Venice, and published at Xurembui-g, in 17C4, home easy sonatas for the ^-iolin and bass. BOXA, VALERIO. A Franciscan monk at Milan in loOO. He published madrigals, motets, and church music, also rules for composition. BOXADIES, I'ERE JEAX, was a Carmelite, and the master of Franchinus Gassui'uls. P. Martini has given a tragment from a " Kyrte EUi.sm," composed by Bonadies in 1473, when (iaforio was twenty-two years old. BOXAXXI, FILIPPO, a Jesuit at Rome, was born in 1()3S, and published a work on music, called the " Cabiiictto Armonirx) I'ieno d' Istro- meiiti Soiiori." In 1776, a new edition of this work appeared at Ro)ue with a French transla- tion, and the following title : " Descrizioite degC h- (rjmcnti Armonici d" O'jni ffenere del Padre Boiiaii- III, secoiula Editions rivediUa, corretta ed accreaciiUa deW Abbitic (Jiacliilo Ccriili, oniaia con 140 rami." BOXARDI, FRAXCESCO. An ItaUan com- poser of madrigals at Venice in loGo. BOXAZZI, AXTOXIO, an amateur %-iolinist, w:ls born at Cremona. At his death, he left a collection of upwards of a thousand instrumental jiieces by different composers, among which were a few of his own compositions. He also left forty-two violins, made by (iuanierius, Amati, Straduarius, and other great makei-s ; several of t)iese instruments were worth one hunilred and tilty ducats apiece. Bonazzi died in 1802 at Mantua. BOXI), HUGH. A collector and editor of jsalms, hymns, and anthems in Ix)ndon previous- Iv to tlio vear 17'J5. BOXD. An eminent performer on the doubU bass, resident in Iic in 17'iO. It was reprintecd to Munich in 181ii,aiid was thrlii-st singer who performed Rossini's music on the (icrnian stage; she ai>pcared in " Tuncrcdi," and in thu " Italinna in Alplauded. .She afterwards proceeiled to Vienna, where sho remained three years, and met with much suc- cess. She next went to Moscow and Petersburg. at wliich latter capital she sang six times before the emperor, and received from liiiu several hand- some jiresents. On quitting Russia, she vL-itcd Dresden and Berlin, and tinally went to IjOndon, where she apjjcared three times in the sca.son of 1823, in the character of Tancrcdi. BOROIIIMES H.VRP. It is well known that the great monarch Brian Boroihme was killeublic. 15osio is married to Signor do XindavelonLs. During the past year she has sung with great success iu the operas of London and ParLs. BOSTON ACADEMY OF MUSIC. A socie ty formed in Boston about twenty years ag' whose object it Ls to raise music, as a branch of education, to the rank it is entitled to hold ; Xa diffuse a knowledge of its principles among aU classes in society ; to show its advantages ; to re- move the prejudices which prevent attention to it ; and to correct the al)uses to which it Ls liable. The efforts of the society are not exclusicely de- voted to instruction and improvement ui sacred music, though this was the fii-st and even princi- pal design. The Academy, under the principal direction of its professors, Lowell Mason and George J. M'ebb, has done excellent ser\-ice to the cause of music in Boston and Xew England. By its orchestral concerts, it first introduced and formed an audience for the symphonies of Beet- hoven, &c., in Boston. It gave, too, the first ex- ample and impulse to the summer " Musical Con- ventions," or "Teachers' Institute-s," for some' years jjast so common in this country. BOSTOX MUSIC HALL. This noble struc- ture was erected in 1852. 'The main hall Ls one hundred and tliirty feet long, seventy-eight wide, and sixty-five high ; the lower door is level. The oroliestra rLses from one extremity, at the other is an end gallery, of five rising tiers of seats, above and behind which is a narrower balcony ; and from the ends of these, two balconies am carried along the sides of the hall, projecting eight feet sL'c inches from the walls. 'The Iront stage of the orchestra rLses five feet from the floor, and fi-om tlus level continues rising rearward ui successive platform! to the extremity of the hall in that duei-tion, the upper platform being on a level with the lower balcony. The whole orchestra is thirty feet deep and sixty-three long, and is so connected with the lower balcony that a portion of the latter might, if required, be eiv:>ily connected with it, and occupied by choral singers. The walls of the hall have a series of piers which sujjport the balconies, and which are formed, above the upper one, into Corinthian pilasters, supporting the cornice of the wall and covbig of the ceiling. This coving is circular, and is groined ; semicir- cular lights are jjlaced in the w^aUs under the groins, and ventilators in the ceilings of the same. The hall is lighted at night by a series of gas jets along the top of the cornice, which, being placed under the ventilators, perform the ventilation as well as the illumination of the hall. Corridors are ciu-ried, on the level of the floors and balconies, all aroiuid the building, communicating with the hall by doors in the sido walls at intervals of not more tlian fifteen feet. Xearly three thousand persons can be comfort- ably accommodated in this hall — none so placed that they cannot both hear and see the orchestra, or easily leave the hall by some adjacent door leading into the corridors. BOSTWICK, EMMA GILLIXGHAM. Bom in Philadelphia, and daughter ( f George Gilliug- ham, leader of the orchestra )f the old Park \oi DOT ENCYCLOP.'EDIA OF MUSIC. BOO Theatre, New York, and also of the orchestras at Philadelphia and Baltimore. In early lile Emma gave evidence of extraordinary musical precocity. When a mere infant she could sin^ various songs ; and her earliest recollections are said to have been of those songs, and many simple l)alla(ls, which she was accustomed to sing lor the gratiti- cation of friends of the family, and of strangers that called to hear the wonderful performances of the young music>al phenomenon. She always accompanied her voice, even at that ciuly age, on the i)iano-forte, which she played with remarka- ble skill, considering her tender years. At the age of twelve. Miss Gillingham com- menced regular studies with John I'atldon, organ- ist of Exeter Catl;edral, in England. On return- ing to America, she became a teacher of mu>ic at Flatbush Academy, New York. Since that time, she married Cliarles J. IJostwick, and has been Bucce isful in giving concerts in New York, and nil parts of the United States. IJOrrAllELLI, JOILVXX "WALPERT, a Florentine poet, jiublished in London, in 1757, "Del (Aiitzoniere if Orazio Ode 12 Mesne in Musica da' pill reitoiiiati I'roJ'cssori Inylesi." BOITESI. One of the greatest violinists of Taitini's school, about the year- 1770. BO'ITI published ui 1781, at Paris, six trios for the harpsichord and violiu. BOrrOMI.EY, JOSEPH, was bom at Halifax, in Yorkshire, in 17S(). His predilection for music Krst ai)pcared at a concert, to which his parents had taken him. At the age of seven h.e per- lormcd a concerto on the violin. His studies on the piano-forte did Jiot commence before he was eight years of age. At twelve, ho was removetl to Manchester, where he was placed under the tuition of (jrinishaw, organist of St. John's, and of AVatts, leader of the concerts. I'jjon the recommendation of A\'atts, he after^vards received instructions on the violin from Yaniowit/, who was engaged at that time to jicrfonn concertos at Manchester. At tUteen, he was a])i)rentice(l to Lawton, organist of St. Peter's, Leeds, who had been an apprentice of Dr. Miller, and a pupil of the celebrated Uaumgarten. Under this gentle- man he obtained considerable theoretical infor- mation, both by his private uistructions and from his excellent musical library. Alter the completion of his terra witli Lawton, Bottomley went to I^ndon, where he devoted a (.hort time to the instructions of the renowned AVoeW. At nineteen, having finished hLs musical educa- tion, he announced him>elf to the public as a pro.essor. Although he was appointed organist of the parish church of Bradford, in the year 1807, yet Hulilax, being a very musical town, and atl'ording him much teaching, became his principal place of residence. In 18'J0, after leaching in some of the most respectable families in tlie country, giving instruction to several pro- fessors, and leading a very consiilcrable numl)er of perionnances, both sacretl and miscellaneous, he was induced, by a Uberal salary, to accept the situation of organist of the parish church, Shef- field, at which place he is now stationed. As a •tiniulus to exertion, it may not l)e improper to add, that, notwithstanding an inattention to liter- ature in earlv life, and a continual devotion of time to teaching and composition, Bottomley found opportunities of cultivating nn ac familiar Poems." All the foregoing are for the Piano-forte. " A small Dictionary of Music." llis manuscript works, which are numerous, con- sist of ovcrtuies, quintets, one quartet, trios, con- certos, fugues, anthems, &c., &c. BOn'UIOAUI, IL CAVALIEUE ERCOI.l-; was born at Itologini in l.j.'il. He was a man ol rank, fortune, and erudition, who seems to have spent his whole lile, which extended to eighty eight yeiu-s, in the study of music and in musical controversy. He died in liiOO, and bclied many motets. He was a jiupil of Ber- nier, nncl much celebrated amongst the French musicians of his age. BOrssi:T, JEAN BAPTISTE DE, died at Paris in 172.'), aj^ed sixty-three. He was chapel- master at the Louvre, and published some sacred music. BOUSSET, DROUART DE. Orj^anist to Notre Dame at Paris in 17G0. lie died suddenly in the church, jiist after he had huishcd perlorming a mass with unusual energy. BOUSSET, RENE DROUARD DE. A native of Paris, who died there in 1700, aged tii'ty-sevou. He was eminent for his taste and genius as a musician. BOUTADE. (F.) A lesser kind of ballet, formerly jiractised in France, and which was af-, fectcd to be executed as an impromptu. Simila' lierlbnuances are now called capriccioa and fan- tasias. BOUTELOU. A celebrated counter tenor sing- er in the chapel of Louis XIV. He wa-s so ex- travagant that he was frequently in prison, where the king sent him dinners daily of sLx covers, and frciuently paid his debts. BOUTMI, LE(JNARD. Composer of some ro- mances at Paris in 1793. BOUTMY, LAURENT, born at Brussels in 1725, was the author of a treatise on thorough bass, published at the Hague in 1700. He also composed much hai-psichord and church music, some of wliich was printed at the Hague and Amsterdam. BOUTROY, ZOZIME, the inventor of a ma- chine called the planisphere or liarmonic compass, at I'aris, in 17H5. He afterwards published a symphony for ei;;ht instruments, the bass being numl)ered according to tlie plan of the above machine ; he likewLjC composed some romances. BOUVARD. Composer of two operas and other vocal music in I'aris at the commcuccmcnt of the eighteenth century. BOUVIER, M. J., a composer of instrumental music, and violinist, at Paris in 1785. ISOVK'ELLI, GIOVANNI BATITSTA, pub- lished rules for music at Venice ui lo'Jt, also some maiLigals and motets. BOWING. Managing the bow. Bowing con- ptitutcs a jirincipal \n\il of tl'.c art of the viohnist, the vioUst, fee, since on their skill in this par- ticular greatly depends the quaUty of their tones, Bnd, in some measure, the facility of their cxc- rution. BOW INSTRUMENTS. AU the instruments Plrving with catgut or goatgut, from which the tonfs are jiroduced by means of the bow. ITie mos", usual are the double bass, (riotoiio or contra- bnsn ;) the small bass, or violoncello; the tenor, (viol : ili braccio ; ) and the violin proper, {violino, froD vioion.) In reference to their construction, the several parts are alike; the difference is in the size. BOYCE, DR. WILLIAM, born in 1710, waJ the son of a cabuiet maker in London. He wa« a professor to whom the EngUsh chorid sen-ice ia greatly indebted for tlie well-selected, correct, and splendid collection of cathech-al music, which he published m three volumes large folio, ujion the plan and on the recommendation of his master and predecessor. Dr. Greene. In 1731, he was a candidate for the jilace of organist of St. Michael's Church, Cornhill. But though he was unsuccessful in this application, Kelway hav- ing been elected, yet he was ajjpointed the i^arae year to the place of organist of Oxford Chapel ; and in 1730, \x\ic,n the death of Weldon, when Kelway, being elected organist of St. Martin's in the Fields, resigned his jjlace at St. Michael's, Cornhill, Boyce was not only elected organist of that church, but organist and compo: er in the Chapel Royal. The same year, he set " Da\'id'8 Lamentation over Saul and Jonathan," which was jjerformed at the Apollo Society. About the year 1743, he produceil the serenctta of " Solo- mon," which was long and justly admired as a pleivsing and elegant composition. Hl< next publication was twelve sonatas or trios for two violins and a bass, which were longer and more generally purchased, performed, and admired than any jiroductions of the kind in England, except tliose of CoreUi. They were not only in con- stant use as chamber music in private concerts, for which they were originally designed, but in the theatres as act tunes, and at public gardens as favorite pieces, during many years. In 17-t'), he set the ode -sTOtten by the Rev. Mr. Mason, for the installation of the Duke of Newcastle as chancellor of the university of Cambridge, at which time he was honored with the degree oi doctor in music by that University. Soon after tills event, he set for Drury Lane Theatre " The Chaplet," a musical dr-ama in one act, the dialogue of which is carried on m recitative. It had a very favorable recejjtion and long ruir, and con- tinued many years in use amoirg the stock pieces of that theatre. Not long after the tirst ])cr;bnn- ance of this drama, his friend Mr. Beard brought on the same stage the secidar ode written by Dryden, and originally set by Dr. Boyce for Ilicklbrd's room, or the Castle Concert, where it was first performed, llris piece, though less successful than " The Chaplet," by the animated performance and friendly zeal of Mr. Beard, was many times exhibited before it wa-s wholly laid aside. These compositions, with occasional single songs for Vauxhall and Ranelagh, disseminated the lame of Dr. Boyce throughout the kingdom as a dramatic and miscellaneous composer, wliile his choral comiiositions for the king's chti)el, for the fciust of the sons of the clergy at St. Paul's, and for the triennial meetings at the throe cathe- drals of Worcester, Hereford, and Gloucester, at the j>erformance! in all wliich places he constant- ly presided till the time of his death, established his reputation as an ecclesiastical composer and able master of harmony. Dr. Boyce, with all due reverence for the abilities of Handel, was one of the few English church composers who ncitliei pillaged nor servilely imitated him. There is an original and sterling merit in his pn ductious, lounded as much on tlie study of oil English masters as on the best models of other couutrieH, 156 BOY ENCYCLOPAEDIA OF MUSIC. UltA that fjivos to all his works a peculiar stamj) and charnctor tor strength, clearness, and facility, without any mixture of ntyles, or extraneous and hetcro'^eneous onunncnts. Dr. Hoycc, dyin^ iu 177i>, was succeeded in the Cliapel lloyal by Mr. Dupuis, and as master of his majestyV band, by Mr. .Stanley. liOYKR, PASCAL, born m 17i:>, was chapei- inastcr at Nimcj in his sevenlcenth year; he nt'tcvwards went to Paris, and pul)lished a bio- (jraphical sketch of Per^ole-^e in the Mcrriire de Fiaiiii; q{ July, 1772. He subsequently published some instrumental music. BOYVIX, JACQUES, published a treatise on ncco)n])aniiuent, and much orjjan music, at Paris and .Vnisterdam, about the bcginniug of tlie ei^;litcouth century. B (iUADIlUM. (L.) Ser:iuiideJ him to accept an engagement for the subve |uent season at Bath. He readily assented, and in tl c year 17!) I made his firU apjjeiirance as a tenor hinger at the Bath concerts, of which Raux/ini wiuf the conductor. No sooner had Braham apjjcared at these concerts than he bci-aUit ii pui>il of Rau/./ini, and greatly ])rolited by his able instrui'tions. This liberal master cv« n re- ceived him gratuitously into his house, and <,'av9 hun lessons lor three years; and when Br; ham nfterwiuds sang at his annual concerts, he in:-i;.ted on his receiving a very ample remuneration. In the spring of the year 17l)osition of Mnzzinuhi ami Reeve, and has since that period held the very first rank among Eniilish stage and conccil dingers. In enerjiy and pathos of style, Bniham was un- ri^•allc>ll ; and his powers in this re-'pei't were especially conspicuous in accom]>anie,l ren ; thus, " Deejier and deei)er still," of Hamlel, was ih« chrf-trrrurrc of Braham's declamatory and pa- thetic mani\er, describing u it did Jephthah ir u u v EXCYCLOPiEDIA OF MUSIC. BRA Ihc HRony of his rash vow. In the order of tou- ficnl oiicrt^, his sinKiii^ ot this Bccompmiicd reci- tative is ranked, by nil iii<;eiiiou:i contributor to llie (Junrtcily Musical Review, with tlie finest I'tforts or Mrs. Siddons in the dnima. Urahain has likewise been remarkable, aiuon;; the natives ot Eiifjland, tor his power in sustaining, with the jiroper manner and pronunciation, the prin- cipal male character on the Italian stage ; so much BO, indeed, that by many hi.s Italian singing was thought far to transcend his English. lie i>eitormed at the King's 'I'hciitrc several Fea'-oiis, from ISOli to \H\(\, with those celebrated pingers, Mrs. IJillington, Madame Grassini, and Madame Fodor. In 1S09 he was engaged to eing at the 'llicatre Royal, Dublin, on such terms as were never given before to any performer, viz., tiro t/iniixaiid ijuincas for fi fir fin nights ; and SO well Wiis the manager sntistied with the bargain, that it was extended to thirty-six performances on the same terms. More latterly Braham was engaged at Drurr I^ane Theatre, where he generally " ran the round of his characters " with undiminished power and effect. Foreign singers, who were engaged in England, paid his talents the highest compli- ment, by saying, " Xon o i tenore in Italia come Jiriihum." With regard to his merits as a composer, we have only to obsen-e, that if it be allowed that true genius Ls required to produce chaste, mel- lifluous melodies, then was Braham highly gifted ; for he certainly has written a vast number of songs, duets, &c., S:c., which have gained the greatest degree of popularity ; as a proof of which most candidates for vocal fame introduce some of them at their dibitts. " As a national song," says an ingenious modem critic, " Braham's ' Death of Nelson ' has pleased and continues to please a vast majority of the inhabitants of the British isles ; it has therefore aer^mp/ished its piir/Msr ; for to whom are national songs, which are always appeals to the passions, and seldom free from vainglory, addressed? To the multitude. They are meant to flatter the pride of the ])Cople, to cherish their love of country, and to inflame their zeal in its defence. Of such compositions, this most ))Oi)ulHr singer has produced some that have operatocl with great force on public feeling, and will hereafter even be considered as teatures in the musical history of the pie^.ent eventful age. They w iD be preserved along with the Tyrtieau ttrains of I'uivell, Arne, and Dibdiu." Our space will not penuit us to give a list of tl'.e various jiicccs composed by him, but they may lie lound to constitute the prominent estab- lished favorites in the following o])eras : " The Cabijiet," " The English Fleet," " Thirty Thovi- sand," " Out of Place," " Family tjuarrels," " 'llic Paragraph," " Kais," " Americans," " The Devil's Bridge," " False Alarms," " Zuma," " Navcnsky," \:c., &c. Braham was remarkably quick in " exploring n score ; " he entered into the spirit of the com- ]>osition immediately, and took up the accom- jianinicnts for the various instruments with the greatest lacility, on the piano-forte. Braham sang in the United States, in oratorios «nd concerts, about thirteen years ago, and pro- duced the greatest enthusiasm ; as he has done, indeed, several ycai-s since then, in England. Of Braham's visit to thw country we find the I following notice in the Boston Eeening Gazette, for March 19, 18.5.3. On the 11th of January, 1841. .Tohn Braham made his first appearance in a Boston theatre at the 'Fremont, in the charac- ter of Henry Bertram, (Ouy Manncring,) with- out, however, any vocalist to sustain him, tht only show of ojicra being his own unaided efforts. A few performances to wTetched houses closed this unfortinuitc exhibition, and Braham returned to his apjjropriate field of action, — the concert room, — where he continued to reup a golden harvest, and by his superb vocalization soon ef- faced all recollection of his failure in opera. England's greatest tenor was introduced to Boston audiences by the Ilandcl and llaydn So- ciety. The announcement of his dihut was a chef-cf mivre of the enthusiastic secretary who, for so many years, managed the afliiirs of that association. On the 20th and 22d of November, 1840, two entertainment;* were promised, so af- forcUng Bostoj'.ians the only opportunity of lis- tening to the dulcet notes of Europe's most cele- brated songster. Crowds rushed to pay th.eir dollar for this only opportunity, and the va;!t majority were fuUy satisfied that John Braham's reputation had a solid foundation in the great, feats he accomplished. HLs remarkable power, comjiass, and good quality of voice fairly as- tonisb.ed, in their remarkable union, all listeners. They could not credit the existence of their own senses, when they witnessed such daring and brilliant performances of the greatest difficulties by a man acknowledged to be very near tliree score and ten. Mr. Braham, after his failure at the Tremont, went into the concert-giving business on his own account, besides singing lor the Ilandcl and Haydn in oratorios and selections from sacred music. Towards the close of his somewhat pro- tracted concert season he invoked Russell and " the Rainers " to his aid. His farewell concert took place February IG, 1841, and his la.iO. He composed .some vocal and piano -forte music. BREMXER, ROBERT, an English composer, published in London, in 17G.3, " llie Rudiments of Music, with Psalmody;" he also published " Thoughts on the Performance of Concert Mu- sic," " Instructions for the Guitar," "A Collection of Scots Reels," " A Selection of Scotch .Sings," &c. BRESCIANELLO, JOSEPH AXTOIXE, chapel-master to the Duke of Wurtembiug, Ls known by twelve concertos for the violin, pub- lished at Amsterdam in the year 1738. BRESSOX, MLLE., was bom in 17So. She was a pupil on the piano of Adam, during nine years, and has published a method for adapting u score to the piano-forte, also some pleasing ro- mances. BRETEiriL, LE B.VROX, a zealous French minister, and a friend of every thing which tendetl to good, founded, in 1781, the rov;il school cf singing and declamation in Paris, from wliich the prt-zjut Conscn^atory originated. BRETOX, MAHOXI LE, violinist at the Italian Theatre at I'aris in 1760, published several trios for violins, and duos for the flute. BRE\'E. A note of the third degree of lengtli ; and formerly of a s^piaro figure, as thus, Z ; but now made round, with a line peqiendicular tc the stafl" on each of its sides, qj . 'Hie breve, in its simple state, that is, without a dot after it, is e(iual ill duration to one (piarter of a large, or to two semibreves, nnd is then called iinjH-r/cct ; but when dottetl, it is equal to three eights of a large, or three semibreves, which being the great- est length it can assume, it is then called prrj'rrt. llie breve was formerly much use. A celebrated violoncellist at Paris. He published, in isni,a method for the violoncello; also, prcvioudy to that date, much music for the ^•iolin, violoncello, and wind instruments. BREVI, GIOVAXXI BATTISTA. A chapel- master at Milan at the clo-^e of the seventeenth centurj-. He published vocil music of various descriptions at Modcnn and Venice. BREWER, THOMAS. A pcTfonnor on th« viol da gamba, and composer of fantasias and of rounds and catches in the reign of Charles L He is the author of the well-known gle<>, ■■ Turn. lo9 BRE ENCYCLOP-EDIA OF MUSIC. BRO Amaryllis," which was orifiinally set by him in two ])nrtM, and is said to have been injured by the addition of a tliird ])art. IJKEAVSLEU. Author ofatrcatL-^c on thorough ba-^s, in;icrted iji dementi's Catalogue, I/ondon, 1791). nUIAN, ALBERT. A church composer in England in the seventeenth century. Dr. Boyce has inserted some ol' this composer's miL';ic in his collection of anthems. BRICCIO, GIOVAN'XI. A composer of canons, &c., at Rome. lie died in 164G. BRICCIUS, TIIEODORU.S. A composer of madrif;als at Venice in the latter haK of the six- teenth centurj-. BRIKGEL, WOLFGANG CARL, chapel- master nt Dannstadt and Gotha, was born in IG'ifi. lie composed a f^reat variety of vocal and instrumental music, and died in 1709. BRIDGE. In a haiiisichord, or sijinet, the bridjie is that flat ruler wliich Ls laid over the jacks, to prevent their leaping out of their sock- ets when the keys are in action. In a double bass, violoncello, tenor, violin, guitar, &c., it is that elevated, peq)endicular arch which stands upon the belly, at right angles with the strings, and .serves to raise them from the body of tue in- strument. BRIJOX, E. R., a French musician, published some didactic works on music at Paris and Lyons, betwceu the years 1776 and 1781. BRILLANTE. (I.) This cmphatical expres- sion signifies that the movement to which it is prefixed is to be performed in a gayr showy, and sparkling style. BRILLIARD. A French composer of violin music about the year 178G. BIJLLON DE JOUY, MADAilE. A cele- brated amateur performer on the piano-forte, and com])oscr for her instrument. Dr. Burney heard her near Paris, and speaks higlily of her talents, in his travels. BllIXD. Organist of St. Paul's Cathedral in London in 1600, and the master of Dr. Greene. He composed two thanksgiving anthems, now hardly known. BRIOCIII. An Italian composer of instru- mental music before the year 1770. BRIO, or BIUOSO. (I.) With briskness, Bl^lrit, animation. BRISE. (F.) Sprinkled, broken into arpeg- gio, in treating of chords. BRI'ITOX, THOMAS, the famous musical small-coal man, was l)om about the middle of the seventeenth century. He set uj) in the coal business, but his principal object \\as music, in the theory of which he was very knowing, and in the pnictice not inconsiderable. He \va.s so much addicted to it, that he pricked with liis own hand very neatly and accurately, and left behind him a collection of music, mostly pricked by himself, which was sold for nearly one liundred pounds. He left an excellent I'ollection also of ])rintcd musical books. But what distingtiished him .most of all was a kind of musical meeting, held at his own small house, and kept up at his own charges for many yeari. I'hi:* society was fre- quented by gentry, even those of the best quahty, with whom he conversed familiarly, and by whom he was much esteemed ; for liritton was as re- spectable for moral endowments as he was curious for intellectual, llie circumstances of his death are not less remarkable than those of hia life. 'l"here was one Honejinan, a blacksmith, who was famous for speaking as if his voice jiroceedcd from some distant part of the house, (a ventrilo- quist, or speaker Irom his belly, as these persons are called.) This man was secretly introduced by Robe, a Middlesex justice, who frequently played at Britton's concerts, for the sole purpose of terriiying Britton ; and he succeeded in it en- tirely ; for HonejTnan, without moving hLs lips, or seeming to speak, announced, as from afar off, the death of poor Britton within a few hours ; with an intimation that the only way to avert hLs doom was to fall on his knees immediately and say the Lord's Prayer. The poor man did 60 ; but it did not avert hLs doom ; for, taking to hLs bed, he died in a few days, leaving Justice Robe to enjoy the fruits of hLs mirth. His death happened in September, 1714. BRRTO, CARLO FR.AN'CESCO. An ItaUan singing master, and composer of vocal music at Milan, in the first half of the last century. BRIXI, FRAXXOIS XA^^ER, chapel-master at Prague, was born in 1732. He was a volu- minous composer of sacred and other music. BRIXI, VICl'ORIX, an organist in Bohemia, was born in 1717. He composed much sacred music, and some sonatas for the piano-forte. BRIZZI, a Florentine by birth, was considered an excellent tctior singer. Ho was engaged at Vienna in 1801. BRO AD WOOD, JAMES. A celebrated piano- forte maker, in London. His uistruments were considered as excelling in workmanship and tone. Mr. Broadwood employed the best set of practi- cal tuners, for attending to the tuning of the instruments of his customers at stated periods. He was the author of a " Practical Method of Tuning," called " Broadwood's Temperament of the Musical Scale." He says, after mentioning that most tuners begin their operations with the note C, " I prefer tuning from A, the second space in the treble clef, as being less remote from the tinishijig fifths, than any other point of de- parture : the A being tuned to the forte, tune A below an octave ; then E above that octave, a fifth ; then B above, a fifth ; then B below, an octave ; the Vif a fifth above ; then its octave, F*f below ; then C**, its fifth above ; then G**, its fifth above ; and then Gsf, its octave below. Wo then take a fresh departure from A, tuning 1), its fifth below ; then G, its fifth below ; then ti, its octave above ; then C, its fifth below ; then C, its octave above; then F, its fiftli below; then Bb, its fifth below; then Bb, its octave above ; tlien El), its fifth below. The five filths tuned f'roiu notes below are to be tuned flatter than the jicrfect fifth, and the sLx fifths tuned from tones alKJve must be made shari)er than tlie perfect fifth. Tins Is similar to the equal temperament." BROCK, OTIIONE ^ OX DEX, a perform ei 160 bUO EXCYCLOP.KDIA OF MUSIC. URIJ on tho horn, has published much mu.sic I'or hLs i ustrumcut at I'luis since the year 1788. BROCKLESBY, DR. RICHARD, iniblinhcd ** Reflections on Ancient and Modern Music, with its Application to the Cure of Disoases," London, 174'J. BRODERIES. (F.) A term applied to those flourishes and embellishments which perl'ormers throw en passunt into any composition. BRODERIP, of Bristol, was a good composer of Protectant church music towards the cud of I he last century. BROCiXOXICO, OR.\ZIO. A compoter of matlrigals in Venice in 1611. BROIvEX CHORDS. Not simultaneous, but tiiken in a broken, ijiterrupted manner, without exact rci;ulimty. BROXXER, GEORGE. An organist and composer of operas, Xc, at Hamburg between the years 1693 and 1715. BROOKBAXK, JOSEPH. Author of " Tlie well-tuned Organ, or a Discussion on the Ques- tion whether or no Instrumental and Organical M\isic be lawfid in Holy Public Assemblies," lyondon, 16()0. BROSCHI, C.VRLO. A celebrated singer, boni at Andria, in the Xeapolitan states, and better known by the name of Farhtelli, wliich he received from the patronage of three brothers called Farina. A fall from liis horse in his youth rendered castration necessary, and to this accident he was indebted for his celebrity. After enrapturing the crowded audiences of the theatres of Xaplcs, Home, Venite, and Vienna, Broschi was invited by Lord Essex to London, where for tliree years he displayed the yuperiority of his powers, and was muniliccntly rewarded. In 1737, he left London, and passing through Paris on his way to Madrid, he drew the admiration and the applauses of the French king and of his court. In Spain he was treateil with all the distinction which his talents de>ervcd, so that King Philip not only lavished every honor upon him, but re- garded him with the confidence and affection of nn intimate friend. He held the same distin- guished nink of honorable partiality with Philip's successor, Ferdinand, and till his death and that of his (jucon, Barbara, in 17>30, he continued the favorite of the court, and deservedly respected by the public for the generosity of his heart, the benevolence of liis conduct, and the conh. BROWXE. An English composer about the year l.')00. BRUCE, in his account of his voyage to Egj^it, mentions several musical instruments. He says the Abyssinian llute is about the si/e and shape of the German tlute, with a mouthpiece the si/.o and shape of that of the clarinet ; it is played upon lengthwise. BRUCKHAUSEX. An amateur composer of nn operetta at Munster, in 1791. BRUCKXER. CYRI.VQUE. nn organist and composer, died in tho Palatinate in 1599. BRUCKXER. ALOYSIUS. A Genmui com- poser of the seventeenth centuTTi'. BRUXIXGS, JOHAXX DAVID, a pianist nntl compo-^er at Zurich, published some souatJU for his iustrumciit in 1792-1791. 1 riiu ENCYCLOPEDIA OF MUSIC. BUG BKUMEL, ANTONY. A composer of sacred nausic about the year I/iOO. Ho was a conteni- pornrj' of Jnsquiu des Prcz, and pupil of Oken- oeini. lie is l•on^i^lcred as the founder of the Frencli school of music. miUN, LK. See Lebbun. BUUNiyn'E. (F.) A Uttle, tender, delicate nnd simple air. BKUNPnTI, ANTO^^O, chapel-master at FLsa in 1752, was born at Arezzo in 172(5. He wrote music for the church. Motets of his, for bass voices with orchestra, are known. BRUNETTI, GAETANO, son of the pre- ceding, WHS bom at Pisa in 1753. His father taught him the violin ; then he went to Florence, nud became the pupil of Nardini, whose manner of playing that instrument he imitated with great success. After completing his studies, he trav- elled through Italy and Germany, and was some time in the service of the elector pnlntine. Mozart, who hc:ird him at Manheira in 177S, thought highly of his talent. In 1779 he went to Paris, and there published his first two works, a set of six trios for two violins and bass, and some quatuors, which had little success. Being invited to the place of first violin to the King of Spain, by Boccherini, then director of the royal music, he was happy to place himself under so good a master. This changed his style, for he became as good an imitator of Boccherini as he had been of Nardini. His tliird work, another set of trios, showed the change ; but imitation, however clever, is not genius. Brunetti owed all to Bocclierini ; but he proved ungratoiid, and bj- intriguing superseded lum in the directorship. Then he had to compose, for the ser\-ice of the court, a great number of sjTuphonies, serenades, and pieces of chamber music. He also wrote quatuors and (juintets for the Duke of .\lba, in whose house alone they were ever heard. He ■was fifty-four years old when Napoleon entered Spain ; terror brought on a fit of apojjlexy, of ■which he died in 1»07. He left, both published and unpublished, a large number of duets, trios, quartets, quintets, sextets, sonatas, concertos, and r>7ii thirty sjTuphonies for full orchestra. BRUNETTI, GIOV.VNNI GUALBERTO, younger brother of the preceding, born at Pisa about 17(50, was the author of several operas; as, " Lo SjKtso (li tre ; " " Lc iitrava{ianze in (,'am- pagna ;" " UertoUlo e Bertoldiiia ,■ " " Le Xozzc per invito ; " " Faiuna ; " " Denmfoontc," &c. He suc- ceeded his father as chapel- master at Pisa, and ■wrote much church music, especially " Matines de la TrinUi," lor four voices. BRUNI, BARTOLOMEO, born in Pied- mont in 1750, chiotiy resided in ParU, and was omp" lyed as chef-d'orchcstre of diflcrent theatres there " He composed some violin music and six- teen operas between the vears 1785 and 1802. at Yenice in the first h«lf of BRUNMAYER, ANDRE.\.S, organist at Saltz- burg in ISO:!, has composed some church and in- ftrumentnl music. BRUNMri.LER, ELIAS. A composer of tnstrumentnl music at Amsterdam at the be- |inning of the eighteenth century. BRUS.V. FRANCESCO. A composer dramatic music the last century. BRYENNE, M.VNTTEL. The most recent of the Greek writera upon music of whom any works remain. He lived in the reiirn of tVj Emperor Micliacl Paleologus, the older, about 1320. The treatke which bears his name is entitled " Harmonics," and is a compilation from all the old Greek ^\Titcrs on the suljject, in- cluding not only Euclid and Ptolemy, l)ut llieon of iSmjiTna, ArLstoxenus, and many others. BRYNE, ALBERTUS. An English com- poser in the seventeenth century, and organL^t of St. Raid's Church. He died about the year 1670. Some of his anthems are to be foujid in Clifford's collection. B SHARP. Tlie sensible or jiroper seventh of the major diatonic of C sharp. In keyed instru- ments it is the same as C natural. BUCCIXA. (L.) A military wijid instani- ment of high antiquity. The tone and form of the b-.'ccina arc now unkno-»\-n ; but it is gen- erally supposed to have resembled the trumpet ; and the definition given by Festus, who calls it a crooked horn, seems to sanction that opinion. BUCH. A German performer on the horn at the Grand Opera at Paris. He published some quartets for his instrument m 1788. BUCHOLTZ, JOHANN GOTFRIED, a mu- sician at Hamburg, published some instrument- al music there between the years 1782 and 1798. He died in 1800. BUCOLIC, or BUCOLICAL. Pastoral songs, such as were frequently performed by the ancient shepherds upon pipes. BUDD. A. composer of some harp music in London, about the year 1785. BUECHNER, JOHANN CHRISTOPH. A suiger and chm-ch composer at Gotha in 1800. BUERDE, SAMUEL GOTTLIEB, private secretary to the King of Prussia, was bom at Breslau in 1753. He pubUshed some collections of sacred music between the jxars 17S7 and 1794. BUERINGER, JOSEPH. A composer of music for the piano-forte at Yiemia in 1799. BUFFO, BUFFA. A term applied by the Italians to an actor and singer who takes the liumorotLs and ludicrous parts u\ their comic operas. This epithet is also applied to the piect-s themselves ; as, opera bujfa, a comic opera. BUFFO C.VRICATO. A humorous and lu- dicrous character in an Italian opera. BUGLE, ROY.\L KENT. This Ls by no means a limited instrument, as tlie bugle wa-s justly considered previous to the invention of keys, for the keys have given it such extent and perfection that its capabilities may now be ranked equal to those of most wind in:Irumeuts ; its ef- fects both as a solo instrument and a>^ an accom- paniment to others, liavc been so olten displayed in military and orchestral bar.ds that its powers are now well known. As a chamber instrument it is valuable, for when played sotlly and with taste, it tonus an excellent accorapaniraent to the piano-forte. One of the advantages it possesses of 1 over oost horns b that of a methodical finger- 162 BUG ENC\CLOP.^DIA OF MUSIC BDL bag, by which tnie sounds arc produced, without having no much recourse to the imnginntion, which if in error, false tones must unnvoidnhly be produced, llic Kent bugle has six keys, four of which are commanded by the riglit hand, and two by the left, and are named us loUows : — Right Hand. L(fl Hand. B D A|, g5 aJj e!j fI; -+- :^^U ^ The bugle should be firmly held by the second finger and thumb of the right hand, the second joint of the former resting on the guard of tlic A key, and the latter jilaced underneath, so as to command the Dkcy ; this position being formed, the tirst finger will command the A, the fourth finger the H, and the thumb the I) keys. The thumb of the left hand must be placed over the E key, the first finger on the F key, and to sup- port the instrument the fourth finger should lie placed underneath, and the second and third by the side of the first. The instrument should be inclined rather downwards, the elbow of the right arm elevated, but the left ann kept near the body, as this position insures the greatest freedom and command of the instrument. To facilitate the acquirement of a good embouchure, the following directions should be obscr\-ed : Draw the lips tiglit over the teeth, extending the mouth, and leaving sufiicicut sjiace between the teeth for the admission of the tongue; then ])liioe the mouthpiece firm in the centre of the mouth, rather more on the ujjiier than the lower Lij); the smooth surface of the li])M not exi)osed to the air then becomes the embouchure, which renders the tone more sure, sweet, and brilliant, 'ilie souiidi' which proceed from the bugle are all produced and articulated by the tongue ; by the proj^er method of using this organ, that facility Ls ob- tained which so greatly diminishes the ])ractice this instrument reiiuires. To produce any note, the tongue should be dra^^^l suddenly back by a jerk, by which the wind will be forced into the instrument ; whUst the tongue is thus in actio'.. til, tu should be pronounced by the breath only, without the voice beini; heard. \\'hen sufficient is known to produce the sounds, and to jdace the U])s properly to that jiart of the mouthpiece they should occupy, it is a rule that should never be disregarded, that in performing the different oc- taves, the embouchure should not be altered, but the lips should be closed, and the mouthpiece pressed in jirojiortion as the sounds ascend, and in tlie contrary as they descend. Strict attention to the^e observations will enable the learner to practise the tiatural or harmonic scale. i The learner should practise the swell on all these notes. SCALE FOn THE BUGLE. 0 B C D E F 0 A I 1 C D I 14 . F 0 A B C -jt 1 1 1, ! I.I ^'m^^f^i^-' -LI; — 1 '■ . i — .1 frPi 1 1 \-1j-A -<:^^-',-i i 1 ■ ' — H V .' i ' ■' 1 ^ ' -r»^ 1 f Open Notes . J ■*■ :«' '^ »1 T 0 1 ^ 0 A. ) ..;.. 0^ ' >< ■ ■ : .!v . . • y • • 4 5 First FIngsr, V 1 Y . . ... 2 . 1 -1 . . ' 1 .. 2 1 . ...•• 2 ..3. ft Xhird do .. : 3 ..;8 . . 3 I . .. V.K. 4 ] . 3 .. . ..,4 4 . .M .'. . . i i 1 ^C [ First Finger, . . ' , . ..'.. . .1. . . ..'.. ..!. . . . t. . are the distances between the key note and the seven notes of its scale. The notes included in the intervals are called degrees. T)\e following are the major inten-als, which i dirt affects the free action of a key, the key should be taken out and the spring cleaned. Sometimes the clapper of a key does not lie level on the ridge ; this may be ascertained by press- ing the key ; the side that is highest will yield tr the finger, and may be rectified by twisting the clapper with a pair of pliers till the pressure is c<|ual. BTJISSOX, MICH.VEL CH.UILES DE. A singer and composer of vocal music published nt Munich in 1.573. "y h — C. — e» _fl Unii*on. 2d. 3.1 4th. •*• 6th. 6th Tth. 8th. No practice can be better or moic useful for the student than the scale and the above in- ter\-als. Great precaution should be taken to keep the keys of the bugle in order, as any im- perfection in their stopping affects all the sounds. One of the princijial things to be obser\'ed is the proper method of leathering them ; for this pur- pose choice should be made of soft, thick leather, and the soft side should be nearest the instru- ment. In order to assist the action of the keys, ind prevent them from sticking, a little sweet oil should be occa-sionally applied, and when any Bl'INI, GI'IS M.VR.'s. An opera composer in Italy in the early jiart of the last century. BULGAKELLI. MARIANNE I5ENFI, called La Homaninii. She was much celebrate*! as n sing- er in Italy between the years 1700 and 1730. nri,I„ DR. JOHN. This celebrated mu.sicinn was l)om about l.)t>.T, in Someryetshire. Hit master in nm-^ic was William Rlitheman, organ- ist of the Chapel Royal to Uueca Eli2abctL, \m \f.% BUL EXCYCLOPyEDIA OF MUSIC. BDl wliicli c-ai)ncity ho was very much celebrated. Hull, on the death of hiti mn-ster ui 1.591, was ap- poiutcd hw Hucccssor in the ([ueeii's chapel, and in l.i'.Xi, at the reooiumendatioii of her majesty, he was made professor of mn:iic to CJreshara Col- le;;e, which situation he resijjned in 1007. Dur- iu;; more than a year of his jjrofessorship, Mr. Thomas Uird, son of the vcneralile William Hird, Bxcrcised tlie otticc of a substitute to Dr. Hull, while he travelled on t,he continent for the re- covery of his health. Alter the decease of (iueen £lizalR>th, Hull was a])pointeard school, and father of the celebrated Giovanni and Antonio Huononcini, was a pupil of Carissimi. He jiulilished, in l(i73, a work enlitled " // .UiwiVyj I'l-afliro," dedicated to the Emperor Leopold. This treatise contains many useful precepts and examples of compo- Kition, but is neither so accurate as to be im- plicitly loUowed, nor so ample as to supply all the wants ol a musical student of the present time. At p. 18 of this work, he s])oaks of a canon, in liiii oi>era of " Turza," for tittecn hundred and ninety-two voiccp, or six hundred and forty- eight choirs, which, on account of the difficulty of finding such a number of singers assembled together, he has reduce with hLs broth- er, and they travelled together to various towns in (iennany. It does not, however, ajjpear that Antonio accompanied his brotlier to England, but he probably remained at Modena. M. .\. Buo- noncini composed masses, motets, and several operas, between the years l(i79 and 1718. A work on composition, printed at Venice in 176j, is also attributed to him. BUONPORTI, FRANCESCO ANTONIO, a nobleman of the city of Trent, published, be- tween the years 1702 and 17U, ten different works, chiefly for violins. BUONTE.MPI. Sec Boxtkmpi. BUONACCORDO. (I.) An instrumMit re- sembling a spinet, and of small dimensionH, to accommodate tlie fingers of very young practi- tioners. BUONO MAXO. (I.) A good hand. An expression implying a free and facile power of ex- ecution. RURCIIARD, GEORGE, compceel a mass and some symphonies, which were pul lij6.5. During his infancy he was so feeble and sickly, tliat he was chieliy alloweil to amuse liimsell' bv playing on tlic spinet, which he had been tAught to do by his mother ; and so early was he a ])ro- ticient in music, that at the age of eight years he was invited to play in a concert before the king, who expressed himself well satisfied with his performance. Not long after this period he assisted his father, who was at that time a teach- er ot music, in instructing hLs pujjiLs ; but having a turn for literature as well as for music, he de- tennincd, when at the age of eighteen, to adopt one of the leanie of doctoi of physic. Besides the Ijitin and (ireek lan- guages, which he had previously ac(iuireesse(l oi' an equal share of sagacity, or of courage sufKcicnt to con- fess himself unable to explain inexplicable ])a8- eages in his author, lie never sees a difhcuilty ; he explains all. Hence, amidst great erudition and knowledge of anti(iuity, there arc a thousand unintelligible ex])lniiations in his uotcs." He died iu the year 1717, at the great age of eighty- two. HURGHERSII, l.OUD, son of the Enrl of Westmoreland, and liritish ambassador at Flor- ence, is a celebrated musical amateur. He has been jiresidcnt of the lloyal Academy of Musi- cians in London, which establLshment owes its origin, in a great degree, to his exertions and lartuence. Ix)rd Hurghersh is said to have studied music in England, in Germany, ai\d in Italy. He has composed an oratorio entitled " Bnjazet," which is much admired for its smooth and elegant style ; he has also published various cantatas, which an emuient modem critic declares to be really good, not speaking of tliem relatively as the works of an amateur, but positively as music. Among Lord Burghersh's principal compositions are the following: " Bajazcf," above mentioned, " La Primacera," " II primo Amore," " L' Amor timido," " Cantata, by Leoni," " Cantata by Count Girard," " La Getosia," " L'JticiamjM," " 'Tis done, 'tis done," " Day set on Xorham's castled steep," " Seven Canzonets, Duets, kc," " Spirit of bliss," "Fly to the desert," "Beudemeer's Stream," " Why so pale," and " A Song and Catch for four Voices." BURMAXX. GOTTLOB WILIIELM, pub- lished some vocal and iur-trumental music at Berliji, between the years 1792 and 1794. He died at Berlin iu IS 05. BURXEITI, DOMEXICO, chapel-master at Bologna, published some sacred music there iu l(i33. He, together with Francesco Bertacchi, founded a musical society at Bologna iu l(!;i;i, called the Aa-ailemia df Mu.iici Filarchisi, having for its s\inbol a jiair of kettle drums, with the motto, " Oihrm dcinulnl attaitu." BURXEY, J.VMES. An eminent music-master and organist at Shrewsbury. He was half broth- er to the celebrated Dr. Burney, and one of his first instructors in music. He died ui 17S9, aged eighty. BURXEY, DR. CHARLES, was bom at Shrewsbury in 172(). He received part of his education at the free school founded by Queen Eli/ivbeth in that town, and i)art at the public hi'liivi. at Chester, in which city he tirst began his musical studies uuder Mr. Baker, the organist of the catheib-al. About the year 1711, he re- turned to Shrewsbury, and pursued the study of music under his half brother, Mr. James Burney. In 1741 he met with Dr. Arne, who persuaded his friends to send liim to London, and he was then ])laced under that master for three years. In 1749 he was elected organist of a churcli in IVnclmrch Street, with an annual salary of only thirty pounds, and in the course of the same ye;ir was engaged to fake the organ part at the new concert estnblislied at the King's Arms, Conihill, tiistead of that which hud bccu hold at the Swan winter of 1749-1750 he composed for Drury Lane tlirce musical dramsis, namely, " Alfred," " Robin Hood," and " (hieen Mab." Being in an ill stiitc of health, which, in the opijiion of tha jjhysicians, indicated a consujnption, he was pre- vailed upon to retire into the country. Accord- ingly he went to Lynn Regis, in Xorfolk, where he was chosen organist, with a salary of one hundred i)ounds a year. He continued there nine years, and at that period formed the design of compiUng his " General History of Music." In 1760, his health being recstabUshed, he gladly returned to the metropolis, with a large and young family, and entered upon t!ie pursuits of his j)rofession with an increase of profit and rep- utation. His eldest daughter, who was then about eight years old, obtained great notice in the musical world by her astonishing perfonnances on the harjjsichord. Soon after his arrival in London, he composed several much admired con- certos ; and in 17()6, he brought out at Drury Lane 'I'heatxc a translation of Rousseau's " Decin du \'illa'iv," wliich he had executed during his residence at Lynn. In 17G1, he had the honora- ry degree of doctor of music conferred ujiou him by the University of Oxford, on which occasion he perfonued an exercise in the miLsical school of that university. I'hls exercise, consisting of an anthem of great length, with an overture, airs, recitatives, and choruses, was several times after- wards performed at the Oxford music meeting, un- der the direction of the famous Emmanuel Bach. In the year following, he travelled through France and Italy, as well with a view to imi)rovement as to collect materials for his intended " History of Mu- sic " — an object which he never had out of hL< mind from the time he first conceived the j)lan of such a work. In 1771, he published his " Musical Tour, or Present .State of >Iusic in France and Italy " — a work wliich was weU received by the public, and deemed so good a model for travellers, that Dr. Johnson i)rofc;;sedly adopted it in his account of the Hebrides. Speaking of his owni hook, " I had," said the doctor, " that clever dog Bumey's Musical Tour in my eye." In 1772, he travelled through the Netherlands, Genuany, and HoUand, and in the course of the next year he published an account of his journey, in two volumes octevo. In the same year he was elected a feUow of the Royal Society. In 1776 appeared the first volume, in quarto, of his "General History of Music." The remaining volumes of this elaborate and in- telligent work were publisheil at iiTCgular peri- ods ; and the lour of which it now consists were not completed till the year 1789. In 1779, at the desu-e of Sir John Pringle, Dr. Burney (hew up, for the Philosophical Transactions, " An Account of little Crotch, the Infant Musician," since pro- fessor of music in tlie Univei-sity of Oxford. The grand musical festival iu 1785, in commemoration of Handel, held in NN'estminster Abbey, was con- sidered as deserving ol a particular memoir ; the historiai» of music was therefore fixed upon as the most jirojier jjci-son to ilraw it up. Accord- ingly, in the same year, a sjilendid volume was published by Dr. Burney, in ([uarto, for the ben- elit of the musical fund. In this work the doctor dis])layed eminent talents as a biographer ; and the " Life of Handel " Is one of the best memoirs to be found iu oiur language. In 1796, he published the "Life of Metastas:o," in three volumes IGG BUR ENCYCLOPAEDIA OF MUSIC. BUfc octavo ; hut this pcrfonaancc wants that arranso- raeiit uiul jiuUcious ^^clection wliich characterize his tbriner ])iihlicutions. Besides these produc- tions, Dr. Ihirney wrote " An Essay towards the History of Comets," "A I'hm of a Public Music Scliool," Jijc, M:c. IILs musical works, in addition to those ahciuly mentioned, are, " .Sonatas for two Violins and a liass, two parts," "Six C'ornet Pieces, with an introduction and Fuj^ue for the Organ," "A Cantata and Son;;," "Six Duets for two Geniian Flutes," " Six Concertos, for Violin, ftc, ui cii;ht parts," "Two Sonatas for a Piano- forte, Violin, and Violoncello, two parts," " Six Harpsichord Lessons," &c., &c. Dr. liuniey wa.s twice married, and had eight children, of whom several have manilcstcd very superior abilities. His eldest daughter was celebrated for her ex- traordinary musical powers. Madame d'Arblay, the author of " Evelina," " Cecilia," " Camilla," and "The AVandcrer," was the second. IILs eld- est son, James, sailed round the world with Cap- tain Cook, and afterwards commanded the Bristol, of fifty guns, in the East Indies ; he published some judicious tracts on the best means of delemling the island against an invaduig enemy, and commenced a history of voyages of discovery. The second son was the very learned Chailes Bumey, LL. D. Ilis youngest daughter pursued the career of her sister as a novclLst. For many years Dr. Burney resided in a house in St. Mar- tin's Street, Leicester Fields, which was formerly occupied by Sir Isaac Xewton ; but during the last twenty-five j-ears of his life, ha\-ing been ap- pointed organist of Chelsea College, he inhabited au elegant suite of apartments there, and enjoyed a handsome independence. He died in the year 1814, aged eighty-eight. His remains were de- posited in the burying ground belonging to Chel- sea College, and the luneral was numerously at- tended by the governor, deputy governor, and chief officers of the college, and by the famUy and friends of this accomplished and excellent man. Dr. Biuiiey was intimately acquainted with all the distingiiished characters who flour- ished in his time, as well in other countries as in Great Britain, and in habits of peculiar friendship with Dr. Johnson, of whom he used to relate many interesting anecdotes. Indeed, it is knov\ni that soon alter the death of that colossxis of learning, he had some thoughts of giving a me- moir of him to the world ; but the subject was so ovenvhehned by various publications, that he re- LinquLshed his design. In all the relations of private life, his character was exemplary, as a husband, fatlier, and friend. His manners also were peculiarly easy, spirited, and gentlemanly, and he had the graces of the ChesterHeld school, without any of its formality. BURPOA\'ES, JOHX FRECKLETOX, pupU of William Horsley, Mus. Bac. Oxon., was bom in London on the "i.'kl of April, 1787. He tirst became known to the public by the production of au overture and several vocal pieces, with full orchestral accompanijnents, at the Hanover Square concerts, and subsequently by an overture at the " Philhai-monic," of which society he was one of the original associates. The knowledge of in- strumental ettcct evinced in these compositions, and the favorable impression they made, render it unaccountable that he should have abandoned this, the higher branch of the art, in which he had so fair a prospect of success, for the less ex- alted, though more lucrative, branch of com- posing for the piano-forte. Such wa-s, however, the fact ; and it is for this instrument that Mr. Bvirrowcs has published several sonatas, with ac- companiments, besides numerous rondos, diver- timentos, and variations n\mn ori.;inal as well as popular airs ; he has adapted nearly the whole of Mo/art's operas for the piano-forte, and made large selections from the works of Handel, Haydn, Kossini, &c., and arranged tlieni both for that and various otlier instruments. l?urrowes is also the author of two elementary works, viz., " The Piano-forte Primer," and the " Thorough Bass Primer," which are strongly recommended by the lirst masters for their clearness and useful- ness ; indeed, there are very few students now without them. TTie success of his publications, and the rapidity w ith which they succeeded each other, justify us in pronouncing him one of the most jiroliiic as well as most popular ■writers of the day. BUUTIUS, or BT^RZIO, NICOLAS, profess- or of the fine arts at Bologna, was the Ciuidoniau adversary of Bartholomew Kamis, and a Pythag- orean follower of Boethius ; he wrote a Latin work entitled " KiicoDiitim Mmica," Bologna, 1489 ; also " Musices Opimciilum," 1487. Bur- tius admitted no consonances but octaves, fifths, and fourtlis ; he called the thirds and sixths al- lowable dissonances, and has given five precepts of counteq)oint, which will ever be classical, particularly that of avoiding consecutive tilths and octaves. BURTON, JOHN, an EngHsh pianist, -who died in 178.5, was a pupU of Keeble. He was an enthusiast in his art ; but having in his youth exercised his hands more than his head, he was not a deep contrapuntist ; he had, however, in his pieces, and manner of playing them, a style of-liis own, to which, from his having been one of the first harjjsichord jjlayers in that coun- try who attempted expression, and light and shade, he excited an interest and attention wl\ich would now, perhaps, be much more dillicult to obtain. BURTON, AVERY. An English composet and musician in the time of Henry XHl. BLTIY, BERNARD DE, bom at VersaiUes in 1720, was a court musician, and composer of some sacred music. BURY. A performer on the horn, and com- poser for his instriuneut at Paris in 1800. BUSBY, THOMAS, doctor of music, was bom in AVestminster in 17.55. He was an articled pupil of Battishill, and, soon after he had served his time, was appointed organist to St. Mary's, Newijigton, in Surrey. He then began to com- pose, and his first essay in composition was an oratorio, called " The Proi>hecy," which was performed with some applau>e at the Haymarket Theatre in 1799, after having received improve- ments for many years from its author. TTie other principal works of Dr. Busby consi;>t of a collec- tion of sacred music, entitled " ITie Di\-ine llar- monLst ; " "Melodia Britannica, or the Beauties of British Songs ; " the music to tiray's Ode, tha " Progress of Poesy," luider the title of " British Genius ; " the music to Pope's " Ode ou St. 167 rrs EN'CYCLOr^DIA OF MUSIC. BY3 Ci-ciliri's Dny;" " C'omnln," a dramntic poem from Os.'-iiDi ; " Johnniin," a drniuiUic romance; " Ilritiiiiiiiii," nil oratorio ; and tlie music to tlireo minor jici-os at C'ovcnt Uarden, namely, "A Talo of Mystery," "The Fair Fu^^itives," and " Uu^'nntino." Dr. IJusby has also pub- lished a small musical dictionary and a f;rammar of music ; a " Gciionil History of Music," being an abridj^nent of those of Uurncy and Hawkins, and ill Ittl4, a "Musical ISiography, or Memoirs of the Lives and Writin)];s of the most eminent Musical Com)>osers and Writers who have liour- Lshed in the dillbrcnt Countries of Europe during the last tliree Centuries." BUSCHMANX. A German musician, and inventor of a new musical instrument called by hiiu the 'J'crjM/dion. He exhibited this in- strument in London in tlie year 1820. The greater part of it resembled the horn finely played ; the upper notes had precisely the tone of a flute. IJUSXOY. One of the chief writers of the French school of music in the sixteenth century. BUSTYN, or BYSTYX, PIERRE. Organist and composer of piano-forte music iu Zealand about the year 1720. BUTLER, CHARLES. Author of a work en- titled " The Principles of Music ui Singing and Setting, with the twofold L'se thereof, ecclesias- tical and civil," IfiSG. lliis book is a good one lor the time in which it was written, and, accord- ing to Dr. Burney, contains more knowledge, in a small compass, than any other work of that pe- riod in our language. Butler was master of arts of Magdalen College, Oxford. BUTLER, THOMAS HAMLY, professor of music, is the son of James Butler, who was also respectable for his musical talents. He was born iu London about the year 17()2, and received his musical education under Dr. Xarcs, as one of the king's singing boys, in which situation he con- tinued for about ten years. On the expiration of this term, he went to Italy to study compo- sition under I'icciui, and remained three years under that master. Whilst in Italy, he was in- troduced to Sir William Hamilton, the English ambassador at the court of Xaples, from whom he received great allention. On his return to hia native country he attracted the notice of Sheridan, and also of the managers of Covent Garden Theatre, tlie musical department of which house he was engaged to superintend. About this time he brought out liis " Book of Sonatas," dedicated to the Duke of Gloucester. On the termination of his theatrical appointment Butler went to .Scotland, and afterwards spent most of his lile as a teiicher of masic at Edin- burgh, occa.sionally visiting London, to dispose of his numerous compositioius. 'ITic beautiful Scotch air of " Lewie Gordon," being sung oy the maid of the house, struck Butler's fancy when he first went to Scotland, and in conse- quence was the first theme he chose for the rondo he composed in that country. Among Butler's other works we may notice liis " ilusi- cal Games," " A Book of Sonatas, dedicated to the late Princess Charlotte," and many Scotch airs with variations, liis music is cliiefly published by Clementi. Butler died in Edinburgh iu 1823. BLTrSTEDT, JOHAXX ILEIXRICH, bom in 1666, a scholar of Pachclhel, and organist of the principal church of Erfurt, the capital of I'huringia, is numbered among the great organ players and composers for that instrument of his time. He died in 1727. BUXTEHUDE, DLETRICII, son of Johann Buxtehude, an organist of Lubeck, was one of the great performers on that instrument in Germany. Ilis compositions for the harj)sichord were nu- merous and masterly. In 1696, he published two sets of sonatas, lliat he was an organist of some merit would appear from the fact that J. Sebastian Bach made a secret visit to Lubeck to hear him and study liis m-inner. BUZZOLEXI, GIOVAXXI, of Brescia. A celebrated singer about the year 1700. BYRD. See Bmi). BYREXHEY, DE . Organist and com- poser in Sa.xony. He died in 1750. BYSTROEM, THOMAS. A Swedish officei and amateur composer of some sonatas pub* lishcd at Leipsic in ISOl. BYSTYX. See Bubty5. 168 ENCYCLOPEDIA OF MUSIC. CAD c. C b the nominal of one of the two natural modes. That :iote in the natural major mode to which Guido applied the monosyllable iit, but which has long since been relinquislied by the Italians for that of do, as softer and more vocal. It b the major tonic of a natural signature, thus : — i C -^ TiBki m :erai In modem times, since the temperament of the musical scale baa been attended to, it has been usual to consider C as the key note ; and its pitch or degree of acuteness has been regulated and preserN-ed by steel instruments, called tuning forks, or C-forks, used by the tuners of finger keyed instruments ; but violin performers use the A-fork for tuning their instruments, because they have no string to the note C ; and some few persons use the A-fork for piano-fortes. Tlie pitch or degree of tone of the tenor clef C, in our best concerts, is now such as to make or excite in the air two hundred and forty complete vibrations in one second of time, and the C below thb half a~i many, or one hundred and twenty ; the C above b four hundred and eighty ; and that higher still nine hundied and sLxty vibra- tions in one second of time. The tone C is the one with which the so called natural scale com- mences — a scale wliich has neither flats nor sharps. Again, a simple C, or rather a semicircle placed after the clef, uitimates that the music is in common time, which b either quick or slow, as it is joined with allegro or adagio ; if alone, it b usually adagio. CABALETTA. (I.) A passage very agree- able, soothing, and comforting, occurring in a larger piece of music. CACCI.A.. (I.) A composition written in the hunting style. Hunting music, vocal or instru- mental. CACCIXI, OITLIO, caUed also Ghdio Romam. He was bom at Rome, but resided thirty-seven years at Florence. He was a celebrated scholar, and likewbe a dramatic composer. Giuho Ko- mano composed, in conjunction with Jacobo Peri, the opera called " Euridice," which wa.s produced on the occasion of the marriage of Ilenry IV. of France to Mary de Medicis, and acted at Florence in 1000. Dr. liurney con- siders "Euridice" to have been the first opera tver perfonned in public, though primary at- tempts at dramatic music were i)rohably made at an earlier period, (iiulio Komano died in 1615. lib most celebrated work was entitled " A'uore 22 169 Mtuiiche," publbhed at Venice just before hia death. CACCIXI, FRANCESCA, called also La Ce- china, daughter of Giulio Caccini, was for many years the admiration of Florence, not only for her musical abilities, both in singing an I compo- sition, but for her poetry, in the Latin as well as Tuscan languages. She flourbhcd about the year 1640. CACOPIIOXY. (Gr.) A combination of db- cordant sounds. A jarring, dbagrceable noise. Tlie effect of the wohen, or highly-tem])cred concords, on keyed instruments, which result or come out from the tuning or adjusting a certain number of other concords, has been thus denom- inated by Mr. Hawks and some other -vrnters on the subject. Cacophony is a bad tone of voice, proceeding from the ill disposition of the organs which produce sound. CADENCE. (F.) A pause, or suspension, at the end of an air, to afford the performer an opportunity of introducing a gracefvil extempore close. The word cadence is also frequently ap- plied to the embellishment itself ; as when we say, He closed his song with a fine, or a good, cadence. A cadence in harmony consists of two distinct chords, the last of which b generally accented, and is used to terminate the sections and perioda 01 musical rhjthm. ITie term cadence was for- merly ap])lied to the final melody of a musical close. The Germans adopted the Latin word clattsula in the same sense, 'llie dominant mo- tion b the foundation of the perfect and imper- fect cadences, as the gradual motion is of the false and mixed cadences. When the bases of both chords are the roots of their respective triads, the cadence is termed radical ; and of these radical cadences, there arc four in general use — the jierfcct, in>perfcct, false, and mixed; and to these may be added the plugal, or church cadence, which b only a variation of the imper- fect ; and the autlienlic, wliich b only the ancient term for the perfect. CAOENTE INTERROMrVE. (F.) An Itit.— CADKNZA.(I.l('rl.'AI)E\Z. (O.) Thiiworl ' Ine ancnifriici . Hut t)u' Italians einptoy it, in t-> rnrc toi-vi-rv hnrnionic pn'BTt-Mion, when- ufT. r . ■ conunim clinni f.illnwii of thf wtno kr\ nieiiiit Dtiit t'Xtt'tiiixtri' flr>iin<n ii ^ in intriKlur.il at the will ol the |>.rf..rlii Ijute or tnliut. Whin thij i> nwi.lv Ih. priute etti'L'tji, anil condnctfl « :t when it i» rvwn-iil fnr the nnpr. »ictanm who fain wnuhl trvat ui *■•■ hut tht-nicrr empty wantlcriniiof I. 1» n'qui«ite for tlie'intn»tiuctitin aii'l liialiJ^-t l)i< enilM-lli.hment. 9l* the ear If penaihie of any ■'■ cuurae which a currvct har'ouuy procribca. GA>^i : ■ .nn- . frr- ntta r.llt i.ich » of ,pn> hut mil- ..of thai CAD ENCYCLOPAEDIA OF MUSIC. ca;- thr ftvir • It l> It'lt.r CCUt! ■ • rorni. cnti >' c'litnti t r It if liitr.. fTfiunill.v villi); t'fit iluvliua. radcnxA thould he drawn fnMii tli« luni« of the piece ' rtditrn Thr- Itfffhfit dfllpary In n'C|iiln-d in the cx- ■ ' " -' • , whuhthe imfrcr i« only tiifthled to r vowel, on which they arr per- jvt-n hy which IhU eniU-llithnient codiiixa liiuit Lm.' luit^-d to the (i- i . , if M • I] If. t.i the linrnufny -atory of La Pieta. He died ii 1787. CAFFIAT, or CAFFIAUX, PHIL. JOS., au- thor of an essay on the history of music, Paris.- 175o, died iu 1777, aged sL\ty-live. CAniO, GIUSEPPE. A voluminous com- poser of canzonets and madrigab at Milan, be- tween the years loCO and 1585. CALAMUS, PASTOKALIS. (L.) One of the tirst instruments used by antiquity. A sim- ple reed, or cane. CALANDO, or CALAND. (I.) A term sig- nifyuig that the time of the passage over which it Ls written is to be gradually dimiiushcd iu quickness. CALASCIONE. (I.) A species of guitar. CALCANDO. (I.) Pressing upon, hurrjing the time. CALDAIU., ANTONIO, one of the ^^ce chapel-masters of the Emperor Leojiold under Fux, was born at Venice in 1G78. He Ls cele- brated for the sublimity of his style, which he manifested in two oratorios of hLs compositioiiy the one entitled " Giuseppe," performed in the year 1722, the other, " // Re clol Dolore." He published two sets of sonatas for two vioUns aud a bass, printed at Amsterdam, and " Cantate da Camera a Voce sola," printed at ^"euice. Ho continued the favorite composer iu the imperial service till the year 1736, liavmg been a dramatic composer near fifty years. He died at Vienna in 17(33, aged ninety. CALEGARL ANTONIO. A dramatic com- poser and performer on the violoncello, bom at Padua. He flourished towartLs the latter end of the last century, aud resided, during many years, at Paris. CALEGARI, CORNELIA. A female singer and composer of vocal music, principally for the church at MUan. She was born at llergamQ iu 1G4-1. CALKIN, JOSEPH, vioUn and tenor player, was bom in 1781. He tirst studied music under Thomas Lyon, and subsecmently was articled for two years to Spagnoletli. HLs lii-st engagement in an orchestra was at Drury I,ane Tbeatre in 1798, where he remaijied ten years ; alter which he was engaged as a tenor at the opera, ancient and vocal concerts, and the Pliilliarmonic, of which society he was a member aud likewise librarian. In 1813, Calkin married the widow of the late Mr. Budd, bookseller, of Pall Mull, and had the honor of being bookseller to the' king; therefore we may justly say that he has had " two strings to his bow." In 1821 he was apjjointed one of the king's state band, which gave him the title of musician in ordinary to hLs majesty. CALKIN, JAMES, younger brother to Joseph, wa.s born in Ixmdon in 178(). He finished hia education at Dr. Lurrow's school iu Soho Square, and retlccts with great pleasure that he sat at the same desk with the celel)rated II. R. ULshop. He began to lejirn the violin at a very early age, be- ing taught at that time by his elder brother, and at the age of thirtccu was apprenticed (for sevea 170 CAL ENCYCLOPAEDIA OF MUSIC. CAl years) to Thomas Lyon, of whom lie Iciirnccl the piano-forte, violin, violoiu-ello, and thorouijh bass. lu 1823, Calkin was elected, unanimously, an associate of the Philharmonic Society ; and then an houorarj' associate of the Couccntore Society. He has composed many divertimcuti, ^:c., for the piano-forte, also several instniniental ([uartcts, one of which was jicrforraed iit tlie British con- certs in 1820; the latter has been published, and, as a mark of respect for the inimitable manner in which he played it, is inscribed to Mr. Mori. Calkin has further ^^•ritten a j^rand sinfonia for a full orchestra, which has been played by the PhilhaiTuonic band, but not yet publicly per- formed. CALL, LEOXAllD I)E. A voluminous com- poser of instrumental music, chieHy for the guitar accompanied, and published at Vienna since the commencement of the present century. CALLC(nT, JOHN WALL, was bom at Ken- emgton, Middlesex, in 17(56. lie ;;ave early in- dications of that love for knowledi;e by which he was afterwards so much distin;;;uished. At the age of seven ho was sent to a neighbor- ing school, where he made considerable progress in Latin and (Jreck. AMien only twelve years old he was taken from school, and from that period may be said to have educated him- self. In the summer of 1778, he obtained an intro- duction to the organist of Kensington, and, con- stantly attending the organ loft, actiuired, as a recreation, the first rudiments of music, havijig previously detennined to follow surgery as a pro- fession. His study of anatomy was, however, but for a short jicriod; for, witncssuig a severe operation, his feelings received such a shock that ho aban- doned from that time all idea of the medical pro- fession. In 1779, he commenced hLs practice of music, attemjitcd composition, and wTote various pieces for a private jilay. He also continued to improve himselt' in classical learning, and in the French, Italian, Hebrew, and SjTiac languages, algebra, and some branches of the mathematics. In 1782, he was introduced to, and became in- timate with, the late Drs. Arnold and Cooke, also with .Mr. Sale. In 1783, he became assistant organist at St. George the Mart>T, Hanover Stjuare ; and in 178o, Dr. Cooke introduced him to the members of the Academy of Ancient Music. 'ITie profes- sional connections ho now formed gave him his first bins towards glee writing. Having assiduously studied harmony and coun- terpoint, in 1781 he sent his first glee to the Catch Club OS a ciuulidate for the prize. It was unsuc- cessful ; but he was not discouraged, and dil- igently prepm-ed a number of compositions for the following year, when he experienced the gratification of tindiug himselt signally rewarded with three medals. Abotit this period he actively engaged with Dr. Arnold in the formation of the lilec Club ; and in compliance with an invitation to take a bachelor's degree, from Dr. Philip Hayes, profess- or of music at Oxford, he commencetl bachelor bi 178.5, and set for the occasion Wharton's *' Ode to Fancy." Li 1786, two mire medals were awarded him from the Catch Club, and tlirough the recom- mendation of Dr. Arnold he succeeded to several vahnilile engagements as a teachoi. In 1787, the Catch Club admitted liim as an honorwy member, and ho sent in nearly one hundred comjjositions as candidates for the pri/cs. On that occasion, only two i)ieces, a canon and a glee, wore successful ; but in conseh Museum, of which labor many volumes remain. In 1800, ho took his doctor's degree in music at the University of Oxford, and his exercise on the occasion was a Latin antliom. In 1801, the Kensington volunteer corps was established, and Callcott detennined to fonn a military band from among the inhabitants of the place. Assisted by a subscription, l;c ju-ocured instruments, and not only composed, compiled, and an-anged all the music for the i)erformance, but even taught the performers himself. l"he great fatigue he thus underwent had an inju- rious effect upon his health, anil his friends ven- tured to remonstrate, but wore silenced by that cheerful coiUideuce he always e.xpressed in his own powers. The compilation for his dictionary still went on ; but the labor of classifying his materials in- terfering too much with other occu])ations, ho resolved to relinquish its further jirosecution un- til a future period — a period which was never to arrive, lliinking, however, that the ])ublic had ground to cxi)oct something from him on the theory of music, in consoM. 171 HAL EXCYCLOP-^DIA Oi- ML'SIC. CAM During the inclLsposition which followed, the public e:*tocm niul ndniiriition for Dr. C'aUcott's talents and character di.splaycd themselves in a remiirkiihlc iimmicr. lu liLs abiiciice, he occasionally em])loyed him- eelt' in coiu])osition, and, amoug other things, planned a work on musical biography, but was never able to carry it into execution. At the end of live years liLs friends indulged the idea of bis conii>letc and jjenuanent restora- tion to health ; but their hopes were eventually disappointed. After a jicriod of two years his indifiwsition returned, and iji the spring of 1821 his Constitution was unable to resist any longer the mvages made upon it by repeated attacks, and ho was released from a life of utttiction on May lij, IJS.'I, hi the fifty-fifth year ol liLs age. Of the diiu-actcr of Dr. C'aUeott, it is sufficient to observe, tliat the excellent qualities of his heart were fully equal to his extraordinary tal- ents, and that he jiossessed the sincere affection of every one who knew him. His compositions were very numerous!, and his printed works are by no means ecjual in extent to those wliich still remain in manuscript. Many of these consist of anthems, services, odes, iVc. ; but liis fame will cliiefiy rest upon his admirable glees, catches, and canons. These were given to the world at various times, and in a great variety of publications ; but a col- lection of the most favorite among them has been made, in two folio volumes, by his son-in-law Mr. Iloisley, together with a memoir of the au- thor, whence we have extracted the greater part of the above account. CALLENUERG, GEORGES ALEXANDER HENRY HERRMANN, COUNT OF. A Ger- man nobleman, born in 1741. He composed Bome sonatas, wliich were published in Berlin in 1781. CALLENBERG. A celebrated organist at Riga about the year 1739. CALLIOPE. One of the Muses ; the mother of Apollo ; and Horace supposes her capable of playiug on any musical instrument. CALMATO. (I.) At rest, calm, quiet. CALMUS. A performer on the \'ioloncello, and composer for his instrument at Altona iu 1797. He died at Dresden in 1809. C-\LORE. (I.) With much warmth and animation. CALORI, SIGNORA. An Italian female Biuger in London in the year 17.58. C-\LVI. GIOVANNI BAITISTA. An ama- teur com])Oser of dramatic music at Milan be- tween the years 1784 and 1788. CALVIERE, or CALVIAIRK, a celebrated organist and composer at I'aris, wils born in 1()9.5. Ills " Ti! Di:um " is a very tine composition. He tUed in 17>3o. C^VLVISIUS, SETIIUS, or C.VLVITZ, the ton of a poor ])easant, and born in Thuringia iu 15.)'), was a learncil theorist and a good practical musician ; he published a Latin work ou music in 1592, and composed much music for the church. Ho died iu 1617. CALVOER, GASPARD. A German writer on music, who died in the year 1725. CAMBI:RT, organist at Paris, and the Erst French musician who tried to set an ojiera, (piitted France in disgust on Louis XIV. taking from him the management of the opera and giving it to Lulh. He went to London, and was a])pointed master of King Charles II. 's band. It has been said that Cambert, who died iu London in 1077. broke his heart on account of the bad success of his operas ui England. CAMBIARE. (I.) To change. CAMBINL GIUSEPPE. A voluminous com- jjoser of vocal and instrumental music published in France and Germany between the years 1780 and 1800. He was a pupU of P. Martini, and a correct theorkt. CAMBIO, PERISSONE. A composer of little national songs, " Canzone ]'iliancschc, aUa Xapo- litana," some of which were j)ublished at Venice in the middle of the sixteenth century. Di. Bui-ney says, " In these canzone there is gener- ally more humor in the words, and more air and vivacity in the melody, than in any other compo- sitions equally ancient. They appear to ha\'e been originally stmg iu the streets iu jiarts, as the words of several imply. In one of them a sing- ing master speaks, who offers to teach the gamut in an hour, and the syllables, ut, re, mi, fa, &c., aie ingeniously applied, in most of the parts, to such sounds as require them in sobnization." CAMEFORT. A French composer of songs in the reign of Louis XIV. CAMERA. (I.) A chamber. X word used in conjunction with some other, to indicate that the comj)osition to which it is prefixed in written for the chamber ; or, in other words, that it is chamber music ; as soiuUq di camera, a sonata for the chamber. CAMERLOHER, or C.^MMERLOCHER, DON PL.YCIDO DE, chamber musician at Munich, published some instrumental music at Amsterdam and Nuremberg about the year 1760. C.\MIDGE, DR. An eminent organist and composer, resident at York. He presided at the organ at the grand vocal festival at York, in 1S23. His organ introductions to some of Dr. Croft's anthems, performed at the meeting, were so masterly as to attract great and deserved atten- tion. CAMIDGE, MR. An eminent musician, also residing at York. He was an assistant conductor with Dr. Camidge at the York festival. CAMINANDO. (I.) Flowing with gentle and easy progression. CAMPACJNOIJ, BARTOLOMEO. VioUulst at Dresden in 178.3. He was born iu Italy in 17dl. He has published much uistrumeutai mu- sic. He died in 1827. CAMPBELL, ALEXANDER. Editor of som« Scotch songs in 1792, also of some harp music. We believe he was an organist at Edinburgh. CAMPELU. in 1707. An opera composer at I'admi 172 ;am ENCYCLOPAEDIA OF MUSIC. (-•AN CAMPION. A French composer and didactic irritcr on music in Paris at the commenccmeut of the last century. CAMPION, DK. THOMAS. An English poet and musician in the seventeenth century. lie ])ul)lished also didactic works on music. CAMPIONI, CARLO ANTONIO. Chapel- master to the Grand l)i\ko of Tuscany. lie composed a celebrated " 7V Drum " in 17(>7. lie also pubUshed some violin ducts. CAMPOBASSO, VINCENZO. A dramatic composer at Milan in 1789. CAMPORESE, MADAME. This celebrated finger was the wile of Signor (Jiuntiniani, a gen- tleman of family and vespcctabiUty. ^She was prin- cipal chamber singer at the court of Ronaparte, and never apjjcared as an actress till she made her (Icbiif, in 1817, at the King's Tlieatrc in the llajnnarket, in Cimarosa's " Pviwlope." Slie was at tirst extremely embarrassed ; but every successive performance dispelled a part of her fears, and in her next character, the Contessa in the " Xozze di Fii/aro," she had so entirely conquered them, that her reputation as an actress was completely establislicd, her deficiency from the Hr.erj>etiiia, or continuous fugue ; in (ienuan, AVc/.v/hvc (cir- culating fugue.) Sometimes each voice begins with the same, sometimes with different notes. Canons may be Knife or infinite. The fonner end, like any other compositions, with a cadence, while the infinite canon is so contrived that the theme is begun again before the parts which fol- low arc concluded. By tliis means the pertonu- ance might be continued to an indefinite length. A canon may consist of two, tlirce, four, or more voices, (ienerally only one voice of a canon Li written, and a sign shows the place where the other voices are to begin. Formerly, at tl;e be- ginning of canons, it was the custom to place the directions by which they were to be decijihercd and sung. Thoe directions were called the ride or canon, and thence arises the title whicli such compositions have since retained. Canons differ from ordinary fugues ; for in the latter it is suf- ficient that the sul)jpi't be occasionally repeated ; and imitated according to the laws of coimfer- i point ; but in the fonuer it is e-i-ential that the ! suliject be strictly repeated by all the Mirreen per nuimriUntionrm, wliicli to fully explain would ex- reed our limits. Sometimes, also, a musical pos- »age of a composition, in which one voice repeats, lor a Hhort time, another, is called, improperly, u canon. Canon, in ancient music, is a rule or method of dctcnuining the interval of notes. Ptolemy, rejecting the Aristoxeninn way of measuring the intervals in music by the magnitude of a tone, (which was supposed to be fonned by the diiferencc between a diapente nud a diatesseron, ) thought that musical intervals should be distinguished according to the ratios or proportions which the sounds termiuatijig those intervals bear to one another, when con- fcidered n>i'''"rding to their degree of acuteness or fravity ; wliich, before Aristoxenus, was the old 'ythngorean way. lie therefore made the dia- pason consist in a double ratio ; the diapente in a sesquiatternte ; the diatessaron in a sescjuitertian ; and the tone itself in a sesiniioctave ; and all the other infer\-als according to the proportion of the sounds that terminate them ; wherefore, taking the canou (as it Is called) tor a deter- minate line of any length, he shows how this canou is to be cut accordingly ; and this method answers exactly to experiment, in the different lengths of musical chords. From this canon, Ptolemy and his followers liavc been called canoiiici ; as tliose of Aristoxenus were called mtuici. This term with the ancient Greeks sig- nitied what we now call nwiiocliord. C.OrON'E APEUTO. (I.) An open canon. CASOXE CIIIl SO. (I.) A close or hiddtn canon. CANTA13ILE, or CANTAB. (I.) A term applied to movements intended to be perfonned ill a graceful, elegant, melodious, singing style. The cantabile or singing style has of late obtained great attention in piano-forte composition. And as a substitute for the too often rapid airs with variations which once monopolized the time of the student of that instrument, for the creation of an elegant taste, such works as the " Lieder ohiie iVorte " of Mendelssohn and others must be regarded as of high value. In modern pianos of best quality much regard seems to be had to the production of a tender and expressive singing tone. It was in fact the search lor this which gave rise to the invention of striking the strings with lianiiucrs instead of quills. CAXTADOUR.S. Certain itinerant singers of fcongs and ballads, who, with other musical pro- fessors of viu'ious descriptions, sprang up in Provence about tlie middle of the ninth century. It was their practice to perform on public stages U-. the open air, and to sell their i)roductions, and receive preicnts in money from their surrounding (uditors. CANTANDO. (I.) In a singing manner. CANT.VNTE. (I.) An expression some- times used to distmguish the voice part of a compn.sition. CANTAUE. (I.) To sing. CAN T.VTA. (I.) An elegant and passionate species of vocal composition, consisting of an in- termixture of air and recitative. The cantata, which was invented by Uarbara Strozzi, a Vene- tian ladv, who flourished about tbo middle of the seventeenth century, was, at one time, extended to such a length as to form a little opera, but has since been cultivated in Italy, Gc^nnany, and England only as chamber music — a sort of song or composition intermixed with recitatives, airs, and variety of motions, ordinarily intended for a single voice, with a thorough bass ; some- times for two, three, or more voices, with one or more violins, or other instruments. The cantata passed from Italy into France, and thence to England ; it has something in it extremely fan- tastical and capricious. 'ITie word cantata was used in tlie church as early as ui the year 1314, to e.xpress what we olten mean by antlitm, with which it is still spionjTnous in Germany, being chicrty confined to Lutheran chuich music. The secular cantata is a kind of composition suited to the chamber, wherein less light and shade are requisite tlian in either ecclesiastical or diamatic music. "When Pope Gauganelli and the King of Portugal were reconciled, in 1770, cantatas were sung at Venice and Home, etjual in length to an opera. CANTATILLA. (I.) The diminutive of con- iata. A short song in air and recitative. Little used at present. CANTATRICE. (I.) A female singer. ' CANTICA. (L.) Ancient dramatic soliloquies, which are supposed to have been introduced as interludes, or act tunes. CANTICI. (I.) One of the names given to the laitde, or songs, sung by the Romish priest- hood, in the twelfth and thirteenth centuries, in praise of God, the Virgin Mary, or the sauits and martjTS. CANTICLE. A hymn, or song, anciently sung by the Hebrews in honor of the Divinity, and generally supposed in commemoration of some sacred and important event. The most distinguished production of this kind is tl:e can- ticle attributed to Solomon, concerning the oc- casion and intention of which there are various opinions, llie Greeks gave the name of canticles to certain vocal soliloquies in their tragedies. CANTILENA. (I.) A. melody. ITiis word was originally used as a diminutive of canzone ; but now it bears a different sense, and serves to distinguish the treble melody, or upper part of any composition, from the bass and other inferior parts. CANTILENA SCOTICA, (L) A Scotch melody. CANTINO, PAOLO- A composer cf madri- gals at Venice in 178.5. CANTO, or CANT. (I.) A word cliiefly used in choral music, and signifying the melody, or highest vocal part. CANTO CLEF. The name of the C clef when placed on the first line. CANTO FERMO. (I.) The name given to the ancient chants of the Romish church ; which were adopted as standing melodies. ITiese chants, till countcq)oint was discovered, were unaccompanied, or only harmonized with oc- taves. CANTO FIGURATO. (I.) This term was ap- plied by the old Cliristian ecclesiastics to the 171 CAN EXCYCLOP^.DIA OF MUSIC. CAR canto fermo in its more cultivated state, when harmony began to nti.sume modulation and con- trivance. CANTO PLAXO. (I.) An old term applied JO ecclesiastical chanting. CANTOUATE. A loading singer. CANTOKE, or CANTOR. (I.) A general name for a singer. CANTO KECITATIVO. (I.) A speaking gong. See Cantus. CANTUS. (li.) A mode of recital between the characters of air and recitative. Cantus also Bigniiies the treble. CANTUS AMiniOSIANUS, or AMBRO- hlAN CHANT. A method of sijiging and chanting, tirst introduced by St. Ambrose. What this method was, is not at present known ; but it is said to have bonie some analogy to the modes of the ancient Greeks. It does not appear to have consisted of any particular or determined series of notes. His design, however, it is thought, was only to inculcate a simple melody ; founded, indeed, on the rules of art, but so familiar and easy, that tlie whole congregation might join in the performance. It is to this accommodation that we trace the origin of the practice, in the Romish church, of the people uniting with the choir in chanting divine serN-ice. CANTUS GREGOiaANUS, or GREGO- RIAN CHANT. This chant, wliich derives its name from St. CJrcgory, its inventor, added four inteqiosiiig notes between the four insti- tuted by St. Ambrose, in which the diapente held the ujipcrmost place in the diapason. The chief diifercnce between the tones employed by these improvers of the ancient chant ^^•Tls, that those of St. Ambrose arose from the arithmetical, and those of St. Gregory icova. the harmouical, division of the diapason. CANTUS MENSURAIHIJS. (L.) Measured melody. A term applicable to every kind of music, whether vocal or instrumental, in which the length of the component sounds is regulated and detenuiiied by the received rules of time. CANUN. The canun is the name of an in- rtniment much used by the Turks ; it is strung with catgut, and is something in tlie form of the dulcimer. CANZONE. (I.) The word canzone, in its literal sense, signities an ode, or song, of consid- erable length ; but it is now applied by Italian musicians to any air in two or three parts, with passages of fugue and imitation. CANZONET, or CANZONETTA. (I.) Can- totut is the diminutive of canzone, and, in Italy, signifies a short song in one, two, or three parts ; but in England it is more generally applied to the two latter. CAOINAN. The Irish funeral song. CAPELLA. (I.) Chapel. CAPISCOEUS. A ilignitary in certain cathe- drals ^^'ho siiperintended the choir, or band ; and corresponded with him who, in other churches, is called the chanter, or precentor. C.VPISTRTTM. (Or.) A kind of muzzle used by the ancient trumpeters, so fonncd as to ex- tend horizontally across the face, and embrace and confine tl>e cheeks, to ])rcvcnt their bursting with the violence with which they blew the in- strument — an accident to which, without such l)recaution, the performer, from his vehement exertion, was continually liable. CAPO. (I.) Head or beginning. CAPOLLINI, MICHEL ANGEI.O, composed the music to a sacred drama at Mantua in IG'27. CAPORAI-E. A celebrated violonceUist. He went to London in 1735, and though no profound musician, nor gifted with a very j)owerlul hand, he was heard for some years witli great par- tiahty, from the almost single merit of a full, sweet, and vocal tone. He published some solos for his instrument in London. CAPOTASTO, or CAPO D' ASTRO. The principal touch, as the bridge of any instrument is the place where the strings touch, or bear. CAPPUS, JEAN BAPTISTE. A French composer of vocal and instrumental music be- tween the years 1730 and 1733. CAPRANICA, >L\1TE0. An ItaUan dra- matic composer at Rome in 17-16. CAPRICCIO, (I.) or CAPRICE. A loose, irregular species of composition, in which the composer, without any other restraint than the boundai-y of his imagination, continually di- gresses from his subject, and runs wild amid the fers'or of hb fancy. CAPRICCIETl'O. (I.) A short capriccio. CAPRICCIOSO. An ItaUan adjective, sig- nifjing that the movement at the beginning of whicli it is written is to be jjlayed in a fantastic, free style. CAPRICORNU.S, or BOKSHORN, SAMLTIL. Cliapcl-raaster at Stuttgard. Much of his vocal and instrumental music was published between the years Ifioo and 1708, though some of it prob- ably is posthumous, as he is supposed to have dieil at Stuttgard in 1669. CAPRIOLI, GIOVANNI PAOLO, published some sonatas nt Venice in 1628. CAPRON. A French composer. He made his dibul at the spiritual concerts about the year 1768, and soon after published some sonatas and (questions for the vioUn. CAPUTI, ANTONIO. An Italian dramwtic composer about the year 1754. CAPUZZI, or CAPUCCI, ANTONIO. There were two brothers of this name, violinists at Venice, composers of dramatic and instrumental music since the year 178.5. CAILVDORI, ALLAN, ^LVDAME, was bom in the Casa Palatiiia at Milan, in lSOi». Her father was the llaron De Munck, a native of Al- sace, who formerly held the rank of colonel in the French service. Tlie musical education of Mile. De Munck was completed entirely under the guidance of her mother, without the aid of masters or any other auxiliary. 'ITie death of the Haron De Slunck, and the consc(pient failure of pecuniary rcsourcct 175 CAR ENCYCLOPEDIA OF MLSIC. CAU n bin family, at length obliged his dnughter to 6rajiloy her musiciil powere jjrofes.sionnlly ; mid for tliih ])uri)osc she went to Kugland, mid under the name o{' Caradori, derived trom a hiancli of her luotlier's family, made her dibul at the King's Theatre ou the lith January, 1822. ITie first character in whicli she appeared was tlie Page, in " Fi(/aro ; " and it is not a little remarkable that circum-tauceri recjuiied l-.cr to learn that part, and to make her tirst apjiearance on any stage within the short period of tliree days. This attempt was completely successful, and she was since equally fortunate in the operas of " // liiirone de Uolshei/n," " I'Jisa e Ctatidio," " Co- ratliiio," and " /.a CIvmeiiza di Tito" in the latter of which she sustained the part of prima donna. As n concert singer, Mme. Caradori rapidly rose into pulilic estimation by her performances at the Phil^nnnonic Society and other musical establish- nie'.ts in ditt'erent pans of Great IJritain, espe- cial'/ at Ihigliton, Oxford, Hath, Bristol, Glouces- ter, &c., \c. As a composer, she is best known as the authoress of the pleasing romauce.i, " La Plu» Jolie," " Le Sourire," and " La FUeusc." The principal advantages possessed by Madame Caradori are, a voice of great sweetness, Hexibil- ity, and justness of intonation; an extensive knowledge of the different branches of the art whicli she possesses ; and a facility of reading music, liy which slie is enal)led at once to sing and accompany {a prima vista) any vocal piece which is presented to her. To these may be ad- ded, an intimate knowledge of four languages, of wliicli the English is one, an agreeable person, a graceful deportment, and liigli moral cliaracter. In August, 1S23, Madame Caradori was mar- ried to Mr. Allan, tlie secretary of tlie King's Theatre. She gave concerts in this country about twenty years since, and her exquisite rendering of " I know that my Redeemer liveth," in an ora- torio performance of tlie Boston Handel and Haydn Society, is still remembered with delight. CARAFA, MICHEL, born at Naples in 1785, commenced the study of music in the Convent of Monte Olireto, at the age of eight years. His first master was a Mantuaii musician named Faz- si, n skilful organist. Francesco Ruggi, a pupil of Fenaroli, gave him lessons in harmony and accompaniment, and later he passed \nider the direction of Fcnaroli himself. Whilst visiting Paris, he received lessons in counterpoint and fugue from Cherubini. Though he had written in his youth, for amateurs, an oi)era called " // Fan- tasmu," and had composed, about 1802, two canta- tas, " // Sutdle di Giove " and " AchiUe e Deidamia," in which were the germs of talent, he had not thought of cultivating music except as a relaxa- tion irom other work ; he entered the ciureer of arms ; he became an officer in a regiment of hus- sars of the guard of Murat, afterwards equerry to the king in the expedition against Sicily, and chevalier of the order of tlie Two Sicilies. It was not until the spring of 18 It that Carafa thought of turning to account liis talent, and that he pro- duced his first opera, called " // I'asnlJe I' Orci- diiUc," at the tlieatre J)cl J'unde. Thi» work, which was quite successiul, was followed by " A/i (lehsia Cofrctin," in 181.5 ; " Oabrielcdi I'en/i," in 1810 ; the •* Ifii/cnia in Tauridc," San Carlos at Naples, in 1817 ; " Adele di Lusignatw " at Milan ; in the au- tumn of the same year, " licrcnicc in Si/ria," at San C'arlob. In 182\ he made liis dibut upon the French stage, by the opera " Jeanne tFArc," n.is opera had not the success which it merited ; for there were many beautiful things in it. After he had brought out tliis opera, Carafa went to Rome, where he wTOte " La Capriciosa ed il Soldato," which had great success ; he there comjiosed the " Soli- taire." Of all Carafa's operas, the most jjopular is the " Solitaire." There is some carelessness in the score, but there are m it dramatic situations well conceived and well rendered. After the repre- sentation of tliLs piece, which took jilace in Paris in Augu-st, 1822, Carafa returned to Rome, whcr? he wrote " Eufemie di Messina ;" tliLs work was a complete success. In 1 82.3, he produced " Abufar," at Vienna. Ou his return to Paris he produced the " Vaiet dc (Jhainhre " and " L'Aiiberi/e supjtosde." In the autumn of 182.5, he WTOte " // .Sonnaoibulo," at Milan ; and at ^'enice, the " Paria," in Febru- ary, 1826. In 1827, he returned to Paris. The 17th of May of that year, he produced an opera in one act, called " .'^angarido ; " tliis had no success. This was followed by " La Violctte," opera in tlixccacts, of which M. Lelorne composed some pieces ; " J/o- sanielJo," in tliree acts, a work full of beauties, and which should he considered the masteqjiece of Carafa. Since then he has written " La Fiancdt de Lammermuor," and "La Prison if I^linboitrg,' 1831-183.3. M. Carafa is often censured for filling his works with reminLscenccs and imitations. It must be owned he did not always choose his ideas as well as he was able : he wrote quickly and carelessly, as was the custom of Italian composers ; but if he had been more careful of liLs scores, judging from the beautil'ul things found there, his reputa- tion would be more brilliant. C.VRAFFE, the younger. Chamber musician to the King of France ; he published several symphonies about the year 1752. CAR.IPELLA, TOMMASO, was born at N-iples about 1700, and delighted that city by his compositions, which, although in the ancient style, termed by the Italians viadrigalesco, united energy witii taste and sentiment. His master is unknown, but his compositions obtained the ap- probation of the learned, both in the theory and practice of music. The sound doctrines and pure principles which had presided at tlio foundation of the Neapolitan school, and under whose aus- pices its numerous great works had been pro- duced, revived under the pen of Carapella ; or rather he was one of its most religious defenders, and endeavored to prevent the diffusion of bad taste or false doctrines, and the destruction of the sacred and venerable vestiges of ancient simplicity. Hymns and cantatas lieing greatly in favor with the nation at the time he finished his studies, he composed chiefiy in this style. One of his religious hymns is still sung at Naples, on the ftte of Santa Francesco Homana. Cara- pella afterwards set to music, with great success, the opera entitled " .Massimi." After having successively and equally succeeded in both the sacred and profane styles, and taken rank among the best masters of his school and of Italy, he published a collectiim of his hymns and can- tatas for two voices, distinguished for their per- fection in melody — a work which recommends him to the esteem of posterity, altliougli not liis only claim to lionorable recollection. 170 CAR EXCYCLOP.EDIA OF MUSIC. CAR CARATTERE. (I.) Charavlcr ; a% lonmoUo oarattere, witli much character and cmpha-sis. CARAVACCIO, GIOVANXI, u composer of church music at Venice in l(i20. CARAVAOGIO, GIOVANNI GIACOMO GASTOLDI DE. A poet and composer of vocal music at Venice in 1590. CARAVOGLIA, IJARHARA. Principal fe- male singer at Naples in 1788. CARBONEL, JOSEPH NOEL. A very cele- brated French performer on the tarahourine ; he published a method for his instrument in 17GG. lie died in ISOl. CARBONEL, JOSEPH FRANCOIS NAR- CISSE, probably the son of tlie preceding, was born at Vienna in 1773. He has com])osed much vocal and instrumental music, published at Paris. CARBONELLI, STEFFANO, a celebrated %-io- linist and puj)il of Corelli, went to En>;land from Rome about the year 1720. He was received into the family of the Duke of Rutland, a great pa- tron of music. Durins; his residence with this nobleman, ho published and dedicated to him twelve solos for a violin and bass, of his compo- sition, which he trequcntly played in i>ublic with great applause. About the year 172.), he (juitted the Opera House, and went to Drnry Lane 'llieatre. where he led the band, and frcciuently played select pieces between the act.s. After continuing a few years at Drury Lane, Carbouelli quitted his station there, and attached himselt' to Handel, at the time when he began to perform oratorios. For a scries of years, he played at the rehearsal and performance at St. Paul's for the benefit of the sons of the clergy. At first, in England, Car- bonelli profcs!;ed liimself to be of the Romish persuasion ; but afterwards he became a Protes- tant, and married the daughter of Mr. Warren, parish clerk of St. James's, Westminster. In the latter part of his lUe, he in some measure declined the profession of music, and betook himself to that of a merchant, and an importer of wines from France and (iennany. By the interest of a powerful friend, he obtained the place of one of the purveyors of wine to the king, and died in that emplojnnent in the year 1772. At the time of Carbonelli's resiv:ning his profession of violin- ist for that of wine merchant, the following lines were written, wliich have been admirably set to muiiic, as a duet, by Dr. Cooke : — •• Let Riihint-IH charm the enr, Aiul sin)?, iw fr«t, with voice divine \ To C.irlK.iu'ili I adh.'re: IniitratI t>f nuiilcffive ine wine. Hilt yet, perhftp», with wine combined, Snrt imisic itriv i.ur jovii imnmrv ; l.cl t»ith tngiiliiT Ihen'he joinr I. And IVu5t we liVi' the ffiMls nbuvc." C.\RBOR, ROBERTUS. One of the oldest known composers of sacred music in Scotland : a mass of his composition in the twcll'th century is extant. CARCANI, JOSEPH, chapel-ma.ster at Venice, was a celebrated dramatic comjioser alwut the year 1742. CARDON. A harpist at Paris, and composer for his instrument ; hLs method for the harp was published at Paris in 1785. He died in Russia about the year ISO.i. CARDUCCI, GIOVANNI GIACOMO. A 23 1 voc-d composer at Venice in the latter half of th« sixf^cnth century. CARESANI, CRLSTOFORO, organist at the Chapel Royal of Naples about the year 1680, ij* considered one of the best composers of liLs time. His duos, which appeared in liiSl, are espevially held in (estimation. Choron, at the end of h'a " l'rincii>f.% de Composition," has given exercises oi all the intervals by Caresani, which are in the highest dej;rec useful. CARESTINI, GIOVAN'NI, a celebrated Ital- ian singer, was bom at Mount Filantrana, in the March of .\ncona, and at twelve years old went to Milan, wliere he was patronized by the Cusa'ii family, whence he was frctiucntly called Cusanina. His voice was at first a powerful and clear sopra- no, which afterwaribt changed to the fullest, fin- eit, and deepest countertenor that has perhaps ever been heard. HLs first appearance on the stage seems to have been at Rome, in 1721, in the female character of Costnn/a, in Buononcini's opera of " Grimlda." In 1723, he was at Prague during the great musical congress there, on occa- sion of the coronation of the Emperor Charles VI., as King of Bohemia. In 1721 he was at Mantua; and in 1720 at Venice, where he per- fonncd with Farinelli and the famous tenor Paita. In 1728 he was at Rome, and atjain in 1730, where he ])erfonncd in N'inci's ccletirated operas of " Alessiinttro lull Iiidir," and " Artaxcrse," both written by Mota'^tasio. He was now engaged by Handel to suj^jly the place of Senesino, wlio, to- gether with his whole troop, except Stradn, had deserted from his service, and enlisted under the banners of Porpora and tlie nobility at Lincoln's Inn Fields. Carestini's person was tidl, beautiful, and majestic. He was also a very animated and intelligent actor. He manifeein- I grave ; and, lastly, was a disciple of Geminiaoi ; CAR EXCYCLOPJ^DIA OF MUSIC. CAB but with all tlio aeriod to a liio which ho had led without reproach. In all th.e poems and songs written by Ciircy on wine, love, and subjects of that kind, he raani- li"sted an inviola'ile regard for decency and good manners. He composed the air of " Sally in our Allev," aid is thought by some to have been the author of " God save the King." CARICATO. (I.) With exaggerated expres- sion. CARILLONS. ;■« ^ than in 'those of anv composer of thescvenleenlh I rors which he accordingly did . «" » "^" «\^f •enturv It is manifest that I'urcell partlv i the piece was t^ent Irom Connaught to Dubhn. onue^l his stvle o"tle productions of CariLimi. I The Itnlian no sooner saw it than he pronounced He is Maid to have acquJed a considerable fortune Carolan to he a true musicd genms Mv, bv the exercise of his profw^bion. and to have I whde ou a visit to Mrs. M Dermott b, of Alder- 178 CAR ENCYCLOP.EDIA OF MUSIC. CAi ford, in the county of lloscoramon, was tnken suddenly ill and died there in the month of March, I'.'JS, in the sixty-eiiijhth year of his n'^o, and was interred in the iiarish church of Kilronan, in the diocese of Arda;;h. 15ut no memorial exists of the sjjot in which his remains were laid. A collec- tion of his music was published, by his son, in 171", and it was republished by John Lee, in ])ublin, in 17S0. C'arolan, as a musician, stood in the first class ; and he added considerable to the auci tut stock of L-ish music. C AROLI, ANGELO. An Italian composer of church mujic in the middle of the eighteenth century. CAROLUS, JOANNES. A Spanish writer on the guitar iu liJiiG. CARON. An old French composer, who flour- ir.hcd before the period of the rcnovatiou of the arfci. CAROSO, MARCO FARRIZIO. Author of a collection of dances at Venice in loSl ; the mu- sic of them is regularly barred, which is not the case with any otb.er music of the sixteenth cen- tury that Dr. Biuiiey ever saw. CARPANI, or CARPINI, GAETANO. A church compo^ier of the year 11 nO ; he was con- sidered the most profound contrapuntist of his day in Rome. The celebrated Clemcnti took les- sons of hira for some tune. CARPENTIEIl, Author of a method for the guitar, Paris, 1770. CARPIANI, EUCAS. CTiapel-master at Bo- logna, and dramatic composer, in 1673. CARPINI. See Caupani. CARRE, EOUIS. A French writer on music •t the commencement of the last century. CARRE, REMI. A French monk and writer on singing in the year 17H. CARTELLIERI, A. A composer of vocal and instrumental music, published at Berlin and Vi- enna between the years 1792 and 1806. CARTER, THOMAS, a. singer, pianist, and composer of vocal music, was born in Ireland, in 1768, but left that country very young, and was patronized by the Earl of Inchiquin. lie tinislcd ins musical education in Italy ; and whiic at Na- ples was much noticed by Sir William and I.ady Hamilton. He composed the beautiful ballad of '• O Nanny, wilt thou gang with me f " also the celebrated description of a sea tight, " Staiul to your guns, my hearts of oak." lie was likewise known as composer of n capriccio, beginning with the words, " Fairest Dorindn," in wliich he iiuited all the elegances of musical science with tl'.e most humorous comic expre<»sion. Carter passed some time in India, where he conducted the musical department of the theatre in Bengal ; but the climate so greatly atlcctcd his health that he was under the necessity of returning to Eng- land ; and it is supposed that in India he irabibwl a liver comjilaint, which, at length, in the year ISOt, tenuinated his existence. Mr. Carter did | not always meet with that encouragement to I which his musical talents might have entitled him ; and, as economy was not among the virtues wliich ho cidtivated in early lile, he was often I 17 reduced to those straits and difficulties from whic': genius and talent can plead no exemption. Iu one of those scenes of embarrassment, his meani and resources having been exhausted, he ran- sacked the various species of composition he ha'i by him, but liniling that none, nor all of them would jiroduce a single guinea at the music shops, he hit upon the following expedient foi the immediate su]>ply of his most jircssiiig neces- sities. Being well acquainted with the character of Handel's manuscript, he procured an old skin of parchment, which he jjreparetl for the purpose to wliich he meant to turn it, f>r.v4 miiiiit- ing as closely as he could the handwriting as wcl. as the style and manner of that great master, ho produced, iu a short time, a piece, which so well deceived a music seller, that he did not hesitate to give twenty guineas for it : and the piece passes this day, amongst many, for a genuine produc- tion of Handel. Carter died in 1804. CARTIER, JEAN BAPTISTE. A good French violinist at Pari.-, since the year 1701. He was a pupil of Viotti, and published much mu- sic for his instrument between the years 1792 and 1801 ; he has also edited the sonatas of Corelli, Porpora, and Nardini. CARL'LLI, FERDIX.VNDO. A NeapoUtan guitarist, and composer for his instrument. He was born in 1770. He has published at Paris an excellent method for his instrument. CARUSO, LUIGI, bom at Naples in 17.5}, was son of a chapel-master of some estimation, and brother of Emiuanuele Caruso, who also dis- tinguished himself as a musician. He quitted Naples at the conclusion of his studies, which were pursued under his father. His first operii was " // Medico ma'/iiijico," given nt Florence iu 1771. Encouraged by its favorable reception, Caruso compo'^ed for Rome, in 1781, " II Fnnati. i per la MiMiai," which succeeded completely, ami supported several repie-entations. It was fol- lowed by " Li!^ic'," nn edition of which was pub- lished nt Oxford in ITSr, ; also, two years aftcr- ■wards, a Latin work on music. He died m IGOO. CASELLA, , rcmaikablc as the first raad- risnl composer mentioned in the history of music, liveA at I'lorcnce about the year 1280, and was Ru intimate friend of Dante. CASELLA, AUGl'STUS CAESAR, was bom at Lisbon on the loth of October, 1820, of (Jcnocsc parents. His father was a celebrated prol'essor of the violoncello, and nt that period held the office of leader at the theatre of San Carlo, in the above-mentioned city. At the a>^e of four Years C'asella evinced a great taste for mu- Hic. ^^'hen his father was practisiug upon Ins instrument, he would draw near to him, and a desiic to become a great performer was percepti- ble in the cliild, even at that tender age. He was alwavs singing, scribbhng musical characters, and laviii" his hands on evcrv instrument that came witliin his roach. Finally his ruling pas- sion was yielded to. HLs father left Lisbon, and returned "to his own country, where he com- menced superintending the studies of his son. The violin was the first instrument put into the hands of the youth; but the experiment was truitless. llie" learner showed no inchnation for the study. The violoncello. Ids father's instru- ment, was then tried ; to that, and to that only, he applied himseU' with the greatest eagerness. He studied under the tuition of lus father, and with so much assiduity that at the age of four- teen he gave his fii'st concert at the tlieatre of Cnrlo Felice, in Genoa. This concert met with a higlily-i'avorablc result, and produced a great etiect' But many allowances are made to one at the age of the young dibutant. His father, who was a finished master of his art, was well aware I'uit much more study was necessary to make a -reat artUte of Ills son. Consequently he placed him at the Conservatory of Music, m Genoa, where he remauied for some tune, and until his lather received the ajipointment of first violoncel- list to his Sardinian majesty, and was obhged to leave Genoa in order to proceed to the capital. Here it was, it may be said, Ciu^ella began hLS musical career, by occupying a distinguished place in the orchestra of the lloyal iheatre, where be remained for six years, endeavoring to pcnect himscU in his art. But never did a m:.n- u'l-r have so insubordinate a musician as t asella. iFc could not adapt himself to the materialism ol tl.e ondiestia, and although his father had con- Iri.ted for him for eight years, he managed so tiat at the close of the sixth Casella was per- mitted to resign his post. From that time he .handed completely. He applied liimseU to the st'.dv of the solo violoncello and to composition, .md in the year 1841 he gave his farewcU concert in the presence of I'rincc Carignaiio, at which he K-ceive.l great applause. On that oceasion he produced, lor the first time, his elegy on the loss of his mother. Tliis pathetic piece met with so much favor that he was not allowed to withdraw l.r;oic having repeated it, at the re>iuest ot las rovid highness. ,oio .♦ He next went to Genoa, in the year 184i, at H.c time the royal court was indulging in great ItoUviticrt -in account of the marriage of the hereditary Prince Victor Emanuel Carella, and waa employed to plav at a concert before the court, at which" were pres'ent Charles Albert, King of Sar- dinia, all lus family. Prince Carignauo, the King of Naples, the Viceroy of Milan, &c. He pro- duced such an eficct "that he was rewarded tor his perfonnaucc with the title of solo violoncellist at the roval coui-t. He also received at Genoa the degree of professor of the Conservatorio. Thence he proceeded to France, where he gave several concerts, which created a great sensation. Mcry, the French poet, said " Casella sings with the violoncello as Kubini does with the voice. His elegy causes tears to fiow," &c. He was created honorary member of seversl Philharmonic Societies ; he' also obtained the U- gree of professor of the Conservatory of Turin ; and relying upon the success which he hatl already met with, on the fondness of the Araen- can people for music, and on their capacity to appreciate it, he did not hesitate to set foot on tlie new world. He was weU received m thl* country. CASENTINI, MARSILIO. A composer of raadrigak and other vocal music, published at Venice in 1007 and 1016. CASINI, D. GIOVAN MARIA, a norentinc priest and composer, was chapel-master and or- ganist to the Grand Duchess of Tuscany in the year 1700, and pubUshed some vocal and mstru- inental music between the years 1703 and 171-1. CASSIODORUS, MAGNUS AUKELIUS. A Roman consul, who wTOte on the subject of mu- sic. He died m 1575. C^STAGNEDA Y PARES, D. ISIDORE • Author of a theoretic trer.tlse on the first ele- ments of music, published at Catliz in 1785. CVSTANETS, or CASTAGNETS. Instru- ments used in dancing. They consist of two hol- lowed chestnut shells. The dancer, holding a Castanet in each hand, rattles them to the motion of his feet. The castanets, in conjunction with the guitar, were fonuerlv the favorite accompauir- ments of the Mooixsh and Spanish dances. CASTELBIANCO, QUIRINO DI. A i-ct- forraer on the harpsichord, and composer for his instrument, living in Italy in the year 1700. CASTF.LLAN, SIGNORA, a native r>f Lyons. France, developed ui her infancy great musical talent, and at eight years of age was placed under Cinti Damoreau, the celebrated singer. bJe studied till she was inxtcn, wh.en she appeared in opera. She has a compass of three octaves. She sang in Boston, Mass., in the winter ot 184 5-4, and has since held a distinguished rank m the operas of London and Paris. CASTELLI, PAOLO. A dramatic composer and poet at the court of Vienna in 1083. C YSlTiLLO, D ARIO. A composer of instru- mental music pubUshed at Venice in the yeai-s 1<;J7 and 1829. CVSTELLO, GIOVANNI. An Italian per- former on the harpsichord, and composer ot some music for his instrument, published at \ lenna m 1722. C \STOLDI, or G ASTOLDI, GIOVANNI GI- ACOMO, born at Carraggio, was the author ol thirty musical works, the titles and dates o' 180 CAS EXCVCLOP.-EDIA OF MUSIC. ;a7 whicli maj' be seen in Wnlther's " Miisiknlischc.i ' couverHation. DurinjT her rciidcnco in tliis hou'-t ■exicon." llis ballads, printed at Antwerp in I of learning and religious repose, the I'aiue of hc^ 596, under the title of " lialktti a 5 e 6 Versi per Jantarc, Sonare, e Ballare ; con una Masc/ierata di Cacciatori a C, c un Concerto di I'astori a 8," put the derivation of our word baUad out of all doubt, which originally meant a song, sung and danced to at the same time. " llie tunes of Ga>toldi," obsei-ves Dr. Uurney, " aic all very lively, and more graceful than any I have Been before the cultivation of melody for tl-.e stage." CASTRO, JOHANNES A. A voluminous composer of voc^al music, published in the Neth- erlands between the years lo'JG and 1600. CASTKOVILI.AKI. A monk and Italian dramatic composer bi the middle of the seven- teenth century. CASTRUCCI, riETRO, bom at Rome, about 1690, was an excellent performer on the violin. lie succeeded Corbett as tirst violin at tlie Opera House m London, about the year 171S, and led the opera baud for many years ; but growing old, Handel liad a mind to i)lace a young man named John Clegg, scholar of Dubourg, at the head of the orchestra. Castrucci, being in very necessi- tous circumstances, and not in the least conscious of any failure in his hand, was unwilling to quit his post ; upon wliich Ilandcl, in order to con- vince hijn of his inabUity to till it, composed a concerto, in which the second concertino was so contrived as to retjuire an equal degree of execu- tion with the first : tliis he gave to Clegg, who in the performance of it gave such proofs of his su- ])eriority as reduced Castrucci to the necessity of yielding the palm to his rival. Oppressed with years, he immediately sunk into oblivion, and at the age of eighty, upon tlie merit of his past services, became a supplicant to the public for a benefit, at which he i)erfonned a solo, and soon after ilied. He published two sets of solos for a violin, with a thorougli bass, and twelve concer- tos for violins, which, though hardly known, have great merit. It is Castrucci who is represented in one of Hogarth's prints as the enraged musi- cian, the painter having sutlicieut jmlissonncrie, jirevious to making the drawing, to have the mu- sician's house beset by all the noisy street instru- ments he could collect together, whose clamorous performance brought him to the window in all the agonies of auricular torture. CASri.ANA, MADDELANA. A female composer of some madrigals publislicd at Venice and lirescia between the years 1568 and loS.'J. CATACOl'SriCS. (From the Greek.) ITiat branch of ihe science of acoustics which consid- ers the doctrine of echoes, or reflected sounds. CATAI.ANI. ANGELICA. This celebrated singer and acti-ess was a native of Sinigaglia, in the neighborhood of Rome, where she was born in the year 1783. Her father was a merchant, and lived in high respectability, but, from the in- cursions of the French, lost all his property. Very early in life Catalani was noticed by Car- dinal Onorati, who, being deligV.ted with tlie power and sweetness of her voice, recommended her to the coiwent at Gubbio, with such injunc- tions on its masters, with respect to the care and attention of their fair pupil's talents, as soon ren- dered her the accomplished subject of general extraordinary voice brought persons from distant l)art.s of Italy to hear her sing. As a striking instance of the delight which the tones of hei voice i)roduced on her aiulitors at this period, it may be mentioned that she was publicly ap])laud- ed in the chapel of the convent, when she sang with the nuns ; which the cardinal could by no other means prevent than by forbidding her per- fonuance in the church. At the age of fifteen she left the above convent, when the unexpected revolution in her fatlier's affairs first induced her to become a public pcrlbrmer; for which puq)0;.c she went to Venice, where slie made her first ap- pciirance on the boards of a theatre at the early age of fifteen. She next proceeded to Milan, where she made her dibut in an opera, in wliich the celebrated Marchesi performed. The great success which accompanied her first exertions, together with the valuable instructions she received in music from Marchesi, soon gave Catalani a very high degree of professional em- inence. Alter having delighted the inhabitants of Ven- ice, Verona, and Mantua for three years in her professional capacity, she was called to Lisbon, where she continued three years, enjoying every kind of attention her heart could possibly pant for. In this city Monsieur de Valebret seats in tlie opera at six ounces of gold, wliidj is e(iual to twenty-one guineas. Even at this high price tlie theatre was crowded ; and the receipts, independent of frescnts, amounted to two thou- sand five hundred guineas. From Spain Madame Catalani went to I'lu-is, where her reception was the most ftatteriiig, and where she gave lour con- certs, the price of admission to which wa* in- crea'-ed fiom the usual sum of six francs (ten shillings) to one pound five shillings, and eacli ol these enfertainmentji produced to her twcnty-fouj thousand francs. nie celebrity this beautiful and accomplished artist had acquiied in Italy and Lisbon soo/ 181 CAT ENCYCLOPEDIA OF MUSIC. CAl reaclifxl Eiiglniul, niul as isoon created a wLsh on tlio part ol' UritL-ili amateurs to attach such au acquLsition to the Italian opera of that country. All the Knulish ivho woie in Portui^al at the time, and who witne-^sed tlie prodigious jiowcrs and '^reat succe-is of Madame Catalani, recom- mended her poinp; to England, and acceptini^ ivhatever salary mifjht be offered her ; but only ;ir a sing^lc season, as they were convinced that »u the sei-ond year she might make her own terms, both at the King's 'Hieatre and at the Lon- don concerts. In compliance with this advice, she eu'^aged her-elf for one year at the King's Theatre, at a salary of two thousand g\xincivs ; and on the 13th of December, 180G, made her first appearance in London, in the character of Serairamidc in the serious opera of that name, *■ disposed expressly lor her by I'ortogallo. The prognostics of her Iriends in Lisbon were now soon to be completely verified ; for in the second i-cason of Madame Catalani's re:^idence in Eng- land, she cleared more than ten thousand guin- eas, as will appear by the following calculation : She received five thousand guineas from the King's Theatre, and two benefits assured to her at one thousand guineas each; one thousand one hun- dred and fifty guineas from Harrison's and the king's concerts ; one thousand guineas from the oratorios at Covent Garden ; and moi'c than one thousand from different subscription concerts ; thus forming a total receipt of upwards of ten thousand guineas in less than six nutiit/is ! In 1807 she perfoiined the part jireviously en- acted by Mrs. Uillington, in the opera of " It j'-'a/ititico per la Mu.iica ;" and in LSOS appeared in various new characters, evincing her admirable powers as well in the comic as tragic scene. In 1809 her talents were withdrawn from the King's I'heatre, in consequence of a misunderstanding with the managers. The same season she gave fcix concerts at the Hanover .Square rooms, and performed at the oratorios. In 1810, she reap- peared at the King's Theatre, and had two bene- lits, in which she personated La Vestale in Pucitta's opera of that name, and La Buena Fig- liuola in I'iccini's opera so culled. She also perlorraed at the oratorios, and succeeded Mrs. Billington at the Ancient Concerts. In IS 11, she perlonucd the " Klfrida" of Taesiello, for her benelit. In 1812, she appeared in the following, among other operas: " Enrico 11'.," of Martini; " La CIcmeiiza di Tito," of Mozart ; " CamilUi," of I'aer; and " Le Sozze di J-'ir/aro," of Mozai-t. In I8i;i, the Opera House opened with "II Fiirlx) pthli-a il Ftirix)," a burletta by Fioravanti, in which Madame Catalani pcr;urmcd. At her benefit she npitvirod in an uns\icce-slul opera, by Ferrari, •• L' I'.roiiia de Itiiab." She abo returned to the Ancient Concerts, from which, for one season, sh.e 1 ad seceded. In 18 l.j, Madame Catalani quitted England, and proceeded to I'ari-i, where the King of France granted her the pateut of the Theatre lioyal Italien, and condescended to annex, by way of encouragement, an annual allowance of about seven thousand pounds sterling. She con- tinued for four years proprietor and sole manager of that theatre, then the most elegant in Paris. She gave alternate engagements to the celebrated comjiosors Paer and Spontini, lor conducting tl-.e mu-.ical dcpanment, and also engaged, during the time mentioned, almost all the tir>t singer-, both liiale and Icir.ale, of Italy. Nevertheless, a,s. when Madame Catalani did not herself sing, thi receijjts were trifling, the establLslnnent became a burden to her, and she resolved on leaving Pari:;, and exerting her talents in all the capitals of Europe. The trumpet of liimc succe-isively an- nounced the glorious fruits of this determimition. From ParLs she went direct to lierhn, where success the most flattering, and honors the most disting\iLshed, awaited her. She excited no less admiration by her beneficence than by her ex- traordinary talents ; and hLs Prussian majesty bestowed upon her the most honorable rev. ard, iu deigning to write her a most gracious lettir, transmitting to her, at the same time, the grand medal of the academy, (similar to that wliich the great Frederic sent to A'oltaire.) The king's letter was publLshed in all the journals of the time. Madame Catalani likewise received from the court of Prussia the most distinguished tci- tinionies of kindness. Laden with honors and presents, she went from Berlin to Hanover. HLs royal highness the Duke of Cambridge, whose enlightened taste for the arts, and particularly for music, Is generally known, received her with all that amenity which distinguishes him ; and all the ladies of the court hastened to make her sensible of their goodness. She gave a concert for the benefit of the ix)oi, and was, the same evening, cro>viied at the theatre. Madame Catalani afterwards went to Stuttgard. The charms of her voice made such an impres- sion on the late king, who, as we know, was pa.s- fcionately fond of music, that some minutes before liis death, which happened a few days after hLs hearing her, he pronounced her name. From Stuttgard she went to Munich. At this first vLit to that cajiital, m cousetiuence of a trifling misundei-standing, she did not ting ; but returning some time after, when she paid hei duty to the queen, her majesty embraced her, and la^-ished her goodness upon her, as if to indem- nity her for the slight mistake that had occurred. The king was not less obliging in his conduct tc Madame Catalani, and was so good as to recom- mend her to the friendship of lus daughter the , Empress of Avistria. Furnished with this powerful recommendation, she jiroceeded to Vienna, where she met witli prodigious success. To give an idea of it, it will be sutficicnt to cite the following facts : At each of her concerts, the great room of the Ilc- doubt wius filled to excess, though the price of admission was very liigh ; the room contains three tliousand jiersons. She also obtauied the favor of the whole imperial court, and the em- peror made her a present of a superb ornamental set of opal, enriched with diamonds. The poor shared her success, and blessed the benevolence of her heart. The magistracy of the city testi- fied at once their own admiration and the public gratitude, by causing to be struck, expressly for her, a medal wliich bears the most honorable in- scription. For a long time, jjresiiing invitations called for Madame Catalani in Russia, where the briOiancy of her reputation had excited an impitient desire to hear her. On leaving Austria, si e made the journey to St. Petersburg, where she oommeuced with a concert, the tickets for which were fixed at twenty-five rubles Such was the impression she made, that the room could not contain th< 18:2 CAT ENCYCLOPAEDIA OF MUSIC. CAT crowd:; of persons who came to tlie succeediiii; uoncerts, and every oveiiiiig several hundred wore dLsappoiiiied of phicos. At Icnst'i ^^^ chose for the scene of her concludiu^ concert the public exchange ; and more than four thousand persons were present. Always the patroness of the poor, Madame t^atalani determined that the lar^e re- ceipts of this evening should be devoted to the wants of two handled unfortunate families in .St. Petersburg;. AMieu, after this, she took leave of tV.e empresses, their nnijesties condescended to embrace her, ^ivin-; her assurances of the inter- e-,t with which the preeminence of her talents hiiCL the excellence of her oonduct had inspired them. The reit;ning empress made her presents of a pair of gold ear rings and a diamond neck- lace. The Emperor Alexander was not less gen- erous. In the jirescnce of his whole court, he graciously kissed her hands, thanking her for the good act she hud done, and presentmg her with a magniticent gii-dle of brilliants. Madame C/'ut- alaui remained four mouths in Uussia ; and in that space of time the concerts which she gave, as well in the capital as at Uiga, at Moscow, and at M'ilna, produced her, all expenses paid, more than tiltcen thousand giiincas, exclusive of pres- ents of great value. The liberality with which the liusi-ian nobility encourage the fine arts is well known, and the following is a new testimo- nial. \\'hen Madame Catalani went from Mos- cow to AVarsaw, she found, on lier arrival at this latter city, a letter from the principal Muscovite nobles, in which they oH'ered to secure to her two hundred and forty thousand rublej, (about ton thousand guineas,) if, during the winter, she would come and give ten concerts in their ancient capital. Fcivriiig that her health would not bear the severity of th.e climate, she was compeCed to decline this offer, advantageous as it wius, and for which fdie conveyed nn answer in tenus at once of gratitude and regret. Resides the capi- tals we have named above, Madame Catalani sang in fitty or sixty populous towns of Genna- ny and Italy ; and every where the most august personages, as ^vcll as the public at large, showed her, by brilliant favors, that their esteem for her ]iersonal conduct and beneficent disposition equalled their admiration for the wonders of her talent. It may be said, that her success, and the lUstinctions with which she was honored at all courts, have hitherto been, and will probably re- main, without a parallel. In the summer of 1821, Madame Catalani returned to London, and im- mediately announced a concert at the Argyle rooms, wliich was brilliantly attended. She sang, on 'hat occasion, an air by the Marciuis Sampieri, " Lflla .i'ij>cr!)a lioina ; " " An Air l)y llode, with Variations, originally wTitteu for the Violin ; " a recitative and ail' of Pucitta, " Mio bene ; " and Mozart's bass song in Figiuo, " \on piu andrai." In point of energy, force, and brilliant execution, it seemed hardly possible that Catalani could ex- ceed the degree of perfection she had arrived at before quitting England ; competent critics gave it, however, as their opinion, that her powers were certainly improved. The (Juarterly Musi- cal reviewer, who was present at her first concert in 1821, speaks of her in these words : " Madame Catalani's style is still purely dramatic. liy this epithet, we mean to convey the vivid conception that exalts passion to the utmost pitch of ex- vressivcncBS ; the brilliaucy of coloring that in- vests every object ujjon wliich the iraaginntioo falls with the richest clothing, that gives th broadest lights and the deepest shadows. Ilrnce there is a i)articidar point in the perspective fioni which alone she can be viewed to advantage. Distance Ls iiidisj)en:>able, for her efforts arc cal- culated to operate through amplitude of space, and u;)on the large-t assenil)lics. Apjiroach her, and she is absolutely terrific ; the spectator trem- bles for the lovely frame tliat he perceives to be so tremendously agitated. Iliey who have never witnessed the enthusiasm which illumi- nates that finest of all created countenances have never seen, no, not ui Mrs. Siddons herself, tin- perj'i-clion of iiiajcs/i/, nor in Miss O'Xeill, the softest triiimplu of the teiuUr affections. Madam>3 Catalani's jierson is a little increased, and her features are now stamped with the comjilete oud perfect dignity of consummate beauty in its rich- est maturity. Iler thoughts literally coruscate through the bright radiance of her eyes and the ever-changing varieties of her countenance, llers Ls the noblest order of forms, and every vein and every fit)re seem instinct with feeling the moment she begins to sing. Never do v e rec- ollect to have observed such powerful, such in- stantaneous illuminations of her figure and her features as Catalani displays. Thus the whole person is aiding (how strongly I) the effects of the most extraordinary voice, the most extraordinary energy, and the most extraordi- nary tacihty the world of art has ever known ; and the combined results are iiTe>L4ible. The mind is now allured, and now impelled, now awetl by dignity surpassing all that can be conceived, now transported by smiles of tender- ness more exquisite than poetry has ever fancied." In the season of 1822, Madame Catalani gave five concerts at the Argyle rooms, with her usual success. She sang lour airs in various styles at each concert, and Ls said to have given the opening of the Messiah, " Comfort ye my peo- ple," in the traditionary style of llandel, with her own magnificence and force, and with nearly as much purity as Mr. Vaughan hirascLf. Since these concerts, she was heard at the two cele- brated ])roviucial music meetings of York and liirmingham, which took jilace ui the autumn of 1823. At the former meeting she sang the " (Iratias aifimiis," from a ma.ss by Guglielmi ; " Holy, holy," by Handel ; " Sceiui deve e il ci- mento," by Facci ; Uode's violin air with varia- tions, " At dotce incanto ; " " Comfort ye," " Every valley," " I know that my Kedecmer liveth," and " Angels ever bright and fail," by Handel ; " Luther's Hymn ; " " Domim; labia men ; " grand aria, " La iu redrai," Clementi ; " Robin Adaii", with Variations ; " " .Vo/i piu andrai," Mozart ; " Sing ye unto the Lord," Handel. At Hir- mingham she sang " Mio ben," Pucitta ; " Ilode's Air ; " grand scena, " La di Marte," Morlacclii ; " ^>c »uii turbo," Cianchettini, &c. An invitation having been made to Madame Catalani to perform for a tew nights in London, in the opera sca.soii of 1824, and it being the ardent wish of the public that she should acquiesce, (her logitiit Ue throne being most decidedly the boards of a tneatre, and not the orchestra of a concert room, where the half of her unrivalleroperly so called, those which need no prepara- tion, il. Catel calls them natural chorcls ; their employment gives natural harmony ; artificial harmony is deduced trom these by the retarda- tion of one or other of several parts, which ai-e prolonged in the following chords. This theory ts extremely simple and luminous. He died at Paris in 1830. CATCH. A humorous vocal composition, of English invention, consisting of three or more aarmoniic- parts, in which the melodies are so op- posed and interrupted by tlie contrivance of the composer, that in the perfonuance the singers catch up each Oihcr's sentences, and give to the SNOrds a sense diflcrent from tliat of the original reading. From this characteristic such a piece derives the name of catch. (I.) A chain ot . CATCH CI.l'B. A mutficnl fo<{ety. the mrmhorf of which in«/ue de Eustache de Caurroy." He died in the year preceding the date of the last publication. CAVACCIO, GIOVANNI. A singer and comj)oser, born at IJergamo in 1556. He spent some years of his youth in Bavaria. He com- posed much vocal music, iJublLshcd after his return to Italy between the years 1581 and 1615. He died at liis native towni in 1626. CAVALIERE, EMILIO DEL. Born about 1550 ; a celebrated Roman nobleman and amate\ir composer. He set to music the first known oratorio which was pcrfonued at Rome, in the year 1 600 ; it Ls called " Im linpprcscntazione di Aniina e di Corpo" and was represented ijj action on a stage in the church of La ^'allicella, with scenes, decorations, and chorus, n I'antiqxtc, and analogous dances. Emilio del Cavaliere, as well as the re-^t of the early comjiosers of dra- matic nmsic, imagined that he hatl recovered, in his recitative, that style of music which th« ancient Greeks and Romans used in theil theatres. And a singer of such music is re- quii-ed by Cavaliere to have a line voice, per 1 CAV ENCYCLOP.^DIA OF MUSIC. CEB fect.y in tune, and free from nil defects in his deliven-, together with a pathetic expression, the power of swelling and diminishing the tones, and an equal resjiect for tlie composer and poet, in rendering them closely, and attending well to the articulation and exjjression of the words. It is recommended to ])lace the instruments of accompaniment behind the scenes, which in the first oratorio were the following : — Vila lira doppia. A double IjTC, perhaps a viol da gamba. Vn clavicembalo. A haqjsichord. I'll chitarone. A large or double guitar. Dai flauti, o vero dui Jr.. ^ „^ a..*„_ .r.i •■...• ? Iwo common Uutcs. J 1011 all Hiitica. ) No violin is mentioned here ; but what excites the most surprise at present, in these instructions for the pcrl'onnance of an oratorio on a stage in a church, ai"e the directions for the dances. There arc, however, examples of religious dances in the sacred writings, as well as in the history of almost every ancient people, in which their religious ceremonies are mentioned. Most of these dances are performed to the music of cho- ruses, which are singing at the same time, in the manner of those in the old French operas. On many occa,sions it is recommended for the actors to have ui^truments in their hands, as the plajiug or appearing to play ujion them would assist illusion more than a visible orchestra. CAYALIERI, GIROLAMO. An Italian priest and comj)0>cr of some vocal music published at MUan and Louvain between the years 1600 and 1616. CAVAI.I J, FKAN' CISCO. Chapel-master at Venice, and composer of thirtj'-live operas, be- tween the years lii'.il and 1607 ; several of these were fre<|uently revived long after his decease. Dr. Burney says that the " grave recitative began tirst to be interrupted with that ornamented sort of stanza called aria, m the opera of ' Giasone,' set by Cavalli in 1019." Born in Venice in 1610, aiul died there ia lOTl. CAV ALLO, TIBEIUO. An author of a paper on musical instruments, in the " London Phil- osophical Transactions " for the year 1788. CAVALLO, FORI'UNAIUS, bom in the bishopric of Augsburg in 1738, made his first studies in the seminary of that city ; learned composition of the cathedral chapel-master Julini ; afterwards stutlied under Riepel at Katis- bon, where, in 1770, he became chapel-master at thf cathedral, lie died at this post in 1801. Ca'^allo comjjosed more than twenty solemn ma,«ses, concertos for the clavichord, sjTnpho- nies, cantatas, &c. ; but, with the exception of two masses and some offertories, all his composi- tions fell a prey to the flames when a part of RatLsbon was burned, in 1800. He was a skilful organist, and played well on the violin. CAVATIXA. (I.) A short air without a return, or second jiart, and which is sometimes relieved ■with recitative. C.\ZZATI, MAI'limO. A voluminous com- poser, bom at Mantua. In the year 1078 he published his sixty-filtli musical work ; his compositions chiefly consist of motets and masses C CLEF. The clef, so called because it gives to the notes placed on the same line witli itself the letter C for their local name. Alto. K Ai^ ^ S The staves, as here placed, embrace all the notes within the ordinary compass of all the varieties of voice. The best soprano voices rise a few notes above the treble staff — to B or C natural ; which notes, occurring only occasion- ally, are provided for, without inconvenience, by means of leger lines above the staff. Scarcely a note is fouiul in the best bassos below the staff, though, as an exccjjtion, some descend to D I), three notes below the staff. The extent of the interval between the notes in the bass and those m the treble is not often understood by begin- ners. From this diagram they will sec that a single line inserted between the two staves makes the progression perfect, note by note. The sin- gle line referred to is that upon which the note C (ut) is placed. Treble voices, generaOy, can de- scend to this C, and bass voices reach it, though they seldom rise much above it ; so that it may be considered as a sort of standard, being a note ■\nthin the compass of all voices. But the gener- aUty of male voices can neither rise high into the treble staff, nor descend low into the ba>s. Ij follows, therefore, that neither the treble nor the bass staff is appropriate for repreiienlin^ the compass of these voices. In providing for tliese, which are called the mean voices, the C line be- fore referred to, as being the middle of the vocal system, is adopted as a starting point from which to reckon upwards and downwards. The higher male voices, usually called countertones, (some- times coii/r alti, sometimes alti,) range about as high into the treble staff as they descend into the bass. For such voices, therefore, it is obviously convenient that — since fashion has limited the stafl' to five lines — the C line should be the mid- dle line. Accordingly a staff is adopted for the alto or countertenor part, upon the middle line on which C is written, or — whicli is the same tiling — the C clef is placed. Agam : for that class of voices wliich are of a somewhat deeper pitch, a staff is more convenient with the C une placed higher up. Hence we have the tenor staff, with the second Une (from the top) marked C, and tliree lines beneath it out of the bass ^taff. In like manner, for baritone voices, (of a >fill lower register,) the C line is the top line of the staff, and four lines are taken from the bass. The student will find his advantage from familiar- izing himself with this diagram, imtil he has got the habit of assigning a staff, as soon as he looka at its clef, to its proper place in the system. Now, it must be obvious to all, by this time, that the tenor and countertenor parts cannot l>e written on the treble staff, ^^'heu the " mean parts ' are placed on a staff with the treble cle!, that clef then loses its original effect, and represent! notes an octave below its usual significatiou. CEBELL. n»e name of a species of air fre- quently found in the compositions of the trirelgl masters of the violin, who lived iu the time at U 185 ,EC > .CCYCLOriEDIA OF MUSIC. CHA Cliarles 11. Hy the oxumplcs still remaining of thin kinianLst and composer for his instrument at Erlangeu iii 1797. CELOXIAT, IGN^IZIO. An Italian dramatic composer iu the year 17()8. CEMHALO, or CEMB. The ItaUan name for a harpsichord. CEXCI, LUDO\7CO. An ItaUan madrigal composer in IGoO. CEPILVLICAS. The name of one of the mu- sical characters of notation used in the middle ages. CERCIA, DOMEXICO. A NeapoUtan dra- matic oomjioser in the present century. CEllO, LUIGI. An ItaUan composer, born at Genoa. His compositions are dated since the year 1785. CEKOXE, D. PEDRO, born at Bergamo, was a singer at X'aples, and author of a didactic work on singing in 1609. He pubUshed also a very ample musical treatise, written in the Sjianish language, and entitled " El Mo/opeo," Xaples, 1G13. This is a scarce and curious book, con- sisting of nearly twelve hundred foUo pages, among which, though many are bestowed upon obsolete science, there is a complete body of the Epeculativc and practical musical knowledge of the times. CEUVALET. A short kind of bassoon, for- merly much in use, which was blown thi-ough a reed roscmbUng that of a hautboy. The instru- ment itseU' is not more than live inches in length, yet is capaV.le of producing a sound equaUy deep with one of forty inches. CERVEITO, JAMES, the elder. A vioUnist, born in Itjdy in I'JtSJ. He wont to London in 173S, where he continu(>d fill 17S:i, and died at the groat age of one hundred and one. He lirst brought the ^^oloncello into favor in England, thoug)i his tone, in comparison to more modern performei-s, was raw and uninteresting. CERVETl'O, J.VMES, the younger, son of the nrc<-<'(ling, was born about the year 1710 ; he in- acrilcd a good fortune Irom his father. Mhen quite a child, and hardly aci|UHintcd with the gamut, he had u b"Uer tone on tLs violontcUo, and pla\ed what he was able to execute in a manner much more chroi'cssional concerts iu London that he established hi; reputation, till ai length he wa-s considered matchless on his in- strument. He composed and published some instrumental music. CES. (G.) C flat. CESTI, P-\DRE yiARC AXTOIXE. An ItaUan composer. He wa« admitted as a tenor singer in the Pope's Chapel in IGGO, but he had set an opera for Venice eleven years before this ; it was caUed " Oron/ta," and was in such favor as to be produced in different towns of Italy during thirty-four years. 'Die most celebrated, how- ever, of all Cesti's operas wits " Jm Dori ; " this first appeared at Venice in 16(J3, and was fre- quently performed iu other principal cities of Italy. Cesti was also one of the first writers of cantatas. CHA. An instrument kindred to the kin, but having the chromatic scale, used in China. CHABAXOX. MICHEL PAUL GUI DE. member of the French Academy, died at I'aris irf 1792. He was the author of several works on mu- sic ; he aLso composed some music for the piano- forte. Chabauon WTOte in favor of tlie music of liis own country, and says, among other things, llid French maimer of singing is more jilacid and more mitigated than the ItaUan. We believe there are lew judges of vocul music who will accede to this ojiuiion. CmUBAXOX DE MAUGRIS, brother of the preceding, was a poet and (Uamatic composer. Tlie piano-forte music which has been attributed by Forkel to his brother, is probably of his com- position. He died iu 1780. CHABRAX. See CuiAniiAND. CHACOXXE. (F.) CIACOXXE. (L) An air borrowed from the .Vrubians, the character- istic of which is a ground biuis, consisting of loui or eight measures of triple lijue of tlaoo crotchets, with its repetition tocontinujUJy viuied melodies. The chacoitne somewliat resembles the saraband, but is rather more grave, has the first and bust crotchet of every bar strongly accented, and was formerly used as an accompaniment to a certain dance, slow and graceful in its movement. CHAGXIOT. An cxceUcnt artist in the man- ufactiire of violins, at Paris. He is said to have greatly improved the instrument, and has changed its shape a Utile, making it rather resemble the guitar. If he has not obtained the Uquid tone of those of Italy, at least he has already jiroduced a tone both as powerful and of as fine quality, which siiccessfuUy rivaUed one made by Stradi- varius, at a public competition. CHALAMEAU, or CHALMEY. .\ wind in- strument, so called from the I^tin word caJamiui, a reed, through which it is blown. The chala- meau has been long since improved by the French into the hautboy, and now forms, under that name, one of the most utfrain town to town by the itinormnt min«tr\-[3i of the tliirteeuth eenlury. CHANTANT. (F.) A term appUcd to in- etrumoutiU music composed in a smooth, melo- dious, and singing style. CILVNT. A species of cathedrnl melody, of a style between the characters of air and recitative, to which the psalms of the day are repeated. Fhe first chant was that established by St. Am- brose, Bishop of Milan ; the second was the Gre- gorian Chant, commonly called the Roman Chant, and which is still retainetl, under the apjiellation if plain sonj, or canto J'crnio. Chants are now used for the vocal music of churches, to some ex- tent, throughout tliis country. The use of chanting ascends to the most re- mote auticiuity. The (ireeks «cre aware of font ditferent kinds, which fonncd, said they, the most jjcrfect music, and might be called the oracles of the soul. The Dorian Chant, imagined by I-amias, wh« lived before Homer, and with which the haq; was sometimes associated, was adapted to grave and warlike measures. The Phrygian Chant had the power of exciting the hearers to fury. The Sub- Phrygian Chant appeased the furor ex- cited by the former. The Lydian Chant was so^ro^^'ful, and occasioned languor and melancholy. Amongst the modems, the Gregorian Chant waj established by St. Gregory the Great, who lived in the reign of the Emperor Maurice. Charle- magne incorporated it with the Roman Liturgy in 789. CHANTER. A male ffinecr. Sometimes used to denote preemi- nence : n^i thr rhnntrr siirniHeti the lender of the choir. CIIANTEKKI.I.E. Thehiiihest orniont acuU'ofthc fourllringa of n violin, timed to I' above the treble clef note. CIIANTEIH. (K.) Amnle»inBer. CHAN TEISE, iK.) or CMANTRESS. A female jincer. CIIAN'TJNG. In all enthedrala, and in many churches, chapell, ami other places of worship, the ptialms in prowe ore sunir, or rather recited, to certain l)luin and Bimple melwlicK called chuntn. The ef- fect of thi.t peciilior nnHle of delivering them, when well exectjted, is very striking niid snhlime, and must be familiar to all who habitu- ally attend places of worship. A chant is nn extrenu-ly short and simple kind of melody, divided into two parts by double burs. In our pniyer hooks and p«nlter» each verse of the psnims if di- vided into two parts, or nieinherf, by means of a eoli>n ; vw. — " O, '«e ioft/'tit in t/iK [jird, all vc InitfU ; Kerrc the Otnl witft ptatt* nrs.", iind come ht^fore hi* tfrejtrnce trilh n frjinj." Tlie tirst halt; or member, of each verse must be sunc to the incip- ieut note of the elmut. all but the two, three, or four last syllables, which mn*t be apiilied to the last three notes of the first part of the chant. Simihiriy, the second half of each verse of tlie psalm must be recited to the'ineipient or recitin? note of the seconil half of the chant, except the last four, live, or six syllables of the sentence, nc- conlinf: I's the accents may allow of their being given to the conchid- ins notes i>f the chants. y*>r example, Uie words and chant given here will be sung aa follows : — •y- Bcdiloc NoU. R«dUo| NoU. TAtLI*. ^--^ HJH=^-=li^gH3 0, be jojfu] Iq tbt 1«nl, »U j« laad«: I 8ert« lit* Loid witfa | prcMOM «lib ft mxtt, i clftilnrsi. and oom* I ( Uton hla 1 All othtr vorscs of this psalm arc to be sung lo repetitions of thU snine iiii'UmIv. To such a'melody as this, any of the psalms in prose may be sung or reciti-il. A chuitt of this sort Is called a ringle chant There i^i nnolhtT kiml which is callnl n ttouhle chant In theae the melmly is divitleil into fuur pans, or nienUwra, liy double bars, and thtse take in two verses of each psiUni, iu exactly the lan-.a iiinnner ns just t-xplaincd. Where the nmnber of vcrsrs in any pii:iliti i« i;n>:it. thu iluiihle chant is leM iiinui'trmous thnn thr single choiit, and therefore tirvferuble, Uiough eitJicr may be employe*! DocoLE Chant. Lord Morning ton. OntiUj UlUlfa »B - «lb«T : Aad ob« aifbl Mtti ■ e«th u • vtUr. In applyins the wonls of the psalms, the chief nile to be tib«rrrft| Is. that ever>' aeecnted note mnst he sung tn an nreeiite n three ■ylUbIrs to one accented nttle, or occB*iiinally evi-n to nn unnrcent- vd note: in such caaus theac notes became partial or teiiiiH)rary rv> citing: notes. Kvery «'ord of two or more sylUblcs has one occrrtMl •rlloMc, which inu*t fidl to an accented note in the chant. With rrVarrl t« mimosrllablrs the ense Is ilittonut ; they n\ay tw sccf-ntnl or roL areonriDff 08 wi< ch'XMie to cornidcr them.' Artd bore Ht*« tlf rhiel difficulty rif arrnneinff tlie wonU to the notes. Pvri' wi* i, . t« ,. i^f* sonii would be found ti.' ajm-e tn thl« rrs|H*ct i an in recoinntend li, tbnt, to nvold roiifu«inn, as f»>w t^ \\t should beentplt*yvU lur the few Uft ban of ca. . Uia eliaiiL 187 CHA ENCYCLOPAEDIA OF MUSIC. CIIA Tti' ■ • II. ,t nntiirallr •'^•■' ' iu«t ii..t» r.r '"' ■■-•li- .vlliilik- "'" Uii' whole of Uir next 1j lf. Ti' iij.»i.| ihf »rii(l(-nt in applying the wonli bt the notcf. wo hive niarkcO tho |>lnci-« of ttiv tingle bun on d Uoubte b«r» of the cluiiiu vy till- t'lmnirlcn I anil I. Where • »vlliihlr l> to lie hiM out intoihe flrrt half of the next h«r, or to occu|iy the whole of Uiat bar, we hnve inuJe ui« ol the eliirac- ter — . Thui tlie nortlon of the Trr«e en llnu witli Jolli | — tngcoDtinuod so as to occupy the accented half 'ioninll the chant«arv harmonized for one, two, ■ " of voice*, Willi on accompauiiiicat for the puiuo- ttphim*. " Knoiiph of onrth I Lo. round the lapphirc throne, ]{j)iu'v M-rnph*. fWinl to frtmt, with ruiliiug wing, ]n nuiiilK-r iiuiiitM rtins, in fflor>- fine: Kn*ni lip t'l lip Ihcir lftu«l? ulUTniito rinp: Iliirk ! h«»w with nnj.Tl Uiiuh Ihcy Bwi-vp the itringf Ami ji.yium chant n« un crcatinnV nujrii. Holy, thrici- hnly Lonl.of kin^r^ the Kind Cntwnird t»e that \ni\<\, once wreathed with pointed thorn I — Btrauge, that a seraph 'i song should wake a niurtal's scorn I ** The chant may bo denominated the simplcrt form of musical ex- pression. It has neither the complex invulutioni of the uiilhem. nor the ever-cIiansinjT harmonies of the chomle. Its present chnmctcr, which llu^ not MuhxtiDtiHlly varied from itit oripnal couetnictiou, is inanifv!iti'd eithi r in a mpid and unitMrm intonation, rvM-niblinf* " the nnif.ipal pn.nouncinL'," upoki-n of hy St, Auuiistine. as in use in the chiinlKS of Ak-xandria; or in the distinct articulation of a part of u font<-ncc ui>on out* note, tenninating with a few varied and de- Hbirntc chorfls. The antiquity of the chant is universally admitted, although the author and time of its invention have heen contro\ crtiil. ANtut tJie middle of the fourth ccnturv, St Ambrose inlroduccd chanting into the wrv'iccs at Milan, whence the practice extended itself throupliout the we^item branch of the Chrii-liiin churcli. He de- nved it, us SL Ancustine informs us, from Uie Greek fathers — a tes- timony cj:ether hv cour$c in prating and pivinc thnnks unto the l^»nl : because he is good, for his mercy ea- dureth fi'H ver t«»waril8 Israel." It i«d>tticult to conceive stronger authority for the admisaion of any of the circunictjmtiols of ChrisGan faith "than can be produced in support of the neglected chant. We can trace the chant back lo within a tVw centuries of the flood, through all the gradations of religions worship under the pnscnt and former dis|K nsation. whether ChrlMian or Jewish, church, temple, or tHl>ernacte ; wc B»k. therefnre. Monie^lichl caution before an unlimited condemnation. "For." a%lh>4>ker obwrves. •• whow>ever were the author, Mhat«>- cver the tim.-. wlicnst: «ith wcarc wont t-» su!t|ict thincsonly Ih-Iuiv trial,;. ■■ ilhertonppn»vetl:em us ci^od.orif we find thejn evil inik-e of them : their connnel mu«t nt'eunl. twelve huiwlnd vears' ac- quaiiilaiiLc mid upwanlA. cnonizh (o takeaway suspicion and jeal- ousy. Men know by thi« time, if erer they will know, whether it be go(Kl or evil which hath U'rn so long retained." The pntgress of chanting is so nearly connected with the general history* of church music, that few otidcrrations need be ailtbd lo brine it re Viirl.-t :in.l intricate hoiM .,..,. .^^j^. ^^^j^^ chii: ■ i» n chant; the ( i,nt till the adoj ■ , truce lo the fidi. : !.r,iiitl,. f.l. I,,.K..!.:,. ». I,.,^, ..I rrad V PiH-n. It wo* I I VI ntioii of rouiiieriwiiiii tltnt mutiic ventured In step ' M' and s'lenm ib •c:uit which ctiatnni hnd famil- lan/. , i.ty rendered Tenemble. S,t lonir, however, as it wait lifi iiuuiily ti.< the management of the priests anil ininn-diate otfi- rcrs of the church, U retained its hold upim the ccclesiastiLal scri-|ce«. Hy .. ; — f>f the specimens of the nlte-"-'- r» -■ • -rhich bInh- ■ irtfv, with the rhornl prarti. ;,|i(l rari. inine temple serrice there wen.- two precentor«.one for cac* S". ** •'"^". who were apjwiuUrd to commence and direct th« i They seem to have had not onlr sindng men, but singing Iwyt ^. J he singers were generally l>evites. and sUhhI in the desks while they Mng: and the singing boys," as Uedfbrd suppoauL •* stmMl flirectly under them." i • -h 4. Tlieiiingersan two band«, standing op- posite each other. Their places were determined bylot!"w«r(l aguiint word, as well tlie small as the great, the teacliei as the •clKMar. • ^ 'I"''fy answered one another! "and then-fore." as Bedford aave, it Is very }>rohflble that one side sung one verse of a psulm.and the other side sung the other." ti. It mav be added, tliat the singers divided each psalm into three parts, making long pauses, during which the trumpi'ts stiumled and the |>eople worshipped ; to which the symphonies and u:|ier instru- menttU movements in nur anthems ma.v bear siMue anabvv. ^jl*-^*T£RRES. (K.) Certiin Provencal singer* of tongs loil CHANTORor CHArXTOR A penon who * r of a cathedral. St. On gorv f rst instituted the ofti, , ^t. ing them into a IxmIv. called SrhuUt Cnntor^im. i .-ius seems ti- attribute their rise to pope Hilary, wh . ired vears before On gory. But the worfl is obsolete iu ihu M.u»e, and instead thenof we use tlie word churiMer or lewter, CH.\NTK1KS. Cert-iin ndlgious institutions of the Romish church, endowed for the particular pur(M.se uf singing m^iFses for the souls of the founders. 1 hese suiwr-titutus e-Uibhshments, to;.'ether with those of free chapels, were irranted to Henry VIII., be the Pajw Uament. in 1.H5. and were dissolved bv a statute "of Kdwnrd V|. CHANTS ROY.AL, CerUiin Ivrics written on lofty subjects, and much used in the earlv time* of French poesv. CHANTRY PRIFSTS. Those stimndiarV priests, whose jwutio- ular olHce it wns to sinir the innss in the chantries. CH.WT FN ISON. (K.) The name formerly eiven to a speclcf of chant, or ps.ilmo• licious orders a<|oiiteon aeeing only the clunt, or canto/cnuo, on wliich it if to be founded. CHAOS. A rude and shapeless mass of mat- ter, and confused as.semblage of inactive elements, which, as the poets suppose, preexisted the for- mation of the world, and from wliich tlie universe was formed by the hand and power of a superior bem;^'. Chaos was deemed by some as one of the oldest of the gods, and invoked as one of the in- fernal deities. A good representation of Chaos may be found in the orchestral introduction to Haydn's " Creation," CHARACTEU. A general name for any musical sign, llie note, the brace, the bar, and the marks of time, as well as those which denote the shaq), the flat, the natural, the shake, the turn, the beat, the crescendo, and the diminuen- do, iS;c., c^c, are all characters. 'Hie ancient Grei'ks used letters uistcad of notes for their characters of pitch ; and the Latins, after them, adopted the same method. CH.VRACTERS. The defect of Guido's not.ntion was first reme- died by John de .Muris. an advocate of the pariianient of PariNin the fourteenth ceniurv. by the inventiim o» certain cbaracurs. or Dotts, by which the different times miglit be commodiouftly expressed. The^echamrtors consisted of the Maxima,OT Lar^fy vqual in dunttiou tn four brercs; The Loti^y equiil to four semibreTes ; The Breve^ equal to four minims ; ^^or ; The S^mibreve. equal to two minim. Th? only diUcrtnce in that the Germans aiipl}' the letter B to 1> flat only, and cajl oui 1) natural. II. In ItJily and France the note* arv named la, kI, do, re, mi £i, ml, corresponding to our A, 11, C, D, E. F, 0. Themj notes may Ik; natural, sharp, or Hat, and occasion ally even double fharp, or douMe flat. Thus we hare C uaiuml, 0 sharp, C Hat, and. at times. C double sharp, and C double Hat. In France and Italy these notes would re siHCtively be called ilo nuturilU^ do tlifzf, do btttwl^ do doubU ditzt, do double btmol, &c. The 0«rman8 add lo the 'ettei IS3 CHA ENCYCLOPEDIA OF MUSIC. CHA which U U!tc(l to denoniinato the note in its nnturnl fitats, is, when it is to be nindc s/tarp, and rs, wUenJIat ; thus. C sharp is called cis. 0 tlat '• crs C dnul>le siinrp " ciscis. — C double tlut " teicis. I The Staff, on which the notes are wrlt- 1 ten : with I^'i^cr-lines, drawn above or below the stalF, to .supply additional places for the notes. ^ TthIiId ot 0 elrf. Each note has its corresponding resi ; as, — n Jirrvf rfst, or i_~| two bars in ' — I any lime. T nBtm cl«r. S^mibrefi rest, or gener- ally a single bar rest. Minitn. Crotchet. Qunvn. Stmiquafet. Demisemiquavtr. ^ EE I!ar line!!, dividing a moTement into small equal por- l«jns of duration. 13 twelve semiquaTers 9 nine crotchets Q nine quavers A nine semiquavers Rests may be dotted or doubly dotted, like the notes which they represent. Notcn an; (iometinies divided into 3,5, 7, 9, &c. equal parts, Instead of 2, 4, or 8, as i. V A • i indicate a stre/s or marlted accent on any single note or chord. The abbtvviatlons rf, sf, rfz, sft, fl\ or even / over a single note, are also used for the same purpO'«e. I I I I Dxshes, Indicate notes struck very short, or staccato; that is, not held their full value. • • • • Dots, notes struck short, but not In so marked a way as flip preceding. 7, . ^ Curves and dots. Notes still less staccato '-"^ Slur, or legato mark. Graces. [7 Turn with the note g^ above made flat. « tt, or or e^9 Turn with the ncte below 2 made sharp. - Vibration or close shak* < Imlicates that the chord before which it Is placed must b» J sprinkled or arpeggio-ed. < Charactrrsused to separate a Moremrnt into its romponent parts or strains, Marks of liQKtUion, ^c. Itfa of the g strain. Indicates je strain which is t< conclndi the piece.' I>ouble bar, with titionofthe preceding strain. Tl^DonMe bar, w Jllari'iietiiionofl III folloving strai Double bar, with a repetition of the strain on each side. jl Marks of Punctuation, or Rhythm. ^ Indicates a phrase, or incomplete muslc.1l idea. I Indicates a section, or complete but not independent idea. O Indicates n period, or complete and independent musical sentence. The ordinary marks of punctuation « ; : . arc employed by some composers for a similar purpose. Miscellaneous Characters. ^ A brace, used to connect Hvo or more stolBi together in ( piano-forte, harp and organ mu.'^ic, or in scores. r^^So '*■' ™*''' "'^ application of Maelzel's Metronome. -- A J, p , Arc met with in piano-forte music, to indi ^ f <• ""■ eate the use of the pedals. ^^ The direct ; it is placed upon the same line or space ai the note wliich begins the next stall', j — I A Are often met with in violin music, the former to indicate a down, and the latter an up, bow. CHARACTER OF KEYS. Most of those ^^Titcr^l who have brought I'onvard irrcr/ular sys- tems of temperament, or such wlierein an invari- able law is not observed in the temi)crament of dicate. two minim, or four crotchets In each Ur. ^^'^ 'liffcrent conconb, as far as the scale or the ets hi each bar. v^ twelve quavers " pusher ot notes in an octave ycA\ admit, have in-sisted much on the advantages of what they call the peculiar character of certaift keys, arising from the varied and vcrj- considerable degrees of imperfection in the princijial concords of such keys. From all we have rcail or heard, we are disposed entirely to disregard the character of keys derived from their imperfections, and to con- tend that nothing seems wanting to heighten the pleasure of hearing modulation, skillully con- ducted, on regular tempered scale-;, and where the ditl'crcnt keys are exarthj alike tempeml, as on I). Loe;-;chman's instriuncnts with twenty-lour stringa or pipes in each octave, or by able singers or violin players, who use no tempered hamionies what- ever; this opinion will be confinned by such as hear organs, where every hannony is given aliso- lutcly jx-rferf, and yet nothing seems wanting in the cfTect ot its modulations, or of tlie pieces performed in ilitfcrcnt keys. Sec Eiihumonio OUOAN. i^ Turn. Inverted turn. CH.VTZOZEUAH. The straight trumpet, and in this diirering Irom the sbophar. Tlie-e instru- ments were made of pure beaten silver, by order of Moses, who had been directed by (jod how to make them. CHAXDOSCIIKIX. A Russian riolinirt and composer lor his instrument ; some of his work* were publi>Leil at rctcr.iburg in 1795 and l"9t5, CHArEI.LE, riEllUE nAVII) ATGU.STIN. A French violinist and drnmalic composer, be- tween the years \7> a pupil of Stanley ; all these three organists were ' instrumental composition written in imitation of blind. Chapjilc had also with him two young hunting music. men as piipils, who were blind, lie was ap- pointed organist of Ashburton in the year 179.5. His publications consist of " Sonatas for the Piano- Forte with Violuj, Songs, Anthems, &c." CIIARDE, JOANNES. Professor of music at 0.tford in 1.518. CHART) INI. or CHARDIN, was bom at Rouen, ai'.d entered as *eiior singer at the Grand Opera at Paris about the year 1780. Chardini composed also an oratorio, called " Le livUnir de Tobie," and several ojicras. He died young, in 1790. (-'HAllLES V. was entertained at his meals with music ; and even in the sbcteenth century, music was considered the best regale that could be given to any distinguLshed individual. After his abdication he often retired to an ajiartment near tlic high altar, where he sung and beat the time during the performance of mass. If any of his singers sung out of time or tune, he could be overheard calling them names, as " red-headed blockhead," itc. A composer of Seville presented him a book of motets and masses, and upon one of them being perfonned as a specimen, he called to his confessor, and said, " See what a thief, what a plagiarist, is this scoundrel ! Why, this passage is taken from one composer, and that CHASTELEUX, I,E MARQUIS. A French writer on the subject of music. He died at Paris in 1788. He wrote " lUsai sur I'Unhn de la Poisie et de la Musiqtie," Paris, 176.5. CHAUVET, F., a blind organist at Paris, composed some songs, &e., about the year 1798. CHAUVET, I.E JEUXE, C. R., probably the son of the preceding, pubUshed some piano-forte music at Paris in 1803. CHECCI, REXE, published some flute musio at Augsbiu-g in 1798. CHE. An Italian preposition, signifying Ihan ; as, Poco piu CHE aliegretto. A little quicker than allegretto. CHELYS. An ancient stringed instrument, resembling the harp. By some authors it has been described as originally formed of a shell found in the Xile at low water ; and its inven- tion is ascribed to Mercury. CHELEERI, FORTUXATO, was boni at Par- ma in 1668. He was a celebrated dramatic com- poser ; hLs first opera met with much success at Placcnza, m 1707. After this he travelled for three years in Spain, and, on his return to Italy, from iinother,' naming the composers as lie went I composed many operas ; he was then invited by on. Tl'.e astonishment of the singers, who had the BLshop of A\'iutzburg to go into Germany, not before obscn-ed the plagiarism of the pre- where he remained till the year 1726, wliich he tended composer, may be imagined. He selected i spent in England, publishing there a set of can- tata;--, and being received a member of the Royal Academy of Music. His next journey was to Sweden, where he remained four or five years, afterwards retiring to Cassel, where he died in the year 1757. CHEXARD, X. A celebrated singer at the ThiAtre Fei/denu at Paris. He was also a violon- cello pupil of Duport, and an excellent per- former on that instrument. about fifteen fiiars, who were good singci-s, for his choir, and if one ever sang wrong, he would cry out and mark him. He would allow no sing- ei-s but those of some religious order in his choir. One day, a layman with a contralto voice sang a part well, but all the th.anks he got for his pains was an order from Charles to leave, or to hold his tongue. CHARPENTIER, MARC AXTOIXE, was supcriiiicndont of the music of the Duke of Or- leans, and his instructor in the art of musical com])osiuon. He has left several operas, one of which, viz.. Ids " Middi;" was in its time highly celebrated. He composed another, called " y^i- lomlh;" which was tluico represented in the CHENIE, MARIE PIERRE, was bom at Paris in 1773 ; he was professor of the double bass at the Grand Opera, and has composed sever-il masses, also several romances. CHEROX. A French composer for the flute Palais Royal. The Duke of Orleans, ^yho had nbout the year 1720; he also composed some composeing artist, tliirst- iug for knowledge, and ambitious of liighci 190 CUE ENCYCLOPiEriA OF MUSIC. CIIF attempts than he had yet found opportiuntj' for, (jrew weary of the limits of his nntive town, and during four years studied under Snrti, at liolo^na. It was to this course of study that lie owed his scientific acquirement and surpassing knowledge of counterpoint, and the simple purity of style, which form the distinctive seal of his admirable talent. Cherubini was not rich, and found but one way of paying for the excellent lessons he re- ceived : this was, to make his master profit by the science he imparted. Sarti was at that jicriod so much in rc'i^iest throughout Italy, that he found it unpracticable to snpi)ly the numerous and valuable demands made upon his talent ; he was therefore fortunate in meeting with a discijjlc of Cherubini's genius, who, careless of all but the perfection of his art, was willing to devote his own budding excellence to the glory of hLs mas- ter. 8ome of Siuti's most celebrated ojieras, pro- duced during the sojourn of Cherubini in Bo- logna, were aftcrNvards acknowledged by the master to have been almost entirely the progeny of the pupil. Two of these are recorded : " Achil- le ill Scirn," and " (jiii/io Si Mur'/uhe de Drinvil- liers." 'YV.c introduction Ls remarkable for a vigor and s))rif;litlinc,sa perfectly juvenile. In 183;i lie produced his " Alt liaha," in four acts, in Avliich lie incorporated a few of the pieces from tlic niuictcd " Koucourt/i " which had not found a place in " FanUha ; " there Ls an admi- rable trio (If ilnrmetirs in this opera, and several other charminp niorccaiur, the merits of which ■were neutralized by the ineffectiveness of the libri'tto. At the ago of pcventy-thrcc, Cherubini had put forth all the nerve of his youth, the pol- ish of liis prime, and the maturity of his age, gathered info one bouquet ; and it was but too truly said of the French at the time, and has been but too justly repeated, "//«7ra< I'ublic." Genna- ny, however, retributed Cherubini for the coldne::s of France ; " All Baha " had a vast success, and is yet a stock piece in all the principal operatic theatres on the other side of the Rhine. In IS^-j, some impediment having arisen to the execution of C'licrubini's (irand Kequiem at the funeral of Boicldieu, in conseriucnco of the ecclesiastical authorities having forbidden the emploj-raent of female voices in the sen-ice of the church, Cher- ubini undertook to compose a Kequiem for male voices only, which he published in 183G, being then at the advanced age of seventy-six. This was his last composition, and though perhaps, as a whole, inferior to his first llequiem, it contains several very remarkable portions ; it has been frequently repeated, and received its final glory from being chosen to form the musical rite of its disiinjuished author. In this brief notice it has been impossible to detail more than the titles of his most celebrated works ; it would occupy far more sjiace, and requiie far more consideration, to nttcm2)t to do justice to this extraordinary man by any analysis of his merits as a dramatic and sacred composer ; be it sufKcient to awaken the gratitude of musicians and of the public for the incessant and lasting service he rendered by his lessons as a professor of composition, from 170.5 to 1822, and as director of the C'onxervatoire from that time till nearly the day of his death. Amongst his numerous pupils, the names of IJoieldieu, Auber, Carafa, llalevy, liCbome, Bat- ton, Zimmcnuan, and Kuhn may be cited as forming; the most triumphant eulogy of his tal- ent as a great master of his art. Finally, a monf li previous to his demise, the kiiig invested him ■with tlie grand cross of the Legion of Honor, it being the only time that badge of distinction had ever been worn by a musician. lie died March l.i, 1812. Cherubini's character as a man has been diifeicntly, and more than once unjustly, appreciated ; extremely nervous, abrupt, irritable, and of an absolute independence, his first inlerviews were almost always unfavorable ; but he readily gave way to the excellence of his nature, which forced him to burst through the less flattering aiipcarancca which circumstances compelled him to assume ; thus, notwithstanding the inequality of his humor, (which some have paid to be always equal, because always choleric,) lie was adored by those who surrounded him ; the veneration of his pupils ahno^t amounted to fanaticism. MM. Ilalcvy and liatton attended his last moments with a prodigal tenderness, even mere than iiijtl; and Boicldieu never spoke to him but in terms of affectionate adoration. Cher- ubini returned with no less warmth and constan- cy the love of his scholars ; above all, he was attached to M. Ilalcvy, whom lie com-idered as a son. The sensations one exjierienced on ap- proaching Cherubini were difhcult to describe, and even to comjjrehend ; the veneration inspired by Ills great age and eminent talents was at once neutralized by hi? peculiar demeanor, and the apparent egoti'-m of his opinions ; but at every instant, a.s one grew famihar with his sin- gular characteristics, one beheld more and more the great and good man ; his countenance un- ciu-tained itself, his tine spiritual smile shone forth, and the perfect contour of his head became a model of aged beauty ; his conversation grew sweet as rich, his native good nature stole upon you little by little, he became companionable in spite of himself, his heart claimed relationship with yours, you quitted him enchanted, and wondering at the sudden and different emotions you had experienced, you felt that your awe had softened into admualion, that your almost aver- sion had melted into love. n:ough the style of Cherubini belongs more to the Gcimau than the Italian school, still he cannot proiierly be placed amongst the artists of the former ; yet his m^^i- ner Is less Italian than that of iMozart ; it is purer than that of Beethoven ; it Is, in fact, the chaste ancient style of Italy, refreslied and decorated with the harmony of modem times. One cannot help thinking, that, if I'alestrina had sur\-ived to these days, he would have been another Cheru- bini ; here are the same purity, the same sobriety of proceeding, the same results, obtained by the same (so to speak) mysterious means; for, to the eye, their music prc' cuts combinations of which it is impossible to divine the eftcct, until the exe- cution of it reveals the same to the ear. Cheru- bini is not to be ranked with those musicians whose labors have eH'ccted revolutions in the art by an entire transfonnation of style. Contem- porary of Haydn, of Mozart, of Beethoven, and of llossini, Cherubini seems to have been placed by nature amongst those great geniuses as a moderator whose wisdom and iirmness was des- tined to counteract the ideality of the satellites of those luminous jilanct-s ; as Reason, by the side of Imaguiation, corrects licr iu her eccentric orbit, and locuses her scattered rays. ITie works of this master will always serve as models, because, written on a system of exactitude almost mathe- matical, and consequently exempt from the changeable atfcctations of time and fashion, they will survive many a composition of more startling pretcn:lay rctjuircs in singing. As for the chime l)arrcl, it may be made of certain bars that run athwart it, with a convenient numl)er of holes punched in them, to put in the pins that are to draw each hammer ; and these pins, in order to play the time of the tune rightly, must stand upright, or hang down from the bar some more, some less. To place tlie pins rightly, you may proceed by the way of changes on l)ell.s vi/., 1, 2, 3, 4 ; or rather make u«e of the munical 26 193 cni EXCYCLOr-¥.DIA OF MUSIC, Cfl notes. Ohfpn-p -xvliat ix the compass of your tunc, and divide t)ic bnrrcl accordingly from end to end. 'llius in the following example, the tune is eight note-< in conijinss, and therclore the barrel is divided into eiirl'.t ))arts ; these divisions are struck round the barrel,- opposite to which are the hnnnner tails ; hut when two notes of the same Kound come together in the same tune, there must be two hammers to that bcU to strike it. Then you are to divide it round about into as many divisions as there arc musical bars, pcmi- breves, minims, ,"tc., in your tune. Thus the hundredth Psalm, Old Hundred, has twenty notes ; the first note is a semihreve, and therefore on the chime barrel must be coiTcsponding divLs- ions. This may be better understood by conceiv- ing the surface of a band to be represented in the second table below, as if the cylintlrical su- perficies of the bniTcl was stretched out at length, or extended on a ])lane ; and then such a table, PO dotted or divided, if it was to be WTai)ped round the barrel, would show the places where all the pins are to stand in the barrel ; for the dots running about the table are the places of the pins that play the tunes. Tlu Notes of Old Hundrfd. f =t^ ■^^ =ns g>-g- «-??- =r --4— o— t— j— ■ _: k-l^:^*— ^ If you -would have your chimes complete, you ought to have a set of bells to the gamut notes, so that, each bell having the tune sound of so/, la, mi, fa, you may play any tune, with its fiats and sharps, nay, even the bass and treble, with one barrel ; and by setting the names of your bells at the head of any tunc, you may transicr that tune to your chime barrel, without any skill in music ; but ob?er\-e that each line in the music is three notes distant, that is, there is a note between each line as ■well as upon it. CHINELIJ, GIOVANNI BAPTISTA. An Italian composer of vocal and instnimental music about the year 10.30. CmNKSK MU.'^IC. Tlie Chinese have had a »y>tem of music from the most remote ]ieriod, tnd in its scale it seems to have more resemblance to the (irecian than any other to which it could be compared. From the lime of Yao and Chun, which their chronology would carry back two and twenty centuries beibre ChrLst, they have had what they call eight spei'ies of sounds: 1st. The sound of dried skins, such as drums; 2d. 'Hie pound emanating from stone, called kiiifl ; .3d. Tliat of nictnl, as bells; 4th. That of baked earth, called hivcii ; /Jth. 'Hiat from silk, called Am and c/ie ; fith. 'lliat from wood, called yn and ti/ion ; 7th. That from bamboo, such as Hufes, called konn ; Hfh. That from the gourd, called cAcH^. Tlieir scale consists of fourteen notes, of which the seven middle notes corret»pond to our gamut Inini F ujjwards. They seem unac- quainted with harmony. It is supposed that the Chinese were the earliest inven;or8 of the musi- cal scale and notation, having possessed them long before Pj-thagoras. He this as it may, what- ever ex])ansions the Chinese mind ever had art now lifeless, and have long been so. Certain art* have been reser\-ed for modem time«, and foi Europe and jVmerica; among them harmony, oi the combination of musical sounds, which, as a science, was clearly unknown to the ancients : the Chinese at this day have no combinations of sounds, using oidy the links of melody. n-.e Chinese claim that under their eight qualities of sound all can be classed. This division of metal, stone, silk, bamboo, gourd, earthenware, skins, and wood, they eay, Ls not fictitious, but to be found in nature, lliey believe that, although all the ditTerent tones are to be found in each of the substances each, however, contains a note be- longing to it more than to all the others, and that nature, in combining the particles which produce it, made provision for uuivei-sal con- cord. ITie Cliinese say that lloang-ty, who lived twenty-two centuries before the Christian era, employed L>j»(i-hin, a princii>al personage of his court, to undertake the regulating of the Chinese music. This worthy, in his travels, accidentally cut a beautiful bamboo in such a manner as to form a tube in the parts divided by the larg* knots ; he cut out the marrow, blew in it, and a sound issued which exactly corresponded with the pitch of his voice, when he spoke unaffected by any passion. At another place he found a spring bubbling from the earth, which, to hia great astonLshment, produced a sound in unison with the one he had drawii from his tube. A bird accompanied by its male, which he noticed perched on a tree, produced a sound, again, in unison with that of the tube and the stream : he then made a number of sounds, which formed among themselves six semitones ; the leraale add- ed to these six oth.er semitones, and while the two alternately sang, Lyiuj-hm cut twelve tubes of dificrent sizes, in unison with the twelve semi- tones furnished by the voices of the birds, and, delighted with his discoveni', he carried his tubes to the emperor, who eommandetl that forthwith the--.e twelve sounds, found in so man'ellous a manner, shoiUd form the gamut of tlie Chinese music. Amiot, in his " Mimoires cottcrniantl'JIi-a- toire (id Chitmis," (tom. vi. I'aris, 17S0,) which contains the first satisfactory account of the Chine:;e music, mentions sixty-nine theoretic works upon the subject, which the Chine-e possess. CHINESE FLUTE. This is made of bamboo, bound « ith silk between the apertures to pre- sence the wood from cracking, which helps, doubt- less, to sweeten the sound. CHIRON. An ancient teacher of music. One of the best antique ]>aintings, dug from Her- culaneum, represents Chiron teaching Achille* to play on the Ijtc. CHIHOPLAST. A guide for the hand in piano-forte playing. CIIITARA. (I.) A cithara, or guitar. CHIUDENDO. (I.) Closing, ending. A word generally used in conjunction with som* other ; as, chiiulcndo col. ritomeUn, ending with the s>Tnphony ; chiudendo col. aria, ending with the air. 194 CHL ENCYCLOPAEDIA OF MUSIC. cnc CHLADXI, ERNST FI-ORENS FRIEDIlICn, IJ,. D., was boni at M'ittcnbiirg in 1750. His father was first i)rofeisor of law in tl'.at town. Dr. Chladni published, in 1787, a work entitled " Discoveries conrerning the 'llieory of Sounds," and in 1802, " A Treatise on Acoustirs," which was reprinted at Paris in 1809. This latter work contains many very valuable and novel e-\,])eri- mcnts on the nature of the vibrations of sono- rous bodies ; prefixed to it is a biographical me- moir of the author from liisown pen, a translated abridgment of which we copy from the third volume of the Musical Review : " My father (first professor of law at ^Vittenbur■;, in Saxony) had given mc a good education in my paternal mansion, and at length in the provincial school of (jriiumc. My education left mc very little liberty, so that, if others consider their youth as the most happy ])art of their lives, I cannot say as much of mine. Iliis continual restraint, which would not have been necessary, because I was not dusposed to abuse liberty, produced quite a controi-y effect, by impressing me with an al- most irresistible inclination to choose for myself my occupations, to travel, to strive against ad- verse circumstances, &c. Being returued to ^Vittenburg and to Leipsic, and alter having ful- filled what was re(iuued, I obtained at Leipsic the emplojTnent of a ])rofessor of law ; but after the death of my father I quitted jurisprudence, because it was not conformable to ray inidinations, and I applied myself principally to tlie study of nature, which had always been my secondary oc- cu]iatiou, and yet the most cherLshed. As a lover of music, of which I had begun to learn the first elements a little late, in my nineteenth year, I ob- served that the theory of sound had been more neg- lected than many other branche,* of physics, which ins;>ired me with the wish to supply tlie want, and of being useful to this jiart of natural philosophy by some discoveries. In making (in the year 1 7S.i ) a great many very imperfect exi)eriments, I had ob- sei-ved that a plate of glass or metal gave ditlerent sounds when it was confined and struck at differ- ent places ; but I found no part of the discovery on the nature of the manner of thc--e vibrations. 'Die journals had given ui those times notices of a musical instrument, made in Italy by tl-.e Abbe Mazzochi, and consisting of bells, to which he applied one or more violin bows, which caused me to conceive the idea of making use of a violin bow in order to examine the vibrations of differ- ent sonorous bodies, ^\'hen I applied the bow to a round plate of brass, fixeil in the middle, it gave different sounds ; which, compared with each other, were equal to tl-.e squares ol 1, 2, 3, 4, .5, &c., &c. ; but the nature of the movement to which the sounds corresponded, and tl;e means of producing each of these movements at pleas- ure, were hitherto unknown to me. The expcri- nionts on electric figures, formed by a plate of re -in covered with sand, discovered and publisheocialed eopecially with liic I ■<•. 19G CHO ENCYCLOPiEDIA OF MUSIC. cnc cc untrjTuen, aiul this too had some influence on his musical Ofcupntious. lie continued in fact by this means in a sort ol' musical conesiiondcnce with his fatherland; they broufj;ht liini new Bongs and poems to Paris, and furnished witli his melodies these tlew home afjain, and (luickly he- came generally known and loved, without any body knowing the comiioscr's name. As the number of these melodies had increased consider- ably, he thought at last of collecting and pub- lishing them. I?ut he was not destined to realize this thought, and so his songs have remained lost and scattered flowers, whose fragrance only here and there salutes a wanderer, whom chance has led into the distant regions where they still grow. We have heard some songs in Poland which are ascribed to him, and which are wortliy of liim too ; but who can venture to undertake an accurate separation of the jiroductions of his muse Irom those of the spirit of the people ? " Hut evidently Cho])iu is a tone poet, wlio, by his compositions, has lent an individual expres- sion to the poetic sense, the ])oetic way of feeling, of a people in a given jieriod. His music does not tit either of the two great frames, which are distinguished by tlie names of Ocnnan and Ital- ian music. But that national colming was with him by no means a thing purposely sought for : he did not make it a priori his ideal ; perhaps he woidd himself hare wondered, had you called him a national composer. As with the genuine national poets, so in his music the ])eculiar na- tional spirit pervaded the creation without fore- thought and without the consciousness of the creator. And this spirit resides not merely in the form and rlnthm of the Polonaises, Mazourkas, Jic. ; but one and the same feeUng runs in a thousand ways through all his works, t'oncertos, Scherzos, Preludes, Etudes, and esi)ecially Xot- turnos. Thoroughly subjective, (.'hopin has breathed into all his tone creations one and the same life, his own inmost and most indi\'idual life, so that in all a unity of character prevails, an exclusive mode of feeling, out of which their beauties, and indeed tlieir weaknesses and defects loo, flow. " lie could not go outside of himself, and the greatest beauties and the greatest merit passed tor nothing with him, if they contradicted one side or another of lus rosthetic cominehension. As great an admiration as he cherished for I5cet- hoven, yet certain portions of his works appeared to him too roughhewn ; their build was for him too at hli'tic ; the passion in them seemed to him too sickly, the rage too impetuous and thundering ; to liim the Uon's marrow in this gianfs limbs was too coarse a stuff, and the seraphic, Ra])hael-like profiles, which emerge amul the violent crea- tions of this spirit, became fre.hiiilo\ved by citron trees, he inhaled the air lor which natures, that here be- low have no home, foul an eternal homesicknctis — the air.of that drcamed-of land, bo easily diiicov- ered in spite of all reality and of all hinderancc if dm seek it — the air of that home of the ideal, whitl.iT one would fain take with hun all that is tair anx hich had made liie beautilul, and to stiHe himself in tliis dead- ly aroma. In vain they tried to remove liis thoughts from this object ; he kejit continually I |)caking of it, and when he s/mke of it no longer, did he not continue to t/tiiik of it r It was as if l-.e would have sucked i)i this jJoLson, tliat he might L' >t have to breathe it too long. "Hic winter of 1847-8 wa.s only a painful r1- tcniation of reliefs and relapses. In s])ite of that, he resolved in the spring to execute his old j)ur- j)oso of going to I^ndon. \\'hen the February revolution broke out, he was still confined to his bed ; it seemed as if a dark destiny drove hia to a livelier sjinpathy in the events of the day and he spoke more about them than was other- wLse hLs habit. "In Ajjril he felt himself better, and now seri- ously though.t of vLsiting that island, to which he had set out to go when youth and lu'e still of- Icred him the brightest jjrospects. He travelled to England, where his works had aheady foun>l an intelligent ]Aiblic, that knew them and ad- mired them. He left France in that state of mind which the EnglLsh cull low spirits. The momentary spupathy which he had bestowed with a certain degree of exertion upon political events had quickly passed awaj'. He had be- come more silent than ever. His affection to- wards the few persons whom he continued to see, took the color of that soul-per\-ading excite- ment which precedes the last farewell greeting. His indiUcrence for all outward things still grew upon him. ^Vrt alone retained its unlimited power over him. In the shorter and shorter momenta m which he was permitted to occupy himself' with it, music claimed his whole being as earnest- ly as in the time when he was full of life and hojic. Before he left Paris he pave yet one con- cert in the hall of M. Pleyel, a friend to whom he always stood in the most intimate relation, and who now too pays a worthy tribute to his memory and his friendship by the erection of a monu- ment over lus grave. In this concert his select and long-tried public m Paris heard him for the last time. " In London he was received with extraordi- nary cordiaUty, and this reception drove away his melancholy, and scattered lus gloomy and de- sjionding iiiunor. He fancied himself entiiely master of it, when he flung all, even his fonner habits of lil'e, into the stream of oblivion. He neglected the prescriptions of hLs physician, and the carefulness which hLs sickly condition re- quired. He played twice in public, and innumer- able times in jirivale circles. He went much into company, staid longer than usual, defied all ex- haustion, and let no consideration bind him to a regard for his health. " At the Duchess of Sutherland's he was pre- sented to the queen, and the selectest cucles of society were emulous of his jiossession. He made a joiu-ney, too, to Edinburgh ; but the aii- there was jiarticularly injurious to him. After liis re- turn from Scotland he felt very feeble; the phy- sicians urged him to leave England as soon as possible, but he delayed hk departure a h)ng time. N\'ho can derinc the feeling which suffered huu to linger r Ho ))layed once more m a con- cert for the Poles ; it was the last love token that he sent to his fatherland, the last look, the last longing sigh ! All his Iriends crowded round him, and ho received the most enthusiastic ap- l)lausc. He bade them all farewell, withoence of his friends. 'ITicreupon he let these approach singly to his bedside, gave them a last farewell, and in- voked God's blessing on them and on what they loved aud hoped. The remainder of the day passed off amid increasing pains ; he spoke no word more. Only towarcL* eleven o'clock in the evening did he feel himself slightly relieved. I'he clergjinan had not left liim, and Chopin ex- pressed a desire, so soon as he found his speech again, to pray with him. He pronounceil fh« prayer of the dying, in I.atin, with a clear, intelli- gible voice, leaning Ids head steadily ou (iut- 199 Clio ENCYCLOPAEDIA OF MUSIC. CHO maiin'R shoulder. A cataleptic sleep lasted till the 17th of Octohor, 1849. About two o'clock hegnu the death (-pes of a Ki)ecies which he has created, and which, like all his works, sprang from the character of IJfl poetic genius. " Almost the earliest of hLs works, they beai the stamp of a young creative power, which in some of hLs following productions, that are more labored, more filed, more learnedly written, grad- ually disappears, to become lost entirely in his latest ; for these are the offspring of a morbid sentimentality, which might be called the painful fruit of an exhausted vital energy. " Had we here to talk the language of the school about the development of piano-forte music, we should proceed to analyze the contents of those noble pages which present so rich a har- vest of observations. We should in the tirst line examine those y<.tturi>os, BalUids, Inipromptits, Sc/u-r:os, which are aU full of unexpected and un- heard-of subtilties of harmony. We should then seek these same refinements in hLs Polonaises, Ma:ourkas, Waltzes, and Boleros. But such a work would ouly be of interest to those initiated into counterpoint and thorough bass. " I'hrough the feeling that flows forth in all of them, these works have spread and become much loved m large circles ; and this feeling is in the highest degree romantic, individual, peculiar, and yet related not only to that people which has to thank him for one more celebrity, but aUo to all hearts that were ever touched by the misery of exile and by the sentiment of love. " Meanwhile Chopin was not always contented with those frames witlun which he sketched his happily-chosen figures ; he would also bring his thoughts into the limits of the classic form. He has written fine Concertos, and fine Somitas ; but it is not difficult to discern in these productions rather the will, the piu-pose, than the inspiration. ThLs last with him was capricious, arbitrary, fantastical, bound to no rcHcction ; he had to give it free play, and he did violence to hLs genius, as we think, as often as he thought to chain it to traditional rule. Chopin could not imjirUon the wavering, never sharply defined outline^, which lend his thoughts their highest charm, within the stiff, angular framework of a precise pattern. " Nevertheless, the>e cttbrts are decidedly dis- tinguLshed by a riue nol^ility of style, and contain passages of high interest and movements of sur- jirLsiiig grandeur of thought. We may mention, for example, the ailaf/io of the second concerto, to wliich lie was partirularly partial, and wliich he was very fond of playing. The embellisliments in this belong to the finest manner of the com- poser, and the leading thought is kept up with a wonderlul breadth. 'Die entire movemert ii 200 CHO ENCYCLOPAEDIA OF MUSIC. Clio ideally perfect, and the expression of the fcelinp; now bright and gleaming, now touching and penetrating. " How cun we omit to mention the ' Funeral March ' in liis iirst sonata, which, lor the first time arranged for orchestra, was played at his own burial ? No other tones could have expressed, in a language which so goes through the soul, the anguisli and the tears which must have accom- panied that miin to liis last resting-place, who had so sublimely conceived the manner in which a great loss sliould be wept. One of his young countrjTucn said once to me, ' Only a Pole could have WTitten this.' And in fact, ail that there is 6olemn and heart-rending in the funeral proces- sion of a wliolc nation, weeping its own death, resounds in this funeral strain. "His Poloiuiitis belong among the finest products of his insi)irations. They have nothing in com- mon with the jminted primness of ball room, vir- tuoso, and saloon j/ohiuiises. Tlicii powerful rhythm elcctrilies the slack nen-es of our blasd in- diftercnce. 'llie noblest traditions of the Polish national character are preserved in them. " In listening to many of C'liopin's polonaises, vou fancv that voii hear the firm and hcavv tread original themes of the Polish mazourkas. ^^^lil« he lias adhered to their rh\-thm, he has ennobled their melody, enlarged their outline, and magical- ly introduced into many passages a hanuonic c'liiimscuro, which gives back that world of ex- citements and emotions wherewith hearts art moved in the dance of the inazourka. C'o(iuetry, vanity, fantasticiU luimors, inclination, sadness, passion, the outgush of feelings, all arc in it. To comprehend how admirably this frame suits these soul pictures, which Chopin executes within it as with a jiencil dijiped in the colors of the rain- bow, one ntust have seen the tnazourka danced in I'oland ; there only can one learn the whole that lies in thLs national dance. " Indeed, one must j)erha])s have been in Cho- pin's fatherland fully to understand and api)re- ciate the character not only of his mazourkas, but also of many of his other compositions. 'Iliey almost all breathe that aroma of love aiul longing which surround his jireludes, his nottunios, his impromjitus, like an atmosphere, in which all the pha.ses of passion move by in succession. In all these comi)ositions, as in every ballad, every waltz, every Etude of Chopin, Ues the memory of a fleeting moment of life full of poetry, which he of men, advancing with the consciousness of ' often so idealizes, and spins bus web out of such courage against every turn of fate. In some of the others thLs broad manner disappears. Esjje- cially in the jwloiuii.ie-fantasie, which belongs to the last period of his works, you perceive no more those bold and brilliant portraits ; no more the Uvely step of that cavalrj' so used to victory ; an elegiac mood predominates, •which at the most b interrupted only by a melancholy smile. " 'I'he celebrated mazourkas of Chopin wear an entirely different character from the Polonahes. Upon a wholly dilferent ground play tender, pale, and opaline niumres, instead of the juicy ond strong coloring. The feminine and even effem- inate element is no longer jilaced in a certam fine, ethereal threads, that they seem no longer to belong to our nature, but to the fairy world, and sound like the chattering, confidential whis- per of a Peri, a Titania, an ^Vriel, or of those ele- mental spirits which likewise are subject to the bitterest illusions and to unendurable ennui. " Amongst the great nximber of his mazom-kas, too, there reigns a striking diversity of subjects, and of the impressions they call forth. In many you hoar the clink of spurs, but in the most, above all, the scarcely distinguishable rustling of crajie and gauze in the light breeze of the dance, amid the flutter of fans and the jingling of gold and diamonds. Some seem to describe the hvely mysterious twilight, but advances into the fore- [ enjoyment of a ball, which, on the eve of a storm ground with such decided significance, that the t ing of the castle, is, as it were, undennincd with other elements vanish before it, or are banished j heavuiess ; you hear the sighs throughout the into its train. AVoman here appears the queen ' dance rhythm, and the (h-ing away of the farewell of life. Man, to be sure, is still spirited and j whose tears it veds. 'liirough others glimmers proud, but lost in the dizziness of plea-sure. In spite of this, there is a sad vein running through it. The national songs, in their melody and in their words, strike both these tones, and both bring out the singularly effective contrast, which results in real life from that necessity of cheering sorrow, which finds a magical narcotic in the grace and stolen charm of the mazourka. The words siuig in I'oland to these melodies give them, moreover, the right to cling closer to tlie life of memory than any other dance music. " Chopin has happily appropriated to himself the popidar melodies, and transferred into them the whole merit of his labor and his style. In polishing these diamonds to a thousand facets, he discovered all their hidden fire, and, even gathering uji their dust, he set them in a pearly ornament. Could there be a better frame in which to enclose his personal recollections, poesy of all sorts, attractive scenes, episodes, and romances ? These now owe to him a circulation far outreach- ing their own native soil, and they belong at present to the ideal tj'jies which art surrounds with the glorj- of its sanction. " Chopin has set free from its bondage the secret essence of poesy, wliich is only indicated in the the anguish, the secret sorrow, which one has carried with him to the festival, whose stir cannot drown the voice of the heart. ITiere it Is o mur- muruig whirlwind, a delirium, thro\igh which a breathless and spasmodic melody is hurrying to , and fro, like the impetuous beating of a heart I that breaks and perishes in love and passion. 1 1'here again resound from alar bold fanfara, like distant reminiscences of glory and, oi" victory. Some there are whose rhj-thm is as vague and eva- nescent as the feeling with which two lovers con- template the rising of a star in the firmament." CIIOU. (G.) Choir, chorus ; as^, aria und chor, air and chorus. CHOUALMASSIG. (G.) In the style of • chorale, or psahu tune. CHORAL, or CHOIU.STIC. An adjective, derived from the word chonts, and not only ap- plied to vocal music consisting of a combination of different melodies, and intended to be per- formed by a plurality of singers to each jtart, a* when we speak of a chnml anthem, a chnrat ter- vict, itc, but which is also iisect formers of chorusei 26 201 :ho ENCYCLOPEDIA OF MUSIC. cno when assemtilcd for pcrlbrmauce, who a.'e then taJed a cliorul band. CIIORAI,, (as a substantive.) A plain and simple wicrcd (une, like " Old Ilundicd," Luther's " Judt;raciit Hymn," ^Scc. What 'xve call a psalm lune the (jcrmnns call a choral. CHORD. The word chord, before the intro- duction of simultaneous sounds, was solely ap- plicable to a di.stended sonorous string ; but wlien atiiiitirjxjiiit was dLscovcrcd, and various combinations formed and established, a general term became necessary to express those combi- nations ; and that which before applied o:ily to a single string, was now borrowed, and its sense extended to a union of the sounds of several strings, pipes, or voices. In practical music, there iue various species of chords. 'Yhc funda- mentiil chord, wliich consists of the three funda- mental consonances ; i. e. the third, the filth, and the eighth of the fundamental bass, or their in- versions. The accidental cliard, which is produced either by anticipation or retardation ; by aniicij/a- tioii, when, in a preceding chord, one or more notes lire taken of a succeeding chord to which they do not belong ; by retardation, when one or more notes of a preceding chord are by saspcn.iion carried intD the composition of the succeeding chord. The aiiomahta or equivocal chord, in which some interval, or intervals, are greater or less than those of tlie fundamental chord. The transient chord, in which, in order to smooth the transition from one chord to another, some intcr- mediiitc notes are introduced, which do not form any component parts of tlie fundamental hanuo- ny, nor can justly be called either anticipations or suspensions. For examples of chords, see Scales. CIIORDS. Strings by the vibration of which the sensation of sound is excited. CHORION. A Greek composition, consisting of a hymn sung in honor of Cybele, the mother of the gods ; said to have been invented by Olympus of Phrygia. CHORISTER, llie general name for a vocal officiate in a choir ; formerly much used. CIIORON, ALEX^VNDRE ETIENNE, was bom 21st October, 1772, at Caen, wlicre liis father was overseer of farms. His studies, which he terminated at the age of tiiteen years, at the Col- lege of JuiUy, were brilliant and solid ; but he considered them only as jircliminaries of a ujore extended instruction, of which he felt the want, and which, during nil his lite, was the object of his labors. Few j)ersons know as well as he the Latin tongue ; lie spoke and wrote it with ease, liis memory was wonderful, and he often recited long passages from Virgil, Horace, Martial, or Catulhis, whose works he had not read for a long time. The pleasure of reciting became such a habit, that he rarely conversed with his friends | without introducing some Latin verse, some phrase of Cicero, and even some Bible passage, or from the lathers of the church, his favorite reading. Greek literature was not less familiar to him ; and such was his inclination for it, that in the latter part of his lite, he delivered himself up to the reading of philosophers, historians, and (ireek poets, with all the ardor of yoath. While young lie de\ olcd himself to the study of II ibrew, and 20 his progress was so rapid, that in the absence ol the professor, he took liis place sometimes in tht College of France. From his infancy, Choron had a passionate love for music ; but destined by his father to a pro- fession eutuely opposite to the culture of arts, he was not penuitted to devote his time to this most enticing study. The masters whom he eagerly demanded were rei'used him ; and it was seversil years aftcT he had left college beiore he could, with no other lielp than the books of Ra- meau, D'Alembert, J. J. Rousseau, and of the Abbe Roussier, acquire any notions of theoretical music, as then understood in France. As to the exercises relative to tlie practice of the ai-t, he could do nothing, having no masters. Perhaps they would have been only a moderate help, for he had nearly reached his twentieth year, and musical studies commenced at that age seldom lead to skill in reading or execution. Choron felt the insufficiency of his first musical education, and although nature had endowed liim with an exquisite sense of the beauties of music, he could never seize at the first glance the character of a composition. 'ITie calculations with which the theoretical books of the school of Ramcau are filled led Choron to study mathematics : at first he consid- ered them as only accessory to musical science, but he soon liked them for themselves, and de- voted much time to them. HLs progress was rapid, and was remarked at the school of the Fonts dcs Chaussies. Monge judged him cajiablo of receiving his advice, adopted him as a pupil, and made him fuUil, in this quality, the duties of tutor of descriptive geometry in the normal school, in 1795 ; a short time alter, he was chosen cliief ill the polji;echnic school, which had just been instituted. As he progressed in the science of mathematics, he felt there was much less re- lation between them and music than was generally believed. He perceived the entirely metaphysical action of the latter upon the human organization, and was persuaded it could be studied only in itself. Convinced of this truth, he began to de- vote himself exclusively to the study of the prac- tical art, and Bonesi, author of a " Treatise on Measure," which was not without merit, taught him the principles of this art. Choron was then twenty-five ; Gretrv, who had become a friend of his, advised him to take some lessons in hannony of the Abbe Roze, who then passed for a learned musician, although his science was but small. Bonesi taught him the Italian litcratui-e of music ; he began to read the works of P. Marti- ni, Eximeuo, Sabbatini, and then those of an- cient authors, such as Gafori, Aaron, Zarlino, Berardi. The necessity of knowing all the schools, to compare the systems, led him to learn the German language, in order to read the writ- ings of Kiniberger, Marpurg, Koch, and Al- biechtsberger. Of all these authors, the last and Marpurg were those whose motliod and ideas he liked the best. Alter some years employed in these serious studies, he gained more knowledge of tlie theory and practice of music than any Frenchman at that period jiossessed. He associated himself with M. Fiocchi, composer and professor of singing ; and the tjuit of their union was the imblication of a book, entitled " Principles of Accompaniment of the Italian Schools," Paris, lti04. in folio. This title was not justified by the CHO ENCYCLOPJiDIA OF MUSIC. ciia nature of the work, which was a sort of eclectic comblnntiou, in which vcrj* different doctrines were reconciled with more address than reason. The object which the authors proposed was not perceived. At the time this work appeared, Choron was known throuj;h a publication of a different char- acter. His thoughts upon the necessity of ])er- fcctinj; the instruction in primary schools had caused him to discover more simple and rational means of teaching the art of reading and writ- ing. He published the result of his researches in 1800, under the title of " Method of Primary Instruction in the Art of Heading and AVriting." Desirous of increasing the taste for good mu>ic, and of ditfusing the taste for instruction in the history and theory of this art, C'horon associated himself, in ISOo, in a musical commercial house in I'aris, and carried into it all his fortune, to employ it in the publication of ancient classical works, forgetting there were then in France no readers of thor>c productions. He bought, at a great expense, the cantatas of Poqiora, solfeggios for several voices, of Caresana, those of Sabbati- ni, pieces which were executed in the SL-tine Chapel during holy week, a mass in double canon, and the Stabat of Pierluigi, of Palcstrina, of Jos- quiu Desprcs, the Kequiem and the Miserere of Jnmelli, tlie Miserere for two choirs of Leo, and many other compositions of the same sort. At the same time he was occupied with the publication of a voluminous compilation under the title of " Principles of Composition of the Italian Schools." The exercises of countcrj)oint and fugue composed by Sala, and engraved upon copper phites at the expense of the King of Naples, formed the foundation of thLs collection. After immense labor and enonuous expense, this work a|ipeared in ISOS, in three great vol- umes in folio, of more than eighteen hundred pages, which, since then, have been divided into six volumes under new titles, llieir publication anniliilated Choron's fortune. But, endowed with rare activity, hLs mind was occupied with many works at once, and the " Principles of Com- positioit " yet being unpublished, from reading the "Historical Dictionary of Musicians," written in German, by K. L. Gcrber, he concuived the idea of publishing a work of the same kind in French. l'n:ort\inatcly, the plan was made hastily, and the book of Uerbcr, which scr\-ed as its base, was badly translated by a (iennan who knew but little of French, and did not understand music. Cho- ron, whose health was disordered, took M. Fa- yoUe tor a partner in this work, and it was the latter who did most of the labor ; as Choron could give but little care to it, oidy a few articles were tunilshed l)y him. Tlie most considerable piece which he put in the book was the historical introduction, a viUuable summary, which had already appeared in the " Principles of Composi- tion." ITie " Dictionary of Musicians " was pub- lished in the years 1810 and 1811. At the same time he wrote many remarkable reports upon matters of art and literature. 'l"hat which he wTote upon the " Principles of Versiticatiou," by 8coi)pa, may be considered as a masteq)iece. Until then his lli'e had been one of study ; but in 1812 he became devoted to institutions of public utility. Occupied in this year in the com- piling of the Bulletin of the Society for the En- ioura; uncut of National Industry, he was charged by M. Bigot de Prearaciieu with a j)lan of reor- ganizing the mastei-ships and the choim of the cathedrals, as well as the direction of the music at fctea and religious ceremonies. Some writing upon the objects of his new duties made him known, to his advantage, in relation to hi-i idea* concerning the instruction of music ; but he did wrong to call in question the utility of the Con- ser\-atoue, whose direction did not conform with his views. He conceived unjust prejudices against an establishment which for many years had produced tine talents of all kinds. Ite restoration was at first fatal to the exist- ence of the Conserv-atoire of music. Born of the revolution, this establishment had in the eyes of the partisans of the ancient monarchy an origi- nal stain, so that it was maintained with reluc- tance in 1811, and closed in the following year. Ilils bloAv, given to the school towards which Choron had shown himself such a wann antag- onist, seemed to be a triumph for him ; but he had too much justice in his mind, and too much love for the art, to think of triumphing. Choron was dircM-tor of the Oi)era in January, ISlfi. He was scarcely installed, than he acquired the convic- tion of the necessity of establishing, between the Conser\'atoire of music and the theatre which was trusted to him, intimate relations ; he pro-, posed a reorganization of this same establishment, under the name of the lloyal School of Singing and Declamation. He was charged with the di- gesting of the scheme ; and was often rejiroached afterwards for the mean combinations of the ))lan. llie administration of the Opera under the di- rection of Choron was not exem])t from blame ; but whatever may be said, it cannot be denied that it was the least expensive and the most pro- ductive. .Struck by the difficulty that joung composers met with in making themselves known, Choron desiicd to ojien an entrance to their career, and decided that a certain quantity of ])ieces inar. act should be intrusted to them, that they might write the music. His benevolence for the artists made him forget that the Opera was or- ganized for great things, and that it Mas not a the- atre of experiment. Choron had too many enemies to be able to remain long at the head of the admin- istration of the Ojiera. In the first month of the year 1817, he received his dismissal without any compensation : no one recollected that a man who had made so great sacrificcjs for music merited some reward from the government. Hnp])ily, he had energy in his soul, and ideas in his head ; ho lost no time in complaining of the ingratitude with which his services were paid, but employed himself for a long time upon works on music. He then undertook the editing of a sort of encyclopie- dia of mvisical sciences, by the title of " Introduc- tion to the general and analytical Study ot Music." Brilliant with new ideas, and strong in the fniit- ful principles of truth, this work was destineU'te selection ot church ni\i--ic for one or more voices ; and many other things of the same kind. As to the other works, wliich he announced liy ditferent pro- spectuses, the greater jiart were only projected, lor he had not time to write tliem. It is in this category that are ranged "The .Vbridged Exposi- tion ot the Principles of Music ; " " The Encyclo- pa-dic Manual of Music," wliich made a part of the collection of the manual of M. Roretj the translation of the " TreatLse on Modern Composi- tion," of Preindl, a work of which Choron ha< too favorable an oiiinion ; the " Repertory of Contrapuntists;" last, " llie Introduction to" the general and analytical .Study of Music," of which he unlortunately has fiiiLshed but a part. Tlie chronological list of works comjjosed or published by Choron are, 1. Collection of ro- mances, songs, and poetry, set to mubic, I'aris, Le Due, 1806, Svo. Among these romances are " The Sentinel," whose success has been great. 2. " Musical Bulletin of Augustus Le Due-, and Company," Paris, 1807 and 1808, 8vo., twenty- four numbers, of four pages each. .3. French and Italian notices u])on Leo, Jomelli, I'iorlui- gi, Palestrina, and Josquin Desprcs. 'iliese notices are put at the commencement of each number of the " General Collection of the Classical Works of Music," Paris, Le Due. 4. " Principles of Accompaniment of the Italian School," by Choron and Fiocchi, Paris, Imbault, 1804, one vol. in fol. 5. "Principles of Com- position of the It^dian Schools," Paris, Auguste Le Due, 1808, three vols., fol. This work waa divided into six volumes, with new titles, in 1816. The first volume contains a preface of 17 pages ; the first book, which treats of harmony and accompaniment, in 102 pages, and a selec- tion of Parti menii for the accompaniment, taken from the works of Durante, Cotumacni, Fenaroli, and Sala, ui 142 pages. The second volume contauis a treatise on simple countei-jjoint, in 42 pages ; the models of Sala for this counter-, point ; the trios of Caresana, in 34 pages ; a new French ti-anslation of the double and conditional counterpoint of Marpurg, ino2 pages ; the models of Sala Jor double counteqjoint, in 7 1 pages. Tlie tltiixl volume contains the treatiseon Linitation and fugue, translated from Marpurg, ui 73 pages; and the models ol Sala to the fugue in four parts, in 181 pages. Tlie fourth volume contains the second collection of fugues by Sala, in 138 pages ; the treatise of canons, translated by Marinu'g, in 60 pages ; and the models of the canons of Salii, in 68 iiages. At the commencement of the fifth volume is a treatise upon the style of each kmd of music, under the title of Musical Rhetoric, in 39 pages, followed by models of the osservato stylo of church music, extracts from the cscmplara of P. Martini, and models of the concert style in Jomelli ; these models are contained in 202 pages. 'ITie sixth volume contains models of madrigals without accompaniment, taken from works of Martini and Paohicci ; models of ducts, trios, and cantatas, taken from the works of Marcello, Lotti. Alexander Scarlatti, and Porgolese ; models of vocal music of different kiiuls, as A\ell us some models of instrumental style. The work finishes with elementary notions of acoustics, by an his- torical sketch of the progress of composition, and by the table of subjects. 6. "Historical Diction- ary of Musicians," by Choron and FayoUo, Paris, Valladc, 1810 and 1811, two vols, in Svo. This work reappeared with a new title in 1817, Paris, Cliiiuot. (Uioron did not exj)cct to take Fayoll* as a partner when he undertook this work. He announced it in 1809, in a prospectus undel the title of "Historical Dictionary of Music." 7. " Considerations upon the necessity of re/;s« tablisliing the Chants of the Church of Rorac ic all the Churches of the French Em- ire " 204 CHO ENCYCLOPAEDIA OF MUSIC. CllR Paris, Courcier, 1811, in 8vo., of lo pa<;es. 8. " Elementarj- Method of Music and Church Music, for the use of Seminaries and Masterships of Cathedrals." Paris, Courcier, 1811. 9. "He- port made to the Class of Fine Arts of the Im- perial Institute of France upon the work of M. Scoppa, entitled, ' True Principles of ^■e^si^ica- tion,' " Paris, Baudouin, 1812, one vol. iu 4to. In this work, Choroji has particularly examined the musical rhj-thm. 10. " Uejiort made to the Class of Fine Arts of the Imperial Institute of France upon a Manuscript which contains the Collection of the Treatises of Music, by J. Le Tci"»'iricr," Paris, 181.3, 8 pa^es in 8vo. 11. " General TrentLetrer order, by A. Choron," Paris, 181i>. 17. " ChonU Book of Paris containing the Chant of the Dio- cese of Paris, written in Counteqioint, in four Parts," 1817. TTiis work is only a little book, which contains the annual ma«ses and great so- lemnities. 18. " Concertante Method of Music in many Parts, of a Gradual Ditfic\ilty," Paris, 1817. 1;). " Method of Church Music, otlierwise collei.' pA-clcniasticHl or Gregorian Chant, contain- ing I.e-sons and Exercises necess-ary to attain to a per ect Knowlctlge of this Chant," Paris, 1818, 28 pages. 20. " Exposition of the Concertante kLothod of Music," Paris 1818, a half folio in two column-". 2\. "Salvation of the Holy Sacra- men;, containing Stnnjtas and Anthems in Honor of the Holy Sacrament and Holy Virgin, put to Mu.-ic to three c<{ual Voices, by Choron," Paris, 1818, one vol. in 8vo. iJ. "Concertante Method of (.'hiirch Music and Ecclesiastical Counter- point." Paris, 1819. 2.3. "Harmonic .Sol.''eggio, offering a Methodical ."^cries of Exercises in Har- mony tor four Voices, for a Master and his Pu- pils" one vol. The prosj)cctus of this work has only appeared. 24. " .Vbrid^ed Instru .tion upon the Organization and Dirci-lion of a School of Music, Sol.eggio, and Singing," Paris, 1819. 2.1. " Elementary Exposition of the Prin- ciples of Music, sen-ing as a Complement to the Concertante Method," Paris, 1S19. The prospectus of this work alone lias appeared. 20. " Elementary .SoU'eggios, containing the Fir-"t I^es- Bons of Musical Heading, for the I'sc of Begin- ners," Paris, 1820. 27. " Elementary Concert Method of Mitsic, in tliree Parts," Paris, 1820. 28. " Method of Singing useil by the Pupils of the Hoyal Singing School," Paris, 1821. Tlie first part only of this work has ai)i)earc— - -4- ^ 5 ^^ Q G% Sol SI HoU Sre 6 *( A a5! U Li Lah Lte B Si See 8 C Do Doe ^ e -fe=L. 1=~7S 7 % 6 t* 5 t.5 4 B A AtJ 0 g;» F St Se La I* Sol Se Fa See Sa Lnh La Sole Sa Fah Numbers | 8 Ia'Mlts I C Sylliibli'S Do Prououuci'd. .. . Doe The inidont will notice, thot in the application of sjMlaliles to al- tered notes, the vnwel sound iii ch;»n.ired by sharps to ef , and tiv flotfl to a. When we upeak of altered notes by numernlii, we plionld say fharj) oiir^ nhnrp two. lint fij; JinI « een, *c. ; and when we speak of them !)> litler, «iiy J- .>3 E B^ Mi }Ie Mee Jlfa 2 b2 D Db ]o\c; and n note rfu/f/*/ 1.;kU to" the next dc cne lelcw. The ffinrj>, tlie rfdf, .lint tlu' ririf»r«/, wluii iiitn>ditcc(l int<» nny piv» n nuKKly or nnnnmy, lire tiTini"! rhvomniim. Niitiint)i> «nnu-tinni u^ed fordin- toiiie, Pinl nl«o »onietiini-» lur pliysicol. in which nw^t- \t \* that per- ornied \ y nnlvrol <>ri;nii!«.lJint i»[v<..riil music, in rcntru-liotiiirtion lo artirieisl or ni^lrnmcntnl. Hishop Wtlkins ..hjn-nvs, thiit tluT»n|>- i-oiir* u World of ditTonnce iHtwi-m nntunil and iirtitieinl wmndi* cr thini?'*: tlie tlrst ever a|'p«'nr ndnrned with nil iimipinnMe elepnncc and tietiuty. the latter, tnon^'lt the mo«t riirioua In ifu-ir ktnd, aie in- Imitily rude nnd nnhewn; the II nest needle iippeor*. when viewed with ndenMcnoei, n n>ugh bnr of iron ; and the ino^t ncctimtc en- gravinfi, or eniUuasnicnt, ni if done with a mattock or IruweL CIIIIONOMETER. (From the Greek.) The name given to any machine constructed for the purpose of measuring tlie time. 'Ihe lirst modern chronometer was invented by I.oulie; a French musician, who flourished abo It the latter end of the seventeenth century ; and who, in his " Elcmenx, ou Priiiripci rie Mii.sipcared, under the title of " Psalms or Songs of Zion, tunietl into the Language, and set to the Tunes of a strange Land, by W. S., William Slatyr, intended for C'luLstmas Carols, and fitted to divers of the most noted and com- mon but solcrane Tunes, every where familiarly used and knowne." CIIUYSOGOXUS. A celtbrated singer in Greece, who lived about tliirty years after Christ. CIIUIICII MUSIC was introduced into pub- lie worship at a very early period. "What tha 20t» CIA ENCYCLOP.'EDIA OF MUSIC. CIB music of the first ClirLstinns was can only be matter of conjecture ; but it may be supi)ose(l to have been sunilar to tliat which had fonuerly been used in the diifcront countries where they dwelt. In Judea, the chant was used ; and iii other parts of the Koman empire, the new Christians would have recourse to the pafjan hjTuns of the Greeks and Romans, llie ccdcsi- n-stical chants of the primitive Christians are sup- posed to be as old as the time of Kinp; Da^-id, for in his time music had a reu;ular establisliment in the worihi]) of the sanctuary. ITie Hebrew psalmody, trom the time of bavid, appears to have been transmitted from father to son till the middle of the first century of the church. Till the time of I'alcstri'na, about the year 1570, sacred music was nothing but a tissue of sweet sounds, almost destitute of perceptible melody. Music, like the other arts of civilization, suffered by the (joths and Ihins, who overran Home and Western Euroj)e. It was not until the eleventh century that (Juido, a Uenedictine monk, in Italy, laid the foundation of soll'aing, and Franco, a German, in the latter end of the same century, laid the foundation of figuretl music. In the four followini; centuries, harmony, counterjjoint, and fugue wore gradiially developed. lliorough bass was discovered by S'iadama, an Italian, two hundred years ago. AAI the inventions in music, and the i]ni)rovements, have been by Italians and , Gennans. Lulli first introduced overtures. And even this imperlect music, in which one part only executed the melody, was performed in Italy with but a small number of instruments. I'aiil Veronese, the great painter, who lived in the raidiUe of the sLxteenlh cenHiry, has presen-ed to us the form of those wliich were used in his time in his famous picture, the " Ccna di San ijiorgio," namely, a double bass, a violoncello, a violin, a flute, and the sackbut. But it was not till the time of th.e immortal author of "nie Creation," who only died at Vienna so reeentlv as 1809, that music attained its modern perfection. No man bclbre him conceived the idea of an or- chestra composed of eighteen kinds of inatru- mentM. ^Vhcn we look at church music, a.s we now en- joy it in the United States, and compare it with it« infancy, we cannot but wonder at the progress it has made. One of the most essential prepara- tions for eternity Ls delight in praising God : to be able to do this acceptably, in sacred song, is a higher acquirement than 'even devotedness in prayer. .VJthough the sjjirit be not master of that which it creates through music, yet it is bles;.cd in this creation, which, like every "creature of art, Ls rai::htior than the artist. CIACONXE. (F.> An obsolete kind of air, derived from an old Itidian dance, one feature of which is its obligatory ground ba.«s. C IX ALT. (I.) n-.e eleventh above the G, or treble clef note ; the fourth note in alt. C IN AI.TISSIMO. (I.) The octave above C in alt ; the fourth note in altissimo. CIS. ( G. ) C shaq), as cm dur, C sharp major ; cis tnoU, C sharp minor. CIAMI'I, FRANCESCO. A Neapolitan com- po»er and violinist. He publLshetl several op- eras at Venice between the years 1729 and MiVl ; he was likewise the author of some admirable production* for the church. Dr. Bumev was in possession of a Miserere and a maw by thii master, jjosseising great merit. CIANCIIE'ITINI, PIO, son of F. Cianchetti- ni, oj Rome, and of Veronica I)us.Hek, was l)om in Ixindon in 170!). ^\^len only five years old, he performed in j>ublic a sonata (if his awn conj- position, in the Opera concert room in London ; after which he travelled with his father through (jennany, IloUnnd, and France, in each of which countries he exhibited hi-, talent with great ap- jilausc, and was even callotl the Uriti ^h .Mozart. On his return to I/indon, he continued liLs stud- ies, and at eight years old spoke perfeitlv well the French, English, Italian, and German lan- guages. Immediately after tliis age, he com menced the composition of various instrumental pieces; nmoiiijst the rest a grand concerto, which he executed himself at a concert in London, in 1809, receiving the greatest applause. Cianchet- tini attended Madame Catalani, when first in England, in several of her musical tours, acting as her composer and conductor of her concerts'] and was rc.'ingaged in the same capa'>itv bv Madame Catalani on her return to England in 1S22. In the Italian songs composed for Catala- ni by Cianchcttini, he has been very happy in adapting his music so as to display the most bril- liant powers of that singer. In the other songs which he has written, he has shown great taste in selecting the most cla-ssical words in British l)oetry ; thus attempting to embodv with music the finest effusions of a Milton and a Pope. Ills cantata for two voices, the words of which are taken from the Paradise Lost, was his first speci- men in this style of composition, and abounds in sweet and tender, and at the same time scientific passages. ULs music to Pope's " Ode on Solitude" is also fraught with grace and feeling. The fol- lowing are among the principal works of Pio Cianchcttini : " .V Cantata for two Voice-*, with Choruses, \\'ords from the ParadLsc Lost ; " "Take, O, take those lips away," song ; " Fnn- ta-iia on Di tanti pulpiti, for Piano- forte ; " "In- troduction and an Italian Air, with ^^•l^iations for Piano-forte and Flute or Violin ; " " Pope's Ode on Solitude ; " " SLxty Italian Catches for two, three, and four Voices, by Padre Martini, with an Accompaniment for Piano-forte;" Scena ed Aria, " Ah qiutndo ce.iaera ; " I)uetto, " l>co di Vafo il Tempio ,- " " Benedictus, three Voices." cianchcttini died in England in 18.51. CIBBER, MRS., sister to Dr. Ame. She wa.s celebrated as a singer till the year 17.3fi, v^hcn she first ai)peare'ice of the house of Mcdicis. However, he seems to have upcnt the greatest part of his life in Italy as a composer ; in which characttr he is mentioned with great respect by Ziurlino, Vincenzo Galilei, I'ietro I'ontio, and almost every ItnUan musical writer of his time ; and, after having been suc- cessively mne.iiro Hi caih-lla to the Duke ot Ferra- rn, the republic of Venice, where he was the im- mediate predecessor of Zarlino, and the Duke of Parma, he died at the court of that prince, in 1515, aged forty-nine. IILs motets and madri- gals were first published at Venice in 154 1, and alter his decease were republished with his mass- es. His " Cantioiu\i Sicrtr," or motets, were like- wise printed at Lotivain in 1573. CIPUIANO, COUXIEIt A violinist, resident in Poland ; he was a scholar of Nnzari of Venice, and was born iu that town. He composed much music for his instntment, and died at Warsaw in 1789. CIIUI.1,0, FRANCESCO. A Neapolitan dra- matic composer about the year 1650. CIRIU, (JIAMRA'niSTA. An Itahan vio- loncellLst and instrumental composer between the years 17G3 and 1795. Some of liis music has 27 been imblishcd in London, and other pieces at lierlin and in Italy. CISTELL.V. (L.") An instrument formed oL, or contained In, a little chest. CITH.VR.V. (L.) An instrument of antiqui- ty, the precise construction of which is now un- known, but which is supposed not to have been unlike the lyre. At first it had only three strings ; but the number was, at different times, increased to eight, nine, and liustly to twenty-four. CITIIARA BUl'a A. (I..) A kind of rllhar*. lo railed IVoin lt> hnvinff two nccka, which dvU'nniuc th« IvDifthi of Uiu two icld of •triliir*. ( ITIIARA msI'AXICA. (I..) Spinlfh mlUr CITIIAKISTICA. (I..) An •iljivllve alipllid tolnuflcCtlnpo«fd fbr, or inlcnd'-d to \h: BCcuinpAnliil bv, the harp or fruilar. CITIIAKODIA. An tzprvuiiin uard by tlie anciruU, to lictiifjt the art of ninjniiv' to the l^vre. To t)c able to ling to that inatrurocnl waf to be niavter of the citharodia. CITOI.E. The word citole is derived from eii- trlla, a little chest, and was the name formerly given to an instrument of the most simple con- struction, being little more than a small chest with strings on the Lid or top. CITTERN. The old English name of the guitar. CLAGGET. An English composer, and in- ventor of several improvements in musical in- struments, which he commenced exhibiting to the pubhc in what he called a musical museum, about the year 1789. His compositions are cliief- ly instrumental. CL.UR, J. M. LE. A French violuilst, and composer for his instrument. He was chamber musician to Louis XV. He was assassinated in the streets of Paris in 17C4. CLANGOR. A loud, shrill sound, peculiar to the trumpet. CL.VPPER. A certain longitudinal piece of metal, freely suspended by one of its ends from the central and upper part of the interior of a bell, and which, actuated by the oscillating motion of the machine, strikes the barrel with its lower end, and produces those vibrations which cause the sound. CLARICHORD. or CLAMCHORD. A keyed instrument, now out of use, somewhat in the form of a spinet, and the strings of which are supported by five bridges. One distinction in the clarichord Is, that the strings are covered with pieces of cloth, which render the sound sweeter, and, at the same time, so deaden it, as to prevent its being heard at any considerable dir- tance. On this account, it was formerly much used by the ntins, who could purs\ic its practice without disturbing the silence of the dormitory. It is sometimes called the dumb spinet. CLARINET. A wind instrument of the leed kind, the scale of which, though it includes every semitone within its extremes, is virtually defec- tive. Its lowest note is E below the F clef, liom which it is capable, in the hands of good solo performers, of ascending more than three octavos. Its powers through this compass are not perfect- ly e<[ual ; the player, therclore, ha.^ not a fre« choice in his keys, l)eing penemlly confined to those of C and F, which, indeed, are the only keys in which the clarinet is heard to advantage The music tor this instrument is, th» rofore, usu- ally written in those keys, lliere are, however B flat clarinets, A clarinet-s, 1) clarinets, 11 clar- inets, and U clarinets ; though the thr«« latter 209 CLA ENCYCLOPEDIA OF MUSIC. CLA ire scarcely ever used, at least in this country. Within a lew years, this instrument has been much improved. It ai)i)roaches in tone the female voice nearer than any other instrument, and, as a prin- cipal in the ordiestra, it now sustains a distin- guished part. Tliis instrument, which is of Ger- man origin, was introduced into Great Britain about the year 1779; and for the first twenty years its use was confined to the military; for at the grand performance at Westminster Abbey, 1791, forty oboes and bassoons were admitted info that stupendous orchestra of a thousand perfonners, but the clarinet had not gained sufficient reputa- tion to obtain a place. Soon after this j)eriod, fiom its warlike tone, it was adopted by all the military bands upon the continent ; and the IVench found it of such singular efficacy in lead- ing on the troops to battle, that all their' regi- ments were headed by vast groups of these per- firmers. At the federation in Paris, July 14, 1802, eighteen thousand troops passed in review before the Consul Bonaparte, to which were attached more than twenty bands of fifty performers each, forming an aggregate of more than one thousand musicians. The ordinary practice of military men is not less than six hours per day, and that for twenty years is but just adequate to conquer all the difficulties of this instrument. Probably the greatest good effected by the thirty years' war was the improvement of the wind instruments. It was the incessant practice of fifty thousand performers spread over the continent, that drew forth the genius and powers of those instruments, by which Ilaydu and Mozart perfected the miisi- cal science. In quality of tone the clarinet is warm and powerful, partaking somewhat of the oboe and trumpet combined ; and the lustre of its tones adds great refulgence to tl.e orchestra. The tone of the claruiet is pecidiarly graceful in the open air. The clarinet b divided into four parts — th« mouthpiece, (on which a flat reed is tied,) the upi)cr joint, the middle piece, and the bell, or bottom piece. It has thirteen holes, five of which are stopped by keys. It is to those kevH that the instrument Ls indebted for its chief use, for before they were contrived, the clarinet could not be used in concert, as it is at present Wlien played by itself, the fulness and sweet- ness of tone is very pleasing ; but when joined with other instruments, or in concert with other mstrumcnts, its charming effect is too obvious to be particularly described. To make it famiUar, and render playing on it easy, the following plain and concise instructions are intended : — TTie cliu-met must be held near the centre of the body, the bell part inclining downwards, with the left hand uppermost, and the right low- est. The thumb of the left hand Ls for the key nearest the mouth, and the first open hole that is underneath ; the first finger for the second or upper key, and the second open hole : the second finger for the third open hole ; the tliird finger for the fourth open hole ; and the little finger of the lei^ hand for the two long or lowest keys. The first finger of the right hand is for the fifth open hole ; the second finger for the sixth open hole ; the third finger for the seventh open hole ; and the little finger of the right hand for the eighth or lowest open hole, and the short key at the bottom ; so that the thumb and first and little finger of the left hand manage sLx holes, and the httle finger of the right hand two. Blow moderately strong the chaiumcait or lowest notes ; but for the clarinet notes, the reed must be pinched with the Ups a little, and blown a little stronger ; yet be careful that the teeth do not touch the reed. In the following scale, the black notes repre- sent the holes which are to be stopi^ed, and the ciphers those which are to remain open. A COMPLETE SCALE OF NOTES FOR THE CLARINET. *-?fg» A dlfftmtt vftj «f C a S1 EfGA B[, D CcjDI^EPrJOCjArjjBCDIJjEPFjOGjADjBODEPrJOjlDl • ••• •••••••••••OOOUOOOOOOOOOOOOOO OOO • ••• •••••••••ooo«*«««««««»« ••o»*a • •• • ••• •••••••oo*oo*««*«««»««a •••••• • •• • »•• ••••••o«cooo««««««««««« •ooo«« • oo • ••• ••••oo««oooo«»*#««««**o o«o««« • •• • ••• ••0J«00OO000«««««»««OO* 00090* o •• z< • • • • • • o o ooooooooooo • oooooooooo 0 3 0000000 O O OOOOOOO o o o • o o o • o o o o o •••• oaaoo • •oo oooco o o o o o o o o o • o o o o • o o o o o ooooooooo • ooo ooooo o o o o Ex. 1 Ex 2. Ex. 3. £x 4. = i^ «^ ^^^^^^m The compass of the clarinet extends from e to four times marked c, (see Ex. 1,) including all the intermediate semitones ; but in orchestral music, the passages seldom run above ifii-in marked df, (Ex. 2.) and the notes lictween e and oiire marked bb (Ex. 3) are very soft ; they an often used in arpeggios. Those included betveec 210 CLA ENCYCLOrvEDIA OF MUSIC. CLA once marJced 6 b and thrice marked c if (Ex. 4) arc more sonorous and brilliant, &c., &c. Above this comjjass, they cannot be subdued without great difficulty. There are tliree kinds Dt' clarinets used in the orchestra, the A, tlie IJ I) , and the C. Those in C execute the notes as they arc written ; those in li b play them a major Bocond lower, and those in A a minor third low- er than they are written. These ditt'erent kinds of instruments are used because some keys, even among those in common use, would be imperl'ect or impracticable on the C clarinet ; sucli keys, for example, as have more than two sliarps or tlats for tlieir signature. ITie C clarinet is iwl for the keys of C, G, and F major, and tlieir i dative minors. A, E, and D; tlic lib clarinet lor the keys of Bb, Eb, Ab major, and their relative minors, G, C, F ; the A clarinet lor tl;e keys of A, I), and E major, and their relative minors F*f, B = , and CJ ; the 15 b clarinet diminislies the number of Hats in the signature ; that of A the number of sharps. The composer chooses one of these three clari- nets, according to the key in which the piece is written ; and, in selecting one, Im aim is to have only a single flat or shjirp after the clef, or at most two. CLAIIINO. A kind of trumpet, consisting of a tube narrower than that of the common trum- pet, and the tone of which is exceedingly shrill. The clarino was long a favorite instrument with the Portuguese, wlio had it from the Moors. Clarino is now the name given by the Gennaixs to the common trumpet. CLARION. An octave trumpet. It is said that the clarion now used among the Moors ecrved anciently for a treble to scvenil trumpets, which sounded tenor and bass. CLARI, CARLO MARIA, of Pisa, a scholar of Colonna, and chaiiel-master of the cathedral of Pistoja. His excellent chamber duets and trios were not published till the year 17'.!0 ; they had, however, been dispersed in manuscript long before that period, and though tlie duet-s of Stclfani were more early known, it does not appear that they had been his model ; for he was a comjjoser of great eminence so early as the year Ui!).'), wlien he set an opera for the theatre of Hologna, entitled " It Sm-io Deliraiitc," which wius cxtreuje- ly admired. His style of diu-tli and terzitti cer- tainly rcsera les that of Stctfani ; but we tind no similarity oi passage, and sometimes he is even superior to the abbate, in grandeur of subject and clciauce of i)hrase, in his melodies. Handel is 6uppo>ed to have availed hunself of Clari's sub- jects, and sometimes of more, iu the choruses of Tlu'jihra. CLARK, RICIL\RD, born nt Datchct, near New AVindsor, in 17S !, was educated under Dr. Aylward and Mr. Sexton, in the choir of St. (ieorgc's Free Chapel of Windsor, and under Ste- phen Heather, at Eton College. On the death of his grandfather, Mr. Sale, in 180J, Clark wa-s ' elected his successor, as lay clerk of St. (ieorge's ! Chapel, and gentleman extraordinary at Eton College. In 180-5 he wa.s appointed a deputy at Westminster Abbey for J. 1!. Sale, and on the death of Page wa.s appointe.l deputy at his ma- iesty's Chapels Royal, for Dartlcman, and sccrctarj- to the Glee Club. In 1811 he quitted liLs places at Windsor. In 1814 he publLshepointcniinaiit i-|«>h*' ; i. e. the eudi'iu-.- m ihr nith. CLAUSULA rKKTlAKI.\.nr .MKDIANS. (L.) The codencc of a pieco lu a iniui>r key, when it took place in the key of the third. CLAVECIN, (F.) CLAVICHORD. CLA- VlEli. (G.) An old keyed, stringed instru- ment, now universally superseded by the more brilliant toned piano- forte. Its compass, in its prime, was five octaves, from TFtoft/irire marked. Vet more modern ones are found with five and a half and six octaves. It dates far back into the middle age ; but it is not true that Guido of Arezzo wtus its inventor, though he Ls commonly supposed to have been the inventor of tlie spinet, an instrument which differs from the clavichord, uia^much as its strings are snajiped by goose- quilLs. The clavier or cla\-ichord is unque:ition- ably of later origin. It came into use in the seventeenth century, and throughout the whole of' the eighteenth, aiul even in the beginning of the nineteenth century, it was the favorite instru- ment of the dilettanti, as the piano-forte is now. The common English term for the above is haiysi- chord. n.AVICEMnAI.O. (I.) rr.AVicvMn.vLf" tl.AVUVMllKL. (I) i (0.1 S Old nunc* for the harpalchoid. CLAYTON, THOMAS. One of the royal band in the reign of William and Mnry. Hav- ing been in Italy, he persuaded himself' that he could reform the bad musical taste of the English by his own compositions in the Italian style, and he accortUngly, in the year 170.5, arranged an opera railed " Arsinoe," in which Dr. Uumcy says, " not only the common rules of musical compo- sition were violated in every song, but aLso the prosody and accents of our language." CL.\VIS. (L.) Literally, a *^.v. Used in music in several senses : 1. As synonymoiw with Clef, (which see;) 2. A note or tone : a-s :Utres sii/natir, (which see ;) .'1. 'llie lever to the bellows of an organ; 4. T\\c finger keys to a piano-forte or organ ; .i. The keys which ojien »nd shut the holes in a wind instnuuent, as the Bute or clarinet. CL.\VES SUJN.VT.E. (L.) AVyj iriM signs. An appellation given to the colored lines used by Guido in hLs tablature, before the invention of clefs, to determine tlie situations and powers of the notes. CLAVKTTHERIUM. An ancient oblon:; keyed instrument. See Claiiiciioiid ; also SriSKT. CLAVIER. (F. G.) The key board of a piauc or organ. CLKEMANN, F., a native of Mecklenburg, pubUshcd some German songs in 1797, and in 1800 a work entitled "'Ilie Musician's Manual." CLEFS. Literally ki-gs. Certain charac- ters placed at the beginning of the several staves in a composition, to determine the local nar*M ol the notes, and the sountLs in the great scale w h.t h they are intended to re))resent. The three clef-" now in use — viy.., the F, or bass clef; the C, or tenor clef; and the G, or treble clef — by the several situations given them on the staff may operate as so many more diflerent clefs, and fur- nish us with the means of expressing all the notes within the usual compass of execution, in both vocal and instrumental music, without a confused addition of leger lines, either above or beneath the staff. CLEGG, JOHN. An English violinist. He travelled with Lord Ferrers to Italy, and much improved his taste during his stay in that coun- try. Clegg, by the account of contemporary pro- fessors, seems to have been superior to all per- formers on the \-iolin in tone and execution, till about the year 1742, when he had so deranged his faculties by intense study and practice, that he was conttned in the hospital of Bethlehem, where, during intervals of sanity, he was allowed the use of his instrument ; and it was long a fasliionable, though inhuman amusement, tovL'^it him there, among other lunatics, in hopes of be- ing entertained by his fiddle or his folly. CLEMEN.'s, (called by his contemporaries Ao;» Papa,) JACOB. An excellent Flemish compo- ser, principal chapel-master to the Emperor Charles V. Seven books of his motets, in four parts, were published after his decea,-e, at Ix)U- vain, in l.i'w, as was his " .Mis.ia Difuncloruin," in 1;)S0. His style is clear, his harmony ])ure, and every subject of fugue or imitation simple and natural. CLEMENT, FRANZ J., bom at Vienna in 1782, displayed a fjreat genius for music at a verv early age. When seven years old ho went to Ixmdou, and performed publicly on the violin with the first masters of the day, in some in- stances taking the first violin jiart. In 1S02 he became c/iij'-d'orrfwslrf at one of the theatres iit Vienna, where he remaineid«»s, .'1 overf\ires, ('• concertos, many Mirintions rondos, \c., a little opera, and the m isir to • melodrama ; all thovo works are remu lablc fot ricbncM and abundance of idrns. 213 ;le ENCYCLOPEDIA OF JkiLSIC. CLB CLEMKNTI, MUZIO, tlie celebrated pianist and comijoscr, was born at Rome, in the year 1752. His lather was a worker in silver of great luerit, and priiicii)ally enf;a}»ed in the execution of embossed viises and litjurcs employed in the Catholic worsliip. At a very early period of hLs youth, he evinced a strong disposition for music, and as this was an art which greatly deUghted hLs father, he anxiously bestowed the best in- structions in liis power on liis son. Kuroni, who wa.s his relation, and who afterwards obtained the honorable station of principal composer of St. Peter's, was his first raa.ster. At six years of a2;e he began solfaing, and at seven he was pla. ed under an organist of the name of Cordi- ceF.. for instruction in thorough bass ; at the age of nine he passed hLs examination, and was ad- mitted an organist in Home, lliis examination consists iu giving a figured bass from the works of Corelli, and making the scholar execute an accompaniment, after which he is obliged to transpose the same into various keys. This Cle- menti effected with such facility, that he received the highest applause from his examinei-s. He next went under the celebrated Santarelli, the great master of singing. Between his eleventh and twelfth years he studied under Carpini, the deepest contrapuntist of his day in Kome. A few months after he was placed under this master, be was induced by some of his friends, and with- out consulting his preceptor, to write a mass for four voices, for which he received so much com- mendation, that Carpini exjjrcssed a desire to hear it. It was accordingly rejicated in church in the presence of his master, who, being little accus- tomed to bestow jjraise oii any one, said to his pupU, after liis dry manner, " Why did not you tell me you were about to write a mass ? This is very well, to be siu-e ; but if you had consulted me, it might have been mucli better." L'nder Carpini he was practised in writing fugues and canons on the canto fermo, and hLs master was fjetjuently heard to say, that had Clementi re- mained under his instruction a year longer, he might have passed his examination in counter- point. During these studies he never neglected his harpsichord, on which he had made so great a proficiency between thirteen and fourteen, that Mr. Peter IJeckford, nephew of the alder- man of that name, who was then on his travels in Italy, was extreracl}- desirous of taking him over to England. The declining riches of the Komish church, at this period, not giving much encouragement to the trade of his father, he agreed to confide the rising talents of liLs son to the care of Mr. Leckt'ord, and soon after this Clementi set off for England, llie country seat of Mr. Beckford was in Dorsetshire, and here, by the aid of a good library and tb.e conversation of the family, Clementi quickly obtained a compe- tent knowledge of the English and several other languages. With regard to his own art, his early studies were principally employed on the works of CoreUi, Alessandro Scarlatti, Handel's harpsi- chord and organ music, and on the sonatas of I'.iradies. His eil'orts to acquire preeminence on the harjjsichord were in the mean time as inde- tatigable as they were successful ; and at the age of eighteen he had not only suqiassed all his contera|)oraries in the powers of execution and ex))res>ion, but had written his Op. 2, which gave a new era to that species of composition. niree years afterwards this ce ibrated work waa submitted to the public. Tht simplicity, bril- liancy, and origijiality which it dLsplayed capti- vated the whole circle of professors and amateurs. It is superfluous to add, what all the great musi- cians of the age have uniformly allowed, that this admirable work is the basis on which th< whole fabric of modem sonatas for the piano- forte has been erected. TTie celebrated John ChrLstiau Bach spoke of it in the highest terms ; but, although one of the most able players of his time, he would not attempt its performance ; and when Schroeter arrived in England, and was a.sked if he could play the works of Clementi, he replied, that " they could only be performed by the author himself, or the de\-il." Yet, such Ls the progress which executive ability has made, that what was once an obstacle to the most ac- complLshed talent is now within the power of thousands. A well-known popular air with vari- ations, hLs Ops. .3 and 4, and a duet for two per- foi-mcrs on one instrument, were the next pro- ductions of hLs youtliful pen. Soon alter he had quitted Dorsetshire to reside in London, he waa engaged to preside at the harpsichord, in the or- chestra of the Opera House, and had an oppor- tunity, which he never neglected, of improving his taste by the performances of the first singers of that age. l"he advantage which he derived from this species of study was quickly shown by the rapid progress he made, beyond hLs coutem- jjoraries, in the dignity of his style of execution, and in his powers of expression. This, also, he car- ried into hLs compositions ; and Dussek, Steibelt, Woelfl, Beethoven, and other eminent perfonners on the continent, who had had no opportunity of receiving personal instructions from Clementi, declared that they had formed themselves eutu'e- ly on his works. His ability in extemporaneous playing had, perhaps, no parallel. The richness of harmonic combination, the brilliancy of fancy, the power of effect, and the noble style of execu- tion, which he displayed, made him stand alone in an age which produced such a host of execu- tive talent. HLs reputation, ■4\ithout the protec- tion of any patron, rose \\\t\\ such rajjidity, that, in a very short time, he received the same remu- neration for his instructions as J. C. Bach ; and the fame of his works and of his executive talents ha%ing spread over the continent, he determined, in the year 17S0, and at the instigation of the celebrated Pacchierotti, to visit Paris. In that city he was received with enthusiasm, and had the honor to play before the queen, who be- stowed on liim the most unqualified apjilause. The warmth of French praise, contrasted with the gentle and cool approbation given by the English, quite astonished the young musician, who used jocosely to remark, that " he couli scarcely believe himself to be the same man. " AMiLLst he remained in that capital, he composc.l hLs Ops. 5 and (>, and jiublishod a new edition oi his Op. 1, with an additional fugue. Havint enjoyed the unabated applause of the Parisiant until the summer of 1781, he determined on pay- ing a ^•isit to A'ierina. In his way there he stopjjed at Strasburg, where he was introduced to the then Prince de Deux Ponts, since King of Bava- ria, who treated him with the greatest dLstinction ; and also at Munich, where he was received ■Nrith equal honor by the elector. At Vienna he be- came acquainted with Haydn, Mozart, and aU tht 2U CLE ENCYCLOPAEDIA OF M:,SIC. CLE celebrntcil musicians neident in that capital. The Emperor Joseph II., who was a great lover of music, invited him to his palace ; where, in the latter end of the year 17.SI, he had the honor of playing alternately with Mozart before the emper- or, and tlie Grand Duke Paul of Russia and liis duchess. At Vienna, he composed three sonatas, (Op. ",) published by Artaria ; three sonatas, (Op. 8,) published at Lyons ; and six sonatas, ((ips. 9 and 10,) also published by Artaria. On his re- turn to England, he deemed it necessary to pub- lish his celebrated " Torrutu," with a sonata, (Op. ^1,) — a surrc])titious copy, full of errors, having been printed without his knowledge in France. In the autumn of 178;S, John Paptist Cramer, then about fourteen or fifteen years of age, be- came his pupil. He had previously received some lessons from Schrocter, and was studying counteri)oint under Abel. Clementi, at this time, resided in Titchfield Street, and Cramer used to attend him ahnost every morning, until the fol- lowing year, when Clementi returned to France. Previous to liLs undertaking this second journey, he was engaged at the nobility's concerts, and had published his Op. 12; u])on one of the sonatas of which work both Dr. Crotch and Samuel ^V'esley afterwards gave public lectures in London. In the year 1784, he again went back to England, and soon afterwards ])ublished his Ops. l.i, U, and 1.5. From this period to the year 180J, he remained in England, ])ursuing his professional labors with increasing reputation ; and wishing to seoire himself sutKcient time for the prosecution of his studies, he raised his terms for teaching to one guinea per hour. His fame, however, was so great, that this augmenta- tion of price rather increit-ed than dimiuiHhelayer ; and liis com- positions, from Op. 1.5 to ()p. 40, are a lasting proof of his apjilication and genius. Before the publication of this last work, he had jiroduced one, the advantages of which have been and are still felt and acknowledged by almost all jjroless- ors ; we m«au hLs excellent and luminous " In- troduction to the Art of Playing on tlie Piano- forte." About the year 1800,' having lost a large sum of money by the failure of tlie well-known Ilnu of Longman and Proderip, 26 Cheapside, he was induced, by the persua.sions of some emi- nent meicantile gentlemen, to embark in thitt concern. A new tirm was accordingly formed, and from tliat period he declined taking any more pupils. The hours which ho did not thencefor- ward employ in his professional studies ho dedi- cated to the mechanical and pliilosophical im- provement of piano-fortes ; and the originality and justness of his conceptions were crowned with complete succeany him, that Clemtnti could not resist his inclinations; they therefore : jirocecded directly to .St. Petersburg. In this ' city Clementi was received with the greatest j distinction ; he played extemporaneously in the ! society of the principal prole- family. He then mndi short residences at Milan and vor.ous othM 21.5 31. IS ENCYCLOP-'EDIA OF MUSIC, CLl places on ^le continent, whore he was detained, m H]iite of liis inclinations, by the disastrous con- tinuation oi the war ; nnd seizing a hazardous opportunity of conveyance, in the summer of 1810, he onco more arrived in Enf»land, and the year following married. Although, during thLs period of ncbj-ly eight years, he published only a single sonat.' . (Oj). 41,) his mind and his pen were still oci-ui)ied in the composition of p\nn- phonies, and in preparing materials for hLs " Ora- Hua ad Parnas.iiiin." HLs lirst publication, after his return, was the appendix to hLs " Introduction to the Art of Playing on the Piano-forte " — a work which has been of infinite use both to the profession and to the public. lie next adapted the twelve grand symphonies of Haydn for the piano- forte, with accompaniments for the flute, violin, and violoncello. Tliis A\'ork was a great de.sidera- tum, suice that which had already been published by Salomon was awkwardly and iraperfcctlv done. Before he went abroad, he had adapted Haydn's "Creation" for the piano-forte and voices; and he now published the oratorio of the " Sea- sons," which he had done in the same manner. He afterwards adapted Mozart's overture to " Don Giovanni," besides various selections from the vocal compositions of the same author. The Phil- harmonic Society having been now established, he gave two grand symphonies, which were re- ceived there, and at various other concerts, %\-ith enthusiastic aiiplause. He produced several other sj-mphonies at the Philharmonic Concerts, in March, 18'21. Clementi enjoyed the highest consideration in P^ngland. Having become rich, in the last years of his liic he abandoned the direction of his mercantile house to his associate, M. CoUard, and retiring to a pretty country seat, lived in repose, and seldom visited London. Once when he did come, Cramer, Moschelcs, and others gave a banquet to the patriarch of the piano, at the close of which he improvised to the astonishment and delight of all present. This was his "swan song." He died on the 10th of March, 183'.', at the age of eighty years. CLEMEXTI & CO. Mauufacturers of wind instruments, London. Tlieir instruments were considered as the best in their day. Their flutes were very jiopular in the day of XiehoLson, after whose plan, and under who:ie immediate diiectiou, they made great numbers. CLERAMliAULT, LOUIS NICOLAS, a French vocal comjjoser, and a great favorite of Louis XIV. He died at Paris in 1749. CLEREAT', I'lERKE, a French composer of vocal music, published at Paris, in the middle of the sixteenth century, " Chansons Spirituelles a ■jiiatre VoU," and a work entitled " Tricinia." CLERICO, FRANCESCO. BaUct master and dramatic compo>er at Venice in 1789. CLIFFORD, REV. JAMES, a minor canon of St. Paul's, died about the year 1 700. He edited, m 1004, a useful little book, containing a collec- tion of the words of the services and anthems ised in the collegiate and cathedral churches. CLIFTON, JOHN C, was bom in London, in 1781. He was intended for mercantile life by hLs father, who at length, however, on the per- suasion of his son, placed him under the musical tuition of R. licllamy win was related to the Clifton famUy. Bellamy was at that time al- moner and master of the choristers of St. Paul'i cathedral. Under hLs able instructions Clifton remained nearly five years ; at the expiration of wliich time hLs father sent him to a classical school, and again wwhed to turn his mind to commercial pursuits, at the same time not pur- posing to neglect liis musical education ; which soon after recommenced under the celebrated Charles Wesley, of whom Clifton became a favorite pupil. Again, however, his father took liim suddenly from his musical pursuits, and placed him in a counting house, to the duties of which he could not at all get reconciled. AVhen about eighteen years of age, he became acquainted with Ciinador, Spagnoletti, and other musicians, who changed and improved hLs taste to such a degree that he determined immediately to follow music as a profession ; but when on the jjoint of doing so, he was given a situation in the govern- ment stationery oflice. where he did not continue more than two years, again finding calculation and account books to interfere too much with his favorite pursuit. The first opening of Clifton's professional life was at Bath, where he was en- gaged to conduct the musical dei)artment of the Harmonic Society, for which he .set to music, a Latin grace, " Seu edanuui," written by Dr. Mor- gan, and which continued to be sung for many years before supper. "While at Bath he composed several glees and songs, among the latter his ad- mired song, " K music be the food of love." In 1802 he visited Ireland, with the best introduc- tions. During the time of his residence there, he met with great encouragement in composition, and published many of his works m Dublin ; he also wrote a biographical sketch of his friend Sir John Stevenson, for one of the literary reviews. In 181.5 Clifton produced a musical piece called " Edwin," at Crow Street Theatre, the music of which was well received. He resided in Ireland, chiefly in Dublin, for nearly fourteen years, and conducted during that time several concerts. The last, which he conducted conjomtly with Sir John Stevenson, did credit to their feeUngs, as well as to all the professors, who volunteered their services, it being for the benefit of the poor of Ireland, who were then in a state of famine. The concert was on a very gi-and scale, and to make it more attractive, Clitton collected from the mil- itary bands all \\\\c> were able to sing, and re- hearsed them in the choruses of Haydn, Mozart, and Beethoven. He likewise added some hun- dreds of the charity cliildren, and taught them llandel's halleluiah chorus, which produced a sublime effect. The orchestra was composed of more than four hundred perfonners. For his exertions on this occa.--ion, Clifton received the public thanks of the committee, and was offered a professor's degree, which his modesty declined. In 18 1 G he finished a "'ITieorj' of Harmony sim- plified," and invented a machine called tlie Eido- musicon, which, being fastened to the piano-fcrte, over the action, produced the notes and chort s as they were struck, and gave you (he different ii ter- vals so distinctly, that the eye and the ear --vere engaged at the same time, which rendered ^ )cal distances easily attainable for sight singing. He next publicly lectured on his new plan and in- vention, which gave much satisfaction. B-ing advised to publish it, he went to London ind prepared his book for the press ; but finding th« 216 JLO ENCYCLOPEDIA OF MUSIC. COI expenses enormous, and the difficulty attendinfj the prosecution of his new design to be very great, he abandoned the idea altogether. h\ 1818, Clilton adopted the i)nnciples of Logicr's system, and settled in London, where he held a highly respectable rank in his profession, as a teacher of singing, and of the theory and practice of harmony. CLOXAS. A celebrated flute player, who flourished soon after Tcrjiandcr, and who was the composer of several pieces of music for his in- strument. CLOSE. The end or conclusion : as, the clos- ing movement, the last movement ; the closing bar, the last bar. AVhcn the close has for its bass the key note of the composition, it is called a perfect close ; when its bass is any other than the key note, it is termed an imperfect close. Close therefore is synonymous with cadence. It is com- monly indicated thus : i 9^i^HH-£^^^^ Frequently tiro dovible bars are used alone, and •ometimcs one with the half bar, for a close ; but the regular character should be used in all causes. COBB, lUCIIAUD. Organist to Charles I. of England. Several of his compositions may be found in " 'ITie Triumphs of Oriona.'' COBBOLP, WILLIAM. An English com- poser of madrigals and psalms at the close of the sbcteenth century. Some of his compositions are to be found iii Thomas Rste's collection of psalms, published in liOl, and in a work entitletl "The Triumphs of Oriana," published m 1601. COCCin, GIOACCIIIXO. A Neapolitan dramatic composer; he was engaged in 17.57 to write for the Opera in Ixindon. AMien he first went to England, he carried tliere the new passages that were in favor at Home and Naples, to which, however, ho added so little from his own stock of ideas, that, by frequent rej^etition, the public was soon tired of thorn ; and his publications in Eng- land are now as much forgotten as if he had lived in the fifteenth century. In 1702 hLs engage- ment ns opera composer in I/)ndon eeaseer to the theatre, and ! produced diuing that time four operas. From I Usbon he went to England, whore he arrivetl in August, 182.'!, and was engaged for the season of 1824 at the Opera in I-ondon, as composer and ' ?onductor. Ilis most admired operas are, " La [ Festa (ielJa Mnsi, he was iirector of the Musical Academy at Turin. 28 ' 21 COCIIEREAU. A celebratetl French singer at Paris towards the close of the seventeenth cen- tury ; he likewise composed Bome aricttes. CODA. An Italian word, applied to a ^mall number of bars at the end of a composition, which form the final close after the otlicr strains of the movement have been duly rej)cntc(l. COGAN, DR. PHILIP. An English com- poser, chiefly of instrumental music, since th« year 1788. COGGINS, JOSEPH, an English professoi of the piano-forte, was for many years a ])Ui)iJ and assistant of Dr. Callcott. He published, in 1815, an excellent work, called "The MusitV Assistant, containing all that is trulv useful to the ITieory and Practice of the Piano-forte." Ha also published a divertimento from a theme of Steibolt's, and other piano-forte music. COICK, or LE COQ, GIAN. Author of several songs in the collections of his time, par- ticularly of one in five parts, printed at Antwerp by Susato, lol.i, in the sixth book of " I'linnson* d cinq it six Parties." In tliis song the two up- per parts are in canon, in which the second part inverts the melody of the first, while the other three move in fugue. " Tout d rebour.i va nton ajfairc " is the motto of tlus canon. This com- position is curious and valuable, merely from the difficulty of its construction. COIGNET. A merchant at Lyons. He was a collaborator with J. J. Rousseau in the opera of " Pygnuilion." COL, or CON ; also CoU and ColJa. An Italian preposition, signifying icith ; as, col arco, with the bow ; con spirito, with spirit, &c. COLASSE, PASCAL, chapel-master to Louis XIV., was bom at Paris in IG.'JR. He was a pupil of Lulli, and took him for his model in all his compositions, as the following lines testify : — * ColMfp ric T,ulH cniifrnit At ■'rfoartcr, R le pilla, flit-on, chcrchfcnt a rimiter.'* But it is said that, whether he imitated Lulli or not, his opera of "TlietLs and Pcleus " will always be esteemed an excellent production. There are, besides, of hLs composition, motets and sonprs. Colasse destroyed both his fortune and health in an infatuated pursuit of the phi- losopher's stone, and died at Versailles in the vear 1709. COLBRAN, ISABELLA ANGELA. See Rossixi. COLEMAN, OBED M. Bom at Barnstable, Ma.ss., Jon. 2.3, 1817. In earliest infancy he ex- hibitei;u.v.mk.nt. COMMODO, COMMODAMEXTE. (I.) Qui- etly, with composure. COMMOX CHORD. The combination of the third, fifth, and eighth of any note. COMMOX TIME. A measure which has an tren number of parts in a bar. Example. COMPANY OF MUSICIANS. A chartered association of musical composers and performers. King Charles I., soon after his accession, showed a disposition to encourage the liberal arts, partic- ularly music, as appears by his charter granted to Nicholas Laniere and others, in which I.aniere was appointed "master of the king's music," with a salary of two hunilred pounds a year. The same monarch also, in the eleventh year of his reign, granted a charter to divers persons, the moyt eminent musicians, incorporating them by the style " Marshals, Wardens, and Commonali- ty of the Art and Science of Music." COMPASS. A word used to express the range of notes or sounds, comprehended by any voice or instrument. COMPASS OF VOICES IN CHORUSES. The species of voices used in choruses are the toprano or treble, the contralto, the tenor, and the bass. The treble or soprano voice is about the same as the tenor in extent, but is an octave higher in its pitch. Soprano parts are often written in the C clef on the bottom line of the staff. "Yhe contralto has about the same extent as the bass, but an octave higher ; the tenor the same extent as the soprano, but an octave lower ; the bass the same extent aa the contralto, but an octave lower. Treble or Soprano. Contralto. In \\Titing for the chorus, it Ls necessary to employ the medium notes of each species as much as possible, lliey are as follows : — When voices are compelled to sing above their medium notes, they soon become fatigued, and finish by screaming. Notes below the medium of the voice are deficient in power ; they render the harmony feeble and iudistiuct : hence they mu.st be employed but seldom, and never in aU the parts at one time. COMPIACEVOLE. (I.) Pleasing, attractiva COMPLEMENT. A term applied to that quantity which Ls wanting to any interval, to fill u)) the octave. When we take any note together with its fuitrth, the fifth above the upper of the two notes is the quantity wanting, or the com- pleineiU. COMPOSER. An inventor of new music according to the rules of science : or, a pratiical musical author ; so called in contradistinction to a t/ieorctical musical author, who speculates in acoustics, and writes on the laws of harmony and melody, but does not concern himself with their practical application in composition. COMPO.SITIOX. The production of new mu- sic according to the established rules of harmo- ny and modulation. 'Hie art of disposing musi- cal sounds into airs, songs, &c., either in one or more parts, to be sung bj- a voice, or jjlayed on instruments. Under composition are compre- hended the rules, 1. Of melody, or the art of making a single pait ; that is, contriving and dis- posing the .simple sounds, so that their succession and progression may be agreeable to the ear. 2. Of harmony, or the art of disposing and con- certing several single parts together, so that they may make one agreeable whole. It mav be proper to obser\-e here, that melody being chiefly the business of the imagination, the rules of its com- position serve only to prescrit)e certain limits to it, beyond wliich the imagination, in searching out the variety and beauty of airs, ought not to go ; but harmony being the work of the judgment, its rules are more ceitain and extensive, and mor« difficult in practice. A superficial observer might imagine that all the possible combinations of the twelve sounds comprising the musical scale, would in time be e.xhau.sted, and thus end com])osition. Tlte twelve sounds of the scale admit, of course, by mere combination, of 141 difi'erent successions. Each of these combinations can be varied again by accent, rhythm, or measure, by length, ra- pidity, force, legato, and staccato, so as to ad- mit of constructing many millions of tones. Then there lie slumbering and unwronght, in the musical quarry, many forms of exquisite mel- ody, to say nothing of harmony. So there is no end to composition, and no excuse for weari- some monotony. ITiere is ample provision made in the great scale of nature for the comparer cl music. The nature of musical composition is undergo- ing a continual change ; and so innumerable are the combinations which may be wrought, that iti style is without limits, and its efTec-ts un)>ouuded. In the early composers, we tind little more than simple mutations of harmony, and scarcely an attempt to rise into the more graceful region of melody. As to design or imitation of natural ef- fects, no such traces a]>pear. 'ilie old writers im- agine:^ COMPUTATOICES. (L.) Female computers. One of the names given to the pnesciac — women whom the ancients hired to sing and weep over the dead at their funerals. They were called computatriccs because it was a part of their office to enumerate, or compute, the virtues and merits of the deceased. See Pil.«scl«. C MOLL. (G.) C minor. cox. (I.) With t M, roil r*7)rfjr.«ionr. with cxprewion. CON AKKK'rTO. (Ll An oxprvssion implying a imooth, tenilcr. nn'l aflVi-tinp *tvlc of pprl'iirnrinro. CON AHII.VNIJONO El) tsl'KESSION'E. With Mlf-abandon and expression. CONHHIO. 'I.) With brisknCM and spirit CON IIKIO F.l> ANIMATO. Aniinah'd and brilliant. CON DOI.OKH (I.) S«i- noi...iios, when he retired with a handsome pen- sion from the Prussian court. CONCIXNOUS. The signification of this term is generally confined to performance in con- cert. It apjiMcs to that nice, discriminating exe- cution, in which the baud not only gives witi 220 CON ENCYCLOPEDIA OF MUSIC. CON mechnnicnl exnctucss every passage of the com- position, but outers into the tlesii;n, or sentiment, of the composer, nnil, preserviii;; a perl'eut con- cord iind unison of effect, raovc8 as if one soul inspired the whole orchestra. CONCITATO. (I.) Agitated. See Agitato. CON COMMODO. (I.) With an easy quickness. CONCORD. A union of two or more sounds, wliich, by their harmony, produce an ntjrcciible eH'ect upon the esir. Unisonance being tlie relation of eciuality between the pitih of two or more sounds, theorists consider unisons as con- cords in the first degree. But an inter»-al, being a diirerence of pitch, or a relation of inequality between two sounds, will form a concord, or dis- cord, according to the circumstances of that par- ticular relation. Of concords, there are two kinds, the one called perfect, the other irai)erl'ect : per- fect cDiicords consist of the fifth and eightli ; im- lierl'ect concords of the thii'd and sixth. 'Die im- jierlect concords have also another distinction — that of the greater and lesser third and sLxth. 'llic concords are again divided into consonant and dissonant. The consonant concords are the perfect concord and its derivatives ; every other Ls a dLsso- nant concord. AVe apply the word concord also to the state of an instrument in respect of its tun- ing, as also to the agreement of two or more voices ; as when we say, " 'Hiat Instrument Ls not in concord," or "not in tune;" "Those voices do not concord," or " do not harmonize and agree." CONCORDANT. An epithet applied to all consonant or harmonious combinations. CONDUCIMENTO. (I.) A term answering to the wjo'je of the Greeks, the ductus of the Ro- mans, and signifying a melody, or succession of sounds, moving by conjoint degrees. CONDUCl'OR. A term applied to the pei-son who arranges, orders, and dii-ects the necessary preparations for a concert, and also superintends and conducts the performance. The duties of this oIKoe are well set forth in the following arti- cle from the " London Musical World." " A conductor's business at what Ls commonly called a ' Piano-forte Concert,' i. e., where there are merely two or three principal perfonners, and where the piano affords the only accompaniment to tl'.c vocal music, are light indeed, compared with those which involve tlie training and prac- tL-iing large numbers of vocalists or instrumental- ists, for concerts with a ' full band,' an ' efficient chorus," or, as in oratorios and operas, with both rorabined. I'he duties of a conductor become onerous in proportion to the number of those en- gaged in a performance, and the difficulty of the works to l)e executed ; and those fretiucnters of our ' grand ' concerts, who imagine that the conductor's business is confined solely to his use of the hAion, or to his performances at the piano, either as accompanist or soloLsf, are egrcgiously mistaken. The office of a conductor is, indeed, any thing but a sinecure. Tliose only have evw entirely succeeded, who have pnsse--sed qualifica- tions rarely found united in one man : — "1. It is absolutely necessary that the conductor •hould be a composer, in the full acceptation of the term ; one who can, if necis»sary, produce large and good works for band and chorus ; who can arrange task without touchiuR ft single ■wrong note ; or woe betide him froin the critics, great and small, prol'essinniil, newspaper, amateur, lady, iS.c. And be*;ides all thin, he must have magnanimity enough to KU])i)re:«s all display on the instrument, making his jiertormance wholly subsidiary to the vocalist, whom he must, nevertheless, support at all points, covering any failure with a shower of notes, while the artist revives again. " Hut all this, and more, are rcqiiired of those who a.«])ire to the ofhce of musical conductor ; and though few can lay claim to the numerous qualifications which I have but imperfectly enu- merated, still, it is to him alono who possesses the majority of these, to whom may, with saiety, be intrusted the highly-important office of musi- eol conductor." COXDUCTUS. (L.) A species of air much used in the time of Franco. Its particular style is not at present known ; but this circumstance was particular to it — that though, in every other kind of descant, some known melody wa.s chosen which governed the air originating from it, in the conditctiis the descant and the harmony were both of them new, and produced together. CONFORTI, GIOVAXNI BATTISTA, a pu- pil of Claudio da Correggio, published a book of madrigitLs at Venice in 15G7. CONFORTO, NICOLO. Composer of the opera " Antigone," which was successfully pro- duced in London in 1757. COXGREGATIOXAL SINGING. The ad- vocates of this kind of singing have English au- thority for attempting to introduce it into the churches in this countr)-. Li 1644 psalm singing in congregational form was established by the Assembly of Divines at \Vcstminster. They decided that it was " the duty of Christians to praise God publicly by singing of psalms together in the congregation ; the whole congregation may join, and all who can read shall have a psalm book. Rut for the present, where many in the congregation cannot read, the minister may read the psalm, line by line, before the singiiig there- of." Here we have not only old but good author- ity for congregational singing, and for lining or deaconing the hjTtiu. CON.R'NCT. (From the Greek.) A term ap- plied by the ancient Greeks to those tctrachords which were so di-.posed with respect to each other, that the last or highe-t note of the lower tetrachord was also the first or lowest note of the tt'trachord next above it. CONNOISSEUR. (F.) A person who pos- sesses a knowledge of the principles of composi- tion, or performance, and is a competent judge of musical etfect. COXRAD, J. G., published some preludes for the organ at Leipsic in 1798. CONR.VDI, JOIIANN GEORG, chapel-master at Deltiugen, was one of the first opera compo- sers for the Hamburg llieatrc in the years 1G91 — K>93. COXSECUrn'E. Tins term is applicable to any two chords, one of wliich immediately suc- ceeds the other. ITius, when any two combined M'lndA, which arc fifths to each other, are followed 2 by two other combined sounds, ako fifths to each other, such chords are called consecutive filths. COXSERVATORIO. (I.) The name given in Italy to the public music schools in that country. COXSERVATORY OF P-VRIS. Founded by Sarette, 179.i, and the expense paid from the public treasury, by decree of the convention. In 1800, Xapoleon fully developed the mstitution ; and Sarette continued director until 1814, when he was dismissed, and Cherubini ap])ointed in his place. At this institution vocal and instrument- al music, in all then- branches are, taught by the most distinguished practical performers. The length of study in every department is three years COXSERVATORY AT LEIPSIC. This in- stitution was founded in 1843, under the patron- age of the King of Saxony, and with the valuable cooperation of the chapel-master. Dr. Felix Mendelssohn Rartholdy. Its reputation spread so rapidly, both in and around Germany, that at the close of the first half year, it numbered forty- four pupils, thirty-tliree male and eleven fen.ale. At the commencement of the second term, the number had increased to sixty. These pujiils are _ attracted thither not only from all parts of Ger- many, but from Belgium, Holland, Denmark, Norway, Russia, England, and America. COXSOX'ANCE. Consonance, if wc are to deduce the definition of the word from its ety- mology, is the effect of two or more sounds heard at the same time ; but its general significa- tion is confined to coucording intervals. AVhen the inten-al of a consonance is invariable, it is called perfect ; and when it may be either major or minor, it is termed imperfect. CONSONANT. This word Is applied to those intervals which produce consonant concords ; i. e., concords composed of consonances only. CONSTANTINI, FABIO. A Roman composer of sacred vocal music about the year 1630. He also published a collection of the vocal works of the most esteemed masters of the preceding ages. CONTI, ANGIOLA, caUed La Taccarina. A much esteemed Italian prima donna about the year 1760. CONTI, GIACOMO. Chef-d'orchestre of the Italian Opera at Vienna in 1790. He composed much instrumental music. C0X"1"I, GIO^'ACHINO, caUcd Gizzieh, from his master Giz/.i, was a celebrated Italian singer about the year 17.50. He was engaged by Han- del for the opera in liOndon. Conti excelled in the pathetic. At the time he was in England he was a young singer, and so modest and ditfidcnt, that when he first heard Fariuelli at a private re- hearsal, he burst into tears and fainted away from despondency. (ii/.zielo narrowly escaped with his life during the earthiiuake which happened at Lisbon in 17.').5, and he was impressed with such religious awe on witnessing that tremen- dous calamity, that he retreated to a monastery, where he ended his days. CONTI, IGNAZIO. An It.ilian composer of dramatic music in the sen-ice of the Emjieror of Gennauy at Vienna ; his compositions nar da « from the year 1728 to 173S. CON ENCYCLOPEDIA OF MUSIC. COO CONTI, LAURA. A female Italian singer, educated at the conservatory of V (hpidaktto at Venice. Dr. Buniey was delii^hted with her taste and expression ; he heard her at Venice in 1770. She WU9 a pupil of Durante. COXTI, NICOLO. A composer of Italian Bongs about the year 1750. COXTI, FUAN'CESCO, a celebrated theorbist, born at Florence, was, upon the decease of Zinni, in 1703, appointed vice chapel-master to tlie Emperor of (ienuany, at Vienna. He composed an opera entitled " Arrhelas lit di Cappa'hcia," the words whereof were wTitten by Abbate I'ari- ati ; as also the opera of " ClotiUla," performed at London in the ycivr 1709. He was also the com- poser of various other dramatic pieces ; among which may be remarked the comic opera of " l)ou Quixote," said to be one of the tirst examples of good comic dramatic music, llie following anec- dote ot C'onti is preserved. In the year 1730, this musician, having been insultetl at Vienna by a secular priest, took satLsfaction on the spot, by beating the holy father. The transaction having been public, a criminal process was issued against Conti ; he was convicted, and an ecclesiastical sentence passed upon him, that he should be ex- posed for an hour, each of three successive days, at the great door of the cathedral church of St. Etienne. The emperor commuted the sentence to one instead of three humiliating exhibitions, to which he had been condemned ; but not having conducted liimself with sufficient humility on the first occaiion, he was ordered to suffer the remain- ing portion of his original sentence, by beine ex- posed on the other two days, dressed in a loose robe or shirt, and bearing in his hand a lighted torch ; to this was superadded a fine of one thousand francs, to be given to the priest who had been struck. All the expenses of the proceed- ings were ordered to be defrayed by him ; that he should be irai)risoncd four years ; and after that, banished forever from the Austrian dominions. COXTIXI, OIOVAXXL Chapel-master at Brescia, and composer of madrigals and sacred music, published at Venice between the years 1560 and 1370. COXTIXUATO. (I.) Held on. A term im- plying that any sound is to be continued, or sus- tained, witli an unvaried force or strength. Also, it sometimes means that a movement is to be performed tliroughout in equal time. COXTU.V-BASS. (I.) The lower bass. COXTRA-BASSO. (I.) The instrument called a double bass. COXTRALTO. (I.) Countertenor. A voice between the tenor and treble. See Counterte.nor. COXTRARY MOTIOX. ^Vhcn one part as- cends, and another descencLs, simultaneously, they are said to be in contrary motion. COXTRAST. Contrast, in music, is that op- position and relief produced by the difference of Btyle in the several movements of a composition ; or the chiara aicttra of the several passages in the same movement ; the alternate crescendos and di- minuendos, pianos and fortes, employed by the composer, to awaken the attention and interest the feelings of his audience. COXTRAPUXCKT. (G.) Counterpoini. COXTRAPUXTO. (I.) Counterpoint. 8e< that word. COXTR.VPUXTLST. A musician skilled in countcqjoint. See Counteiipoint. COXTRE-B.\SSE. (F.) A double bass. See DounLE Bass. COXTRE-D.\XSE. (F.) A dance so called, because the jiarties stand in pairs opposite to each other. See Coi'.ntrv Dance. COXTRIVAXCE. This word Ls applied to that branch of the science of composition which regards the disposition of the several parlJi with respect to each other. When the parts of a composition siny, or move smoothly, and at the same time harmonize well, reply to eadi othfr, take up the points adroitly, and mingle and mod- ulate with sweetness, Ircedom, and facility, they are said to exhibit a great deal of contrivance. COXVERSL or COX"VERSO, GIROL.VMO, born at Correggio, composed two books of mad- rigals, published at Venice in 1.575 and l.'iS t. Hi-i madrigal, " ^\'hen all alone, my pretty love," will ever be a favorite with the amateurs of this style of music. COOK, IIEXRY, was educated at the chapel royal, during the reign of King Charles I. ; but at the commencement of the rebellion he quitted it, and entered the army. About the year 1G4'2 he had interest enough to obtain a captain's com- mission ; and from that time he was always dis- tinguished by the name of Cajitain Cook, llie loyalty and skill of this musical soldier recom- mended him to the notice, and secured him the patronage, of Charles U., by whom he was not long al'terwartls appointed master of the children of tlie royal cliapel. A hjTun in four parts, comjiosed by Cook, was performed instead of the Litany, in the Chapel of St. (ieorge, at AVincLsor, by order of the sovereign and the knights of the Garter, on the 17th of April, IGGl. Xone of his cluirch mu*ic has hitherto been printed ; and, ii we may judge from liLs few secular compositions that are to be found dispersed in the collections of the times, he seems to have by no means pos- sessed the requisite qualitications for the high office to which he was appointed. In the second part of I'laj-ford's " Musical Companion," pub- lished in 10(57, there arc two or three of his songs, which are in almost every respect dry and unin- teresting. He was the musical instructor of Humphrey, Blow, and WLse : and, as Anthony Wood informs us, die*! of grief in the yeiu- 1()72, in consequence of the talents and musicai repu- tation of hLs pupil Humphrey ha\ing become far superior to his owni. COOKE, DR. BEXJAMIX, a celebrateil Eng- lish musician, was the son of Benjamin i "ooke, a music seller in Xew Street. Covent Oarden. About the year 1780, he was organi"t and master of the boys of Westminster .Vbbey. Dr. Cooke composed many bcuitiful vocal pieces; among which may be named the duets of " ThyrsLs when he left me," and " Lot liuhinelli charm the ear ; " also the glees, " Hark I the lark," " How sleep the brave," " In paper case," and " In tht merry month of May ; " the latter of which is an admirable imitation of the ancient madrigal stvlot 903 coo ENCYCLOPAEDIA OF MUSIC. COO Dr. Cooke had the character of a most amiable and njjrccable man. Mi«s IlawkinH, in her anec- dotes, says " Xo one was ever less vain of supe- rior excellence in an art, or, rather, less sensible of it, than Dr. Cooke ; he certainly supposed that every body could do what he did, ' il they vould but try;' and he would lend his abilities to assist, in the least ostentatious manner. When seated at the organ of ^^'c;itraiuster Abbey, where 110 one ever excelled him in accompanying an anthem, he would press every hand that could be useful into hLs service ; and, even at the risk of addressing hiineelf to persons ignorant of the first principles ot music, would say to any lad, ■who had strolled into the church, and found his ■way up to the organ, ' Young gentleman, caiVt you lend us a hand here r ' To hLs boys he ■would say, ' Coi.ie, come, don't stand idle ; put in one hand here under my arm.' " Dr. Cooke died in the year 1793. COOKE, ROBERT, organist and master of the choristers of Westminster Abbey, died in the year 1814. lie was a composer of some excel- lent vocal music. l"he most admu-ed of his works is, " An Ode to Friendship," which was sung on the first night of the British Concerts. Among his other works are, " In the rose's fra- grant shade," glee, four voices ; " Love and Fol- ly were at play," glee, four voices ; " Mark where the silver queen," glee, four voices; " Queen of the sea," " Round thy pillow," three voices ; •' Soft spirit," three voices ; &c., &c. COOKE, NATHANIEL, was bom at Bosham, near Chichester in 1773. He received the prLn- cii)al part of his musical education in London, from his uncle Matthew Cooke, organist of St. George's, Bloomsbury. N. Cooke published many small pieces for the piano-forte, some of which are particularly pleasing. lie further published " A Collection of Psalms and Hymns lor the Use of the Brighthebustoue Church Choir," wliich includes a well-constructed canon, "I have set God always before me," and a " Te Dctim laudumus," that was much admired at Brighton, having been sung in the church nearly every Sunday lor fifteen years. At the election of an organLst for the parish church at Brighton, though several candidates were put in nomina- tion, all the persons present, amounting to four hundred, with one exception only, held up their hands in Cooke's favor. COOKE, THOMAS, was bom in Dublin, about 178.5. Having evinced an early genius for music, he studied under his father, and at seven years of age played a concerto on the violin in public, ■with an etiect and precision hardly ever ecjuallod bj' so young a performer. . A talent for composi- tion soon appeared, when he had the advantage of further instruction in theory from the cele- brated Giordani, at that time resident in Dublui. No livini; musician had a greater knowledge than T. Cooke of the vario\is musical instruments in use, on nine of which he perl'onued solos for his benefit, in one night, at Drury Lane Theatre, and for all of which he wrote with much facility. At a very early age, T. Cooke succeeded to the di- rectorsliip and leading of the music at the The- atre Hoyal, DuWin. While in this situation he conipo-ed several musical pieces, wliich were eminently successfxil ; but the ambition of ardent geiiiuu in seldom at reat so long as theifC is any thing to attain ; and fo the surprise of all his friends, he suddenly announced himself in Dub- lin, to perform the arduous singing character of the Scraskier, in the " .Siege of ]5elgrade." The play-going part of the town knew not what to thiidi, not having the least idea of his possessing any vocal powers beyond those necessary to join in a glee ; but' it proved that he well knew his ground, for, to the astonijihment of a most bril- liant house, (it being his own benetit,) he acquitted himseli' in such a manner as at once to place him on the line of first-rate singers. After this suc- cessful dibut, he, at the request of the proprietors, played some nights more in Dublin, and soon afterwards, having occasion to visit London, he accepted a proposal from the jiroprietors of the English Opera, at which theatre he filled the sit- uation of first singer some seasons, during which time he composed many successful operas. This led to offers from Drury Lane, where he closed an engagement for a series of years as principal singer, and at which theatre he was engaged as musical director, leader^ and composer. Cooke was a member of the Philharmonic Society, of the Royal Academy of Music, of the Nobleman's Catch Club, and of the Glee Club; director, leader, and composer of the music to the Theatre Royal, Drury Lane ; and princi])al tenor singer to the Bavarian legation, at their chapel in Warwick Street, &c., &c. His principal compositions are the operas " Frederic the Great," " llie King's Proxy ; " overtiire to " Maid and Wile ; " glees, songs, &c., and the " Scale, with fifty-seven Vari- ations, for youjig Performers on the Piano-forte." Cooke married MLss IloweUs, smger at Covent Garden, and had several children, who became distinguished in music. In Loudon he went by the name of " Tom Cooke." COOMBE, WILLIAM FRANCIS, was bom at Plj-mouth, in Devonshire, in 1786. He began his musical studies under his father, a professor of singing at Ph-mouth, in which town he sang at the early age of nine years, on occasion of some oratorios being given, at which the principal London performers were present. He next stud- ied mxisic under Churchill, and a short time with Jackson, of Exeter. At the age of fourteen he was apj)ointed organist of Chard, in Somerset- shire, afterwards at Totness, in Devonshire, which situation he held for nine years, subsequently re- moving to Chelmsford, in Essex, where he held the organist's place eleven years. Having been much engaged in teaching, he had but httle time for composition. lie has, however, published a few sonatas, fie, chiefly for the use of his pupils. COOMBS, JAMES MORRIS, bom at Salisbury in 1760, was admitted a chorister in the cathedral, and received his musical education from Dr. Ste- phens and Mr. Parry. At an unusually early period of life ho composed and jiublished a " Te Dviiiii," which was much admired for its origi- nality, and is still occasionally performed in vari- ous cathedral churches. In 1789 he was ap- pointed organist of Chijjpenhara. He afterwards published several single songs, glees, a set of canzonets, &c., many oi which were very popu- lar. In 1819 he edited a selection of psalm times, which is very highly ajijiroved of, and -has an extensive circulation. His last attempt in com- j)Osition was an ".Iv"'" Dei," deemed particu- larly beautiful. He died in the year 1820, agec fifty-one. 224 «30P EXCYCI-OP.T-DIA OF MUSIC. COR COPEUAllIO, or COOl'ER, JOHN, a cele- brated perlormer on the viol da i/amba, and com- poser lor that instrument and tlio lute, wa« one of the musical preceptors to the cliildrcn of Kinp; James I. Some of his vocal compositions are to be found in Sir William Leighton's collection, and there arc several others extant in manuscri])t. In conjunction with Lanicro and another person, he composed the sonj^s in a mask written by Dr. Campion, on the marriage of the Earl of Somerset with Lady Frances Howard, (the di- vorced Countess of Essex,) which was represented in the banciucting house at N\"hitehall, on St. Stejihen's night. Kill. One of the songs in this ma.sk, beginning with the words " Come ashore," Is inserted in Smith's " Musica Antiijua," as a f pi? imcn of the music of this composer. ( 'o;ist at Paris, publLshe in a very fiourishing state at Rome, and Corelli led the band as principal violin. His solos, the work by which he acquired the greatest reputa- tion during his lifetime, did not appear till the year 1700, when they were publishe«l at Rome under the follo>ving title : " >*>iitjie A J'inlino, e I'io- ion*, o Vemhain, ^H'ra Qiiinta, Parte Prima ; Parit Secnnda, Preludii, Allrmandt, Correnti, Giijhi, Sara- bande, Camlte, e t'oliin." lliLs work was dctli- catod to Sophia Charlotte, Electresa of Bnuiden- burg. Corclli's great patron at Rome was Cardi- •Z9 225 COR ENCYCLOr.'EDIA OF Ml) SIC. COH dhI Otloboiii, the (jreat cncouraf^cr of learning and tlio polite arts ; to wlioiu, in 1094, he dcdi- euted Ills " Oprra Qiiinta," and in whose palace He constantly r€^ii(led, " ml spctiosa carattire <)' oltii- alf trrritore " of his eminence, as he expresses liim-^elf in the dedication. Crcscimbeni, spenk- ing of thesiilendid and majestic aaulimir, or con- cert, held at Cardinal Ottoboni's every Monday evenini;, says, that the perfonnnncc was regulated by Arcan'^clo Corelli, "that mo^^t celebrated pro- fessor of the violin." The fr)llowins anecdotes of this eminent musician were comra\inicntcd by (icminiani, one of his most illustrious pupils, an'', who was himself an eye and car witness of what he thus related. At the time when Corelli erjoyod the highest rejjutation, his fame, having reviched the court of Is'aplcs, excited a curiositv in the kin;; to hear his ]ierformance ; he was con- Bcquently invited, by order of his majesty, to that capital. Corelli, with f^reat reluctance, was at length prevailed upon to accept the invitation ; but, lc--t he should not he well accom])anicd, he took with him his own second violin and violon- cello. At Naples he found Alessandro Scarlatti and several other masters. He was entreated to play some of his concertos before the king ; this he for some time declined, on account of his whole band not being with him, and there was no time, he said, for a rehearsal. Although, however, he consented, and in great fear per- formed the firt of his concertos, his a^onishmcnt was very great to find that the Neapolitan musi- cians executed Ixis productions almost as accu- rately at bight as his own band after repeated re- hearsals, when they had almost got them by heart. " .*^i suona (says he to Matteo, his second violin) h NapoU." After this, being again admit- ted into his majesty's presence, and desired to perform one of his sonatas, the king found an ndagio so long and dry, that, being tired, he quit- ted the room, to the great mortification of Corel- li. Afterwards he was desired to lead in the per- formance of a mask, comi)osed by Scarlatti, which was to he represented before the king. ITiis he undertook ; but from Scarlatti's little knowledge of the ^^olin, Corelli's ])art was some- what awkward and difficult ; in one place it went up to I", and when they came up to that passage, Corelli failed, and could not execute it: b»it he was astonished beyond measure to hear Petrillo, the Neapolitan leader, and the other violins, per- form with ease that which had l)aflled his utmost Kkill. A song succeeded this, in C minor, which Corelli led ort' iii C major. " Riromincinmn," (let us begin again,") said Scarlatti, good natured- ly. Still Corelli persisted in the major key, till St-arlatti was obliged to call out to him, and set him right. So mortified was poor Corelli at this disgrace, and the deplorable figure he imagined he had made at Naplo, that he stole back to Rome in silence. Soon alter this a hautboy (ilayer, whose name tleminiani could not recol- lect, acquiied such applause at ){ome, that Corel- li, disgusted, would never again iilay in public. All these mortifications, joined to the success of Valentini, whose concwtos and i)erforraances, though infinitely inferior to those of Corelli, were becoiuc fashionable, threw him into such a state of melancholy and chagrin, as was thought to have hastened his death, 'llus ai\'<)unt of Corelli's journey vo isnples is not a mere personal anec- dote; it thrv wh Iijht upoii the comparative state of music at Naples and at Rome in Corelli's time, and exhibits a curious coiftrast between the fierv genius of the Neapolitans, and the meek, timid, and gentle character of Corelli, so analogous to the style of his music. In 171'2 his concertos were beautifully engi-aved at Amsterdam, by Es- tienne Roger and Michael Charles Ic Cene, and dedicated to John William, jirince palatine of the Rhine; but, alas I the author sur\-ived the publi- cation of this admirable work but sL\ weeks ; the dedication bearing date the 3d of December, 17r2, and he dying on the 18th of January, 171o. He was buried in the Church of Santa ilaria Delia Rotonda, the ancient Pantheon, in the first chapel on the left hand of the entrance of that beautiful temple, where a monument, decorated with a marble bust, Ls erected to his memory, near that of the greate.it of painters, Raphael, by Philip AVilliam, count ))alatine of the Rhine, under the direction of Cardinal Ottoboni. Dur- ing many years after Corelli's decease, a solemn ser\-ice, consLsting of selections from his own works, was peiiorraed in the Pantheon, by a numerous band, on the anniversary of his funeral. TliLs solemnity continued as long as any of hLs immediate scholars sur\'ivcd to con- duct the performance. Of the private lL''e and_ moral character of this celebrated musician no new information can now be obtained ; but if we may judge of his equanimity and natural dispo- sition by the mildness, swcetnei-s, and even tenor of his mttsical ideas, his temper and talents must equally have endeared him to all his acquaint- ance. The account that is given of his ha-\-ing amassed six thousand pounds, exclusive of a val- uable collection of pictures, and of his having bequeathed the whole of his property to his pa- tron. Cardinal Ottoboni, savors more of vanity than true generosity ; and the cardinal magnani- mously evinced his opinion of thb beque.-it, by re •■er\-lng only the pictures, and distributing the remainder of Corelli's effects among his indigent relations, to whom they naturally appertained. In regard to the peculiar merits of Corelli's pro- ductions, it may be briefly said, that his s^km, as a classical book for forming the hand of a young practitioner on the violin, have ever been regarded as truly valuable by the most eminent masters of that instnnnent ; and it Ls said that his " Opera Qiiinfa," on which all good schools for the violin have since been founded, cost him three years to revise and correct. Tartini formed all his schol- ars on these solos ; and Giardini observed, that of any two pu))ils of equal age and abilities, if the one were to begin his studies by Corelli, and the other by Geminiani, or any otlier eminent master whatever, he was certain that the first would become the best jierformcr. llie concer- tos of Corelli have withstood all the attacks of time and fa.shion with more firmnc-s than any of his other works. The harmony is so pure, the part.s are so clearly, judiciously, and ingcnioiLsly disposed, and the eff«H-t of the whole, fiom a large hand, so majestic, solemn, and sabliiue, that they preclude all criticism, and make us forget that there is any other music of the same kind exist- ing. Geminiai\i's character of Corelli, 'upon tie wliole, seems very just : " His merit was not depth of learning, like tliat of his contomj)orary, Ales- sandro Scarlatti, nor great fancy, or a rich inven- tion in melody or harmony, but a nice ear, atid most delicate taste, which led liiin to select the 22C COR EXCYCLOP.-EDIA OF MUSIC. COR most pleasing melodies and harmonics, and to construct the part so as to jjroduce the most delightful crtect upon the ear." At the time of C'orelli's grealost reputation, Ocrainiani aiiked Scarlatti wliat he tliought of him, who answered, that " he found notliing greatly to admire in his composition, but was extremely struck with the manner in which he played his concertos, and his nice management of his band, the uncommon ac- curacy of whose perfonuancc gave the concertos an amazing eflcct, even to the eye as well as to the ear." For, continued ( iemininni, " Corelli regarded it as an essential to a band, that their bows should all move exactly together, all up or all down, so that at his rehearsal, which con- stantly preceded every public perionnance of his concertos, he would immediately stop the baiid if e saw an irregular bow." 'llicre was little or no melody in iustrumental music before Corelli's time ; and though he has more grace and ele- gance iji his cantUena than his predecessors, and Jiough slow and solemn movements abound in iiis works, yet it must bo coufe-^sed they are des- titute of true, j)athetic, and impassioned melody. However, when we recollect that some of his productions are upwards of a hundred and fifty years old, wc shall, in spite of this deficiency, ad- mire and wonder at their grace and elegance, which can oidy be accounted for on the principle of their ease and simplicity, which have conferred longevity on the works ot Corelli. His jiroduc- tions continued longer in unhiding favor in Eng- land, where they still retain a considcndilc por- tion of esteem, thou even in his own country, or indeed in any other part of Europe. They have, however, been compelled to submit to the sxipe- rior genius and talents of Haydn, Mozart, Ueet- hoven, and Cherubini, who, in the ideas of the generality of musical readers, will probably, and perhaps justly, be considered to have left at an immeasurable distance the comparntively humble efforts of their laborious predecessors. CORFE, JOSEPH, bom at Salisbury in 1710, was one of the choristers of the cathetlral of that city, and received his musical cflucation from Dr. Stephens, the organist. Early in lil'e Corfe was honored with the patronage of James Harris, Esq., grandl'atb.or to the Earl of Malmcsbury, by whose friendship he was recommended to tlie notice of IJi^hop Lowth, which procured for him, in 1782, the appointment of one of the gentlemen of his majesty's Chapel Royal. In 1792 be was elected, by the dean and chaj)ter of Salisbury, orsjanlst of that cathedral and master of the choristers ; which situation he resigned, in 1S04, to his son Artluir. Few men stood higher, both in public and private estimation, than Corfe. His compo- sitions are chierty for the church, and his morn- ing and evening service, with many excellent an- thems, are in constant use at Salisbury and other cathecbids. He died in 1820. 'ITie following is a list of his publications : " A Morning and Even- ing Sen-ice, a Sanctus, with eight Anthems, ded- icated to the Dean and Chapter of Sali>bur)-," 1 vol. ; " A Treatise on Singing ; " " A Treatise on niorough Bass ; " " Tlie Beauties of Handel, detlicated to his late Majesty," 3 vols.; " Sacrecl Music, adapted to some of the choicest Composi- tions of Jomelli, Pergolesi, S:c., &c., by the late James Harris, R«q., dedicated to the Earl of Malme.^bury ; " "llie Beauties of Purcell, dedi- cated to >Iis5 S. Beckibrd," 2 vols. ; " Three Sets of Glees, from Scotch and other Melodies ; ' " The Second Volume of Kent's Anthem* ' CORFE, ARTHl'R THOMAS, son of tl e pre- ceding, was bom at Salisbury in 1773. He was placed as chorister at Westminster Abbey in 17S3, and received his musical education from Dr. Cooke; he alterwards studied the piano-forte under Cleraenti. In ISOt he was elected organ- ist and master of the choristers of the cathedral of Salisbury. Mr. .\. T. Corfc's compositio)is art a " Te Diitnt," " Ju'iihile," " Saiutii.i," and " Com- mandments ; " an anthem, " Lord thou art become gracious," for a counter tenor ; the Ordination Hymn, from Handel's Works; and also several piano-forte pieces. CORKIXE, WILUAM. An English composci of " Au-s to sing to the Lute and Ba.ss Viol," published at London, iu two volumes, in 1010 and 1012. CORXAMUSA. Ilie old name of the bag- pipe. See Corxmuse. CORXE DE CIIASSE (F.) French horn. Sec Hoiix, FuE.NCH. C:ORXET A PISTOXS. (F.) A species of trumpet with valves. CORXET. A wind instrument now but Uttle known, having more than a century since given place to the hautboy. Ihere were tliree kinds ol comets — the treble, the tenor, and the bass. The treble and tenor cornets were simple, cur\'ilineal tubes, about three feet in lengtli, gradually in- creasing in diameter from the mouthi)iece to- wards the lower end. The bass comet was a serpentine tube four or five feet long, and increas- ing in diameter in the same manner. Thougli the tone of this instrument was naturally ])Ower- ful and vehement, yet in skiltul hands it was cajiable of becoming both solt and sweet. Tb.o name cornet has more recently been given to a species of trumpet, much used in the briuss bands of our day. CORXETTIXO. (I.) A small or little comet the diminutive of cornet. The word cornettino la also the appellative for an octave trumjiet. CORXISHE, ^^^LLL\.M. Composer for the Chapel Royal in the time of Henry VU. CORXMUSE. Tlie name of a horn, or Cor- ni-*h pi) e, formerly much in use, and blown like the bagpipe. COltXO. (I.) A French hom ; plural oonu. CORXO 1)1 BASSETTO. (I.) A basset horn. CORXO IXGLESE. (L) English bom. A reed instrument related to tlie hautboy, but of a deeper pitch. CORO. (I.) A chorus or piece for many voices. COROMEIOX. (From the (Jreek.) A brazen bell, much used by the ancients. COROXATA. The Italian name for pause. CORR.VDIXI, XICOLO. Organist and rom- poser at Cremona. His " Canstni Frattoai" weit published at Venice in 1621. 227 COR ENCYCLOPyEDIA OF MUSIC. COB COIIREGIO, CLAUDIO, pubEshed some mad- ngaLs nt Veuii'e in luOG. CORRI, DOMIXICO, an Italian composer, lesidcnt in London, was a pn])il of Porpora at Naples irom the year \7(>'-i till Porpora's death, in 17()7. Corri went to London in 1771, and the isme year ])ioduced an oj)era entitled " Alfssan- dro neir Indie ; " but Lis name was not sufHcicntly blazoned to ^ive liis opera mucli iriat, or indeed to excite the attention it desen-cd. In 1788 Cor- ri published three volumes of English sonf^s, with ori;iinal accompaniments — a work which was moderately successful. About the year 1797, he en'crcd into partnership with Dussek in a music wiirchou-e, where he published a great deal of Ids own and other music ; but the works by which he is chiefly known In England are his opera of " The Travellers," and a treatise on singing, in two volumes, callorl " The Singer's Preceptor." He was father of Antonio Corri, of New York, Haydn Corri, of Dublin, M. Corri, of Manchester, and al-'.o to Mrs. Moralt, late Mrs. Drussek. CORRI, MONTAGUE, second son of Domi- nico Corri, was bom in Edinburgh about the year 1785. At an early age he was taught fen- cing by Mr. T. Angelo, and became unusually expert at it when only ten years old. As all his family were musical, it was intended he shoiild be brought up to the same profession ; but liis inclinations lending him to jncl'cr painting, for which he also showed a talent, some family dif- ferences took place, which occasioned his sudden- ly leaving home and entering the sea service ; he soon, however, became tiied of this liie, and re- turned to his family, where, on approaching the age of nineteen, he began to reflect that he must depend entirely on himself for support, and flow with avidity to music as his last resource. M. Corri may be said to have been ahnost sdf-taurjht in music, never having received more instruction than six lessons from his father, twelve from his mother, and a few occasionally from Winter and Steibelt on comi)osition ; whatever fiu-thcr knowl- edge he derived was from reading over the scores of the most celebrated comjiosers. His career in instrumental practice was soon 8topi)cd, first by an accidental wound in his head, and soon after by the complete dislocation of one of the fingers of his right hand, which prevented him from playing on the piano-forte. Composition and the arrangement of instrumental music, both for theatres and military bands, then became his only means of support, and in this branch of business his expedition was wonderful. He was first employed at the Surrey Theatre as comi)oser and comjjiler of the music. As an iristnnce of his quiikness and cleverness in theatrical busi- ness, we will relate the following two anecdotes : he once received the words of two songs in the morning, both of which were sung the same evening in a tl;eatre. At another time Mr. Lis- ton had advertised "The Forty Thieves" for his benefit at Covcnt Giirden ; but on the Saturday pre- vious to his benefit, which was to happen on the following Tuesday, it was found that tlie orchestra parts were not to be had, they having never been reset since the fire of Drury Lane 'llicatre : thus circumstanced, M. Corri was named as the person most likely to replace them. On Sunday he wns Bcut for, and after reflecting a little on the diffi- culty of the undertaking, ultimately agreed to do 2 it. He commenced on Monday morning, without giving himself time to make the score, to write the wliole of the parts for the different instru- ments from a piano-fonc copy, and contrived to be prepared for a half band rehearsal on Tuesdaj morning. During the rehearsal, he quitted the hou'^e tor rest and refreshment for an hour, and immediately alter proceeded with his work, which he entirely completed, without an error, by eight o'clock that evening. Corri's next engagements were at Astley's and the Coliourg Tlieatre till tlie year 1816, when he was appointed chorus master at the English Opera House. About 1817 he was engaged by his uncle to manage his Panthe- on at Edinburgh. On hLs return, he arranged some music for regimental bands, at Xewcastle- upon-Tyne ; and then took his passage from Shields to I/Ondon, on board a Dutch trader, which was wrecked. After many hard-shijis, Corri and the rest of the crew were taken up from the long boat by a collier, and he arrived in Gravesend, having lost every thing he possessed, except the clothes on his back and a few pounds in a pocket book which he had tied round his neck, .^fter this period, he residetl alternately at Manchester and Liverpool, occasionally employed at the theatres, and giving instructions in fencing. CORRI, X.\.TALE, brother of Dominico Corri, was a singing master of reputation at Edinburgh, where, for many years, he gave public concerts and other musical entertainments. N. Corri has publislicd several books of Scotch songs, also some Italian chamber music. CORRI-PALTOXI, MME. F.\^"XY, daughter of Xatale Corri, was bom at Edinburgh in 1801. Iler earUest instructor in singing was her father; but she was early placed under the tuition of Braham. She subsequently made a long tour in company with Madame Catalani, during which she must have heard most of the principal singers in Europe. At the age of seventeen she was in- troduced to the English public at the King's Theatre, where she undertook several arduous characters as prima donna. The editor of the Musical Review, in speaking of ML«s Corri's singing, observes, that " no auditor would listen for five minutes to her si'iging without pronoun- cing. This is the manner of Catalani." In 1821 she went to Germany, where she had small suc- cess ; and from there to Italy, where she married a singer by the name of Paltoni. Li 1825 she had actjuired considerable reputation at Pologna. Two years afterwards she was called as prima donna to Madrid ; then, in 1828, she sang at Milan with Lablache. In 1830 she returned to GjwTiany, and was afterwards in Russia. CORRI, MISS ROSALIE. Younger sister of the preceding. She sang at the oratorios in Lon- don in 1820 and 1821, had a good voice, a);d much of the delightful execution of her sister. CORTECCIA, FR.VXCESCO, an eminent Italian orgauLst and composer, was chapel-master during thirty years, to the Grand Duke Cosmc II. He published at Venice, 1.5G6, madrigals, motets, and some sacred music. He died in 1581 A copy of Corteccia's madrigals Ls preserved ir the Christ Church collection, at Oxford. CORTOXA. ANTOXIO. A Venetian dramat- ic composer about the middle of the last century. CORVPII.EUS. The name given by the ai> 23 COS ENCYCLOr.-EDIA OF MUSIC. COL cient Greeks to the conductor, chief, or leader of their cliorus, whoso office it was to beat the time, Bud to direct and reguhite every thing couccniing the perfonnancc. COSIMI, XICOLO. A lloman composer and violinist. lie was in England in 1702, when he published twelve solos for th« violin, which have considerable merit for hLs time. There is ii me/,- 7.otinto print of this musician, engraved by J. Smitli I'rom a picture of Sir (jodfiey Kncller. COSTEI.EY, WILLIAM, of Scotch origin, was organist and valet tie chambre to Charles IX. lie wrote on music in 1570. COSYN, an English musician, published, in 1585, sixty psabns, in six parts, in plain couuter- (oiut. COSYN, BENJAMIN, a celebrated composer of ' Lessons for the Hari)fiichord," and probably an excellent performer on that instrument, flour- ished in the first half of the seventeenth century. There arc many of his lessons extant, somewhat in the same style with those of Dr. Bull, and in no respect inferior to them. COTILLON, or COTILL. A Uvely, animated dance, generally written in six quavers in a bar. COUCHED HARP. Tlie original name of the gpinet. See that word. COULE. (F.) A group of two notes con- nected by a slur. COUNTER. See Alto. COUNTER BASS i.s a second bass, where there are more than one in the same performance. COUNTER FUGUE. A fugue in which the subjects move in contrary directions. COUNTER TENOR. One of the middle parts, so called because it is, as it were, opposed to the tenor. COUNTER TENOR CLEF. Tlic name given to tlie C clef, when placed on the third line, in order to accommodate the counter tenor voice. COUNIEU TENOR VOICE. Ui,,h tau>r. A tcnu apiilicd to tl'.e highest natiu'id mide voice. See VoicK. COUNTERPOINT. The combination, and modulation of sounds either consonant, or allow- ably discordant. This brunch of niu-iciJ prac- tice derives its name from the jtoint.s fonnerlv cm- ployed in conjposition, instead of notes, and may be understood, jioiiit wjainst jmint, or note anainst notf. This was the primitive state of counter- ;)oint, which has since been called jjliiin or simple counterpoint, in contradistinction to tl-.c modern tig'irecl or florid couuteri oint, in which, for the purpose of beiiutifyiiig the melody, and enriching the general elfect, many not»»s in succession ore fre,een laid down for the composition of a country dance, nor is it, indeed, confined to any particular measure ; so that any common song, or tiuie, if sufficiently cheerful, may, by adoption, become a country dance. See Contuk Danse. COUPERIN, ARMAND LOUIS, son of Nich- olas Coupcrin, chamber musician to the Count of Toulouse, was organist to t!ie king, and to scvenil churches in Piuris. lie composctl some instni- mcntid and church music, and was much cele- brated for his skill on the organ and haq>sichord. He died in 17S".>. Dr Bnrney heard him jx'rform on the organ at Paris in 1770, ai\d considered liim as a great player. COUPERIN, FRANCOIS, organist and cham- ber musician to I^uis XIV. and XV., was a fine perfonner on the harjisichord, and comixitcd for tluit instrument an idlcmandc entitled " Lea Idies heurcttscf," which may lie seen in the tirst volume of Sir John Hawkins's History, p. 48. Coujx-rin died in 173.3. COUPEiaX, GERVAIX FRANCOIS, ton of the precetling, 8ucceede.>7, was the son ot an eminent musician of Prcs^burg, iu Hungiirr. Itcing ini- tiated by his fi.tlicr into the nidimcnta of ntiudc, 229 CIIA ENCYCLOPAEDIA or MUSIC. CRA and iilso into ilic praclicc of coniijoiiition, lie trav- tUcd for iiuprovoiufnt into France, and at Paris became a ftt\orite of I,ulli, and was by him as- ei.stcd in the prosecution of his studies. After a Htay of six years at Paris, Cousser visited Germa- ny, and intriiduced there tlic Italian method of sin^;in;;, to wliidi the Oennans had hitherto been htran^ers. About the year 1700, he \'isited Itiily, making two journeys thither in the course of five years. Upon his la,-t return to Germany, not re- ceiving that encouragement wliich he thought due to his merit, he quitted that country, and went to England, and, settling in London, became a private teac!>.er of music. In the year 1710, he uent to Ireland, and obtained an emplojnnent in the catheib-al cliurch of Dublin. Cousser com- piscd several operas and other vocal music. lie died ai Dublin in the year 1727. CUAMEll, AVILLIAM, born nt Manheim about the year 1730, was an excellent violinist, celebrated for his fire, tone, and certiiinty of touch. He is said by the Gennan writers, to have united in his placing the brilliancy of Lulli with the expression and energy of Benda ; he was consid- ered as the first \'iolinist of liis time in Germany, Kiid was employed at the chapel of the elector palatine, at ^Ianheim, from 1750 to 1770. In the latter year he went to EngLind, and was nomi- nated chamber musician to the king, and likewL^e appointed leader of the orcliestra at the Opera, and a few years alterwards leader at the Ancient Con- certs. It was Cramer who, in 1787, led the or- chestra of eight hundred musicians, at the com- memoration of Handel. He died in ISOo. W. Cramer composed and published much music for the violin. CRAMER, JOHN BAPTIST, son of the pre- ceding, though born in Germany, went to Eng- Itind wth his father at a very early age. With a Ptrong natural genius for music, it could not be long before young Cramer's progress in the art gave to his friends the promise of future excel- lence. Surrounded also, as he was, by the most eminent musical circle then resident in England, lie liad every opportunity of forming his taste on the best models. Still, it is said that the ^^oUn, to the perfonnanee of whicli instrument the father wished to direct his son's talent and taste, was never sufficiently admired by young Cramer to draw forth the latent jwwers of liis genius, and it was not till he was discovered, when about six years old, to take every opportunity of practising privately on an old piano-forte, that his friends perceived the true bins of liis mind ; shortly after which, his father apjjrenticcd him for three years to a German professor of that instrument, by the name of Bcnser ; his next master being Schrocter, and his third, though only for the short terra of one year, tlic celebrated Clcmcnti. Cramer, on the completion of his tuition, had arrived at the ago of thirteen, wh.cn, after another year's assidu- ous practice Irom the works of the best masters, his fame as a performer began to spread througli the metropolis, and he was in%'ited to play in pub- lic at several of tl.e liret concerts, wl ere he aston- ished the most judicious audiences by liis preco- cious brilliancy of touch and rapidity of execution. At the same time he studied the theory of music under C. F. Abel. The father and son may he con- lidercd as having been at this jieriod two of the first instrumental perfonuers in Euioih.' ; their as- sistance was anxiously sought for in every orches- tra of importance throughout the kingdom ; and it was not long after this time, that W. Cramer, who had for several years been chcf-dorclieitre at tlie Ojiera, w;is appointed to lead at one of the commemorations of Handel in AVestminster Ab- bey ; a professional honor of the very highest de groe to which a violinist could aspire, and to which no one could have done greater justice. It should be recollected that the voc;d and instru- mental band on that occasion consisted of above eight hundred performers ; and it is well known tliat London could then boast of many excellent violinists, all of whom readily ceded their claims to Cramer, Sen. We believe th.at the son was in that year on the continent ; at all events the char- acter of his instrument was such as to render his professional assistance \iseless on the occasion, lie was about seventeen years of age when he went to various parts of the continent, exerting his talents in several of the capital towns, in such a manner as to attract the attention of all ama- teurs of the piano-forte. His return to England took place about the year 1791, previously to wliich period he had become known as a comjxiser by several operas of sonatas, published at Paris. A few years afterwards he again went abroad, and proceeded as far as Vienna and Italy. At Vienna he renewed his friendship with Haydn, wlio, when in England, had evinced great partial- ity for him. On his again revisiting England he married. J. B. Cramer's eminence as a teacher as well as jKirformer has long been established in London, and his " Instructions " and " Studies " for I'.is instrument are considered as among the best in Europe; the former work has gone through several editions. Tlie "Studies" are works displaying a great versatility of taste, and fully answer the purposes for which they were \\Titten. Various passages m them, as indeed in many of the other works of this master, remind one forcibly of the harmony of Sebastian • Bach ; this is, indeed, the less remarkable, as the works of that great master and his family are said to have received the strictest attention Irom Cramer, in the earlier portion of his professional career. Well indeed would it be for various professors of the present day, had they laid the foundation of their music.d attainments on so firm a basis ! The neglect of good models is probably the source of all musical defects. " How many a mu- sical genius," says Forkel, "has been cramjxjd by the deficiencies of the music master, who, that he may maintain his own credit, cries up and recom- mends studies to his pupils, comixjsitions within the reach of his own limited tiJcnts, whilst the sublime effusions of a Bach are decried as obso- lete and whimsical, 'est, if produced, it should be discovered that t)i' master can neither play nor even comprehend their beauties ! " Thus niaiiy a pupil is obliged to spend his time, labc, and money in useless jingle, and in a half f. dozen years is, perhaps, not a step larth.er advanced in real musical knowledge than he was at llie be- ginning. With better instruction h.e would not have wanted half the time, trouble, and money to be ])ut into a way in which he might have safely and progressively advanced to perfection in his art. " It is certain," continues Forkel, " that if rausie is to remain an art, and not to be degraded into n mere idle amusement, more use must be made of classicid works than lias been done for some tiiuf 230 ■JR. ENCYCLOP.EDIA OF MUSIC. CKA ptust. IJiich, as the first classic in music that ever lived, or pc'rhaiyH ever wll live, can incontcstahly IXTlbrm tl'.e most important wor\-ices in this respect." A jKTsoii wlio has lor some time studied his music must (as is proved by the writings of J. B. Cra- mer) readily distinguish mere jingle from real harmony, ai\d will show himself a good and well- j informed artist in whatever style he may subse- ; (juently adopt. 'We conclude by a few remarks on the style of composition and performance of this eminent master. " If music be a language," says an eminent contemporary writer, — " if it be, moreover, the language of the passions, as authors have dcscrilx;d it, — we must not, therefore, imagine that sounds convey only sentiment, raise only retinf-^ emotions, or excite only imjiassionate feel- ings. Music has a phraseology as varied, and perhaps even more diversified than words can as- sume ; an'ing to any other scn.se than our hearing any jX'culiar ex- citement, tlicre are, among the few, men who sel- dom write a pa-ssage that is not remarkable for some pjulicular beauty. It is therefore sufficient- ly jierceptible. that natural aptitude and cultiva- tion arrive together, at last, to a perfection anal- ogous in the a:;similation of its object-s to th.at which marks wliat is called fine taste in conver- sation and manners. Language defines the thought preci::ely. Music, on the contrary, ad- dresses a whole cla.ss of perceptions. A certain scries of notes wiU excite our sensibility to a general but undefined feeling of grandeur, or pa- thos, or elegance, without, perhaps, producing one single perl'ect image — emotions merely ; yet it is obvious that these emotions attend as cer- tainly on pas- age~i of a given kind as definite ideas are conveyed by a particular set of words. It happens, th.en, that there is the same choice in musical as in conversational phraseologv ; and we apprehend that elevation and polish are attained by the same means in the one ca- c as in the other — by a naturally delicate ai)i)rehen:-ion, by memo- n,', by a power of a;isimilating what is great or elegant, by a diligent study of the best models. At this perfection J. H. Ciamer seems to have arrived. Seldom, indeed, is it, that we meet with a weak, insijiid, or coar- e pa-^sage in his writings. If he employs those which are common or famil- iar, he interweaves them so jiidiciously with more groccfu! notes, he varies his exjiression so con- tinually, dwells for so short a time ui)on any single expedient rf the art, ojipo-^es the members of his musical s( nfences, and even whole sen- tences with such judgment, throws in such strong and ' ivid lights of fancy, modulates with such skill, and lay- lis foundation of harmony in a manner «o ma-teily, that they who do and they who do not understand the contrivance and ehib- ontion of all this complex, yet apparently natu- ral order, feel alike the sweetness and etlci't, are alike agitated by the varying sensations*. With the exception of ( lementi, we know of no com- poser who has so universally succeeded. .Vnd yet, if we were desired to point out the reason of the xmiversal ])leas\ire his comjiositions bestow, we should -say, after all the attributes we have already allowed to belong to this author, that the ■ptind source of delight has not yet been men- tioned. This grand delight is melody. This is .he never-ceasing charm." No words can possi- 23 bly give n more just idea than the above f *" the causes of the pleasurable sensations derivable from melodious m\isic ; also of tlie ))eeuliaritier of merit in the compositions of J. 11. Cramer With respect to the talent of this master as a pi- anist, we need only say that, by the willing acqui- escence of the capital, every i>iof(?ssor yielded to him the jialm, not indeed in velocity of finger, but in brilliancy of touch and genuine taste. The following eulogium of his perform- ance by a contemporary writer is by no means overcharged. " As a ])erfonner on the piano- forte, Cramer is unrivallee necess.ary pro- gressive gradation, has comi)o-ed the remainder of the lessons." We are oxirselves convinced that the foregoing idea of Cramer is founde»onatas,'" dedicated to Muzio dementi. 8. " Two !^." 9. "Thre« Sonatas, with Accompaniments." 10. "Concer- to', with Orchestral Aceompaiiimcuts." 1 1. "Thre* 1 ;RA ENCYCLOPAEDIA OF MUSIC. CRA Sonatas." I'i. "Three Souatas, with popubir Airs." m. "'Iliree .Sonatinas." 11. "ITiree Sonatas," (easy.) 1.5. "Tlirec Sonatas," (easy.) I(). "Concerto, with Orchestral Accompani- rucnts." 17. " Miirches niul Waltzes." 18. " 'lliree Sonatas, with Accompaniments." 19. "'Diree Sonatas," (easy.) 20. "Sonata," clecli- rated to Clemcnti. 21. "Two Sonatas," (easy.) 22. " Tliree Sonatas," dedicated to J. Haydn, Vienna. 2:5. "Three Sonatas," (easy.) 24. "Duet for two Grand Piano-fortes." 26. "Three Grand Sonatas." 2'i. " Concerto, with Orclies- tral Accompaniments." 2". " Two Grand .So- natas," London and ParLs. 28. " Quartet lor I'i- ano-forte, Violin, Tenor, and Violoncello," Lon- don and Vienna. 29. " Three Grand Sonatas," dedicated to J. L. Dussek, London, Paris, and Vienna. .30. " Fir;it Volume of Studio peril. Piano-forte." .31. " Three Sonatas," (easy. ) 32. " Xottui'uo," (easy.) 33. " Three Sonatas." 34. " Grand Duet for two Performers on the Piano- forte." 35. " Three Sonatas, with popular Aii-s." .3'). " Grand Sonata," dedicated to J. Woelti. 37. " Concerto, with Accompaniments." 38. " Three Sonatas." 39. " Three Sonatas, with popular Airs." 40. "Second Volume of .Studio peril. Piano-forte." 41. " Three Sonatas, with popular Airs." 42. " Grand Sonata," detlicaied to G. Onslow, Esq. 43. " Three Sonatas, with popu- lar Airs." 44. " ITiree Sonatas." 45. " Duet tor Piano-forte and Ilaq)." 4G. " A Sonata." 47. " Three Sonatas." 48. " Grand Concerto iu C minor," London and Piuis. 49. " Three So- natas." 50. " Duet for two I'erformcrs on the Piano-forlc." 51. "Concerto iu E Hat, major," London, Paris, and Offenbach. 52. " Duet for Piano-forte and Harp." 53. " Grand .Souata (L' Ultima,)" London and Paris. 54. " Xottur- no." 55. " Duke et Utile," Loudon and Paris. 56. " Concerto in E shaq), major." 57. " Sona- ta, No. 1, ' Les Huivaiiies,' " London and Leipsic. 58. "Sonata, No. 2, 'Les Sitiraiites,' " London and Leipsic. 59. " Sonata, No. 3, ' Les tiuican- tes,' " London and Leipsic. GO. " Grand Bravura, with Variations," London, Paris, and Uonn. CI. " Grand (Juiutetto for Piano-forte, Violin, Tenor, Violoncello, and Contra Passo," London and Bonn. fi2. " Sjnii/a tie lietour a iMmlres," dedi- cated to F. Hies, London, Paris, and Leipsic. (53. " Sonata," dedicated to J. N. Hummel, Loudon, Paris, and Leipsic. 64. " Aria a I' Inglfse," dedi- cated to T. Broadwood, Esq., Loudon and Leip- sic. Without oyxM numbers : " SSketeh a la Ifai/ttii," dedicated to his friend, D. Dragonetti ; "Kondo," dedicated to his dau;^hter ; both composed lor the Harmonifon. "Round, from the Opera of ' Corte/,' arranj^ed as a Fantasia." " t.'apriccio, with Airs liom Mozart." " Fantasia, with Vari- Btions ou a Russian Air." " C/ie faro sv/iza, Air iidapted from tiluck." " Vedrai Cariiio, with Variations from Mozart." " Ah .' Perdona, with Variations from Mozart." " Deh J'lviuli, with Variations from Mozart." " Impromptu on a Subject by Handel." " Grand Sonata, with a Violin Oblijjato," London and Munich. " Peri- odical Sonatas, Letters A, B, C, D." " Twelve detached Movements, consisting of Rondos, Va- riations, Adagio, and a Toccata," (published in an oblong form, ) London and Vienna. " Four Ron- dos, trom Subjects of H. R. Bishop's Operas." " Two Serenatas lor Piano-forte, Harp, Flute, and Horns." "Twenty-five Divertimeutos for the Piano-forte, including ' Days of Yore,' La Re- union,' ' Le lictour dii I'rintemps,' ' La Vtrenna, ' IIar\-est Home," ' B^nks of the Danu te,' ' La liicordanza, ' Of noble race was Shenkiu ' ' Han- overian Air, with A'ariations,' ' Rousseau's Dream, with Variations,' ' Crazy Jane, with Variations.' " CRAMER, FRANCOIS, second son of Wil- liam Cramer, was born at Schwetzingen, neai Manheim, in 1772. He was early uistructed by an able master in the art of playing the violin. At the age of seven, he left his native country to join Ills father and brother, who were settled in England. On hLs arrival in London, it was his father's anxious wLsh, by giving him good masters, to follow up what he had aheady so well begun ; but the change of climate operating on his nat- urally delicate constitution, it was advised that he should entirely discontinue the study of the violin, which was strictly adhered to by his father. \ lapse of seven years having made great im- provement in the liealth of the young artist, at the age of fifteen it was thought necessary that some plan should be adopted for his future pros- I)ects in lite. His brother John then recommended him to take up the violin again ; wliich advice he followed, and had the painful task of being, obliged to recommence, even by practLsmg the gamut and scales of diil'erent descriptions. Hav- ing, however, had an early impression of these difficulties, he soon found the means of overcom- ing them, and in a few months was able to take a part in some easy duets, for two -s-iolius, and to accompany his brother iu some familiar sonatas for the piano-forte. Soon after this, he found himself equal to attempt some of Corelli's music, and studied with much avidity the solos of that great master; after wliich he made him:^elf well acquainted with the solos of Geminiani and Tar- tini, and the capriccios of Benda and old .Stamitz. In the improvement of a young artist, more, however, is required than to make himself ac- quainted with the secrets of his instrument : reading music is of the first importance. At the age of seventeen, therefore, his father placed him (gratuitously) in the opera band, of wliich he, the father, was the leader, that he might profit by the various styles and character of the music generally heard in that theatre. In the course of a few years he rose in the ranks of the orchestra, and was ajipointed principal second violin under his father, not only at the opera, but at all the principal concerts, namely, the King's Concert of Ancient Music, the Ladies' Concerts, and the great musical festivals given in the country. Li the autumn of the year 1799, he lost his father, and in the ensuing season was aiijiointed leader of the .\ncient Concerts, by the unanimous consent of the noble directors. He was likewise engaged to lead the Vocal Concerts, Philluumonic, N:c., and had the honor of leading, by express command, the band on the occasion of the coronation of George UI. CRANFORD, "\VTLLI.\M. One of the choii of St. Paul's Church, in London, in 1650. He composed several rounds and catches, to be fot jid in Hilton's and Playlord's collections ; and live- wise the well-known catch, to which P\ircell af- terwards adapted the words, " Let's live g- 'd honest lives." CRAN'nU.S. See Kuanz. CRANZ. See Kbasz. 232 CRE ENCYCLOPEDIA OF MUSIC. Ail CRECQUII,LOX, THOMAS. An eminent Belgian composer and chapel-master to Charles V. HLs compositions are dated between the years 1649 and 157G. CREED. An English clerK)-man, who died in 1770. A paper of his was reail to the Koyal Soci- ety, in 1747, entitled "A Demonstration of the Possibility of makin<; a Macliine that shall write extempore Volnntaries, or other Pieces of Mu.sic." This paper is printed in the I'hilosophical Trans- actions lor 1747, No. 183, and in Martin's Abridg- ment, vol. X. p. 2(56. See IIoulfieli). CREDO. (L.) / beliere. One of the prmci- pal movcnicntiS of the mass. CREItillTON, ROBERT, D. D., was the son of Dr. Robert Creighton, of Trinity College, Cambridge, who was afterwards Bishop of Hath and AVcUs, and attended Charles II. during his exile. In his youth lie had been taught the ru- diments of mu.sic, and entering into orders, he sedulously applied himself to the study of church music, in which he attained to such a degree of proficiency, as entitled him to a rank among the ablest masters of his time. He died at Wells, in the year 17;i'), ha^•ing attained the age of ninety- seven. Dr. lioyce has given to the world an an- them for four voices, " I will arise and go to my father," composed by Dr. Creighton, wliich no one can peruse without regretting that it is so short. CREM15ALA. An ancient instrument, which resembled tlic castanets, and was the common ac- companiment to female singers and dancers. CREMONA. The appellation by which those ^■iolins are ilistinguished, which, from their super- excellence of tone, have really, or are supposed to have been made at Cremona, in Italy. CREMONESI, AMI5ROSIO. A composer of some concerted madrigals, published at Venice in 1636. CRESCENDO, or CRES. (I.) By the term crescendo the Italians signify, that the notes of the passage over which it is placed are to be gradiujUy swelled. This operation Ls not of mod- em invention, though now generally ado])ted. Tlie ancient Romans, as we Icam from a passage in Cicero, were aware of its beauty, and prac- tised it contiuiially. Example. i -5i- razis: :a=s: ^ m jvjj— a*— «; o _ g _ The swell is in one sense applicable to all taxi- ric. There is something of it upon every note played, and upon every syllable sung : but in its more general and appropriate acceptation, it is mimbered among the most refined and delicate beauties of music ; and in this sense it is never used, unless the sentence or word be very em- phatic, and the soiind intended to express such sentiment in a manner at once striking and af- fecting. CRESCENT. A Turkish instrument with belU or jingles, peculiar to their military music. CRESCENTINI, LE CHEVALIER GIROT.A. MO, was born in 1769 at Urbania, near L'rbino, in Italy. This celebrated soprano singer, of the Bolognese school, perfonnepcars in many of the best collec- tions of motets and songs which were published about that tune. CRIES OF LONDON. Certain musical phrases, or successions of sounds, in which the London hawkers have long been habituated to announce their several articles, and their ([uali- ties. Fonncrly, it was the practice of comjjosers to harmonize the cries of London, faithfidly re- taining every note of the original melodic-;, how- ever rude and barbarous. Thus dignified, they «eemed to claim a place in this Encyclopa.Mlia. In the collection entitled " Pammelia" Ls a round to the cry of " New Oysters ! " and another to that of " Have you any wood to cleave r " The sjreat Orlando Gibbons gave, in four parts, the cries of his time, among which is one of " A i)lay to be acted by the scholars of our town." ilorloy, in the reign of James I., set those of the Milliner's Girls, in the New Exchange in the Strand. Among others, equally unknown to the pri'sent times, were "Italian Falling Bands," •• I'rcncV GarteiN," " Roman fjloves," " Rnbatos," la kind of ruH's,) " Sisters," (i. e., nuns,") "Thread," " Slick Stones," " Poking Sticks," (taper, and usc In a play called "Tarcjuin and Lucrece," the following cries occur: "A Market Stone," " Bread and Meat for the jKvor Prisoners," " Rock Samphire," " A Has.sork lor your Pew, or a Pesocke to thr\»st vour Feet in," " I.anthonil and Candlelight ; " n ith many othent. 30 233 3R1 UXCYCLOr.T-DIA OF MUSIC. CRO CKISl'I, AUlll^: PIETHO, wfts born nt Home, •bout tlie year 17.'t7. He publi.shed Keveral so- natas niid foiK'crtos for the hari)sichor(l, in the style o| Alberti. His compositions contain preat elegance of melody, which, thon;;h sometimes simjik' to excc-t ruction of the celebrated Zingarclli, at that time master and composer to the Pontifical Cliapd. The folio wng year he returned to Nai>lcs, and then commenced his profession at Iwgc, jiarticularly devoting his talents to the service of the " ecclesiastical function ; " and though these productions were honored by the general approbation of liis former masters, yet, being fortunately favored by the cordial friend- sliip of the Chevalier PaosicUo, he never allowed any of his compositions to make their apiiearance till he had first consulted the eminent talents and opinion of his celebrated friend. Indeed, so sin- cere and affectionate was the attachment of the chevalier, that, a little before his death, he undertook to direct the i)erforraance of a new ma-ss composed by his young friend, and dedicated to a file of tie patron saint of Caravaccio College •t tjirgo Mercatello; there by giving unet pre fenneut, after quitting the chapel, on the lost of his treble voice, was to tlie situation of organist of St. Anne's, Westminster, where an organ was newly erected. In 1700 he was admitted a gentle- man extraordinary of the Chapel Royal ; and, in 1707, upon the decease of Jeremiah Clarke, he was appointed Joint organLst with his master. Dr. Blow; upon wlioso demise, in 1708, he not only obtained the whole place of organist, but was appointed master of the children, and composer of the Chajiel Royal, a.s well as to the place of or- ganist of Westminster Abbey. All these appoint- ments, at so early a period of lil'e, he being then but thirty-one years of age, occaMonod no diminu- tion of diligence in the iierfonuaucc of his duty, or of zeal in the study and cidtivation of his art ; and, indeed, he seems to have gone through life in one even tenor of professional activity and propriety of conduct. We hear of no illil)eral traits of envy, malevolence, or insolence, lie neither headed nor abetted tiddling factions ; but insensibly preserving the dignity of his station, without oppressing or mortitying his inferiors by reminding them of it, the universal respect he obtained from liis talents and eminence in the profos>ion seems to have been blended with per- sonal affection. In the year 1711, he resigned his place of organist of t>t. Anne's Church in favor of John Isham, and in the following year published anonjTUOusly, under the title of " Di- vine Harmony," a similar book to that of Clif- ford, mentioned above, containing the words only of select anthems used in the Chapel Royal, West- minster Abbey, St. Paul's, &c., with a preface, con- taining a short account of Engli--h church music, and an encomium on Tallis and Bird. In 171.5 he was honored with the degree of doctor of music, in the University of 0.\Jbrd. His exercise for this degree, which was performed in the the- atre, July l.'J, by the gentlemen of the chapel, and other assistants from London, consisted of two odes, one in EnglLsh and one in Latin, writ- ten by Dr. Joseph Trapp. The music to both these odes was afterwards neatly engraved on copper, and published in score. During the sue- cesstul war of (iueen Anne, the freijuent victo- ries obtained by the Duke of Marlborough occa- «ioned Dr. Croft, as composer to her majesty, to bf- fiet he really puzzled me, for he concluded in the key of F sharp, which is never \ised by English composers, and which I w;ls not able to name on lus word of command, not having attended to the last note ot his bass. ' " I need scarcely say, that I left the room after this in great astonishment ; and it then occurred to me that it might be right to make an experi- ment, whether he would be equally ready to transpose in the minor third, in which, probably, the child had never heard any comjxisition what- soever, it being so seldom used at that time. " I accordingly communicated what 1 had been witness of to Master Wesley, desiring that he would write down a simple melody of a few bars in the minor third ; which he immediately com- plied with, and went with me to little Crotch, in order to assist in the experiment. " I was in great hopes that the child would catch this little air, after Master Wesley had re- peated it five or six times; but in this I was dis- nores Injing struck, he distinguished them as ] appointed, for little Crotch happened not to be readily as the intermediate notes of the iustru- i in a humor for music, though we endeavored meiit. Now, it is well known that the har})si- chord tuners do not so easily manage the ex- tremes, as their ears are not used to such tones, and more ])articularly the lowest notes. " A still more convincing proof, perhaps, of the same kind has been mentioned to me by Master Wesley, who takes little Crotch much under his protection. The child has lately taught liimself to play on the violin, which he holds as a violoncello, and touches only with two of his fingers. Master Wesley has some- times mistimed the instrument, on purpose to excite his anger, which he never fails to express ; adding, at the same time, whether it should be higher or lower. lie likewise judges most accu- rately of what are called extremes on the violin ; ■which seems to be still more astonishing, as the child has scarcely heard any other instrument than the organ, which is defective in the (juarter tones. In other words, it seems to prove that Crotch's ear is so very exquisite as to distinguish quarter tones ; whilst tlie notes of the organ are only subdivided into half tones, all of which are, to a certain degree, imperfect ; and the ability of the tuner is shown by distributing this deicct as ei)ened to be present when he was playing a well-known air called the ' Mhnwt Iaster Wesley to give the treble only, and told Crotch that he could not add the bass to it : on this, the urchin sat down by Master Wesley, ac- companying with the proper bass this same tune, transiiosed in the minor third through the whole octave. " ANTien he had finished. Master Wesley had a curiosity to try him in transposmg through the octave in the major third, which Crotch instantly did, and in a maimer too peculiar not to be fully stated. " The tune fixed upon, in trying this experi- ment a second time, was, as before, the ' Minuet de la four ; ' but Crotch, conceiving at once what Master Wesley wished to be a witness of, only played tlirce or four bars of the first part, and then instantly changed the key tluoughout the octave. " The child both looks and is very intelligent in other matters which do not relate to music, and draws m a bold, masterly way with chalk on the floor. " One of his most favorite objects to represent Ls a violin, which he forms instantaneously with a few strokes. I need scarcely mention the diffi- culty of reversing the two sides and S's, which must be very obvious to jienmen as well as painters. Tlie boy likewise succeeds very well iu the hasty outline of a sliip." From the foregoing extract it will clearly ap- pear that young Crotch was a most extraordina- ry instance of precocity of musical genius : he seems, indeed, " by the help of nature alone, to have instantly, as it were, understood those dis- tinctions, which are accessible to common cars and common talents only by a long course of studv." His extraordinary natural powers were, however, in the ojiinion of many, checked by the severity of his pubse.3, and first appeared on the stage in 1780. She had a remarkably sweet voice, and a iiaU-e, affecting style of singing ; this, added to extraordinary personal charms, made her a great favorite of the public for manv vcars. She died at Brighton iii 1805. CRO WLE. An old EngUsh instrument, called by the French chrotta. Some writers say that it ■was a kind of flute ; according to others it resem- bled the ancient crotalum. CRUCLVTI, MAURIZIO, an Italian composer of sacred music at Bologna, about the year liiGO. One of his w(trks is entitled " Siiera," an orato- rio, published at Bologna in lfi67. CRUCinXUS. (L.) A part of the Crcfio in the mass. CRUGER, JOHANN, chapel-ma.ster of the Church of St. Nicholas, at Berlin, was bom in 160'2. He was the author of " Sij)iop.ii.i Miuica," and several other musical works, published in Germany between the years 1022 and 1051. His •ollection of Lutheran h-\-mns, entitled " P'arii Pictadu," went through thirty editions, up to lh< year 1701. CRUPEZL\. (Gr.) The wooden clog used by the ancient musicians in beating time. CRUSELL, BERNIIARD. A German per- former on the clarinet, and composer for h's in- strument, towards the close of the litst century. Among his more favorite works are, " Concer- tante for Clarinet, Horn, and Bassoon, with Acconii)animent of (irand Orchestra," Op. 3. " Symph. Concertanfe for Flute, Clarinet, and Baxs principal, with two Violins, Alto, ana Ba;is, two Hautl)oys, two Horns," Op. '22. CRUTH, or CROWTIL An old Welsh instru- ment, somewhat resembling the violin. It ha« six strings, supported by a bridge standing in an obli-ctto on the violon- cello. CUL.\NT, LE M.\RQUIS DE, a French ainm- 237 CCM ENCYCLOPJi:DIA OF MUSIC. CUl teur musician, vrrote a tract, entitled " Notiveaux Priiicipes (le Miuiijut," Paris, 1785. CUM CANTU, or CUM DESCAXTU. (L.) NVitli melody. An old phrase of the Romish church, a])])licd to those festivals the celebration of which chiedy consisted of singing. CUM SAXCTO SPIRITU. (I-.) A part of the Gloria. Sec Mass. CUMMINS, CHARLES, ^•iolinist, pianist, and composer, was born at York in 1785. IILs father was the Roscius of that theatrical circuit for near- ly forty-lour years, and commenced his prosper- ous career under the management of the eccen- tric Tate Wilkinson. He closed a valuable ILIe in the actual performance of his public duty, dying < n the stfisre at l.eo'^'s while representing the part rf Duraont, in the tragedy of "Jane Shore," on the -JOth of June, 1818. Charles Cummins, in the course of a liberal ed- ucation, received lessons in the theory of music from Dr. Miller, of Doncastcr, and, preferring the (icieuce for his profession, became successively leader of the theatrical bands at Lancaster and Exeter, till engaged at Bath, at the express in- stance of hLs liriend Mr. lioder, as director of the choruses in that and the Bristol theatre. He was since established at Bristol and Clifton as a teach- er of the piano-forte, singing, and thorough-bass. He was the composer of much local and incidental music, a small part only of which has been pub- lished. His attainments in languages, and facility in lit- erary composition, rendered Cummins a powerful auxiliary to the orchestra, in the writing and ar- rangement of English words for several pieces of celebrity, for the use of Signor Rauzzini's con- certs and the Bath Philharmonic Society, (of the latter of which he was a director,) particularly the " .Storm Chorus" of Haydn, two of Mozart's mo- tets, (Xos. 1 and 2,) sundry extracts from his " Requiem," and Cherubini's " Monody on th.e Death of Haydn," besides tlie adai)tation of many songs fro:u foreign ojieras for the English stage. He was a frequent writer in publications em- bracing musical criticLsm, and distinguished him- self, during the existence of a Bath gallery of jiaintings, as a connoisseur possessing no mean powers of ])ictorial discrimination. He is the au- thor of a pam])hlet in controversy with Mr. Lo- gier, the propagator of a new system of musical tuition ; which was, by virtue of Cumminr-'s dis- i-ortation upon its merits, utterly excluded from Bath and the west of England generally. He re- ceived notices of his literary efforts in the cau:-e of music from the most eminent individuals in the profession, and was awarded a splendid token of the collective opinion of a large majority of the un])rece(lentcd concourse of talent at the grand mu-^ical festival held in the cathedral of York in the autumn of X^TA. Cummins wa.s a member and secretary of a lit- erary and philosophical society in Bristol, named 'Ilie Inquirers, to which he delivered occasional lectures on music. Cummins enjoyed the repu- tation of being, in conversation, a wit, wliose flashes excite warmth in his hearers without scorching or implacably degrading their personal object ; and ho was a not less forcible than lively extcmj.orancous orator. Cummins commenced the season of 1823-4 as leader and musical con- ductor of the Bristol ITieatrc Roval. CUPIS, J. B. lejcune. A violinist at Paris, and pupil of Bertaud. He composed a concerto, well known in France by the name of " Le SatU de Cu- pis." He flourished towards the middle of the last century. CURSCHMAX, CHARLES FRIEDERICH, was born in Berlin, June 21, 1805. He ivas distinguished in his boyhood for possessing an unusually beautiful soprano voice, upon which a degree of culture was bestowed very unusual amongst boys. He frequently undertook to sing the solo part at public school feasts and other musical performaiices, astonishing his audience with Arie iti Bravura, such as that iu Graun's " Der Toil Jesii." His famer, who was a merchant in Berlin, had, however, no intention of bringing up his son to the profession of music, and the principal pursuit of the young Curscliman tor several years was the study of jurisprudence ; but his love for music became so paramouiit as to decide him to dedicate his whole life to its study. In i)ursuit of this resolution, he repaired to Ca-sscl, where he studied the theory of music and com- jjosition during four yeai-s, under Sjjohr and Hauptmann. It was during these days of study at Cassel that Curschman composed several, works ; and of these a short opera, named " Ab- dul and Erinnich, or, the Two iK-ad Men," and a sacred jiiece, were performed in public, and re- ceived great applause. In 1829 Curschman re- turned to Berlin, in which city he constantly re- sided, with the exception of occasional short tours through Gennany, France, and Italy. He became favorably known to the public as the composer of several elegant songs, the popularity of which was much increased by his tasteful manner of singing them. He seems to have been extremely fastidious in the selection of what compositions he would give to the public ; and his printed works, diu-ing sevcrid years, were confined to about nine books of songs. ITie con^equence is, that they are almost aU excellent in their way, and are vivid musical illustrations of his judiciotisly-chosen poetry. Death put an early period to his promising career, in the year 1841. Several compositions of Curschman have become favorites with the English public, who were first attracted to his music by the two charming trios, " Ti Prcrjo, o Madre I'm," and *• L'Addio," first mtroduced by Miss Masson, who had them from the composer, and for whom the) were first i)rinted. Several of his songs hav" recently become favorites in (his country. CURTZ, BERXARDOXE. A bufTo singer at Vienna in 1751. For an anecdote respecting him, see the biography of Havd.n. CUR\'E. Applied to the slur and a part of the hold. CL"1'LER, WILLIAM HEXHy, Mus. Bao. Oxon., \\as born in the year 1792, of respectable jiarents, iu the city of London. Shortly after the birth of this their second child, the father ob- tained a spinet at a sort of lottery sweepstake, and after the business of the day was over, would fre- ([ucntlv strum to his two httle boys on this instru- ment, ile had then, however, very little knowledge of music, but possessing industry and persever- ance, overcame every ditKculty in the science, sc a« to enable him to superintend his second sor through all his subsequent exertions in practic* 23S CUT ENCYCLOP-IJDIA OF Mt'SIC. QZ\ A friend relates that one time when he entered the lather's parlor, lie saw him with this little hoy on hi-; hip, teaching him his notes; at an- other time, the siimc friend has seen lather and Bon on the carpet playinj; with pieces of card, on which the notes of music, and their names and lines, &c., ai)peared, corresponding with papers pasted on the keys of the spinet. At that time the child could not have hcen much above two ymrs of Bijc, certainly not thrin; years old. His ia'hei, conccivinfj that the boy had a taste for music, next ens;av;ed a master to teach him the violin, when he improved so rapidly ns to play a coi certo of Jarnowich before he was five years old. He performed on the little Amati violin, which was once Dr. Crotch's. Still, however, the (spinet appeared to be the child's favorite, and J. II. I.ittle was for some time his instructor on that instrument, which was at Icn^jth chans^ed for a pinno-forfe, (i. K. (iriftin being engagctl as the boy's master. About the year 179i), the chUd had lessons in sinsin"; and thorough baas from Dr. Arnold, who exjircssed his approbation of his talent by repeated gifts of small silver twopenny p.nd threepenny pieces. Shortly after this, he played a concerto of Viotti on the piano-forte, at the Ilaj-market I'hcatre, for the Choral Fund Concert, and received universal applause : he played concertos, &c., several times since for the same fund. He sang also at the oratorios under Dr. Aniold. In 1801, when Dr. Busby took his degree of doctor of music, young Cutler went to Cambridge to sing the principal airs in that ex- ercise ; and under this gentleman he would have been placed, but his father objected to his being other than a concert singer, while the doctor wished him to be brought out in theatrical per- formances. In 1S03 he was placetl in the choir of St. Paul's. He sang also at Harrison's Con- certs, the Concerts of Ancient Music, the Glee Club, (generally,) Wykhamists, &c., &c., and pri- vate concerts. Previotisly to this, he had also appeared before the public as a composer, his first publication being a march for the fuU band of the sixth regiment of Royal London Volunteers, in the riHe company of which regiment his father was an otHcer. Soon after this, he sang in the solemn ser\-iccs, dirge, &c., of three of the great- est men of the day, being summoned to attend the funerals of Lord NcLson and Messrs. Pitt and Fox. After leaving the choir of St. Paul's, he was placed under the instruction of the late W. liussell, Mus. IJac. Oxon., for the theorj* of mu- sic, and was, in 1818, clecteirit of these fine compositions. As the elder Czeniy could with dirticulty support himself by teaching, Carl, though only in his fourteenth year, (in 180.5,) also commenced gi^-ing lessons ; and soon obtain- ing some talented pupUs, he became so celebrated as a teacher, that, in a short time, every hour in the day was occupied. In the year 1810, Cle- menti resided in Vienna, and Czerny became ac- quainted with him at a noble house where he gave instruction, at «hich Czerny whs nearly always present. ThLs was particularly ad\-an- tageous to him, as he thereby acquired a knowl- edge of dementi's classical method, and formed his own upon it. He soon became one of the most favorite and highly-esteemed teachers in Vienna, and gave daily from ten to twelve hours' instruction, chiefly in the noblest and best fami- lies. To this occupation he devoted himself for thirty years — from 180.5 to 1835; and among his numerous pupils who have become known to the pu'olic are Mademoiselle Belleville, Liszt, Dohler, and others. Among amateurs, too, of hijrh rank, he has had many pupils who might well have passed for professors. The disposition which Czerny manifested for composition during his youth was fully equal to that which ho showed for piano-forte playing ; and he almost daily noted down ideas, themes, &c., for all kinds of musical pieces. His father caused him to study diligently the works of Kirnberger, Al- brechtsberger, and others, so that he soon ac- quired all the requisite theorotical knowledge ; and Beethoven thoroughly exercised him in scor- ing and the art of instrumentation. But as les- son-giving occupied his whole time, Czerny, for a long while, had no thought of publishing any work. At length, however, in the twenty-sev- enth year of his age, his Op. 1 appeared, (Vars. Concertantes for Piano-forte and Violin,) which met M-ith such an unusually favorable reception that he was afterwards completely overwhelmed with orders, both from the music publishers of Germany and those of other countries. Hence he was obliged to devote his leisure hours in the evening to composition ; and feehng at all times in a suitable frame of mind for it, he Has pro- duced, up to 1818, about eight hundred original compositions, exclusive of many great composi- tions in manuscript, and independent of nxuner- ous arrangements of Masses, Symphonies, Over- tures, Operas, Sec, &c. In addition to these, he has also published " Ten Letters addressed to a young Lady, on the Art of playing the Piano- forte ; " " Lettei-s on Thorough Bass, with an Ap- jjcndix on the higher Branches of musical Execu- tion and Expression ; " "'Diii'ty-two new Exercises I on Harmony and lliorough Bass : " " School of Practical Composition, or Complete Treatise oe I the Composition of all Kinds of Music, both in- I strumcntal and vocal." 210 ENCYCLOP.EDIA OF MUSIC. DAM D. D. The nominal of the second note in the nntiiral diatonic scale of C, to which Guido Are- tinus applied the monosyllable Ue, It is the su- pcrtonie, or second note, thus : — %J BASS. -C-»^^ TMla. — "g»p«ia»r {^* L^ — C^^?^'^ — "TSat — SiipMMk.- -^ The key of D is ample, grand, and noble, hav- ing more fire than C : it is completely uniteibllshp-thm as the most essential part of music, and that upon which the raoraLs of a people dcjiended, more than upon melody, or, as the aucients called it, hannony. He L> also mentioned by Aristides Qiiintilianus, as havrnp; excelled in charactorizinR his melodies by a judicious choice of such sounds aud intervals iLs were be-t adapted to the effects he intended to ])roduce. Damon, aocording to Plutarch, was a profound jiolitician, and, under the ma:-k of a musician, he tried to conceal from the multitude his talent. lie was, however, involved with hLs patron, Pericles, in the political disputes of his tuue, and banished as a favorer of tjTanny. 'ITie period when he flourished may be gathered from his connections. DAMOUEAU, MME. LAURE CINTIIIE MONTALANT. A famous French soprano, known at fii-st as Mile. Cinti. She was born at Paris in 1801, was educated at the Conser\-atoire, and in 1823 attracted the notice of Rossini, who wrote parts for her in " Moses,"' and " llie .Siege of Corinth." From this time her reputation and success were very great, and her talent is consid- ered by some critics to be of the highest order, and comparetl to that of Sontag and Malibran. She married in Brussels, in 1827, Damoreau, an actor, but the marriage was not a happy one. In 1844 she visited the United States. DAMPERS. Certain movable parts in the in- ternal construction of the piano-forte, which are covered with cloth or soft leather, and, by means of a pedal, are brought into contact with the wires in order to deaden the vibration. DANA, GIUSEPPE. An Italian composer at Naples. In 1791 he brought out there two bal- lets of his composition, viz. : 1st, " Ijafiiita Paz- za per Amove." 2d, " FiiUa campcstre." DANBY, JOHN. A celebrated English com- poser of glees, in the latter part of the last cen- tury. He died whilst a concert was performing for his benefit. The following catalogue com- prises his principal works : " La Guida aUa Musi- ca Vocale ; " " When .Saiipho tuned," glee, three voices ; " AMien generous wine exj>ands," three voices ; " When floods retire to the sea," three voices ; " The fairest flowers the vale i)refer," three voices; "Sweet thrush," four voices; "Shep- herds, I have lost my love," tliree voices ; " Go to my Anna's breast," four voices ; " Fair Flora decks," three voices ; " Come, ye party jangling swains," four voices; and "Awake, .Folian lyre," four voices. John Danby gained numerous ])rize medals lor his compositions, from the Glee Club and otlier societies, and for a scries of years he shared with the celebrated Samuel Webbe the meed of public approbation in his peculiar school of music. DANCE, ^^^LI>IAM, was born in 17.5.5. He studied the ])iano-forte under I)r Aylward, or- ganist of St. George's Chajiel, Windsor, and the violui, first under C. F. IJaumgarten, and subse- quently under the celebrated Giiuxlini. Dance lived to be one of the oldest professors in l>ondon, having perforiueil in the orchestra of some theatre .lince the year 17()7. He belonged, for four years, to Drury Ijiiic 'nieatie, in the time of Gaixick, and tfterwards, for a period or eighteen years, (naice ly, from 177.5 to 1793,) to the King's Theatre. H« led the band at the Ilay market Theatre lor seven summers, from 1784 to 1790, inclusive. He as- sisted at all the performances for the commem- oration of Handel at Westminster Abbey, and led the band there, in the year 17'>0, for three performances, during the mdisposition of the elder Mr. Cramer. Dance taught the pinuo-forte in London for forty-eight years. He was one of the founders of the Philliarmonic Society, and one of its directors and trea.surer. He has published various piano-forte works of merit, consisting of sonatas, fantasias, variations, preludes, &c. His variations on " God save the King " have been extremely admired, and the sale was such as to require four sets of plates. DANCES. Certain tunes composed for or used in dancing ; as the waltz, the mmuet, the saraband, the cotillon, the reel, the hornpipe, the polka, &c., which see in their proper places. DANCEUIES. The general name formerly given to publications consisting of collections of galbards, allemandes, ballad tujies, aud other lively melodies. DANCING OF THE EARLY CHRISITANS* That the early Christians danced in their religious service there can be no doubt, for in the eighth semion of St. Augustine, we find the follo«-ing reproof : " It is better to dig or to plough on the Lord's day than to dance. Instead of singing psalms to the lyre or psaltery, as ^-irgins and matrons were wont to do, they now waste their time in dancing, and even employ masters in the art." The original of the word cAo/;- signifies a dance or company of dancers. Odo, Bishop of Paris, forbade dancing iii his diocese in the twelfth century. DANDRIEU, JEAN FRANCOIS, was bom in the year 1(584. He was a celebrated composer for, and a masterly performer on, the organ and haqjsichord. Both in style and execution he is said to have greatly resemble he producid hii tirit opera, " AzuAin," for the theatre at Munich, to the caliiedral of which town he was appointed chapel-master. Since that ])erio(l he has pub- lished several other oiieras, and a great variety of instrumental music, much of which has been printetl at Paris. His iiuatuors for two viols, tenor, and violoncello. Op. 44, iiublished at Leijisic, are particularly admired. Dan/i wax appointed, in 1807, chapel-master to the King of Wurtemburg, at Stuttgard, from whence he still continued to publish instrumental music. D'APEL. See Ai-f.i.. D.\PHX'IS. A musician of whom it Ls re- corded that he was taught to sing and play upou the pipe by Pan. DAQUIX, LOUIS CLAUDE, organist to the King of France, was bom at Paris in H)04. Ho Ix^came celebrated as an organist at tlu early age of twelve years. When Handel went to France, he was so astonished on hearing the performance of Daquin, that, although extremely pr in 1.594. DARBES, JOH.VXX. A Danish violinist of some merit, who is also known as the composer of a " Stabat Mater : " he lived near Copenha- gen, in 1784, having been pensioned by the court. DARCIS, M., a pupil of Gretry, composed the opera " La Faiisxe Pcur," in 1774. " /.e But Mas'/ui " is also attributed to him. D.\RD. Author of some instrumental music, also of a v\ork entitled " I'riiiri/h'S de Mtitii/iie," published at Paris about the year 1796. D.VRELS, J. B. .\uthor of some romance* publL-hed at Paris in 1800. DAROXDEAU, BOXOXI, bom at Munich in 1740, was a professor of singing at Paris, and composed seven coUcK'tions of romances, ond the music of the opera " /^ Soidnt jxtr Anmur." DAROXDEAU, IIEXRY, son of the preced- ing, was born at Strasburg in 1779. He was d pupil of Bertoii, and has composed several col- lections of romances, and some piano- forte music DASERUS, or DA.-^SER, I.UDOVICUS Chapel-master to the Duke of Wurtemburg in the latter half of the sixteenth century. H« composed much sacreil music. D.Y.SU. The line drawn through a figui* if -243 DAT ENCYCLOP.^ilDIA OF MUSIC. DAV (G.) The diu-ation or length of Jiorough baxs, in order to raise the intcn-al des- ignated by tliat tigure hnlf a tone higher. D.\TIS. nie gong of mirth. So called by the ancient Greeks. IIAUBE, JOIIANX FRIEDRICII, born in I'.'iO, was secretary to the Im])erial Society of Arts and Sciences at Vienna. lie wrote several hooks on music, and composed some sonatas for the lute, lie died at Vienna in 1797. I).\.UBERVAL. A pupil of Xoverrc, and a celebrated ballet master, lie was born at Ver- sailles, and died in 180G. DAUER. notes. DAUPHIN. A composer of songs at Paris in the beginning of the last century. DAUPRAT. Professor of the horn at the Paris Conservatory. DAUSSOIGNE. Professor of accompaniment at the Paris Conser\'atory. DAUTRRTi:, RICHARD. A French violin- ist and composer for hb instrument in the year 1799. DAUVERGNE, ANTOINE, bom at* Cler- mont in 1713, was superintendent of the king's music, and director of the opera. He composed manj- dramatic pieces, and some music for the violin. He died at Lyons in 1797. DAUVILLIERS, JACQ. MARIN, bom at Chartres in 17.54, was a composer of Hglit vocal music. DAVELLA, GIOVANNI, published at Rome, in 1657, " Rfffola di Miisica " — a work of no great mnrit, according to Dr. Burney. DAVID, " the sweet singer of Israel," was selected by Saul to comfort him. " David took* a kinnor, and played with his hands ; so Saul was refreshed, and was well, and the evil spirit de- parted from him." David was an excellent mu- sician, and had plenty of singing men and sing- ing women in his court. David composed a va- riety of i)sahns, and caused his sklll'id players to set them to music, as appears by their inscrip- tions to Jcduthun, Asaph, K-c, the sons of Korah. As the Lcvitcs were cased of a great part of their charge by the tabernacle and ark being fixed in a place, David caused great numbers of them to devote themselves to music, and distributed four thousand sacred singei-s into twenty-four classes, who should serve at the temple in their turns. The four sons of Asaph, six of Jeduthun, and four- teen of lleraan, constif\ite(l the chid of thc:e twenty-four cliusses ; and .Vsaph, Jeduthun, and lleman were the chief musicians. Tlieir iiv^innth, or stringed instruments, wei-e the psaltery and harp, to wliich may, perhaps, be added the iihemineth, the shushanim, and the alamoth, the dulcimer, and sackbut ; and the tichiloth, or wind instruments, were tlie organ, cornet, Hute, pipe, and trumpet. They had also timbrels, cym- bals, and bells. But as to many of their instru- ments, our best ii\fonnation affords \is no certain knowledge of their particular forms. D.VVID, FELICIEN. Bom in 1810, at Cade- nct, near .Vix, in Fram c . He exhibited musical iudicationH at an early age, and he was Cimcated in a college of the Jesuits. In 1830 he pioduced some compositions lull of original inspiration, but not until 1838 and 1839 did he com])OBe any thing calculated to make him knowni. His great work is " The Desert," which has been very widely celebrated. DAVID, GL\COMO. A celebrated tenor singer, born at Bergamo about the year 1750. He sang at most of the large towns of Italy, also in London and Paris, till about the year 1796, when he returned to Italy, and became chamber musician to the Grand Duke of Parma. DAVID, L. A haqiist and singing master at Geneva in the year 1800. He has publi'^hed some romances with accompaniments for his in- strument. DAVID, the younger. A very eminent Ital- ian tenor singer ; his voice Ls of extraordinary compass. He has been engaged for some time at Vienna, where he Ls enthusia-stically admired. DAVIES, MISS CECILIA, known in Italy by the name of L' Ii>f/lciina, first ajijieared at the op- era in London in 1773. She was considered as being second only to Billington among English female vocalists. .She had i)cribrmed for' some time in Italy before her appearance on the Lon- don boards, and even the Italians confosse'R- tion and comparison increased hLs own stock of ■which seemed to come Irom tlie upja-r part of his , information. In IS.'il Debaiu returned to I'aris, house; and having Ustencd a sutKcient time to be convinced that his ear did not deceive him, he went up stau-s, where he dL^covered little Davy, with hLs i)roperty, between the ceiling and the thatched roof. The boy had selected eight horse- shoes out of the whole number to form an oc- tave, had suspended each of them by a single cord clear from the wall, and, with a small iron rod, wa.s amusing himself l)y imitating the t'redi- ton chimes, wliich he did with great exactness. 'Diis story l)cing made public, and his genius for music daily increasing, a neighboring clergy- man, of considerable rank in the church, showed him a hiu-i)sichord. This he soon became famil- iar with, and, by his intuitive genius, was in a short time able to j)lay any easy lesson which was put before him. He a|)i)lied liimself like- wise to the violin, and found but few ditKculties to surmount in his progress on that instrument. When eleven years old he was introduced to the Kev. Mr. Ea.stcott by this gentleman, who ■was now become his patron. Mr. Eastcott was FO much struck with his perfonnance on the ])i- nno-forte, and his general turn for music, that he earnestly recommended to his friends to place him with some musician of eminence, under whom he might have free access to a good iu- titrument, and accjuire a requisite knowle- jMiinted instruments, which jirickeil the animnls. and caused them to make a jirodigious noise, to the great entertainment of his majesty, who lav- ished his favors on the ingenious inventor of this novel spei-ii>s of hannony. DE lU:(iNI.s. (iirSEri'E. was iMirn at I.ugo, a town in the ]iontilical states, in the year ITJ'o. He commenci-d his vocal stiiilii-s at little more than seven years of age, under I'adrr Hon^iov.in- ni, and sum; soprano in the chapel at I.u;;o from , . that time till he was near fifteen, when his voice broke. He always evinreil much gouius «» a I comic actor, and was dtr^irous, at the time hi> 24A DEB excyclop.t:dia of music. DEB roice fnilpd, (which ho feiired would not return,) to Inllow that prot'eH ,ion, for whicli imrposc he studied under the direction of Mandini, a cele- lirntcd Italian actor. His lather, however, rcfus- in;; to conn-nt to liLs beiominj; a comedian, he took I'lirthcr lessons in sin^^in-; from tlic composer Sarnceni, brother to Madame Morandi. In the I carnival of the year 1813, he made hLs first ilibut i as priiiio btijt'o pinker at Modeiia, in an opera called " Marro Antonio," the mu^ic by I'avcsi, ' jind was received with such ajiplausc as at once to decide the line of his future j)rolessional pur- suits. From thence he went to Forli and to Ri- mini, and tcnuinated the first year of his theatri- cal career af;ain at Modcna. In the following carnival he pcrfonncd at Sienna, at the opening of a new and superb theatre, called Tcatro dcyli Acaileinici llozzi. He first ajjpearcd there in the comic part of Pazzo, in the " ,-l,(/w.«,- " of Paer, and was received with enthusiasm both as an actor and singer. lie afterwards played Selime, the Turk, in the " Tvrco in Italia " of liossini. He next i)roceedcd to Ferrara, Badia, and Trieste, at which latter town he appeared in the follow- ing operas : " Adcertimento a/le Moffli " of Caruso ; " La MatiUle " of Coccia ; " Teresa e Claudia " of Farinelli ; " Don Papirio " of Guglielmi ; and " Don Timonclla di Piaccnza " of C'elli. In the carnival of 181.i, he was at C'esena, where he particularly attracted the town by his jierform- ance in the opera " Belio piare a tutti ; " he sang in it an aria bujia, in the style of the old rondos, and in which he imitated with his falsetto the celebrated singer Facchierotti. ITie music of tlie above ojjera is by Fioravanti. He next ap- peared in the " Due rrigioniiri " of I'ucitta, and finally in " /,« (Iticrra aperta " of Guglielmi. He passed the spring in Mantua, and performed the part of Mustapha, in " L' Ilaliana in Ab/cri " of Kossini, and in " La Uiicrra aparta." At Udine, during the summer, he perfonued in " L' Italiana," and in " L'liiffanno folice," of llossini. He passed the autumn at Rome, where he played in " Af/nese," the part of Francesco, in the " Ginevra dvijli Ahnievi," the Solitario, in the " La(jritned' una I edova " of Gcnerali, Selime, in the " Turco in Italia " of Rossini, and in " // Quid pro Quo " of Romani. In the carnival of 181*i, he was at Milan, where he had an illness of three months' continuance, and was not able to sing during the whole period of his engagement. On his recov- «!ry, he proceeded to I'arma, where his success was the most brilliant of any he had experienced in the course of his musical career, especially in the part of Mustafa, in the " Ilaliana," and in the •' Marmlantlo " of I'ajni. He passed the [Rummer at Modcna, and appeared in " Marc An- ioiiio," and in " I.ii Capricciosn pcndila " of Fiora- V a'lti. In the autumn he went to Hologna, where he undertook the jjart of Sdimo, the Turk, in the " Turco in Italia ; " his voice was at that time Btill more flexible, and its compass greater tlian it was since, and he got through the jmrt with con- siderable success. A singular circumstance, and highly honorable to his comic talent, now took [)hu'e at Rologna. Uclorc the arrival of l)e licg- nis, I'acr's opera of •' Ai/ii'xe " had been twice »tlemi)te(l in that town, and com])letcly failed in both instances. The mamiger, however, having heard of J)e UegnLs' success in the character ol j I'azzo, both al ICome and Ferrara, wished again ' '.o iry the pi* ;e, and it was accordijigly chosen 1 24 for the benefit of Mile. Ronzi. The whole town were against the attemjit, and the opera -was de- clared to be mLserably ennuijant. The trial, how- ever, wius made, and its success was, iii this in- stance, as complete as were its former failures ; the principal reason for which change was gen- erally attributed to the talent of De Regnis, whose success was such in Pazzo, that the piece wiis afterwards played many times, and is still con- sidered there as one of their best stock operas. De Begnis also played at Bologna, with much success, the comic jiart of the Ancien Militairc, who detests noLse, in the opera " // Malrimonio per Susurro," by Salieri. It was at this town that De Begnis was mai-ried to Mile. Ronzi ; he was aLso nominated I'hilhanuonic Academician to the Musical Institute at Bologna. Soon alter their marriage, he was obliged to separate for some time from Madame De BegnLs, who had previously to her marriage made an engagement for Genoa, and De Begnis for Rome; on hLs se.-ond visit to which city he performed the leigned i^riuce, called Dandini, in the opera of " La Cencrentola " — a part expressly written for him by Rossini. The newly-married couple again met at Florence in the spring of 1817, and passed the summer at Vicenza and the autumn ^t ^'erona, where De Begnis was elected an honor- ary member of the Musical Academy of the An- Jioni. The success of De BeguLs aud his wii'e were here such, especially in Figaro and Rosiua, in the " liarbiera di iserifflia " of Rossini, that this celebrated composer invited them to perform at tlie opening of the new theatre of Pesaro, which was under his direction. The openuig piece se- lected by Rossini was " La (ja::a Ladra," in which they played the Podcsta and Ninette. This was succeeded by the " Barbicre di ikviglia." From thence they proceeded to Lucca, where they passed the autumn of 1818, and, in the car- nival of 1819, made their dibuts at Paris. Here their success was comidete ; their first appeai'anee was in the " Fuorusciti " of Puer, in which they played Isabelle and Uberto. They afterwards performed together in the " Barbicre," m the " Mulinara of Paesiello, and in the "Pietra di Paragone" of Rossini. Do Begnis played also in the " Pastorella nobile," with several other op- eras that we have not space to enumerate. After remaining three seasons at Paris, they made their first aj)pearance at the King's Theatre in London, in the oi)cra of " II Turco in IlaJia ; " since wlxich period De Begnis was considered as the most natural and purest bujfo singer in England. He Inis perfonued at all the jjrincipal concerts and public musical meetings in England, and has had the direction of the operas at Batli, wliich proved highly successful. Siguor De Begnis died of cholera in New York in August, 1849, aged fiuv-lour. DE BEGNIS, MADAME RONZI. Wife of the preceding. Many particulars respecting this lady being included in the foregoing article, it is only rtHiuL--itc to mention that, attcr her marriage at 15ologna, Madame De Begnis went to Genoa, and iierformed, at the great theatre there, Eliza- btlla Itft/ina d'Angktcrra, in Rossini's opera of that name, aud was received in it with the great- est enthusiasm. She afterwards sang in " La Uiisa bianca e la liusa }-ossa " of Mayer. On her return to Florence, she sang at the oratorios there in Lent. She alter>vards accomj inied De Begnis DEB ENCYCLOPEDIA OF MUSIC. DBQ to the difTcreut towns mentioned in the preecd- ing article, nt uU of which she received hi|^)i honors as un artist, especially as a serious sinj^er ; her comic powers, known to have been very great, having been considered on tJie continent as alto- gether secondary to her perl'orniancej* as prima donna aerUi. Madame ]Je Begiiis was remarkable lor her articulate execution ; her voice was ex- tremely pleasing. .She was engaged, lor the sea- Bou of 1S21, at the King's Theatre. DEBLOIS, CHARLES GUI XAVIER, called »'«o l'an;/ion)u-nrii(le, was born at huneville in 1737. lie was a pupil of Uiiudini, and for twenty-eight years one oi the hrst violins at the Italian Opera at I'aris. lie composed a comic oi)era, called " Lcs lliibana," oLso some romances, and tour symphonies. DECACIIOllDOX. A musical instrument with ten strings, caUed by tl'.e Hebrews hamir, being ahuo^t the same as our harp, of a triangu- lar tigure. with a lioUow belly, and souuduig tiom the lower part. DECANI. (L.) Priests. A tenn applied to those vocal perlormers in a cathedrid who are in priests' orders, to diiitiuguish them trom the lay choristers. DECIIAMrS, L.. published " \oiaelks Ro- mances," Op. 1 and 2, at I'aris, in ISOO. DECHE composed a comic opera, called " Adik," at Paris, in 179 1. DECISO. (I.) With decision ; boldly. D DUR. (G.) D major. DEDEKIND, COXSTAXTIX CIIRISTIAX, chamber musician to the Elector of Saxony, pub- lished a very large collection of songs, in lour volumes, quarto, at Drejidcn, in IGo7. DEEP. A word applied to those notes which, iu comparison with some others, are low, or grave ; as when we use the expressions deep voice, deep pitch, deep tone, &c. DEERIXG, RICHARD, the descendant of an ancient Kentish tamily, was educated in Italy ; and when his education was completed, he re- turned to England, with the cliaracter of an ex- cellent musician. He resided in England for Kome time, but, upon a very pressing invitation, wont to UrusscLs, and became organist to the monastery of English nuns there. From the marriage of Charles I. until the time when that monarch left England, he was organist to the queen. In IfilO he was admitte!)7, and others entitled " Cantira Sacra," jmblLshed at the kame phue about nineteen years alterwards. DEFESCH, WILIIELM. was, in tlie year 1725, organist of the great church at Antwer]>. He published much instnnncntal and vocal music, chierty nt Amsterdam ; his oratorio nameccelh'l. DEGREE, ACADEMIC, in music. A titular honor contcrred by a university or a om at Turin in 1745. He re>ided chiefly at Paris, and composinl a great niimlH-r of operettas for the French stage, between the vearg 1778 and 1787. The piece most jiri^ed of his composition is " JilaUe rt liahel." He died in 1792. DESAROrS, XAVIER. A professor of the harji at Paris, and author of a method for his in- strument, publi.shed there in 1809. DE.SAUtHER.S, MARC ANTOINE, was bom in Provence in 1742, and made his rl/hnf as a compo-er at the .Vcademy of Music in Pai s, in 1774, by the opera of " Krixtne." After f viiia one or two opw as of inferior merit, he pro ucw DES ENCYCLOPEDIA OF MUSIC. DEX " I^e* Jiinwatu: de Drrgame " — a ])icce which ob- tainelication to vocal melody. In explanation of these pre- cepts, Guido says, " Suppose the singer to utter any given soiuul. as for instance, A ; if the organ proceed to the acutes, the A may b« doubled, as A, I), a ; in which ca.se it will sound from A to D, a diate.sseron, from D to a, a dia- peute, and from A to a, a diapa.son. DL\PIIONOI. (Gr.) DLscords ; sound.* which, struck together, never unite. A tenn u.-*d in opj)osition to symphony. DIAPIIOUICA. (From the Greek.) A name given by the ancient Greeks to every dissonant inten-al. (Juido Aretinus makes it synonymous with descant. DIASCHISMA. (From the Greek.) An in- terval in the ancient music, forming the half of a minor semitone. DIA.STALTIC. Dilating. A term applicii by the ancient Greeks to tlic major third, luajor sixth, and major seventh, because they are ex- tended or dilated intervals, 'lliis epithet was also applied to that subdivision of the MelopiL-ia which constituted the noble, bold, and exhila- rating. DIASTEM. A word used in the aiuient mu- sic, and properly signitVing an interval, or space. The Greek writers, however, frequently under- stand by a diastcm any simple, incomposite de- gree, whether a diesis, hemitone, setfuilone, or di- tone, and employ it in opposition to the com- pound inter\-al, which they caii system. D IN ALT. The fifth note in alt. ITie twelfth above the G, or treble clef note. D IN ALTISSIMO. (L) ITie fifth note in altissirao. The twelfth above G in alt. DIATESSERON. A term appUod by the (fncient Greeks to that interval which we call a fourth ; con.-iisting of a greater tone, a Ics.'-cr tone, and one greater semitone. DIATESSERON ARE. (From diatfsseron.) An expression implj-ing the singing in fourtlts. DIATONIC. A tenn applied by the ancient Greeks to that of their three genera, which con- sisted, like the modem system of intervals, of major tones and semitones. The diatonic nenus has lonu since been considered as more natiu-al than either the chmmatic or enharmonic. Aris- toxenus a.sserts it to have been the first, and in- forms us that the other two were fonned from the division of its inte^-als. The natural scale of music, which, proceeding by degrees, includet both tones and semitones, is called diatonic, a word compounded of dia, through, and tonic, b tone, because the greater number of intcn'al.s five out of seven, in the scale, are tones. A con- siderable dirticulty arises from the dUtribution of intcn-als upon keyed instrument.s, and the stu- dent does not readily perceive how an interval Lt to be found t)etween two keys, as B and C, or E and F, which are clo.se together. The method of stopping the violin, or the frets on a guitar oi lute, shows the nature of intcr\-«ls much more clearly. For instance, the third string of the violin is tuncon the length ol' the struig. DIATONIC SCALE. This scale consists of a reries of nntural progressive sounds, lying nt the foundation of all melody. There are eight sounds in this scale, designated by nuiueiiils, thus: — There arc seven intcn-als in this scale, five of nhirli arc called tones, and the other two semitotifs. Tlic semitones occur between the third omA fourth, and the seventh and eigluh, thus : — Ascending Scale. Descending Scale. m 0 8 cisht. 7 Kcven (i HIX. fl fivp. 4 fiiiir. 3 Ilirw. 2 two. 1 one. 12 345G7876543 2 1 Many, who have not attentively considered the subject, suppose that the regular gradation of tAtnes and semitones is a mystery — a certain some- thing which cannot be defined. True, great mathematical research and many experiments ■were necessary, in order to bring out the theory and reduce it to practice ; but the principle is natural to man ; so much so, that any one, even a Uttlc child, unless there is some radical defect in the hearing or vocal organs, may sing the scale correctly, without the least tuition. 'Die souniLs of the natural scale are applied to the staff with the F clef : Number 1 is placed on the fourth degree, C, and the others follow in regular order, thus : — S^ Tlie scale is applied to the stafT with the G clef: Number 1 is placed on the first leger line below the staff, C, and the others follow in order, thus : — i -o- llie student will notice the different positions of the scale with the two clefs, 'lliis arrange- ment is necessary, inasmuch as it preserves a regularity of sounds in pa.ssing from one scale to the other, thus : — 1 2 S 4 ft 8 7 « m -^-C- (351 ^^ ^ o ' lXS«ta7S Sounds may be cirrit-u to the highest and low- est possible degree of i)itch ; but vocal sounds are usually confined between the space l)€low the staff with the F clef and the space above with the G clef, llie following table exliibits the exten- sion of the scale, from the lowest note in the hass to the highest note in the soprano . — -zfi^ -^S^ifi^ ^^ 12846678 12346678 1284S The human voice Ls divided into four parts or general classes — the bass, the tenor, the alto, and the soprano. The lowest male voices generally sing bass, the highest male voices the tenor, the lowest female voices the alto, and the highest female' voices the soprano. Hoys, before their voices change, generally sing the alto. Besides the four general divisions, there are three other classes — the baritone, a voice between the ba-ss and tenor ; the falsetto, the upper, unnatural tones of a man's voice ; and the mezzo soprano, a medium species of female voice. Tlie following example exhibits the usual compass of the voice in the several parts : — It is important that the difference of pitch be- tween male and female voices be fully understood by the pupil. When the G clef is used for the tenor, it denotes that each sound of the scale is an octave lower than when used for the alto and soprano. The following diagram will illustrate the F and G clefs as variously used, and the relative situa- tion of each : — Soprano and Alio. E D -C • • B -A G -F G -D C -B A -0 Ba«8. Tenor. F— E _ n— • c B- A — G- T — E- Uaiwn. 2S2 DIA ENCYCLOPiEDIA OF MUSIC. Die From the above, it will be seen that C on the first line above the bass staff, anil C on the first line below the treble staff, are both in unison with C on the third spate with the G clef, when it is nsed for the tenor. Tlie diatonic scale, it ^\ill be reraemberod, is a gradual succession of sounds by tones and semi- tones, which may jjroceed either from acute to grave, or from grave to acute ; five whole tones and two semitones making a complete natiu'al octave. In our ordinary music there are but two scales, or keys — the major and the minor; but on a more thorough examination of the princi- ples of music, we find there may be as many diatonic scales as the distribution of the two Bcmitoues in an octave can be varied, which, in- cluding their original situation, is twelve times. DI.VTOXUM IXTEXSUM, or SILVRP DIA- TONIC. The name given by musical theorists to tho:;e famous projiortions of the intervals pro- posed bv Ptolemy, in his system of that niimc — a system wliieh, long after the time of this an- cient speculative musician, was received in our counterpoint, and is pronounced by Dr. Wallis, Dr. Wraith, and other most learned writers on harmonics, to be the best division of the scaJe. DIAZEUXIS. (Gr.) Division, separation. The name given by the ancients to the tone which separated two disjunct tctrachords. The clia- Eciuri* was placed between the mesis and ptirame- tis ; i. e., between the highest note of the second tetrachord, and the lowest of the third, or be- tween the note synnemciion and jmrainesis hijperbo- leon. DIBDIX, CHARLES, was bom in Southamp- ton, where his father was a silversmith, about the year 17 fo. lie was educated for the church on the foundation of Winchester School ; but music soon too^ such complete possession of his mind, that he would attend, as a boy, to Utile else. At twelve years of age he had a very sweet voice, ond sang at the cathedral at Winchester ; also at a subscription concert in that town, where he was patronized by the jirincipal inhabitants. Shortly after this, he stood for the situation of organist ut a village in Hampshire, but wa; rejected on ac- count of hid youth. Dibdin's elder brother was captain of a West Indiaman, and being in London about this time, pressingly invited his younger brother to make a trial of his talents in that me- tropolis, lie accordingly went to London, and was introduced to several of the most eminent mu- sic sellers, for whom he compo:ied some ballads ; tV e profits of which were, however, very trifling, as the most he received for the copyright of six songs wa.s three guineas. The rest of liis time he filled up in tuning piano-fortes. This occupa- tion being little to hLs taste, he soon became ac- quainted with the ])rincipal musical and theatri- cal characters of the day, and in the summer of 17612, when only fifteen years of age, appeared as B performer at the Richmond theatre. ITie fol- lowing year he performed at Birmingham, and, in 17(il, made his Mbut on the London boards, in the character of Ralph, in the " Maid of the Mill," and received a great share of the pub- lic apjirobation. Still, however, he was not in his element ; he dLsliked the profession of an •ctor, and his chief dchght was in composition. Accordingly, soon after tliis time, he ^vrotc the principal part of the music for " Lionel and Cla- rissa," and a venr or two afterwards, the entire music of " The Padlock." 'Die success of these pieces fully established his fame as a dramatic coraixiser. Among Dibdin's more celebrated works for the stage may be enumerated " The Deserter," pro- duced in 177'2 ; "The Waterman," (words and music,) in 1771, and "The Quaker," in 177'5. In the intervals of these perlonnanccs, it must be confessed that his jirolific jien gave birth to n great deal of trash. The whole number of his theatrical compositions amounted to nearly a hundred. After (lunrrelliiig with the proprieto-s of all the principal theatres, and more es])eciiilly with Garrick, having also failed in more than one theatrical sjieculation as a manager, Dibdin at length resolved on attempting to entertain the public by his single performance of his own songs, accompanying them himself on the piano-forte. In this he was eminently successful for some years, both in London and in pi'ovincial towns ; and he might doul)tless have amassed a handsome for- tune by this singular exertion of his talent, had he not been unusually improvident in his pecu- niary concerns. 'l"he number of new songs which he wTote (both words and music) for these enter- tainments is astonishing ; they amounted, it is said, to upwards of twelve hundred, among which his sea songs are certainly the most clever. " Poor Jack," "Tom Bowling," and various other ballads of that class, will ever remain dear to the ear of the saUor. Dibdin died in 1814, in very obscure circumstances, having suffered, for some years previously to his decease, from an illness which rendered him almost helpless. DIBDIX, MISS, an excellent performer on the harp, was originally a pupil of Challoner, and since of Bochsa. She was, in 1821, an assistant prolessor of her instrument at the Royal Academy of Music. Miss Dibdin began her musical stud- ies under Challouer in 1808, and in 181.i she per- formed Stcibelt's grand duetto on the harp with Haydon, at the oratorios at Covent Garden, where she was advertised as " a pupil of Mr. Chal- loner." She afterwards performed in public with Bochsa, and with the greatest iclat. DICIIORD. (From the Greek.) 'llie name given to the two-stringed lyre, said to liave been invented by the Egyptian Mercury. Apollodorus accounts for its invention in the following man- ner : " Mercury," says he, " walking on the banks of the River Xile, happened t'l strike liis foot against the shell of a tortoise, the flesh of which had been dried away by the heat of the sun, and nothing left of its contents but the nerves and cartilages ; he was so pleased with the sound it i)ioduced, that he thence conceived the idea of a lyre, which he aitcrwarcLs c >nstnu-t- ed in the fonu of a tortoise, and strung it with the dried sinews of animals." DICKOXS. MRS. This lady, so justly cele- brated as a singer, was also an instance of pre- mature musical genius, having been, at the age oi six years, capable of perfonning Handel's over- tures and fugues on the piano-forte, with an as- tonishing degiee of taste and precision. Mr. Poole (her father) took advantage of this extraordinary talent, and placed her under the tuition of the celebrated llauzzini, of Bath, thus infusing into her young mind the true Italian 2o3 Din excyclop-t:dia of musxC. T)10 tanto. Ill line time Hhe was cnzHjjcd at the An- cient and Vocal Concerts, and iiLso at Covent Garden Tlicatre, wlierc she made her (UbtU in the dinra'ter of Ojihdia, in which she evinced the most delicate I'cchn^ and pathos ; she also IH-rloriued, with unrivalled success, the first range of operatic character-; in England, Scotland, and Ireland, and was received hy the Irisli with en- thusiasm. The excellence of Mrs. Dickons in Bacrcd music ia also well known. In that style she sang with such a degree of subhmity, that religion seemed to hrciithc through every note. She was also engaged at the Italian Openi, and performed (among other principal characters) the Countess, in Slozart's " Ae .\o:ze di Figaro," with eminent success, to Madame Catalani's Su- •anna. At the conclusion of her engagement • C Drury I.anc Theatre, in 1816, she was engaged as yriiiia dimna at Madame Catalani's theatre at Paris. From thence she went to Italy, where (at Venice in j)articular) she received the high and distinguished honor of being proclaimed, by gen- eral vote, socia onoraria deW InslittUo FiUirmonico, She was engaged to sing at several places with the celebrated Velluti ; but the death of a partic- ular friend demanded her speedy return to Eng- land l)elore she could fulfil those engagements, and Mr. Harris availed himself of that opportu- nity to bring her forward once more in his the- atre, where she had so early begun her theatrical career. She early retired from puVilic life, es- teemed and beloved by all who had the pleasure of knowing her, and although in full possession of her vocal powers, detlincd many tempting and lucrative offers to return to the stage. She had most flattering and advantageous applications to sing in Italy, where her fame was well known and her talent duly appreciated. DIDYMl'S was an eminent musician of Alex- andria, and, according to Suidas, contemporary with the Emperor Xero, by whom fie wius much honored and esteemed. He wrote upon grammar and medicine, as well as music ; but his works are all lost, and the whole that we know at pres- ent of his haiTuonical doctrines is from Ptolemy, who jjreserved and disputed them. However, thLs author confesses him to have been well versed in the canon and harmonic divisions ; and, if we may judge from the testimony even of his antag- onist, he must have been not only an able theo- rist in music, but a man of considerable erudition. As this writer preceded Ptolemy, and was the first who introduced the minor tone into the scale, and conse(|ucntly the practical major third, which harmonized the whole system, and dcvel- oj.ed the road to counteq)oint, (an honor that most critics have bestowed on Ptolemy,) he seems tc have 8 better title to the invention of modern hannony, or music in parts, than has been al- lowed him. DIES liLE. (L.) A principal movement in a re(iuiem. DIESIS. The name given to the smallest in- terval Used in the music of the ancient Creeks. In harmonic calculations, those are called dii.ics which are greater than commas, and less than Remitones. lUesh, in modern music, is the name given to the elevation of a note above its natural pitch. 'J'bis raising of the sound is, however, only a kind of insensible gliding tlirough the in- terval of o semitone, and does not produce any change in the denomination of the note upon which it operates. With some authors, diesis is only another name for the quarter of a tone. With others, again, it Ls indiscriminately applied to a variety of the lesser intervals. DIETEIl, or DIE'lTER, CHUISTIAX Ll'D- Wlti, was boni in 1757, in Wurtemburg. He comjiosed much instrumental music, particularlj for the bassoon, also some dramatic pieces, be tween the years 1781 and 180.3. DIEITEXIIOFER. See DnTEXHOFEE. DIETZ, JO.'sEPII, a German composer, pub- lished, in 17G8, at Xurcmburg, some music for the violin ; also, subsequently, some instrumental trios at Amsterdam and Paris. DIEZE. (F.) Ashaqi. See Shakp. DIEZELIUS, VALEX'ITX, published a krge collection of Italian madrigals at Xuremburg, in the year IGOO. DIEZEUGMEXOX. An appeUation given by the ancient Greeks to their third tetrachord, when disjoined from the second. DIOrrAL EX.ERCISES are exercises to ren- der the fingers independent of each other. As the third finger in each hand is (as it can be an- atomically demonstrated) weaker than any other, ' it will be advisable for all who practise the pwno- forte, S:c., to cultivate its volition and improve its strength by exercises like the following. Such exercises may at first produce weariness, and per- haps some degree of pain ; but this will gradually wear off, and the student will be amply repaid for hlj labor. Eaa? ^^ Uald dovs the long asm, and oooUddc the flfmrd flnfCTlsf w loot w p— ritlt. 4 3 a I 3S3S 3333 DIGXl'M, CHARLES, was bom at Rother- hithe, where his father was a respectable, but not atftuent tradesman. Being of the Roman Catho- lic church, he officiated, when a boy, at tie Sardinian ambassador's chapel, and also sang in the choir. His voice was at that time particular- ly admiied by the frequenters of the chapel, lor its melody and power ; so much so that S. ^^'ebb, a gentleman well known to the musical world, remarked his talents, and gave liim in- struction. Dignum, however, entertained nn idea of making music his pursuit ; he wlshwl rather to dedicate himself to the service of re- ligion, and importuned his father to send him to the college at Douay to complete his education, and fit him for taking holy orders. This plan was, however, reliiuiuished, and young Dignum was ))laced on trial under the care of a carver and gilder named Egglesoe, who was at the head of that liranch in the house of Messrs. ."^eddons. Though this situation was by no means suited to his genius, be remained nine months in it, and was on the point of becoming a regular appren- tice, when a quarrel between his father au 1 Eg- glesoe dissolveil the connection, llius it often happens that the most trivial circumstance changes the history of a man's life. Had Dig- num pursued the occupation of F.gglenoe, h« I 254 DIG ENCYCLOIVEDIA OF MUSIC. DIS Toight have lived in obsc irity, and died unknown beyond the circle of his own family ; chance, however, operated in liin favor, and whilst lie was dubious what occupation to follow, he was introduced to the acquaintance of tlie celebrated Mr. liinley. That j;reat master of vocal and in- strumental muttic readily perceived the talents of young Uii^num, and gave him the most tlattering hopes that lie would one day become an aciiuisi- tion to tlie stage. Tlius encouraged, and cou- Bcious of his own natural powen-, Dignuni arti- cled himself to Linley for seven years. During the first two years of lliis period, the master be- stowed the most indefatigable attentions on his pupil, and would not permit him to sing in pub- lic till his judgment was sufKcieutly coiTcct. Dignum made his {Idbut at Drury Lane Theatre in 1781, in the character of Young Meadows, in the comic opera of " Love in a Village." Ills figure was indeed rather unfavorable for the part he repre:icnted ; but his voice was so clear and full toned, and his manner of singing so judi- cious, that he was received with the warmest ap- plau.sc. lie then appeared in Cj-mon, and again experienced the moit flattering approbation. On the removal of llannLster, Sen., to the Koyalty Theatre, Dignum succeeded to a cast of parts more suited to Ids person and voice, which was a fine tenor ; amongst other charactei-s, those of Hawthorn and of (iiles i)articularly suited him, and he was superior in them to every other actor since the days of Heard, who was their original representative. Dignum retired from the stage in easy cu'cumstances, and took residence in Lon- don, greatly esteeme■& ; a.s, allegro di moUo, very quick ; tari/o di moUo, very slow. DIRECT. A certain character placed at the end of a staff to apprise the performer of the situation of the first note in the succeeding statr. For this purpose, it is always situated on that line or space in its .o'wu staff wliich answer* to the line or sjjace occupied by tlie note which it \» designed to announce, thus : — DIRECTIVE TERMS. llie terms andantr, ntoilcrato, piano, &c., are called dircclire tcniui, be- cause from them we discover the character and movement of a jiiece of music. Many performers neglect tliesc terms, and decide the velocity of a movement from the signs of the measure C, 3 &c., which are inserted at the beginning of the start', whereas these signs signify no mine than the measure, or contents of the bars. Whenever any dii'ective words appear, an invariable adher- ence to them is inilispeusably necessary. At the same time the subject ought to be consulted, es- pecially when no directive words arc found. Then, and then only, may the perfonner supj)ose that he has a tolerable idea of the design of the piece. In much of the more modem music, the vagueness of these directions about time is cor- rected by the metronomic marks. DIRECTOR. A person who undertakes that department of a concert which is uncounectetl with the science, but which includes tlie me- dianical office of fixing the salaries of the several pertormers, aj)pointing the days of performance, and choosing the pieces, &c. DIRGE. A solemn and mournful composition, performed at funeral processions. The dirge was in very general use with the ancient Greeks and lU)mans, and was numerously filled, boUi by voices and instruments. DIRUTA, GIROLAMO, was a Franciscan iriar, and the author of a work in dialogue, en- titled " Jl Trainilvano," printed at Venice in the year ir>2o. Tlie design of tliis work is to teach the proper method of playing on the organ and harjisichord. DIS. (G.) D sharp. DISALLOWANCE. A term applied to any anomalous formation, or succession of chords. Two succeeding eighths, or two consecutive per- fect fifths, in the same direction, constitute a dis- ailoicaiux. DISCORD. A discord is a dissonant or inhar- monious combination of sounds, so called in op- position to the concord, the effect of which tlie dis- cord is calcidated to sweeten and reheve. Among various other discords, are those formed by the union of the fifth with the bi.xth, the fourth with the fifth, the seventh with the eighth, and the third with the ninth and seventh — all which re- (luire to be introduced by cert;un prepiu-ativcs, and to 1)0 succeeded or resolved by concords to which they have some relation. DiMiucU are sometimes introdaceil intentionally into music ; not for themselves simply, but to set off the con- cords by their contrast and opposition. A well- cidtivatcd ear will ([uickly distinguish a discord. No one will deny the necessity of discord is the composition of masic in parts ; it soeius to b« as much the essence of music as shade Ls of paiotf DIS ENCYCLOP.-EDIA OF MUSIC. r IT ing ; not only aa it irajjrovcs and meliorates con- cokI by opposition and comparison, but, still fur- ther, ns it becomes n nccessiiry stimulus to the attention, which would lnnj;ui>h over a succes- sion of pure concords. It occasions a momentary distress to the ear, which remains unsatisfied, and even uneasy, till it hears sometliing better ; for no musical phriusc can end upon a discord ; the ear must \x; satisfied at last. Now, as discord Is allowable, and even necessarily ojiposed to con- cord, why may not noise, or a seeming jari;on, be opposed to lixed sounds and harmonical propor- tions : Some of the discords in modern music, unknown till this century, are what the ear cau but just bciir, but have a very good effect as to contrast. The severe laws of i)reparing and re- solving discord may be too much adhered to for great clfccts ; we are convinced that, provided the ear have amends made at length, there are few dissonances too strong for it. If, for instance, the five sounds, C, I), E, F, (J, are all struck, at the same instant, jirovided the D and the F are taken off, and the thx-ee others remain, the ear ■will not suffer much by the first shock ; or, still further, it, instead of the five sounds above men- tioned, the following are struck, C, 1)**, K, F«*, O, and the D*?, F*? are not held on so long as the rest, all will end to the satisfaction of the offend- ed ear. DISCORDS OF SYXCOPATIOX only differ from those of suspension by constituting part of the radical harmony, and by not being merely appoggiaturas. The diatonic sequence of sev- enths is one of the principal passages iii which these discords are used. DISCOllDAXT. An epithet applied to aU dissonant and inhannonious soundj?, whether suc- cessive or simultaneous. DIS-DIAPASON, or BIS-DIAPASOX. (From the Greek.) A double octavo, or fifteenth. To this ii.terval the ancient 'Jreeks bounded each of their modes, and gave it the name of the perfect tystem- DISEURS. (V. PI.) A name formerly given by the French *o certain narrators or romancers, who, iu a kind of chant, recited their metrical histories. DISJUNCT. A term applied by the ancient Greeks to those tetrachords which were so dis- posed with respect to each other tliat the gravest note of any tetrachord was one note higher than the acutest note of the tetrachord immediately boieath it. DISSONANCE, lliat effect which results from the unison ot two sounds not in concordance with each otlier. The ancients considered tliirds and si.xths as dissonances ; and, in fact, every chord, except the ])erfect eonconl, is a dissonant chord, llie old theories include an infinity of dissonances, but the jiresent received system re- duces them to a comparatively small number. One rule, admitted both by the ancients and the moderns, is, that of two notes dissonant between themselves, the dissonance api)ertains to that of the two which is not included in tlie fundamentul concord. DISSONANT. ITiose gounds or intervals are Mid to be dissonant which do not form a conso- nance between themselves). Q DISSOLUTION. A tenn used in the Greek music when a sound in the enhamionic genus is lowered three dieses ; for thereby that genu? is dissolved, and the music, or that interval at least, is chromatic. DISTANCE. An expression applied to "iie interval between any two disjunctive notes ; ae, O in alto is Kaid to be at the distance of a seventh from A above the treble clef note. • DISTANT SOUNDS. Dr. Amott relates that, as a ship was sailing parallel to the coast of Brazil, but far out of sight of land, the perse ns on board distinctly heard sounds as of church bells, ringing as Lf for some day of rejoicing and festival. This was strange noise upon the wide and solitary ocean. The bells could be heard distinctly, but only from one part of the vessel ; all the crew and passengers heard the same ding- dong, but none could solve the mystery. Many months after>vards it was ascertained, that on the day of this phenomenon, the bells of che Brazilian city of St. Salvador had been ringing in honor of some saint's day or other festival, nie sound, blown from the land by a gentle wind, had come across a wide tract of sea to this ship, which was then sailing opposite St. Salvador. The fact of its being heard at only one particultkr sjjot on the deck was accounted for by the acci- dental position of a sail, which concentrated the sounds, and made them audible. Hence we draw the philosophical inference, that an instru- ment might be constructed, that should bear the same relation to sound that the telescope does to sight. DITHYRAMBICS. Songs sung in honor of Bacchus. From these compositions, consisting of verse and melody, were derived the first dra- matic representations at Athens, and which were afterwards sung as choruses to the first tragedies. DITONE. An interi-al comprehending two whole tones, or a major third. The proportion of the sounds that Ibrm the difone Is 4 : 5, and that of the minor third is 5 : 6. F. PaiTau makes the ditone the fourth kind of simple concord, as comprehending two tones, according to Aristotle, a greater and a less. Others make it the first discord, dividing the ditone into eighteen equal parts, or commas ; the nine on the acute side making the greater tone, as asserted by Salmon De Caux. DirrENIIOFER, JOSEPH, was born at Vi- enna about the year 174:5. He received his in- struction on the harpsichord in that city from Steffani, and his knowledge of counterpoint ftt)m AVagcnseil, both of whom were repiited to be the first and most skilful organists in Vienna. After having passed fifteen or sixteen years on his trav- els through Germany and France, he at length fixed his residence in Loudon, where he taught the haqisichord and piano-forte, and published a didactic work on composition, also several fugues and voluntaries for the organ. Dittcnhofer pos- sessed a perfect knowledge of his instrument, and although he had not that brilliant and rapid per- formance which is remarkable in some of the modern jirolcssors, yet his cd\ication waS so reg- ular that he was a complete master of harmony and modulation. One of the most celebrated English pupils of Dittcnhofer was Monro, of i Newcastlc-upou-Tyuc. DIT ENCYCLOPEDIA OF MUSI'J. DIV DnTERS VOX DIITERSDOKF, C.UiL. This adjuirable composer was by birth a German, and born in the year 1739. lie first made bim- seli" known as a performer on the violin in tlie Imperial Chaix;l of Vienna, and afterwards resid- ed at Frankfort. So highly was he esteemed by the Emperor of Germany, that, as a reward for his merit and talents, he was elevated, in the year 1770, to the rank of nobility, by the title of Dittersdorf, and at the same time nominated ranger of the forests in the emperor's Silesian do- minions. Shortly after this period, he was ap- pointed by the Bishop of Breslau director of his chapel, and from that time he ai)i)ears to have re- sided alternately in Silesia and at Vienna. In 1792, says Dr. Buniey, he lived in a splendid manner on his own property, in Austria. His light comic operas for a long time enjoyed great popularity in Gennany and France; but his style grew old and ordinary as the works of Mozart were better understood. Ilis compositions were extremely numerous, especially his oj)cras, of which the most celebrated was '• Der Doktor nnd der Apotheker," produced at Vienna in 1786. Be- tween this date and 1798 he produced upwards of tliirty operas or operettas. He also wrote several oratorios, as " Isaac," " Esther," " Job," ice. ; some masses and motets ; fifteen sj'mphonies for grand orchcsti-a, entitk'd " 'l"he Metamorphoses of Ovid," published at Vienna in 1785 ; some forty manuscript svTnphonies ; concertos, sonatas, quatuors, duos, songs, romances, &c., itc, in great number. Some called hiiu the Gretry of Ger- many. As his popularity waned ho grew miser- able and poor, but found a kind home in the Baron Stillfried's chateau in Bohemia, where he died in October, 1799, two days after he hud fin- ished dictating to his son the history of his life, which was published at Leipsic in 1801, (^'291 p., 8vo.,) — a work full of imIvd originality. DITTY. -\ short, simple, meliincholy aii\ Ditty, which is derived from the L;itin word dic- tum, and was originally spelled dittie, implied, in its primitive sense, a saying, or sentence, and had no allusion to a poem or song, to which it was af- twwards appropriated. DR'EUBIA. (L.) The name given to the dramatic dialogues of the ancients. The diverbia are supposed not to have been set to such refined and elaborate melodies as those which accompa- nied the sentimental and passionate cantico; or 8oliloq\iies. DrVERTIMENTO. (I.) A short, light, pleas- ing composition, vocal or instrumental, written in a familiar style, and calculated to engage the geuenil ear. DIVERTISSEMENT. (F.) Tlie name given to certain airs and dances, formerly introduced between the acts of the French operas. DrN'ISION. This word bears two construc- tions. With theoretical musicians, it implies the division of the intervals of the octave ; but taken in a practical sense, signifies a coarse of notes, so running into each other as to form one connected scries or chain of sounds ; and which, in vocal music, is always applied to a single syllable. The Kinging or playing a passage of this kind is called ruiuiing a dicisioiu DI\'ISIOX OF TIME. "SVc regulate the length of sounds by a division of the time occu» pied in the performance of any given melody, oi harmony, into regular portions, called nie;Lsures. During the performance of any piece of music, time i)asses away ; and in order to preserve regu- larity and prevent confusion, all masic must b« divided into equal portions. The following line represents the time of any given melody : — Xow suppose this line, or time, to be divided into equal portions, each division would coiuiti- tute a measure, thus : — T To keep the time equal, we make use of a mo- tion of the hand or foot, thus : knowing the true time of a crotchet, we shall sui)^)o.-t uistituted in England, authors do not agree. Anthony Wood says it took place as eiirly as the reign of Henry II. ; but Spclman thinks it had no existence till the reign of King John. No name being to be found of the tii-st professor in music to whom this title was granted, .ve are in want of the very circumstance which would decide the question ; and must, therefore, be satisfied with the conjecture, that its com- mencement must have been pretty early, since we know it to have been conferred upon Hambois, wlio Hourislied towards the beginning of the fif- teenth century. It, however, clearly appears, by the qualifications tonuerly retiuired of a candi- date either lor a doctor's or bachelor's degree in music, that at the time of the institution of these degrees, music was legardcd as a science merely sjieculative ; and that little, if any, stre»8 was laid on skill in composition. Hie being able to read and expound Bocthius was conceived to be a higher criterion of scientific acquisition tlian any tipecimcn of inventive hannony and melody ; and an acquaintance with the ratio of musical intervals, and the philosophy of sound, su])er- sedcd the operations of creative genius and practical theory. The present statutei, however, ore formeianist of the new school, contemporary with Ilerz, Thttlberg, \c., was born in 1814, at Xaplcs, where his father was teacher of languages. He showed great taste for music while a l)oy ; but there were no fit masters for hini until the arrival of Jules Benedict at Xaples, under whom he I mastered the mechanism of the piano. His fa- ther being called to Lucca to superintend the ed- , ucation of the jjrinces, young Doehler accompa- j nied liun, and, a few months afterwards, followed I the duke to Vienna, where he was admitted to j the school of Carl C/.erny, and made such re- j markable jirogress that, at the age of seventeen, he was appointed ])ianist to the Duke of Lucca. j From that time he accompanied his sovereign in I his travels through Germany and Italy, and every I where made a sensation by his talent. His com- '. positions for the piano are principidly brilliant I and difficult fantatiias upon themes from operas, I as " Zampa," "La Slraniera," "Norma," " Ro- bmi le DiabU>," &c., suited to the display of rapid and dazxling execution. DOIGTE^J. (F.) The fingering. DOLAXTE, COX DOLORE, or COX DU- OLO. (I.) Sorrowfully, pathetically. DOLCE, or DOL. {!.) Tliis tenn expresses the quality of tone in which the passage ovei which it is WTitten shoiild be performed, which should be, as the term implies, soft, smooth, and delicate. Upon the violin this is produced by drawing a light and switl bow over the stringt near to the finger board ; and, for the greatest degree of softness, the how must still recede far- ther from the bridge. By this means a tone may be ac(iuired reseml)ling that of the musical glass- es, or the lower tones of the ttute. Before thia can be obtained in vocal tones the organs must be brought into the most pliant state, and used with the greatest delicacy. When this tenn is ap])lied to instrumental music, it is generally to those niorceniuc of melody that are so peculiarly adapt- ed to the voice, and the performer cannot ex])ress them better than by taking the vocal tones as his model. DOLCE E PIACEVOLMEXTE EXPRES- SIVO. (I.) Soft, and with plcasuig expression. DOLCE MAXIERA. (I.) A sweet, delicate manner. An exjjression applied to a ])ertnrraer who is master of a soft, pathetic, and finished style of execution. Of such a performer, we any he has a rlolve maniera. DOLf EMEXTE. An Italian adverb, imply, ing a soft, sweet, and graceful style of perform- ance. DOLCEZZA. or COX DOLCEZZA. 1 With swei^tucss and softness- (I- DOL ENCYCLOPEDIA OF MUSIC. DON DOLCISSIMO. (L) With extronio sweetness. DOLES, JOIIAXX FUIEDUlCir, a singer »nd chai)cl-ninstcr at Leipsic, was born in the year 171 j. lie corapo^^cd much vocal music, principiiUy for the church. He died in 1797. DOLES, DU. JOIIAXX FUIEDKICn, son to the preceding, was born in 174'!, and considered as one ot the best German musical amateurs. He published some instrumental music at Leip- Hic, about the year 1733. DOLOUOSO. (I.) A term indicative of a soft and jiathetic style of execution. domestic:. (L. pi.) The name given to those two of tlje four singers in the Patriarchal Church of Constantinople who act a.s assistants to the two prini-ipals. DOMINANT. The dominant of any mode is that sound which makes a fifth of the final, or tonic. DOMIXICK, M. A professor of the honi at the Conservatory at Paris. He published a method and some miLsic for his instrument, also several romances. DOXA XOBIS PACEM. (L.) Give us peace. The concluding movement of the mass, or Cath- olic morning service. DOXATI, BAI-DASSAR. Chapel-master of St. Mark's church, at Venice. He composed many madrigals and canzonets {Canzone Villa- nesclie) bet\%ecn the years loo5 and 1568. See Camhio. ^ DOXATI, IGXAZIO. An Italian composer and chiipel-master at Milan. He published some BEcred music at Venice, between the years 1619 knd 1633. DOXI, AXTOXIO FllAXCESCO, published at Venice, in 1.544, a work entitled " Dialorjhi delia Micsiia." Dr. liurney places this among the more rare musical publications, never having seen but one copy of it, which was in the possession of P. Martini. Doni died, according to Walther, ui 1.574, in the fifty- fifth year of his age. DOXI, GIOVAXXI BAITISTA, a native of the city of Florence, was born in the year 1594. He was the descendant of a noble family, and fliough not by profession a musician, has been justlv celebrated for his skill in this science. Early in life, he was ai)i)oiiited professor of elo- quence, and member of the Florentine Academy, and that of Delia Crusca. He was much favored by Cardinal Parbarini, afterwards Pope Urban V'ni., and at his recommendation was appointed stcrctary to the college of cardinals. Being a man of extensive learning, and finding the atten- tion reii bluw tlicni oiiU" Upon hearing the description of a tempest, u. the Nautilus of Timotheus, Dorion said, "He han seen a better in a Ijoiling caldron." Having lost a large shoe, at a banquet, which he wore on account of his foot being violently swelled by th« gout, " The only hann I wish the thief," said he, " is, that my shoe may fit him." Ilis wit and talents made amends for his gluttony, and he was a welcome guest wherever he went. Philip of Macedon, in order to enliven his parties of pleasure, used frequently to invite him with Aristonicus, the citharist. DORXAUS, PHILIP, a German professor of the horn, published some music for his instru- ment at Offenbach in 1802. DORXAUS, L. Younger brother to the pre- ceding, also a professor of the horn, and compo- ser of music for his instrument. DORXEL, AXTOIXE, organist of St. Gene- vieve Church, at Paris, died in 1755. He pub- lished some vocal and instrumental music. DOT. A point placed after a note, by which the duration of that note is increased one half. This expression of continuity was formerly called a })oinl of perfection, because a note, when dotted, attained its then greatest possible length, or was perfected. A dotted note is also termed a note of proUttioH. DOTT-ED NOTES, RESTS, &c. The dot placed after any note renders it one half longer than it would be if simply written. Thus, inas- much as a semibreve is as long as two minims, it follows that tlie duration of a dotted scmibre<« should he equal to that of three minims, of a dotted minim equal to that of three crotchets, and so on, as expressed in the following table: — Dotud SMnlbm* DMMMWm twud CiMakM / ( Si • 1 .— . • m , 1- — 1 1 bM k«t M (^^^ -!sr. 3=p: IK>M#4 9«aih|mftvav f^' — - =^-' 1=^ ^ -I gr- 1 — s If MiMf M -V— i^ :iafc zi^z ■ *i a Py which it wiT ^e seen tl at the use of rtii 2P1 nor ENCYCLOPAEDIA OF MUSIC. DOTJ dot is only ft convontional method of expressing the iiotatiou of the hccoiid start'. Exam ple of Dotted Notes op EVEnv Value. ISU-^ ijj^r ? ^ ""H'Tf PpT' ,.JjJ^^>^=^^ A double dot placed after a note imparts to it the additional value of three fourths of its simple duration. Thus, a semibrove bcini? equal to two minims, or four crotchets, a double-dotted semi- breve is as long as three minims and a half, or seven crotchets, and so forth, as will be seen in the annexed table : — I>otiMf>-4ott«4 Dwblf-dolted Doufilp-dolt«d l>ouM«.^ot(«4 DoiibtrMlAtt«d 8«rolbrrT« Mtolm Crotcbpt Qu»rer Semiquivrr i^r-rr~ '— .. ^ • • — F'~' — 1* " 1 ■-] — — 1^ \% M lOBK U b U lOQK u -~ ■ — ■ 1 b U tODg u \ Y- ti=t^ l=tfcy 1^-t Uz^J A dot affixed to a rest increases its value in like manner as it affects a note. Thus a dotted Bemibreve rest is as long as a semibreve rest and a minim rest, a dotted minim rest is equal to a minim rest and a crotchet rest, and so on. P W^ And in like manner the double dot may be placed after a rest, lengtbeninK the duration of its pause as the double dot after a note protracts Ihnt of its sound. nie dovible dot is rarely affixed to semibreves or minims. When dots are placed at the sides of double bars, it indicates that the portions or parts on the sides of the dots should be repeated : — ^m^^^ ^^^ Dots attached to the single bars are also used, more particularly in manuscript music, thus : — t'F^f^^'f^^^^^^^ This repetition Ls sometimes expressed by th« word bis (which is literally twice) written under a curved bne : — • 6m DOTTED TOUCH. This is a touch, \iDon keyed instruments, which rigidly marks the dis- tinction between the dotted or doubly-dotted note and that which follows it, thus : — DOTZAUER, JUSTUS JOIL\.NN FHIED- RIC'II, a composer and violuiist at Dresden, was born near Hildburghausen, In Saxony, in 1783. He was appointed chamber musician to the King of Saxony in the year 1811, and has published much instrumental music, chiefly at Leipsic The quartets of Dotzauer are much admired. DOfBI.E. A word which, in the oM mii^ic, ctrriei the iwme sen^o nn thnt which we now pive to the term variation. In the harp!iichr)nl lettsona or Handel, and other niQfitcr* of liis time, we find, (inatead of variation 1st, variation *.fd, &c.) donUe 1, doubtc ti, ate, &C. DOUBLE BAR. A double bar consLsts of two parallel straight lines, somewhat broader than the common bar, drawn near each other, and passing perpendicularly through the staff. The double l)ar ser\-es to divide the dilTcrent strains of a movement. If two or more dots are placed on one of its sides, they imply tht.t that .strain of the movement on the same side with the dots is to be jierformed twice ; and if dots are placed on each side of the double bar, it is to be understood that the mark of repetition ex- tends to the strains on each side of the double bar. DOITil-E RASS, CONTRA BASSO, or VIO- LONO. A large, deep-toned bass instrument, extending, in general, to double C downwards, and reaching, in ascent, to the treble clef note, or even higher. The scale of the double bass is equally perfect with that of the violoncello. n-:e double bass is the deepest and most"i)Ower- ful toned instrument used in concert mvisic. It is so indispensable to enrich and sustain thi masses of harmony, that it may be fairly con- DOU ENCYCLOPAEDIA OF MUSIC. DOU cidered 03 the pillar and metronome of the or- chestro. Music for this instrument is written on the bass clef, like the violoncello ; but the actual pitch of the notes is an octave lower than on tluit instrument. The double bass is mounted with three thick catgut strings, which are tuned by fourth.s, in the following manner : — 1st ftring. 2J string. 3d rtring. G D A 0 0 0 0 IniUcates the open utring. Tlie following scale e.xhibits all the natuial notes which arc capable of being played iji thr tirst or original position of the hand, as also the finders employed to stop them. Notes above the original position are obtained by advancing the hand upon the finger board : — 8<1 atring. 2d string. 1 g.O<^ Ut string. Notai abore. -o-a- ABC DEF OAB CDEFG 014 014 014 14141 Fingvrs cIomhI. Clorcd. Wide apart. 4 14 14 &! string. GENERAL SCALE, IJJCLCDING THE CHROMATIC NOTES. 2d string. s ^^^^^1^' 1st atrini?. A A^ B.I, ni^ C C^ Dl, ni; V^ E'^ eI; F Y% GJ, Oij G^ A^ K^ A^ B[, bJJ Oil 1 444 01 11 444 01 1 1 44 4 In the above scales the notes marked 4 are stopped by pressing the top joints of all the four fingers firmly upon the strings. Tlie double ba.«8 generally plays out of the same book or part as tiie violoncello. This may always be done when the violoncello part is simple, and does not con- tain rapid passages ; but, when it contains diffi- cult passages or scales in unusual keys, the double bass can no longer keep pace with the violoncello, and it becomes necessary to simplify the pas-^agcs so as to suit it. In all such cases, authors, for their own interest, should not neglect to write a distinct part for the double baas as Rim))le as possible. 'llie contra basso, which used to be played with but three strings, is now found in the orchestra with a fourth ; and, all unwieldy as it is, has been, in late years, in the hands of a Bottesini, made to pcrfonu with astonishing success the pArt of a solo instrument. DOUBLE COUNTERPOINT. 'When, in com- position in two parts, the parts are so composepgins again, and F, being the first, takes the name of doab]e F sharp, thus : — 263 nou ENCYCLOr^DIA OF MUSIC. DRA 'llie G> (S S> Dowi Up. Down. Up. DOUBLE TONGUING. A term used by flutists, or iliitc performers, to signify that action of the tongue against tlie roof of the mouth, by which the most brilliant and spiiited articulation is produced, of which the flute is capable. (F.) An organ stop called by DOUBLETTE. us fifteenth. DOURLEX, VICTOR, a pupU of Gossec, ob- tained, in 180'>, the grand prize for comjiotiition decreed by the National Institute, lie subse- quently went to Italy, and on his return to Paris produced several operas, among which are " Vhi- locles," " Liimic," " La Dupe dc son Art," and " Les Oics du Frire Philippe." DOWLAXD, JOHN, a celebrated performer on the lute, wa-s born in the year 1.502, and at the age of twcnty-si.x was admitted to the de- gree of bachelor of music, at Oxford. He seems to have been a great favorite with the public. Anthony Wood says of him, that "he was the rarest musician that the age did behold." And Shakspeare has thus immortalized him in one of his sonnets : — "If mtiBic find ivfCfX poetry sffrpe. As they needs must, (the r\sWr nnd the hrothcr,) Tlien mtist the love he (rreut 'twixt theo and nic, Bic:ivi«etliou I"v'«t the one. nnd I the other. Dowland to thee isdeiir, who've heavenly touch Ui>t»n tlie lute ihith mvish human eense; Spenser to me. whose deep conceit is such, As, piishinff all conceit, needs no detiencej Thou hiv'st to ht'ttr the sweet, melodious sound That I*h(phns' lute (the queen of musJCj makes. And I, in (hep delieht am chietly drowned When US himself to •iiusrin^ he betakes: One (iod is eoiwl to both, as poets feijm ; Ouc knight loves both, and both in tliese remain I ** In the year 1584, Dowland travelled through the principal parts of France. From thence he passed into Germany, where he was received in the most flattering manner by the Duke of Brunswick, and the learned Prince Maurice, the Landgrave of Ile^se Cassel. After a rc-idcnce of some months in Gennany, he crossed the Alps into Italy, and .successively visited Venice, Padua, Genoa, Fcirara, and Florence. lie published, in 1.595, "The first Booke of Songes or Ayrcs of tour Parts, with Tablature for the Lute ; " and ui the second book, printed in liiOO, he styles himself lutenist to the King of Denmark. A third book of the same work was afterwards given to the public. Some time after this, he printed hi:( " Lachi-ima", or .Seavcn Tcares, figured >ii seaven passionate Pauans, with divers other I'auans, (ialiard«, antl Almands, set forth for the Lute, Viol-i, or Violins, in five Parts." The |)ati- an, or pavan, was a pecuhar species of Si)ani.sh dance. This work seems to have attained con- siderable celebrity. It is alluded to in a comedy of Thomas Middleton, entitled, " No Wit like a Woman's," in which the servant telLs his master twd news, and is thus answered : " Xo, thou plaicst Dowland's Lachrimse to thy master." Eowland translated and published, in 1609, the " Microlo- gus " of Omithoparcus, containing the substanci of a course of lectures on rau-^ic, delivered by that author, about the year 1.5.35, in the univer- sities of Tubingen, Heidelberg, and Mentz ; and in 1012, he published "A Pilgrim's Solace, wherein is contained Musical Harmony of three, four, ond five Parts, to be suug and plaid ■with Lute and Viols." In the preface to tlus work he styles himself lutenLst to Lord Walden. One of Dowland's madrigals for four voices, " Go, crj-stal tears," is inserted in Smith's " Mtuica Andijica ; " and another, " Awake, sweet love," which is full of elegance, taste, and feeling, in Dr. Crotch's selections. He died in Denmark, as it Ls supposed, in the year 1615. DOWLAXD, ROBERT, son to the preceding, published a work entitled " A Musical Banquet," London, 1610. DRACO. Instructor of Plato in music. DRAGG, or STRASCIXO. (I.) A grace con- sisting of descending notes. DRAGHI, ANTOXIO, a dramatic composer, born at Ferrara 'n 1042, began to write at a very early age, and after producing masses and motets' at the age of twenty-one, composed his first opera, in 1663. Few musicians have been so prolific. After spending twenty-five years in the service of the court at Vienna, he returned to Ferrara, where he died in 1707. Fetis give» a list of eightj'-three operas by Antonio Draghi. DRAGHI, BERXADIXO. A composer of canzonets f Canzone I'illanesche) published at Venice in 1581. DRAGHI, GIOVAXXI BATTISTA, was an Italian by birth, and is supposed to have been one of those musicians who visited England with Mary d'Este, the Princess of Modena, and consort ot King James II. He was a fine performer on the harjisichord, &c., and published, in England, many lessons for that instrument. He joined with Locke in composing the music to ^hadweU's English opera of " Psi/cfie," and on his decease, in 1077, succeeded him in the place of organist to the queen. Although Draghi was an Italian, and many of his compositions are entirely in the Italian style, yet, during his long resitlence in England, he seems, in a remarkable degree, to have assimi- lated liis music to that of the old English masters. This is particularly apparent in his anthem, " This is the day that the Lord both made," and in many of the ballad airs and dance tunes com- posed by him. During the reigns of Charles II. and James, Draghi was the favorite court musician, and he Is supposetl to have been the musical j.receptor to Queen Anne. Towards the latter end of his life, he composed the music to a whim-^ical opera, written by D'Urfey, entitled "'ilie Wonders in the Sun, or the Kingdom of Birds," performed at tlie (iuecu's Theatre in the IIa\-market, iii 170i>. Some of the mu.'^ic of this oj era Is ex tremely good ; but the piece proved unsuccess- ful, surviving only sLx nights, and ^carccl'y pay- ing half the expense wlxich had attended th« getting of it up. In the printed collections of songs publishot 264 DRA ENCYCLOPAEDIA OF MUSIC. DRA towards the dose of the seventeenth centiin', we meet with mnny that have the nnme of Siijnor Baptist to them. This uniformly means Baptista Draghi, and not Baptist Lulli, as some persons have supposed. DRAOOXETTI, DOMEN'ICO, the celebrated perfonner on the double bass, was bom in Venice, in 1771. Ilis father, I'ietro Dratjonctti, was also a performer on that instrument, but by ear only ; he excelled in accompanying a band at balls, and wa.« likewise a professor of a sort of guitar with steel strings — an instrument which was at that time commonly in use for the purpose of teaching the chords in music. At nine years of age, Do- menico, feeling an irrosLstihle impulse towards music, api)lied himself to study, unknown to his parents, on the guitar of hLs father, and in a short time made incredible progress ; so ranch so, indeed, that a certain Dorctti, an excellent violinist nnli- raentcd with increa.seong notes placed be- tween shorter ones in the same bar, and accented contrary to the usual rhythmic flow. DRONE. The greatest of the three pipes, oi conduits, of the bagpipe. The office of the dron« Is to emit one continued deep note, aa an accom- 60 DRO ENCYCLOPEDIA OF MUSIC. DUl panying hass to the air, or tune, played on the smaller pipes. Bee BAonrE. DRONB BASS. Tlie raouotonous bass pro- duced by the great tube of the bagi)i[)e. DROUET, I.OUIR, a celebrated flutist, was born in Holland about the year 17!)2, and went to London in 1817, where his talents as a por- Ibrnier deservedly received the most brilliant aj)- plausc. lie performed at most of the principal concerts in London ; he also established a flute inanutactory in Conduit Street, where lie resided only one year, leaving England for the continent in ISli). Drouet had an amazing facility in per- fonning rapid passages, but it is said he was de- ficient in taste in adagio movements. He has composed much music for his instrument. DIlU^L A martial, ])ulsatile instrument, of a cylindrical form, perfectly hollow, and covered at each end with vellum, or pardimcnt, so held at tin? rim that it can be stretched or relaxed at pha-ure, by means of small cords, or braces, act- ed upon by sliding knots of leather. This is the common drum, wliich, from its being suspended at the side of the drummer when it is beating, has also the name of the side drum. Tliis in- strument is said to be of Oriental invention, and is thought by Le Clerc to have been first brought into Europe by the Arabians. DRfMMFin. Ho whoto offlc* it 1» to Iwaf the rlnim. DKIM M.VJOlt. Thi- chill ilrummcr of n rcciimnt. DKl'MS, KKTTLE. Kitllc drunn Brc two large hatins of cop- per. with uphi-rlcal bottonia, nml cnven'd at the ton with volliim or frtmt i«kin, wliiih i« helil nuinii thi- rim l»y a cirrif of irr>n, and ticht- riu'unf one U the kev note of the pi iicciiriij>«nii-L\TTnE\V, a violinist, and pu- pil of Geminiani, was born in 170.'!. He led the violins for Handel wlien in Dublin. One night, Dubourg having a solo part in a song, and a close to make ad lihitum, he wandered about a great while, and seemed a little bewildered and uncertain of his original key ; but at length com- ing to the shake, which was to tenninate this long close, Handel, to the great deliglu of the audience, and avigmentation of applause, cried 3ut, loud enough to be heard in tlie mo;.t rcnjoto ]>aits of the theatre, " You are welcome liome, Mr. Dubourg." It wa.s in 1728 that Dubourg was ap|)ointed composer and master of his majes- ty's band of music in Ireland. He rc>.ided there many years, and, in I7i>l, received a vL.it from .lis master, (ieniiniani, who died in his house, at the great age of ninety-six. It has boon erro- neously stated that Dubourg was no composer ; he was, indeed, no publisher, but the odes which he set fi>r Ireland, and innumerable solos and concertos composed by him for his own public perfonnances, were left in the possession of one of his pu)iils, and some of them arc excellent. Dubourg died in I.iOndon in 1707. DCBUISOX. A celebrated French composer if songs in the reign of Louis XIV. He dietl in 712. DUE. (I.) In two parts, generally preceded by a ; as, a due, for two. DUET. A comi)osition expressly wTitten for two voices, or instruments, witli or without a bass and acconii)aniinents. In good duets, the execu- tion is pretty octly related and concinnous wlien heanl to- gether. Yet, however combined by the di:- posi- tion of tlie harmony, the parts are not necessarily similar in their motion ; indeed, it is whei. the composer is sufficiently master of his art t d be able to variegate the jjarts, by giving them con- trary directions, that the liapjiiest effects of « luch this species of composition Ls capable are most decidedly produced. DUETTINO, or DUETTO. (L) A short duet. DUFAY. Sec Fay. DUFRESXE. A French violinist at the Thi- Atre Fi-ti Horn's in 17o'2. He published, in 1780, six solos for the flute. DUGAZOX. GUSTAVE, son of Madame Dugazon, tlie celebrated French actress, was a pujiil of Berton, at the Conser\-atory. He ha.s published some romances and piano-forte music. DUGUET, ABBE, a chapel-master of Xotre Dame, at Paris, about the year 1780, was an es- teemed composer of church music. DULCIAXA. A stop in the choir organ, of a soft and sweet quality of tone. DULCIMER. A trianguhir instrument, con- sisting of a little chest slung with about fifty wires cast over a bridge fixed at each end ; the shortest, or most acute, of which is eighteen inches long, and the longest, or most grave, thirty-six. It is jicrfonncd iiymu by striking the wires with little iron rods. This name is idso given by the translators of holy writ to an instrument used by the Hebrews, concerning the fonn, size, and tor.c of which there have been various conjectures, but of which notliing certain is known. Padre Mar- tini imagines the term dulcimer to have signified a concert of instruments or voices, rather than any single instrument ; and the sackbut he thinks was a wind instrument, formed of the root of a tret, and played ujxin by sto|>s, like a flute. An an- cient sjtckbut was, however, found in tlie ruins of PomjK'ii ; from which it api)ears that this instru- ment, so often mentioned in the sacred wTiting', resembled the modem trombone; the latter, in fact, was fonncd by t!ie Italians u]x>n the one tliey discovered in the ashes of Vi-suvius, where it had been buried nearly two thoui^and years. DUIiCINO. The name formerly ^ivcn to a certain small bassoon, which was u.sed as a tenor to the hautboy. DULOX, FRIEDRICH LUD^VIC;. A cele- brated (iennan flutist, and coniposor of instru- mental inii-ic, i>ublished at I.eii)sic since the commencement of tlio jirosent century. He vras appointed, in 179ii, chnmlior musician to the Em- peror of Ru-isia, from which court he retired with a pension, to ri-sidc on his property at Su-nilal, ia Brandenburg. 267 DUM ENCYCLOPEDIA OF MUSIC. DUf DUMAN'OIll, a fine performer on the violin, was, ill lil.ii), by letters patent, appointed king of the violins, with i)ower to lioeiis-e performers on that instrument in all the provinces in France. DUM.VS, LEWIS. Tlie inventor of nn instru- ment to teach children music mechanically, and also one to teach reading and writing. He died in 1744, aged sixty-eight. DUMB SPINET. See Clarichord. DUMENIL. A principal counter tenor singer at the o])ern nt Paris towards the end of the sev- enteenth century, lie had been a cook, and was utterly ignorant of music when he first appeared on the stage. DT'MONCIIAU, CHARLES, was bom at Slrasbiirij in 177o. He was a professor of music at Lyons, and composed some minor dramatic pices ; also much instrumental music, some of which has been published at Offenbach. DUMONT, HENRI, chapel-master to Louis XIV., is celebrated by the French writers as a masterly performer on the organ. He was bom in the diocese of Liege in 1610, and was the first French musician that introduced thorough ba-ss into his compositions. ITiere are extant some of his motets, which are in great estimation ; as also five grand masses, called royal masses, which were performed in some of the convents in Paris, and in many provincial churches of France, as late as 1824. Duraont died at Paris in the year 1G84. DUMP. A melancholy tvine ; oj, as b}' some conjectured, an old Italian dance. DUNL EGIDIUS, was bom in 1709, at Ma- tera, in the kingdom of Naples. He was, like all other great melodists, a musician while yet a child ; his taste for the art was as intense as it was precocious. He was always to be found at the village church, and uniformly attentive to the chanting of the priests and the sounds of the organ. This decided taste for music inducetl his parents to send him to the Conserx-atory of Na- ples, for they were not rich, and the musical pro- fession was then in such consideration that they were anxious their son should enter it. The young Duni, therefore, accompanied by his fa- ther, went to Naples, and «-as received into the Conservatory directed by Durante. 'Hiis great master showed much attachment to his pupils ; he served as a model of talent as well a-s an ex- ample of virtue to them, and he was no less their father by his kindness than their master by his learning and instruction. The docility of Duni pleased him ; he carefully cultivated his opening talents for his art, gave him the best studies, and when they were cora])leted, concluded an engage- ment for him at Rome, to which city Duni re- paired. He was there commissioned to compose the opera of " \ironr," which had the greatest succt-is. Duni, after having been advantageously and honorably ajipreciated in several of the great Italian theatres, wa,s next called to Paris. He ap- peared for tlie first time in a country of which he knew neither the taste nor the music ; but he was formed to succeed, ae much by the sweetness and modesty of his character as by his talents. He composed several comic operas for his itihut, R'nceiving that he ought especially to devote himself to that style in France ; for he judged, not without reason, that the French would b« better pleased with Italian music when applied to the comic than to the great opera. He sue cecded. AVe cannot give a better eulogy thaB the opinion of the authors of the " Dictiormain Historiqne des Mtisicicns " on the style of this com- poser. " Varied and natural music, delicious and flowing melody, these are the (jualities which always maintain for Duni an honorable place among those who have obliged the French to appreciate new pleasures in their lyric theatres. ANTien reproached with not being sufficiently powerful, he replied, ' I desire to be sung for a length of time.' Nevertheless, he composed airs suited to the situation of the scene when re- quired. It may also be remarked, that it is as- tonishing for an Italian to have so well under- stood and obser^'ed the prosody of the French language." We shall add to this judicious and honorable analysis of Duni's talent, that no one better understood the art of giving, by means of sound, the truest and most animated jnctures of rural life, and the most delightful and varied scenes of village manners. He is the Tcniers and Claude Lorraine of music ; he has the color- ing of the one and the design of the other ; and the spii-it of hLs subjects, the grace of hLs airs and . accompaniments, sufficiently testify that nature had bestowed on him the gift of a richly-stored palette, from which he chose the most lively as well as the most agreeable colors. l"he first of Duni's operas was " Le Peintre amoureux," in which he has expressed the most striking and comic situations. " Mazet " is one of the pret- tiest comjiositions of its kind, and not less true than original. " La Clochettc " surpasses the former in ease and truth of local coloring. " Z>* Moissoniieiirs " enriches the French comic opera, and insures the rei)utation of its author. " Les Sabots," " 1^3 C/iasscKis," and " La Sabotiere " leave nothing to be desired in point of musical expression. I'he latter opera is stiU performed in the French theatres. Duni died in 1775, in the sixty-sixth year of his age. DUNSTABLE, JOHN, called by the German* St. Duiistuii, had for a long time the reputation of being the inventor of counterpoint ; but books were written long before his time on that subject. His works upon music are almost all lost. He died in 1458. DUNKEL, FRANZ, chamber musician to the court of Saxony, was bom at Dresden in 1759. He composed much sacred music bet»veen the years 1788 and 1797. DUO or DUETTO. (L) A combination for two voices or instruments. See Duet. DUPIILY, a French comixiscr for the harpsi- chord, was born at Rouen ; liis compositions beai date from the year 1750. DUPIERGE, FELIX TIBUniCE AUGUSTE, born near Paris, in 1784, published some instru- mental music in that city. DUPONT, J. B., a \nohnist at Paris, published, about the year 1773, " /Vl/lW/«^s de Miixiqiw," anrf. " Principesdc Violon." He has also published 80ro J concertos for the \-iolin. DUPORT, JEAN PIERRE. A pupU of tne celcbr.ited Bcrthaud. He resided at Paris till the year 1772, when he went to Berlin, where th« king of Prussia named liim violoncellist to the S DVP ENCYCLOPAEDIA OF MUSIC. DUB court, and subsequently director of the court music. He has published much music for his in- itrument, both at IJerLn and at Paris. DUPOKT, JEAN LOUIS. Younger brother to the prLXTdinn, and his pupil on the violoncello. lie is considered to have excelled his brother on that instrument. lie jK>rformed at the oncert ipiriluel at Paris in 1780, and was n;;ain heard in public in 1800, when, althou-^h nearly sixty years of ajjo, he is said to have lost none of the ease, brilliancy, and energy which characterized his style of plajing in the j)rime of life. lie then txeouted every [wssible violin j)iissa<;e on his vio- loncello. He has composed much music for his instrument, published cliicrty at Paris. DUPllEZ, GII.IJEUr, one of the Rrcatcst of recent tenor singers, was born at Paris in 1805. lie was educated in the school of Choron, who took, great interest in him. His first public eflbrt was in the representations of lUu-ine's " Aihulie," in 1820, at the Thidtre Franrais, wlierc they intro- d'jccd choruses and solos into this drama. Du- prez sang the soprano in a trio composed for liim and two ottier pupils of Choron, and liis cxjircssive accent excited the wannest applause. When his voice changed, and obliged hiiu to suspend his singing exercises, he took to harmony and coun- terpoint, and his attempts at composition provetl that lie might have succeeded as a composer, had he continued to cultivate the gift. Meanwhile a tenor voice had replaced his bopsh soprano ; dull and feeble at first, it inspired little hojic ; but tlie musical feeling of Duprez was so fine, so active, and so strong, that he triumphed over the delects of his organ. In December, 1825, he made his Mbut in the Odeon TheatJ-c, ui the part of Count Almaviva, in a French version of Kossini's " Uarl)er."' He lacked assurance and stage ex- j)erience, and liis voice wa.s weak ; yet all foresaw that he woidd be a distinguLshed singer. He re- mained at the Odeon until the end of that theatre, in 1828. Then he went to Italy, and obtained engagements, which kept him obscure for a time, but were of service to him in develojnng his talent and his voice, which acquired more power and volume. Returning to Paris in 18.30, he played several roles at the Opera Comii/iw, espe- cially in " La Dame Blanche," where the connois- seurs applauded and remarked his progress; but not obtaining an engagement, he went back to Italy. Since then he has sung in all the great cities, especially Naples, \vith more and more brilliant success. He is counted in the first rank of tenors, after Kubini and Mario, and greatly distinguished himself in the ojxjra at Paris, in 1852, in Rossini's " William Tell," by the splen- did manner in which he took the nigh C as a chest tone, (fl't present at the (irand Oi)ora, and in vain were her desires •becked by her parents. While Duprez took charge of her tuition in sin^ng, she studied har- mony and accompaniment under M. .\. Carpen- ticr, and the piano under Mile. Marten. It wa' principally for his daughter that Duprez wrote hLs work, "'I1ie Art of .Singing." At the age of fourteen years Mile. Caroline w;us enabled to con- ([uer every vocal ditKculty, and since that time she has been singing with remarkal)le success, and on the 'Jth of January, 1851, she made a suc- cessful dibiit at the TliLOtre (les Italiviis, in PurLs. DUPUIS, THOMAS SAUNDERS. Mus. Doc, was born in England in the year 1733, b\it his j)arents were natives of France. His father held some situation at court, aiul tliis, jirobably, is the reason why his sou was placed in the Clia]x.'l Royal. Tlie fii-st rudiments of his musical education were received from Mr. Gates. He altcrwarcLs became a pupil of Travers, at that time organist of the King's Chajiel, and for whom, in the early part of his life, he officiated as dc])uty. On the death of Dr. Hoyce, in the year 1779, Dupuis was appoint- ed organist and composer to the Chapel Royal. As a composer. Dr. Dupuis is known by several pub- lications, and many of hLs writings are still in manuscrijit in the Royal Chapel. Tlie former con- sist ])rincipally of two or three sets of " Sonatas for the Piano-torte ; " " Two grand Concertos" for that insti-ument ; " Organ Pieces," intended prin- cipally for the use of young persons ; two sets of " Chants," performed at the Chapel Royal ; and several " -\nthems." Two of the latter, " 'ITie Lord, even the most mighty God," and " I cried unto the Lord," are inserted in Page's Ihinnoitia Sacra. As a j)erformcr on the organ, Dr. Dujmis was excelled by very few Englishmen of his time. He died in 1700, and was succeeded as organist of the Chapel Royal by Dr. Arnold, and as com- poser to his majesty by Attwood, then the organist of St. Paul's. DUPUY. A German violinLst and composer for his instrument in the year 1790. He resided for some years at Copenhagen, which jilace h« quitted in 1809. He has composed some much esteemed duets for two violins. DUR. (G.) Major, in relation to keys and modes ; as, C dur, C major. DURAND, A. F., a violinist and composer for his instrument, was born at Warsaw in 1770. His com)iositions are published at Leipsic, Ronn, and Dresden, and bear date from the year 179(5. DURANOWSKY, A. A ^-ioIinL^t and pupU of Viotti. He has published, in ParLs, some duoa for the violin. DURANTE, FRANCESCO, bom at Grumo, a village near Naples, in lt)93, was educated iu the Conservatory of ."san Onofrio, and received lessons of the celebrated Alessandro .Scarlatti. He quitted the Conser\-atory at an early age, and went to Rome, where he was attracted by the reputa- tion of 15. Pastiuini and Pittoni. He studiiil five years under tliese ma-sters, learning from one the art of singing and counter|)oint, and from the other all the rtsources of countcn'oint. He then returned to Napli-s, and devoteo<«4T, (wrtonk of the infancy of the art ; he ombcUiahod it without 2C9 DUR ENCYCLOPEDIA OF MUSIC. Dl 8 loading it ■with oniamcnt ; he added to its noble and aiiti(iuc simplicity thnt elevation which be- longs to a Kpecics of melody consecrated to the cclclmition ot the Creator. IJut Durante ])rinci- pally excelled in tuition. To hLs instruction and principles the Neajmlitan school owes its greatest masters of tlie eighteenth century, lie became a professor of the Conser\-atory of San Onofrio about the year 1715, and was at the head of thnt of Gli I'oieri ili (!. C. when Cardinal Spinclli, ArchbLslioi) of Naidcs, abolished it. Durante died at Naples in 17oo, aged sixty-two. He was not oidy a great composer, but a good citizen. lie had several wives, who all died before him. One of them put his ])atie)ice more to the proof than Xanthip])e did that of Socrates. She sold, for the ])uri)ose of gaming, all her husband's scores, which would have been forever lost, both to the art and to himself, if, aided by his wonderful memory, he liad not remembered and WTittcn thejn anew. \\'ith respect to Durante's style of composition, his subjects are simple, and at the first glance ajipcar commonplace ; but they are so well concei'sd, and conducted with so much art and gcuiuft as to produce prodigious effects. He had the means of employing all the ima<;inable fonns ; and thus keeping alive the interest of the auditor, be increased the desire of hearing him, which is the more remarkable, as his manner was severe and serious, and he generally sacrificed but little to grace. The greatest singers and best masters prefer the duets of Durante to those of any other com- poser in his style. He formed them upon the airs of the cantatas of his master, Alessandro Scarlatti. ITiey are more in dialogue or duet than fugue, but contain more beautiful and im- passioned pieces of melody than ever the creative genius of old Scarlatti invented ; and these are marked in so learned a way, that it appears re- finement cau go no farther ui this style of com- position. DUR ATE. (I.) A term properly applicable to whatever offends the ear by its effect. The B natural, on account of its hardness, was formerly called li filtrate. Also there are rough or hard intervals in melody, to which the term durate is applied ; such are those produced by the regular series of three whole tones, whether ascending or descending, as also all false relations. DUllIEU, M., published at ParLs, in 1793, " Xourtlls^ Milhode de ilusique Vocale," also a •• Mil/iode de I'iolon." DUUOX, SEBASTL-VN. An eminent Spanish composer of church mvisic in the sbctecuth cen- tury. DUSCIIECK, FRANZ, a professor of the piano-forte, and composer for his instrument, at Vienna, died in 1799. He wa.s the son of a day laborer. Many of his compositions for his in- Btrument are higlily esteemed. DUSSEK, JOHN JOSEPH, organist at Czaa- lau, iji Bohemia, was born there in the year 1740. HLs father, grandfather, and great-grandfather ■were all celebrated organists. His brother, Fran- cis Joseph, was also an able musician and com- poser. DUSSEK, JOHN I.OUIS, son of John Dus- i>ek, wart born at Czaslau, in Bohemia, in the year 17G1. Ue learned the elements of music of his father, and at ten years of age was sent y some noble friends of his family to one of the fiist colleges of the University of Prague, where he re- mained seven years. Besides the study of an- cient and modern literature, he cultivated the science and practice of music, profiting much by the instructions of a Benedictine monk in co>in- terpoint. Having attained the age of nineteen he left hLs native country for Brussels, where a nobleman of the stadtholder's court presented him to the Princess of Orange. After this honor, the young artist made his d^,biU in pub- lic, as pianist, at the Hague, and was patronized there by the stadtholder and all his family. On quitting Holland, he resolved to travel in the north of Europe, and from thence to visit Pari'i and London. At Hamburg he had the good fortune to receive professional ad\'ice from the celebrated Emmanuel Bach. He then proceeded towards St. Petersburg ; but being introduced on his journey to Prince Charles ItedziwiU, he M-as induced, by an advantageous offer from that nobleman, to remain with him in Lithuania for two years : at the exjjiration of which time, instead of procee. Her extraordinary musical genius showed itself at the early age of four years, wlien she jilayed in public on the piano-forte. In 1788, the family left Scotland, and went to settle in England, when Miss Corri sang at the king's, and all the nobility's and pub- Uc concerts in London, being then only four- teen years old. Ilcr principal singing master was her father, but she sang a great deal with Mar- chesi, Viganoni, and Cimador, at that time. In 1792, she married J. L. Dussek, and soon after was celebrated not only as a singer, but also as a player on the haq> and piano-forte, performing | with her husband at all the oratorios, and at t Salomon's concerts. She then sang at Cam- ] bridge, Oxford, Liverjiool, Manchester, Dublin, J and Edinburgh with universal api)lause, and \ attersvards performed one season at the Opera llovise ; but finding it attended with so much fatigue and cabal, qxutted the stage, and became a teacher and composer of music, especially for the harp. In 1812, Mrs. Dussek married her second husband, John Ah-is Moralt ; after which time she resided at Paddington, having established there an academy for music with great success. Sec Coum. DUSSEK, OLIVIA, daughter of the preced- ing, was bom in London in 1801. Inheriting the talents of her parents, she excelled on the piano-forte and haq>. She received her musical education from Madame Dussek, and played on the piano-forte at the .Vrgyle Rooms, when onlv eight years old, having then only learned music one year. She has composed some very pleas- ing ballads, and a duet, " Rule, Britannia," for the harp and piano-forte. DUTCH CONCERT. An expression well known among practical musicians. An aggre- gation of inconsonant melo, forte, and fortissimo. Those produced by a careful exertion of the vocal organs, yet distinctly, and sulHcient- Iv loud to be audible, are calletl/«rt;imi»(o. I'hose l)roducert».sjimo. These several terms, when introduced into mtisic, are generally ab- bre\natetl ; as PP. for pianissimo, P. for piano, M for mezzo, F. for forte, and FF. for fortissimo They are Italian terms, but used by all nations The following diagram will illustrate the fiv< dynamic degrees : • • O <«^ There are six dynamic tones : 1. Hie organ tone, thus : ^^^ which is commenced, continued, and ende In explaining or practising the explosive tone, the jnipil should select some syllable commencing with n consonant, and aspirate the first letter with great power. The following example shows the characters which are used to express the dynamic tones : OrcMi. CrMMBtlo. Dii&iiiuetulA. bwcli. Wcuun. Bxpldglr*. Tlie character used for the organ tone is generally omitted in all music ; and the words crescendo and diminuendo are frequently abbreviated ; as, cres. for crescendo, and dim. for diminttendo. The proper application of dynamic degrees and tones con- stitutes the b«auty of musical expression. 279 liXCYCLOPiEDIA OF MUSIC. EAH E. E. This letter is the nominal of the mediant or third note in the natural scale, thus : — i m E, or, before a vowel, E« impor- tant that youth should enjoy instruction in ciu- sic as well as in other branches of a comiKor EAR ENCYCLOPEDIA OF MUSIC. EBB education, ns they will evidently feel the need of musical knowled'^e hereafter in their varied social relations, as often as that of arithmetic, for in- stance, especially beyond the first four rules. In fact, when musical education shall become gen- eral, it will be found that it will a hundred times come in use where a knowledge of the rule of 'hrcc will be used once. No question oftener irises, on eurveying the auditory apparatus, than this, viz. : Why has one person an ear for music, ivhen another, whose internal organ is as beauti- ■rully and nicely constructed, is totally unable to appreciate harmonious sounds ■ The difficulty, probably, is in the peculiar development of some jjortion of the brain, and therefore does not arise in conse([uence of a defect in the original con- formation of the ear. It obviously requires as delicate auricular perception to appreciate and imitate articulate sounds as it does to sing iu con- cert. It is by no means uncommon for an indi- vidual to cultivate the highest departments of instrumental music, and at the same time be wholly unable to sing. This is entirely owing to some defect of the vocal organs. A perfect or- ganization of both in the same individual, united to that inscrutable condition of the brain which gives the taste for music, constitutes the high- est gift of performers, such as Handel, Mozart, Beethoven,- Mm. Catalani, Garcia, the wonderful Paganini, and a few others, have exhibited to the highest degree of human perfection. Another circumstance in relation to the musical ear is the following : Some persons have the ear as well as the taste for music, and yet find it impossible to accompany others in a performance. This arises, probably, in most cases, in consequence of a non- agreement in the tension of the drumheads of the two ears, or a want of correspondence in the cal- ibre of the internal tubes ; hence one ear per- ceives sounds to be half a tone above or below the other. The same occurs iu respect to the fo- cal distance, oftentimes, of the eyes. Time rarely corrects the former, though in the latter it finally modifies the aberration. Philosophers of an- tiquity were more conversant with the doctrine of sounds than the modern. The remarkable cavern, hewn in a solid rock by a celebrated ty- rant, and called Dionysitis s Ear, is said to have been an e.^act model of the windings ot the hu- man eiir. Vitruvius gives an interesting account of the manner in which the Greeks contrived to augment the compass of the voice in theatres, by placing large metal vases in diiferent parts of those edifices. EARSDEN, JOHN. An EngUsh musician at the commencement of the seventeenth century, who, together with George Mason, wrote the mu- sic of a small opera, which was subscfiuently p iblishcd under the following title : " llie Ajtcs that were sung and played at Brougham Csistle in Westmoreland, in the King's Entertainment, given by the Right Honourable the Earle of Cum- berland, and his right noble Sonne, the Lord ClilFord," London, 1618. EASTCOIT, RICHARD. Author of a work entitled " .^ketches of the Origin, Progress, and Effects of Music, with an Account of the ancient Bards and Minstrels," London, 1793. EA.STERN MU.SIC. In some parts of Asia they use very curious muiiicid iustriimcuts ; some made of iron and beat with a stick ; some in the shape of a fish, made of wood, hollow, and mount- ed on a stand, where it is ])layed by striking on it with a stick. .Some of the North American In- dians dance to the music of a kind of wooden drum, singing at the same time. It Ls evident from a good many proofs, that masic came from the East. The finger board of the EomI, Ara- bian guitar, is divided according to the Arabian gamut, and produces intervals which in our system do not c.vist at all. The Arabs divide their octave into twenty-four intervals, while wo have only twelve for the same space, and our ears cannot conceive such nice and acute variations of sound. In the heart of Asia we find, even now, a kind of mu;-iic, which, to our ears, seems but a combination of discordant sounds, but which, to the less refined but more accurate ears of the na- tive, possesses every requisite of a good melody. EBDON. An English composer of sacred mu- sic and glees, also of some sonatas, pre\'iously to the year 1797. EBELL, HEINRICH CAUL, court secre- tary at Breslau in 1810, has composed an opera for the theatre of that town, entitled " Anacreou in Ionia." He has also published some other vocal music. EBERL, ANTOINE. A celebrated pianist and composer, born at Vienna in 1765. His talent for music showed itself at a very early age, and, like Mozart and many other great musicians, he performed in public on his instrument in early childhood. He commenced composition at about the age of sixteen, and soon after went to Peters- burg, where he was patronized by the court. In 1801, he returned to Vienna, since which time he has published much vocal and instrumental mu- sic there. Eberl died at Vienna, in 1807, in the forty-second year of his age. EBERLE, JOHANN JOSEPH, a composer of songs and light piano-forte music, died at Prague in 1772. EBERLIN. DANIEL. A celebrated amateur violinist, and composer for his instrument. Some of his music was published at Nuremburg in 1675. EBERLIN; JOHANN ERNST. A celebrated organist, born at Jettenbach, in .Suabia, about 1757. He was at first court organist at Salzburg, and then cha])el-master to the archbishop. His style was original, his manner large and learned. He left a prodigious number of comjjositions of all kinds in manuscript, but only published nine sonatas and fugues for the organ. This remark- able work piussed through many editions, and wan inserted bj- Clcmenti in his collection of organ music. EBERS, CARL FRIEDRICH, chamber mu- sician to the Duke of Mecklenburg-Strelitz, waa born at Cassel iji 1772. He was etlucated for another profession ; but his taste for music was so predominant, that he engaged him-^elf in early life as chef-d'orchcstrc to a strolling company of players. " He subsequently settled at New Stre lit/., where he was engaged as musician to the court, and, since the year 1796, has composed many dramatic pieces for the theatre of tliat town, also much instrumental muidc. 274 EBE ENCYCLOPEDIA OF MUSIC. ECK EUIRWEIX, MAXBIILIAN. A Gormnn noliiii'^t and composer, bom at Weimar in 1775. After visiting Italy, and some of the principal towns of Germany, he composed some dramatic pieces »nd other music, published at Leipsic. He died at Uudolstadt in 1831. Full of enthusiasm for his art, he was remarkable for the niuuber and originality of his productions. EBXER, marstro di capella to Frederic III., publLshed an air with tliirty-six variations, said to have been ■written by the emperor, in Itioo. ECBOLE. A term in the ancient (Jreck music, signifying a change in the enharmonic genus, by the accidental elevation of a chord, or string, five dieses above its ordinary pitch. EO.'IIEIA. The harmonic vases XLsed by the Grei-KS and llomans, in their theatres, for the pur- pose of augmenting the sound of the voices of the actors. These vessels were tuned in the liar- monical proportions of fourths, tilths, and eighths, with their replicates, and were placed in cells, or niches, between the seats of the spectators. ECCLES, JOHX, was the son of Solomon Eccles, a professor of the violin, and the author of suniiry grounds with divisions thereon, pub- lished in the second part of the " Division Violin," printed at London, in KiO:}. John Eccles was instructed by his father in music, and became a composer, for the theatre, of act tunes, dance tunes, and siu'h incidental songs as frequently occur in the modern comedies, a collection whereof was published, and dedicated to Queen Anne. He composed the music to a tragedy, entitled " Ri- naldo and Armida," written by Dennis, and "per- formed ill 1699, in which is a song for a single voice, "The joUy breeze," which, for the florid divisions in it, was by many greatly admired. Eccles likewise set to music an " Ode for St. Ce- cilia's Day," wTittcn by Congrcve, and performed on the anniversary festival of that saint, in 1701. He also composed music for Congreve's masque, entitled " ITie Judgment of Paris." About the yesir 1698, Eccles was appointed master of the queen's band ; but in the latter part of his life, he was known to the musical world only by the New Year and Birthday Odes, wliich it was part of his duty to compose. Eccles is chietly remem- bered from being the author of the duets, " Fill, fill all your glasses," and " Wine does wonders." ECCLES, HENRY, younger brother to the preceding, was a ■^noliuLst in the chapel of the King of France, and published some music for his nstrumfint «t Paris in 1720. ECCLE= SOLOMON. An English violinist and compviser of rare musical ability, who, in the zenith of his fame, turned Quaker, and destroyed all his instruments and music. He died in 1673. ECCLESIASTICAL. An epithet appUeosi- tioiis are principally for the harpsichord ; »nd, although they afford great proofs of skill anJ. a thorough knowledge of the instnunent, are Irat little known. 'I'he writer of an account of thi.* musician, in Recs's Encyclojiicdia, states, that in his compositions there is an elegance of style built uj)on such sound jirinciples of hannony and modulation as few have surjiassed ; and that, in particular, his variations to the minuet D' Exati- dit, or Marshal Saxe's minuet, are in the highest degree ingenious, elegant, and fanciful. Eckart died at Paris, in 1809, ageid seventy-five years. ECKERSBERCJ, JOH. WILT., organist at Dresden in 1783, pubhshed some collections ol songs there. ECKER'F, CARL A. F., a Ulonted young com. poser, conductor, and pianist, was bom at Pots- dam, in Prussia, on the 7th December 1320. Hia ECK EXCYCLOP^DIA OF MUSIC. EGY father was a mUitary officer. lie firHt performed in nuhlic and in a naaimcr that ^avc high proraLse, in Jierlin in 1832. Uuiin;enhaj;i'n was at that time hLs teacher. He has since dL-.tinf;uiNhcd himself by t)ie composition of an opera, " Wiliium of Orange," and as conductor with Ferdinand Ilillcr, oi the operas at the Thi&trc Italien in Paris. In the summer of 18.-52 lie .eft this situation, and accom- panied Mme. Sontag to America, as conductor of her concert and operatic iierformances. ECKIIARDT, C. F. An amateur pianist and comjioser for his instrument, residing in Suabia. Since the year 1798, several of his works have been published at Offenbach. ECLOGUE. A pastoral poem. The word is of Greek origin, and ai)plied by Virgil to hLs pas- torals. ECOI. The name applied by the modem Greeks to the tropes, or modes, which they sing in their churches during passion week. ECOLE. (F.) A school or course of instruc- tion. ECOSSAIS, or ECOSSAISE. (F.) A dance, tune, or air, in the Scotch style. EDEL, GEORGE. An instrumental compo;-er at Vienna. His works are dated from the vear 1798. EDELMAXN, JOHANN FRIEDRICII, was H native of Strasburg, and born in the year 1749. He resided for several years as a teacher of music, but principally of the harpsichord, at Brussels. Previously to the breaking out of the French revolution, he had, however, been induced to set- tle in Paris. During the time of Robespierre, though usually considered an innoxious and well- disposed man, he became involved in the dread- ful calamities of that ill-fated country, and suf- fered under the guillotine at Strasburg. EDER, CHARLES GASPARD, was bom iii Bavaria in 1751. He was a celebrated violon- cellist, and has composed much instrumental mu- sic, which has been published in various towns of Germany. E DUR. (G.) E major. EDWARDS, RICHARD. An English com- poser and poet, born in Somersetshire in 1.523. lie was musician to Henry \UI. and Elizabeth, and died in 1561. EFFECT. That impression which a composi- tion makes on the car and mind in performance. To produce a good effect, real genius, profound science, and a cultivated judgment are indi-'pcn- sable reiiuisites. So much does th« true value of all music depend on its effect, that it is to this quality every candidate for fame as a musical au- thor should unceasingly attend, llie most gen- eral mistake of composers, in their pursuit of this great object, is the being more solicitous to load their scores with numerous parts and powerful combinations, than to produce originality, purity, and sweetness of melody, and to enrich and ^en- force their ideas by that happy contrast of instru- mental tones, and timely relief of fulness and tenuity, which give light and shade to the whole, fcnd, by tlicir pictures(iue impression, delight the tar and interest the feelings. E FLAT. The minor seventh of F, and the second flat introduced in modulatmg by fourthi from the natural diatonic mode. EGLISE. (F.) Church ; as, mtwiyite erablcs rather a priest of paganL-iiu, from whence this instrument was derived, than a Christian." The Abyssinians have a tradition that the sistrum, IjTe, and tambourine were brought from Egypt into Ethiopia by Thoth, in the very first ages of the world. EG YPTI.VX MUSIC. The opinion of the an- cients was pretty general that Pythagoras was indebted to the lessons of the Egyptian priests for nearly all the science he jiossessed, and especially that of music. 'ITiough Diodorus Siculus assures us that the Egyptians were not allowed to culti- vate music, and that they considered it useless, and even injurious to society, and the cause of effeminacy, yet Plato, who had visited Eg^^)t, ob- Bcn'os, in one of his Dialogues, that none but ex- cellent music was allowed where the youth were assembled, lliough he atbuits others of their habits were bad, he excepts the mv\sic. Strabo tells us that the youth were instructed, at the earliest age, in music ; that the songs were fixed by law, and that the sort of music used was es- tablished by the government, exclusive of every other sort, llie (j reeks even attributed the in- vention of some of their musical instruments to the Eg)7)tians, such as the triangular lyre, the single flute, the drum, and the sistrum. Herodo- tus says the Dorians were of Egy])tiftu extrac- tion ; and, as the three most ancient modes of Grecian music were the Dorian, the Phrygian, and the I.ydian, it is probable tl;at the Egy])tian colony that iieojjled that province carrietl thither the music and instruments of their country. Like all other i)rofessious in Egypt, that of music was hereditary. A similar custom, as we have above stated, prevailed among the Jews ; and Herodotus tells us that the inhabitants of Lace- diL-monin, who were Dorians, resembled their an- cestors, tlie Egyptians, in this, that their musi- cians were all of the same family ; and that their priests, like those of Egypt, were taught racdi- cuic, and the art of playing upon stringed instru- ments, when they were initiated into the myste- ries of religion. 'ITie same author mentions that, in the processions of OsirLs, the Egyptians carried statues of the god, singing his jjraiscs, and were preceded by a flute. 'ITiere is a singular proof of the antiquity of this art to be met with at Kome, on the Guglia Kotta, which Augustus brought to Rome, being one of the largest obe- Usks that was removed from Egypt, and which was tlirown down and broken at tlie sacking of the city in l.i'27, by the Constable of Bourbon. It is, among other hieroglyphics, the representa- tion of an instrument very like the cr>liusv>ne, (a species of guitar.) still in use in Naples. From the pegs, it is evident two strings were employed ; and the length of the finger board, if the strings were tuned nt a great interval from each otlier, would uflbrd a very considerable scale of notes. ITiis instrument alone proves to what extent mu- sic was cultivated in Egypt, and that its inhabit- ants were acquainted with the method of repeat- ing the scale. Ilcnntw, Thoth, or the ancient Mer- cury TrLsmegistus, to whom is ascribed the inven- tion of writing, astronomy, the religious rites and ceremonies, has tlie credit, also, of having invent- ed the IjTc with three strings, which, it is pleas- year, there being a fourth season n >ither in Lgnit nor among the ancient Greeks. The low- est chord, say they, was tlie tyjje of winter, tlie middle one of spring, and the highest of summer. 'Hie following, according to AjJoUodorus, was the origin of the invention : 'ITie Nile, after its inun- dation on one occasion, left, on retiring, a quan- tity of dead animaLs, and among the rest a tor- toise. ITjc flesh soon perished and dried up, from the heat of the sun ; nothing but the shell and the cartilages were left, and, from their con- traction, they had become sonorous. Mercury, strolling on the banks of the river, struck his foot against this tortoLse shell, and wai agree- ably sur))rLsed by the sound it i)roduced; and this furnished him with the first idea of a lyre. He gave his insti'unient tlie general form of a shell, and strung it with the dried tendon-s of an- imaLs, resembling the gut strings of the i)resent day. 'Die sijiglc flute, however, ninnauha, also invented in Egyjit, seems to have greater chiimif to antiijuity than the lyre itself. It ■wan called photiiix, or curved flute, by the Egyptians, its form being something like that of a bullock's horn. Apuleius, describing the mysteries of Isis, tells us tlie form of this instrument, as well as the manner in which it wils held ; and all the represenUitions of it show that it resembled the bullock's horn. Indeed, there can be no doubt that, in tlie remotest period, the horns themselves were made use of. Put it is certain that the Egyj^tians had instruments much more suscep- tible of inflection than those whereof we have been speaking ; for, on the ceilings of the walls of the chambers of the tomb of Osj-mandya«, at 'llicbes, whicli are described very circumstantial- ly by Diodorus, are, among other decorations, several representations of musical instruments ; one of which, from Denon, proves conclusively that the harp of the pre>ent day is, in general form, not very dLssimilar to that in Egyptian use, and that performance upon it must have reoscer one half were jierforraers on the cithnra. Acconling to the same author, under the seventh Ptoleiu\ £g)'pt abounded with mu^icinus; and at that ]H • nod the practice of music was »o common in the 277 EIB ENCYCLOPEDIA OF MUSIC. EL] cruntn- that tliere wns not a peasant or a laborer ii the vicinity of AlcxandrLi that ^\as unable to ]) \y on tl'.o lyre and flute. The father of Cleo- prtra, wlio was the lu-^t of the I'tokmies, fiom his skill on the flute, took the title of Aulctes, that ifi, i)laycr upon the tlute. Strabo says that, not- withstanding;; the debauched life he led, he found tijne to apply himself pai'ticularly to the practice of this instrument. He thought so highly of his talent in this rcsjiect, that he established musical competitions in his palace, and himself disputed the prize with the first musicians of the day. Such was the flourishing state of the art in Eg)-])t up to the time of Cleopatra's misfortunes — an event which ends the history of the empire, and that of the Eg>-])tians. Among the modern i!gyi)tiiius no remains or traces of the ancient state of the art are now to be found. Still they are passionately fond of music ; and there are, according to Savary, to be found among them both male and female musicians who sing and accompany themselves. This author describes them as most successful in their plaintive music ; to which, he says, even the Turks themselves, the enemies of the art, will pass whole iiights in listening. EIBLER. See Eybler. EICHHOLZ, FRIEDRICH ■V^^LIIELM, chamber musician to the King of Prussia, was bom in 1720. He composed some dramatic and other music. He died in 1800. EICHXER, ERNEST, was a German organist of considerable eminence. HLs writings con'-Lst chiefly of sonatas and concertos for the jiiano- forte, and quartets. AVith respect to the foi-mer. he introduced a style somewhat betwLxt that of Scho))ert and the music of the present day ; with less fire, indeed, than Schobert, but with more taste and expression. The instrument on which he himself chiefly excelled was the bassoon. About the year 1776, he went to England ; but, owing to the infinn state of liis health during the time he was there, he seldom played in public. Eichner died at Berlin, in the year 1778. EIDENBENZ. A vocal and instrumental composer at Stuttgard. His compositions bear date from the year 1790 to 1798. He died at Stuttgard in 1799, in the tliirty-seventh year of his age. EIGHTEENTH. An interval comprising two octa* es and a fourth ; the replicate of the «. eventh. EIGHTH. An interval comprehending seven I "•ujuuct degrees, or eight diatonic sounds. See < )CTAVE. EINFACH, (G.) Simple. EINHEIT. (G.) Unity. EINLEITUNGSSATZ. (G.) An introduc- tory movement. EINSCIINI'iT. (G.) A phrase or imperfect musical sentence. ELS. (G.) E sharp. EISTEDDFOD. (W.) Tlie name of the lession ajipointcd by Queen Elizabeth, at Caervvys, in North Wales, tor the election of chief bards, and teachers of instrumental eong. EKLYSIS. By the term ekli/sis, the ancient Greeks meant a particular- kind of tuning in the enharmonic genus, in which, from a certain sound, the performer dropped by an interval of three quarter tones. The opposite of sjmiuliasm. Sec that word. ELA. llie name originally given to the highest note in the scale of Guido ; and since proverbially applied to any bj-jjerbolical saj-ing. ELDING, JOHANN. A celebrated performer on the clarinet, and composer for his iu.strument. He was bom near ELsenach, in Upper Saxony, in 1754, and died m 178G. ELECTRIC PIANO. Thomas Davenport, of Salisbury, Vermont, invented, 18-51, the electrica. piano-forte. Mr. D. claims to have been the first man who has turned a wheel by means of electro-magnetism. He has succeeded in vibrat- ing musical wu-es by the same power. ITie per- petual and hitherto incurable defect of the piano- forte is the impulsive and evanescent nature of its tone ; and though great improvements have been made upon it, and various devices have been elaborated to prolong its notes in some de- gree, yet the want of a sustained vibration is stUl an inherent want in that excellent instrument. The simple but vastly important fact of the science of electro-magnetLsm Ls, that common iion, being encircled by currents of electricity, becomes instantly and intensely magnetic, and again becomes instantly destitute of magnetic properties on the suspension of electric currents. Tlie jjroblem with wliich Mr. Davenport has grappled, and which he has solved, is, first, whether this twofold transition can be perfectly eflec.ted as rapidly as a musical chord will vi- brate ; (say, tor example, five hundred times in a second;) and, secondly, whether tliis rapid alternation of attraction and absence of attraction can be made to concur exactly with the vibra- tions of the chord, so as to sustam those vibra- tions. AVe have seen a rude instrument, con- structed under hLs dhections, similar in fonn to an .Eolian harp, and furnished with three wires, which continue to vibrate, under the influence of electro-magnetics, with a clear and full note foi any desired length of time after the first impulse is im])arted. So far, success is demonstrated. ELEGAMENTE, or CON ELEGANZA, EL- EG.:VNTE. (I.) With elegajice, gracefully. ELEGIAC. An epithet given to certain pl&Ir.- tive and attecting melodies. See Ei.egv. ELEGY. An elegy, with the ancient Greek musicians, was a certain comjjosition for the flute, said to have been invented by Sacados of Argos. In modern times, the sense of this word has been restricted to vocal music of a tender anc" pathetic kind. By an elegy we now mean simple, mouinlul, afi'ccting tale, told in lyric measure, and set to music for one, two, or three voices. ELEMENTS. The elements of music com- prise the gamut, rules of time, simple harmonics, and all the first or constituent principles of the science, all of which will be found more fully explained under the various and ajjpropriate heads in this Encyclopaedia. ELER. A professor of several wind Lnstru- 278 B .E EXCYCLOP^DIA OF MUSIC. £Lj m nts at Paris, and instnimeutal composer. His w« rks are dated liom tlie year 179G to 1801. lie hao composed several operas. ELEVATION. A term applied to the pro- ffrension of the tones of a voice or iiistrumeut, t'rnm grave to acute ; also used to siguiJy the raising of the hand, or toot, in beating time. ELEVENTH. An interval consisting of ten conjunct degrees, or eleven diatonic sounds ; the octave of the fourth. It was long a dispute with the ancient writers on music, whether the eleventh was a concord. Ilubald, however, insists that it is among the consonant intervals. ELFORD, IIICIIAKD, an English singer, was educated in the clioir of Lincoln, but, his voice settling into a counter tenor, he was invited to 1 >urhara Cathedral, where, however, he did not long remain, being advised to go to London, to try his fortune on the stage. In 1706, his name appears in Downes the prompter's list of per- formers, in D'Urfey"s opera of "'ITie Wonders of the Sun, or the Kingdom of Birds." But hLs person and action being clumsy and awkward, he quitted the theatre, and was admittetl as a gentleman of the Chapel Royal, as well as to the places of lay vicar of St. Paul's and Westminster Abbey. He had likewLse an addition of a hun- dred pounds a year made to his salary in the chapel, on account of the uncommon excellency of liis voice. ELINE. A name given by the ancient Greeks to their song of the weavers. ELISI, PHILIP. An Italian singer, who per- formed at the opera, in London, in the years 1760 and 1761. Elisi, though a great singer, was still more eminent as an actor. ELIZABETH, QUEEN', was, as well as the rest of Henry VUI.'s children, and, indeed, all the princes of Europe at that time, instructed in music early in ILe. Camden, in enumerating tlie studies of his royal mistress, says, " She under- stood well the Latin, French, and Italian tongues, and was indifferently well seen in the Greek. Neither did she neglect musicke, so far forthe as might become a princesse, being able to sing, and l)lay on the lute prettily and sweetly." lliere is reason to conclude that she continued to divert herself with music many years after she came to the throne. Sir James >Ielvil gives an account of a ciuious conversation which he had with this princetis, to whom he was sent on an embassy by Mary, (iuecn of .Scots, in 1561 : "After her ma- jesty liad asked him how liLs queen dressed ; what was the colour of her hair ; whether that, or hers, was best ; which of the two was fairest ; and which of them was highest in stature ; then she asked, what kind of exercises she usetant, and anolhei musician only escapwl the same fate through tl» interference of a friend, who ol)tainee<'k was condemned, and saved " betatue h( was a musician.'' 279 ELO ENCYCLOPAEDIA OF MUSIC. ENQ ELOUIS, J. A celebrnted French linrpLst aud composer ior his in.strumcnt, at the latter end of the last century. Many of his works arc pub- lished at Paris. ELSNEU, JOSEPH, bom in Prussia in 1769, ehapcl-mastcr at Warsaw in 1802, is the com- poser of many operas and two melodramas, the words of some of which are in the Polish lau- Kuage. lie has also composed much mstrument- al music, published at Vieuua, Leipsic, and Of- fenbach. ELSPEIKJER, JOIIAXX CHRISTOPII ZACiLVlilAS, born at Katisbon, composed much sacred and instrumental music. He died in 1700. EMBOUCHURE. (F.) The aperture of a hautboy, flute, or other wind instrument, at which the breath of the performer is received. The name Ls also applied to the shaping of the lips to the aperture or mouthpiece ; tlius we say of a flute player, he has a good cmboiw/iure. EMMEUT, ADAM JOSEPH, an amateur composer, was born at AVurtzburg in 17(5.5. He composed a great variety of vocal and instru- mental music, between the years 1797 aud 1806. E MOLL. (G.) E minor. EMPFIXDUXG. (G.) Emotion, pa.ssion. EMPHASIS, is the giving forcible utterance to the important words of any piece, which, in order to due effect, should be previously studied. Hence it cannot, in general, be ajiplied to metre psahuody, except so Jar as to prevent the rliytlim Irom appearing mechanical. But in chanting, the rules of emphasis should be perpetually in view. There is no proper rhrthm in a chant, its accentuation being that of prose. But by an emphatic rhetorical style in the recitative of the strain, and by care to bring the accents of the cadence upon accented syllable^ chants the most devotional will rank among the sublim.est branches oi music. Emphasis difl'ers from accent in this — accent always occurs on certain parts of a measure ; and emjihasis shows that unac- cented parts of any measure may be made em- phatic. To give dehuite rules for placing em- phasis, or for expression. Is Ikr more difficult than to detennuie the accent : but such words as 6y, with, of, but, tluiii, aj, be, to, and others, and the articles a aud tlie, should never be-erapliasized, but be passed over as Ughtly as possible, with projier articulation. A cultivated taste, and an e.\t6usive acijuaintance with the science of har- mony, are the beat directions for emphasis aud expiessiou. ENCORE, (F.) Again, once more. A well- luio ini expression, used by audiences at theatres, and in concert rooms, to express their desire that the i)erformancc of a song, or uistrumental com- position, should bo re;,cated. ENDERLE, WILHELM GOTIFRIED, was born at Bayreuth in 1722. He was one of the best violinists of his time, and composed much music for his instrument. He died at Darmstadt iji 179:3. ENERCaCO, CON EXERGIA, or ENERGI- CAMEXTE. (I.) With energy. EXGE. (G.) Close, condensed. EXGEL, CARL IMMAXUEL, an organist al Leipsic, jjublished some piano-forte and organ music at that town, from the year 1790. He died in 1796. ENGLISH lilUSIC. -SMiUe the music of aU other countries has in it something dlstinctirely and peculiarly characteristic, English melodiee (if we except their glees and madrigals) have none. The late ojjeras which have been brought out in London betray an attempt at servile imi- tation of the ItaUan school ; but the English have not a wTitcr at the present day whose compo- sitions manliest the slightest originaUty; and, with the exception of Dr. Arne, Calcott, Bishop, Rolf, Rooke, and one or two others, their musi- cal works are devoid of conception, character, or beauty. At the same time it must be admitted that there is nothing finer in the world than the Enghsh glees and madrigals. These possess a truly distinctive character. They are really Eng- lish, and bear about the same relation to the smooth strains of Italy and Germany, astheblujf, straightforward yeoman does to the French ex- quisite. They are at once original, heart-stirring, and amusmg. Many of the madrigals exhibit a great amount of artistic skill and musical acquire- ment, and, when well executed, they are ex- tremely entertaining. Some of the English an- ' thcms are also very excellent, but the attempt to imitate the German school is too apparent throughout. They are not the less agreeable on this account, but they lose the charm which would attach to originality. The English are, as a nation, fond of music, but their love for it seldom reaches the enthusiasm which is felt for the art by a German, an Italian, a Frenchman, or a Spaniard. It would, perhaps, be more cor- rect to say that the English admire music, rather than that they love it. The uneducated classes wiU gladly listen to music, but they are never moved by it. They may leani or become ac- quainted with certain airs, but they never im- part to what they sing or whistle that elegance or depth of feeling which a really musical mmd never fails to throw into an air which pleases him. The organ builders of England may be taken at four hundred in number, and putting their gross returns at five hunch-cd pounds per annum each, we have two hundred tl.ousand pounds a year in this branch alone. The materials employed by the piano-forte maker are oak, deal, ])ine, ma- hogany, and beech, besides fancy woods ; baize, felt, cloth, and leather, brass, steel, and iron. Of the two leading houses in this branch, the Messrs. CoUard sell annually one thousand six hundred instruments, and the Messrs. Broadwood two thousand three huudi-ed, which, at the very low average of sixty guineas, gives, as the annual business of these two firms only, about t«o hun- dred and fifty thousand pounds. Ii' the whole number of piano-forte makers of London — about two hundred — Is taken into account, the annual return in this trade cannot be less than one mil- lion pounds. Violins, and instruments of that class, are almost entirely imported, the prejudice being in favor of the foreign makers. The an- nual import duty on them is probably not less than forty-five thousand pounds. The cost of the wind instruments required for a regimcuttl band, exclusive of drums and fifes, wa.'' said '.c be two hundred and twenty-four pounds; and u there are in all about four Irmdred regimep«. 280 Exn EXCYCLOPvEDIA OF MUSIC, EPC the capital represented by these is nearly one hundred thousmul pounds. The number of work- men employed by MessrH. Brondwood and Col- lard resijcctivcly is five hundred and seventy-five and four hundred; these are all more or less skilled workmen, some of them to a very hi^h degree. It is probable that the wages of the arti- sans em])loyed in this trade do not amount to less than five hundred thousand pounds per annum. The great power exerted by music is evinced by the large number of musical and choral societies, both instrumental and vocal, which exist, as well as by the large and increasing audiences which ore attracted to their public performances, lliero can be uo doubt that this inducncc is in a right direction, and that by it the social and moral con- dition of the people is being elevated and im- proved. In the first fifteen years during which the Sacred Harmonic Society had been established, two hundred and seventy-one concerts had been given, attended by more than six hundred and ten thousand persons. ENIIAUMOXIC. Tlie epithet given by the ancient Cireeks to that of their three genera, which consisted of quarter tones and major thirds. They, however, had, originally, another kind of enharmonic, more simple and easier of execution than this, and upon which the quax'tcr tones, or dieses, were considered by the theorists of the old school as iimovations too rcfiucd and artificial. ENIIAKMOXIC. Equivocal; as, enharmonic change, where the notation is altered, but the same keys of the instrument are used. Tlius a modulation from the key of F sharp into the key of G flat would be an enhttrmonic change. EXIL\.RMOXIC SCALE. This is a gradual progression by quarter tones ; but as these pro- gressions are not found on keyed instruments, there is no real enharmonic scale used in modern music. These imaginary jjrogrcssions have their origin in the chord of the diminished seventh and its inversion, and will be more fully explained if you examine that chord. The enharmonic, or scale of qvuirter tones, was used by the Greeks until the time of Alexander the Great, when the chromatic scale came into use. When a scale is formed which contains in some places quarter tones, it is called enhannonic. The enharmonic scale di\'ides each tone into two chromatic semi- tones and the quarter tone, thus : — m 9 zt E EX ROXDEAU. (F.) In the manner of a rondeau. See that word. EXT, DR. GEOR(^rE, (bom in 1603, died in 1689,) wrote a paper in the I'hilosophical Trans- actions, volume twelve, under the title " An Essay tending to make a probable Conjecture of Temper, by the Modulations of the Voice in ordinary Discourse." EXTERT.VIXMEXT. The appellation for- merly given to httle musical and other dramat- ic afterpieces, but which has some time been changed for that of opera, or its diminutive, operetta. EXTR'.-VCTE. The name given by the French to the music played between the acta of theii dramas. EXTREMES. (S.) ^ A short musical inter- lude, much used in Spain. It never consists of more than one, two, or three scenes, and the number of interlocutors is seldom more than four. EXTRE-METS. (F.) The inferior and less- er movements which are inserted bet\\ecu the greater and more important movements of a composition* for the puqiose of relief. EXTRIES. The name formerly given to the acts of operas, burlcttas, &c. EXTUSLiSMO, COX. (I.) With enthusi- asm. EXTA\TJRF. (G.) Sketch or rough draught of a composition. EX^'OYS. One of the names by which the old English ballads were known. EOUAX. An epithet applied to one of the five chief modes m the Greek music, the funda- mental chord of which was immediately above that of the Phrygian mode. See Mode. EPIAULA. A name given by the ancient Greeks to their song of the Millers, called also IIjTnea. See So.vo. EPICEDrUM. (From the Greek.) A dirge. See that word. EPIGOXIUM. An instrument of antiquity, so named from Epigonius, the inventor. It is said to have contained forty strings ; but the time of its invention, though we do not precisely know when Epigonius lived, is too remote to render it probable that these strings formed a scale of forty different sounds. It Is more reasonable to suppose that they were tuned in unisons and octaves, or regulated by the inter- vals of the different modes and genera. EPIGOXIUS invented an instrument of twen- ty strings, of the harp kind. Little is known ol it, however, and it was very little used, being dif- ficult to practise. EPILEXIA. The name given by the ancient Greeks to their song of the grape gatherers. EPIXICIOX. (Gr.) A song of victory. EPISODE. A term applied to those portions of a fugue which deviate from the subject matter, or motico, and supply the embodying harmony. EPITIIALAMIUM. A nuptial ode, or song. Compositions of this kind were formerly much in use, and in remote times were usually sung at the door of the newly-married couple. EPITRITE. The name given by the Greek musicians to one of the rhymes with which they proportioned the time in sesquitierce. EPODE. Tlie name given to the thinl couplet of tbe periods of the Greek odes, or to the air to which it was sung. The jieriod consisted of three couplets — the strophr .■ the antistrophf, and the ejnde. The ])ricsts walkinsj round the altar, sing- ing the praises of the gods, rcpeatctl at theii first entrance, when they tvimetl to the left, those verses called the strophe ; those which they sang turning to the right, were denominated the antit- 281 EPO EXC /CLOP^DIA OF MUSIC. ERA trophe ; and InKtly, those wliich tLey sang stand- ine before the altar, the epodc. llie invention of thi8 third and concluding part of the period, i» attributed to Archilocl\us. Any short lyric poem, composed of trimeter iambics of six feet, and dimeters of four feet, altcrnatclj', was abo colled an epodc. E POI. (I.) And then ; as, e/wt /a eoiia, and then the coda. EPPIXGER, IIEINRICH. A vioUnist, resi- dent at N'ienna. He has published much music for his instrument, at Paris and Vienna, since the year 1796. EQUISONANCE. The name by which the ancient Greeks distinguished the consonances of the octave and double octave. EQUISOXAXT. Of the same or like sound ; a unison. This term is often used in guitar play- ing, to express the different ways of stopping the same note. EQUIVOCAL. Those chords are called cyHjc- ocal whose fundamental bass is not indicated by the inters-als by which they are formed. EHARD, SEBASTIAN, founder of the cele- brated piano-forte and harp manufactories at Paris and London, which still bear the name, was born at Strasburg, in 1752, and was the fourth son of a cabinet maker, who did not marry till the age of sLxty-four. He inherited from hLs father a robust constitution, and evinced in chOdhood a courageous spirit ; for it is said that at the age of thirteen he climbed the steeple of the Strasburg Cathedral, and seated himself upon the summit ojf the cross. At the age of eight years he was sent to the schools to study architecture, perspective, linear drawing, practical geometry, &c. Throughout his life he was continually oc- cupied with new inventions ; in the latter half of it he slept but Uttle, and liis bed was always covered with jiapcrs and plans of instruments. This fertiUty of invention and execution accounts for the multitude of models still found in his workshops at London and ParLs. He lost his father at the age of sixteen and sought emploj-ment at Paris, where he became apprentice, and soon foreman, in a harpsichord manulactory. llic young workman's ingenious questions so puz- zled hLs mjistcr that he dismissed him, reproach- ing Imn for wishing to know every thing. But another famous maker, having received an order to construct a harjisichord requiring knowledge that was out of his daily routine, had heard of the young Erord, and ottered him a certain sum if he would make it, and allow him (the employ- er) to put his name upon it. Erard consented, and the ])erson who had ordered the instrument was so astonished at the perfection of the work- manship that he asked the manufacturer if he were really the author of it ; the latter, taken by surprise, confessed that the instrument had been constructed for him by a young man of the name of Krard. The fame of this adventure soon Biirend through the musical world, and drew attention to the young artist, who soon signal- ized himself by his clavicin micanlque, a masterly invention and achievement, wliich caused a great »eni4ation among the artists and amateuxd of Paris. Sebastian Erard was not yet twenty-five years old, and already hLs reputation was so established, that he was a])plied to for all sorts of new things which people wished to have constructed. Distinguishec? persons sought him ; and the Duchess de Vil- leroy, a great patroness of artists, and passionately fond of music, tried to attach him to her house- hold. But preferring liLs independence, and hav- ing long desired to visit England, he was onlv prevailed upon to remain with the duchess lonj enough to execute several ideas of hers, having a suitable work room in her hotel, and enjo^-ing the most perfect liberty. It was here that he con- structed his first piano-forte. 'ITiis instrument, known for some years in Gennany and England was not yet common in France ; the few pianos found in Paris having been imported from Ratis- bon. It was de hon ton in great houses to have these foreign instruments. Mme. de Villeroy one day asked Erard if he could make a piano ; the piano was already in his head ; he set immediately about it, and this first piano from lus hands bore the stamp of a man of invention and taste. It was heard in the saloon of the duchess by all the amateurs and artists of distinction, and many noble seigneurs were eager to order and possess instruments like it ; but they were not so eager to discharge their part of the contract — the most of them never paid. , About this time, his brother, Jean Baptlste Erard, joined him ; and tliis indefatigable worker, and upright, loyal man, from that tune shared the labors and the fortunes of Sebastian. Tlie great demand for their pianos soon obliged them to quit the hotel de Villeroy, and found a large establishment in the Rue de Bourbon,(faubourg St. Germain,) which gradually became the first in all Europe. The jealousy of other musical instru- ment makers was roused, and one actually pro- cured a seizure upon the Erard establishment, under the pretext that they had not subscribed the laws of a certain guild ; but Erard found pro- tectors, who made known his merit to the king, Louis XVI., from whom he received a flattering patent. Under this protection the establishment of the two brothers develo])cd more and more, and the sale of their two-string and five-octave pianos (such as they made at that time) was immense. Among other inventions which continually oc- cupied him, Sebastian Erard made at this time an instrument with two key boards, one for the piano and one for the organ. This was prodi- giously popiilar m high society. One was ordered for Marie Antoinette. The queen had a voice of little comjjass, and all music seemed wiitten too high for her. Erard made the key board to slide so as to transpose the music Irom a semitone to a tone and a half, at will, without any mental labor on the part of the accompanist. The troubles of the revolution, so injiirious to all industry, induced Sebastian to go to England, and open new channels for the products of his manufactory. Tliere he remained several years, and founded an estabUshraent like that in Paris, filled with instruments entirely of his own inven- tion. In 1794 he took out his first patent for improvements in the piano and haqi, and his in- struments were soon in great demand. Rut the desire to return to France never Ibrsook him, and he arrived at Paris in 17911. Then, for the first time, he manuiactured giand pianos, in the shapr 282 BRA ENCYCLOP.IilDIA OF MUSIC. ESI) of harpsichords, after the English system, of which he had fjrcatly jierlected the mechanLsm, Bud brought out his hnr])s of single action, which he had invented some ten years before, but had not made public at that time. 'ITicsc pianos were the first instruments with e-tcape incut ever made in Paris ; they had tlio defect of all the instru- ments of that kind, tliat of slowness of action in the levers and the hammers — a fault complained of much by artists accustomed to the easy play of the small pianos, 'lliis difficulty Erard labored to overcome; and after many trials he produced, in 180S, a new kind of grand piano, in wliich the action answered more i)romptly to the touch, wliiic its smaller dimensions were more suited to the size of the Parisian saloons. Dussek played upon one of them with great success in the con- certs given at the Odiun by Kode, Boillot, and Lamarrc, on their return from Russia ; amateurs a!ul artists were well satisfied, but not so Erard himself, as we shall see. In 1S08 he returned to England, where he put the seal upon his reputation by the invention of his double action harp. By gi\-ing to each pedal the double function of raising the string a half or whole tone, as might be retiuired, he overcame the whole difficulty of completuig the gamut of the harp in all the keys. It cost hiin years of labor ond great outlay, but the success was com- plete. ITie double action harp appeared in Lon- don in 1811, when paper money was in the greatest circulation, and the sales in one year amounted to twenty-five thousand pounds. Ilc- turning to ParLs, he introduced the same manufac- ture there. Prciiuent visits to France made him neglect the manufacture of pianos ot London, and his estab- lishment there became devoted to tlie harp ex- clusively ; but in all the fifteen or twenty jjatents which he took out in England, new ideas for the perfecting of the piano, as well as harp, were ex- pressed. These he proposed to execute in France. At cvei-y exposition of the products of industry, his works were crowned ; he had received every kind of public testimonial, when in 18-2:j he ex- hibited the model of hLs chrf d'aui-re, his grand piano, a douhle ichappenwnt. Tliese new instru- ments were since established in the London man- ufactory by his nephew, Pierre Erard. The naturally robust constitution of Sebastian Erard began finally to j-ield to the inccssjint latrors of so active a life upon the vast theatre of two such capitals as Paris and London. In 1824 he was BtHictcd with the stone, yet still devoted himself, from the moment of a successful operation, to Improvements in organs and other instruracnt.s, until an aggravated return of the disease put an end to his career in the month of August, 1831. ^IIARD, PIERRE, nephew of the precciling. was born at Paris, about the year irOt'i. His early studies were with a view to his continuing the manufacture of instruments inventcer\-e merely to fiU up. As it is impossible to ixan-fcr all to the piano-forte, the accompanist is obliged to choohC only what is really essential. The first glance being given, the arrangement of the parts of the score ascertained, and the choice of what shall be retained and what rejected be- ing made, we must then occupy ourselves with the details. AVhen the form of the accompani- ment has a continued or prevailing design, or sjTnmetrical groupings of notes, the eyes have only to seek the harmony, and apply it to this design. Such cstabhshed desigTis have the re- markable advantage of exclusively occupying the ear, and allowing the accomi>ani8t to neglect all minor details. In these cases, the eye fixes it- self upon two or three staves only, and thus eim])lifics its operation. In all scores prior to the time of Mo/art, we may pretty safely trust to the orchi^ttral quartet for the means of form- ing an accompaniment. Rut in his works, and since his time, the interest of the accompaniment is as often to be found in the wind as in the stringed instruments. It becomes necessary, therefore, to run our eyes rapidly across the whole page. To accustom ourselves insensibly to thi.-»t we must practise reading scores for some time, without actually plaj-ing from them, and thus habituate oiirsclvi-s to hear the effect from the simple perusal, such as if the orchestra were really executing the ]iie<'e which we examine. 'lliitt cxercLse will be found extremely useful. Coolness is a quality indispensable to an ac- companist. If he be without this quality, his eyes will become troubled at the eight of some scores, which, crowded with notes and different designs, seem to offer an inextricable labyrinth ; though most fretjuently this apparent multiplici- ty of subjects Ls reducible to matter sufficiently simple and of easy execution. With a calm eye and a little attention, we shall easily recogni/e the intention of the author, and perceive what may be transferred to our piano, and what re- jected. Very often the i)arts double one another in unisons or octaves ; and the difference of clefs alone gives an appearance of diversity to things which in fact are identical ; so that many pieces apjjoar extremely complicated, which nev- ertheless may be reduced to two or three parts onlv. EXECUTION. A term applicable to every species of musical jicrtbrmance, but more par- ticularly used to express a facility of voice, or finger, in running rapid divisions, and other difficult and intricate passages. Taking the word in this latter sense, ejtectUion is no uncom- mon quality ; but il" we give the term its due latitude, and include in its meaning jttst intona- tion, taste, prncc, fcelina, expression, and the other liighcr reipiisites to tine performance, we must acknowledge that the examples of real exeaUion are verv rm e. EXERCLSE. A term applied, in a genera way, to any composition calculated to improv* the voice, or finger, of the yo\nig practitioner; also significative of the action ot practising. EXIMENO, ANTONIO, a Spanish Jesuit, re- sided at Home about the year 1780. He pub- lished, in 1774, a large volume in quarto, entitled " De/l' oriijine e delie regole ileUa miisica, mlia sto- ria del siio prorjresso, decadetiza e rinuovuzione." 'J"he Italians say of tliis book, " Uizzano roinatizo ili miaica con cut viiol tlistruyyere senza /xiter /X"i rifahricnre." See Elogii Itatiani, vol. viii. In 177.5, Eximeno published, at liome, " Duhbio so- pra it sagijio di contrapunio del Padre Martini." It was an answer to Padre Martini, who, in his " Saffffio contrap.," had criticized Eximeno. A detailed analysis of this work is to be found in " Ej'imcridi di Roma," 1775, vol. iv. EXPLOSIVE TONE, 'lliis mark > indicates that the note over which it is written slioiild bo struck s\uldenly, with great force, and that the sound should instantly cease. 'n»c tone is some- times marked > and sometimes A. Tliis Ls some- times recommended to l)e used for the puq)osc of bringing out the voice, and to give it power and strength. It shoidd not be so used. In order to cultivate the voice, the pupil should sing the scale first in the organ tone, as slow and as loud as he can do in exhaling the breath gently from the lungs, and without exhausting them. This gives strength to the voice ; and afterwards it should be exercised on the swell under the same conditions as before ; this gives pliability, and brings the voice under command. AAA EXPUES.SION. 'Iliat quality in a compo- sition, or performance, which appeals to our feelings, and which constitutes one of the first of musical requisites. The expression of a piece of music may be the ideas it expresses, as of joy, sorrow, &c. — the tune of it, whether simple melody or lull harmony, considered apart from all performance. Musical expression and mere execution essentially differ ; the one is solid and lasting, the other frivolous and inconstant. The composer or player who does not make his appeal to the feelings, — to the judgment, — though he may enjoy for a time the applause of the thoughtless and low mindesic, published, towards the middle of the seventeenth century, much vocal music, also some pieces for the organ. He died 'n 1679. FA BURDEN. A term appheTnn to the Supreme l!<'ing upon record, is that whore Miriam, the sister of Moses, took a timbrel in her hanri'.T}U," for the Th' Aire MnntaniifT, which was very much admired, although it had l>ecn composed Iwfore by (irefry. llie fn%-orife duct of " Srrriteur i) Mnnsieiir la FIcur " was mptur- ously encorerc," sung with great success by Simoni. In the course of thirty-one years' residence in London, he com- posed a great many pieces for public concerts, and for the Opera House, some of which are, *' lo son capricciosctto," " Sospiro e mt vergogno," " Delte F.nee abbaiuloiiate," " Quamlo verra la sopra," " Qu Zimira chc a-mpathy ; who are less imposing and transporting than they arc apt to excite oiu- re- spect and good feeling; who arc less praised than enjoyed." To praise, as an artist, he was by no means indifferent, but it never led him to sacrifice his convictions of what he thought was right and beautiful in composing. His wsus a pure. dLsin- terested striving to that end ; if he ever failed, it was from mistaken judgment or from sickness. His works, about the merit of which the world is divided in opinion, are quite numerous. For ;he church lie wrote a "I'tUer Xosler," for four solo voices, with chorus, and several psalms ; for the theatre, the operas " Cantemire" (1819, much admired) and " Omar and Leila," (romantic), in 182.3 ; and for the chamber and the concert room, twenty quartets, (for string and wind instruments,) five quintets, (ditto,) three grand symphonies, four overtures, four pot-pourris for violin, one rondo for French horn ; and a great many songs and ballads of various characters ; among which his Op. 17, consisting of four four- part songs, his four-part song "An die heiliye Cacilia," and his Op. 33, (aria, Ja, dcs Wiedcr- leheni Freiidt; for soprano and organ or piano,) are especially worthy of mention. Some of his songs liave been repubUshed to English words, in this country. FESCEN'XIXE VERSES. So caUed from the town of Fesccnnia, in Etruria, where they were first used. ITicy were in the form of a dialogue, between two persons, who satirize and ridicule each other's failings and vices ; also a sort of dramatic poem, perhaps extemporaneous. Fes- cennina was the name given to the first nuptial songs, nds species of IjTic poetry, which was afterwards improved into the epithalamium, though, in its early state, not quite so chaste as modern delicacy would exact, wa.s long sanctioned by the customs of ancient times. The young Komans sang Fcscennine verses, particularly at the harvest festivals, aci'onipanying them with mimic motions. The Emperor Augustus prohibited them, as tending to corrupt the public morals. FESTA, CONSTANTIUS. The compositions of this master arc generally considered to be ex- cellent. One of his motets is to be found in the fourth book of Motelli deUa Corona, i)rinted so porly as the yei\r IjlO. In the third book of Arkadclt's madrigals, published at Venice in 1541, there are seven of Festa's compositions. " In these," says Dr. IJunicy, "more rhythm, grace, and facility a]>pcar than in any production of his con- temporaries that 1 have seen. Indeed, he seems to have been the most able contrapuntist of Italy during tliis eai'.y period, and, if Palestriiia and Constantius Porta be excepted, of any period anterior to the time of (larissimi. I could not roeLst the pleasure of scoring his whole first book of thrce-])art madrigals, from the second edition, printed at Venice in l.j.ii) ; for I was antonishcd as well as deliglited to find the composition so much more clear, regular, phrased, and unem- barrcsscd, than I expected." FESTA, LUIGI. a celebrated Italian viohnist and composer for his instrument, resided at Najde* about the year 1805. FE.STIXG, MICILVEL CIIUISTIAN. A Ocr- man violinist and composer for his instrument, resident in Ixindon m the first half of the last century. He was a pupil of Oeminiani. His solos for the violin are well compohcd, but little known, having been originally sold only l)y private subscription. To Festing appertains the principal merit in establishing the fund for the support of decayed musicians and their families. 'niLs society took its rise in the year 1738, from the following occurrence : Festing, then resider.t in London, being one day seated ut the window of the Orange Coffee House, at the comer of the HajTnarket, observed a very intelligent-looking boy driWng an ass and seUing brickdust. He wiw in rags, and on inquiry was found to be the son of an unfortunate m\isician. Struck with grief and mortification that the object before him should be the child of a brother professor, Festing determined to attempt something for the child's su])port, with the assistance of Dr. Morrice Green. 'ITiese worthy men soon after established a fund towards the support of decayed musicians and their families. FETIS, FRANQOIS JOSEPH, the learned musical theorist, critic, and joumaUst, known also as an industrious composer, was born at Mons, in Belgium, in 1784. He manifested a passion and talent for music at a very early age, and had hLi first instruction from his father, who was organist at the cathedral and conductor of the concerts in that city. He entered the Conservatory at Paris in the year 1800, where he became the pupil of Rev, in harmony. In 1804 he studied uiuler Al- brechtsberger in Vienna. He tried his fortune in many branches of musical composition, not excepting symphonies and the larger fonns of church music ; but his true vocation more and more developed itself in the sphere of musical learning and criticism. He published first, in 1823, his " Traiti iliinentaire (F llarmnnie et Ao compa'jncmcnt " ( Elementary Treatise on Harmony and Accompaniment); afterwards, in 1824, a val- uable treatise on counterpoint and fugue, " Trait)'- dii (:oiin/rc/x)i/il el de la Fut/ue," which was adopted as the basis of instruction at the Conservatory. His next work was a memoir on the question, " What was the merit of the Flemish mu>icianit in the fifteenth, sixteenth, and seventeenth cen- turies ■ " which received a prize from the Hoynl Institute of the Netherlands. In 1829 ho ptil>- lished his " Traiti de f AccompaynemeiU de la Parti- tion " (Treatise on the Accompaniment of a Score), and in 1830 his popular little work, wfiich has' been translated into English and German, " /» Miuiijur mi.ic a In Port^.f de tout le Monde," ( Music made plain to all the World.) In 1827, Fetis com- menced the i)ublication of his very valuable mu- sical journal, " Ixt Penie Miuicale," which he continuctl withotit intemiption till November, 1835, nearly nine years. Of the lohor ond re- sponsibility of this ta^ik we may form some iden from his own description of it in his " liio- ijraphie Vnirenelle." With the exception of ton or twelve articles, Fctis ecth Xocf urno in F." " Seventh Nocturne in C." " Ki|^hth Xoc- turno in U." "Rondo, Xo. 1." "Rondo, Xo. 2." " Rondo, Xo. 3." " Rondo, Xo. 4." "Sona- ta in B." " Grand 'Waltz, in A." " Favorite I'olonoise, in form of a Rondo, in E flat." " Fa- vorite Rondo in A," dedicated to the Countuis d'Orloff. Also some yoccunios, considered his best works. FIEXUS, JOANNES. A compo.scr of madri- gals, published in the Xethcrlands, between the yaars 1.5.59 and 1580. lie died at Dordrecht in 1585. FIESCO, GIULIO. A madrigal composer about the middle of the sixteenth century. He was born at FeiTara, and his works were all pub- lished at Venice. FIFE, or FIFFARO. A slirill wind instru- ment of the martial kind, consistiii;? of a short, narrow tube, with holes disposed along the side for the res^ulation of its tones. It is blown at the side, like the common flute. The first thing to be learned on this instrument is the blowing or filling it sufficiently to sound the notes clear and distinct. Observe, therefore, the lips must be close except just in the middle, to give passage to the wind, and likewise contracted smooth and even. 'Ilien, resting the fife just under the opening of the lips, place the mouth-hole of the fife op- posite this opening, and blow aslant into the hole, turning the fife outward or inward till you can make it sound. It is not the great quantity of wind that is wanted to make the fife sound, but the manner of disposing of it, letting it come out quick and in as small a quan- tity as is necessary, according to the shrillness of the tones you want to produce ; the lower the notes are, the more gently you must blow, and the higher they are, the stronger. Mil en you can thus fill the fife, put down the three first fingers of your left hand upon the three holes nearest the mouth hole, and the three first fingers of your right band upon the other three holes, placing your thumbs on the opposite side between each of the two first fin- gers, taking care to stop the holes firm and close ; then blow gently, and you will sound the note D. To sound E, take off the third finger of your right hand. To sound F = , put down 'he third finger of your right hand, and take off the second finger, To sound (i, take off the second and tliird fingers of the right hand ; and BO on for the other notes, as will be seen in the scale below. 'ITiere are several kinds of fifes, that Ls, keyed on difl'erent letters. Those in use are from a foot to sixteen inches in length, llie longest are B fifes ; but those keyerum, Pm- fxtrlioitioH ct Caiwnum, Judicium de Tunis ac ijuirdum de Arte auatitcr et urtijitiose cantandi." This is a very rare book, and contains much valuable matter respecting the early history of music. FIXK, or FIN. (I). The end. Fine del atto, end of the act. Fine del aria, end of the air. FIXF/m, (JIACOMO. A Franciscan monk and composer, bom at Ancona. He published much sacred music at Venice in the early part of the seventeenth century. FIXGEU. A word metaphorically applied to ability in execution in general, but especially on keyed instruments ; as when we say, such a master ])ossesses an expressive or an elegant Jinger ; that lady displays a rapid or a delicate Jinger. FIXGER BOARD. That tliin, black cover- ing of wood laid over the neck of a \-ioUn, vio- loncello, &c., and on which, in performance, the strings are pressed by the lingers of the left hand, while the right manages the bow. FIXGEUED. A term applied to piano-forte exercises, over or under the notes of which figures arc placed, to signify the linger with which each corresponding key is to be struck. FIXGER, GOITFRIED. A German musi- cian, and chapel-master to King James II. of Eng- land in 168.5. He publislied an opera in London in 1()!)1, called " 'Ilie Judgment ol Paris," and afterwards, on the continent, various other dra- matic music, and some instrumental pieces. FIXGERIXG. Disposing of the fingers in a convenient, natural, and apt manner, in the per- formance of any instrument, but more esjwcially the organ and piano-forte. Good fingering is one of the first things to which a judicious mas- ter attends. It is, indeed, to this that the pupil must look, as the means for acquiring a facile aud graceful execution, and the power of giving passages with articxilation, accent, and expression. Easy passages may be rendered ditficult, and dif- ficult ones impracticable, by Iwd tingcring ; and thougli there are many arrangcraent,s of notes whicli admit of various fingering, still, even in these, tliere is always one best way of disposing of t)\c hand, either with regard to the notes themselves, or those which jjrecedc or follow them. Hut there arc an infinite number of pos- sible dispositions of notes, which can only be lingered in one particular way ; and every at- tempt at any other is but risking the cstabli.sh- ment of some awkwardness, which the practi- tioner will have to unlearn, before he can hope to attain the true fingerijig. Hence it Ls obvious that no qualification requisite to good i)er- fonnaiicc is of more importance to the learner than that of just fingering, and that whatever talents and assiduity may be able to achieve, independently of instruction, in thLs great par- ticular, the directions of a skilful master are bi- difipeusablc. FINISHED. An epithet habitually ajiplied to musical practitioners sujjjKistd to be advanced to the vdtimate stage of manual or vocal execu- tion. He, or she, whose performance is conceived to be superlatively e.xccUent, ia said to be Jinished. FIXITO. (I.) FuiLshed, or ended. FIXTO,orFIXT. (I.) A feint. A terra applied to the ])rej)aration for a cadence which is not executed ; when the ])erformer, having done every thing that Lh retjuisite to a full close, in- stead of falling on the final, passes to some other note, or introduces a pause. FIOCIII, VIXCEXZO, was bom at Rome in 17*)7. He studied at Xaples under Fenaroli, at the conser\'atory of Iai J'irtii, after which he com- posed in Italy sixteen operas, some of which were successful in the i)erformancc. He was next appointed organist to St. Peter's at Rome, from whence he went to Paris about the year ISO'i, when he produced the opera " Le Valet de deux Mtiitrrs." Afterwards he was engage, he was appointed chapel-ma,ster of St. Peter's in Rome. He stvulied at Naples, but entered on his theatrical career at Turin. He set many comic operas for the Italian theatres, between the years 1787 and 1810. In 1807 he went to Paris, where he produce«l " / Virtuosi amhutanti," the words of which Picard has imitated in his " Coniidient ambulana." This had the same suc- cess as his " Capricciosa penlitn," which liad apjjcared in Paris in 180.5. He has also obtaine«l great favor in Germany by his comic opera, "Le Cantatrice tillane " — a piece full of si)irit, lively wit, and beautiful melody, and which may bo considered as classic among comic operas. He has also written a number of beautilul songs, with the music for the piano-forte, which have been printed in I/>ndou. FIORE, .STEFANO ANDREA. Chapel- master to the King of Sardinia. He was a good vocal and instrumental composer in the early part of the last century. FIORILLI, AGOSTINO. A dramatic compo- Bcr of Palermo between the years 1783 and X'i'Mi. FIORILLO, IGNAZIO, was bom at Naples in 17 lo. Ilie name of hLs master Ls unknown, but the method transmitted to the pupil ln-speaks that of Durante or Mancini. After having cora- po»ecl at C'asscl, where he was equally succotisful. In 1780, he ob'aiueo 301 FIO KXCYCLOP-EDIA OF MUSIC. Fig pension from the elector, and in the bosom of retirement (ir.d repose he ended his days, in one of the vilhi'j;o.s near the town of Wclzler, in the year 1787. Fiorillo is the autlior of many ■works, which have cemented the union of Italian melody with (jennan harmony. " De.mofoonte" " Anilrnmidu," and " A'ifc, it tell to his lot to be appoiiited to the situation he vacatml as principal hautboy at tl>e public concerts at Norwich, then under the direc- tion of the Rev. E. (ilover. On this instrument lie continued to perform several years, occasion- ally playing concertos. The following is a ILst of his principal works: Song, "To pity's voice." Song, " Maid of the Vale." Song, " How sweet were the days tluit are gone," (words and music.) Song, " Shipwrecked Sailor," (woriLsand music.) Song, " When in the tented field," (words and music.) Duct, " llie Jjirk," (words and music.) Glee, " O thou that roUest above." Song, " In- vocation to Sleep." Song, " Maria's Adieu." Song, " Maid of MarlwaU." Song, " Go, balmy rephyr." Song, " 'n-.c Evening Star." Song, " Joy to my love," (words by Mrs. Opic.) " Grand Sonata, I'iano-forte," Op. 1, dedicated to MLss Head. " lirand Sonata, I'iano-forte," Op. i, dcdicatetl to Miss Lovelace. " Concerto, Haut- boy," performed at the pro^nncial meetings and professional concerts. " I'olonnist Rontio, I'iano- forte." " Tekeli, n Rondo, I'iano-forte." " I jfo let us cherish, Haqi. ' dedicateil to Miss L. Wood- house. " .Vi7 ctir pill, Hiuri)," deilicated to Miss Straccy. " Winters of the Alps, Rondo, Piano- forte." " Fanta,sia, Harp," (leiUcated to Miss lieevor. " Introduction and Waitif, I'iano-forte," dedicatcil to Mi.-vs Lukin. " Montpellier Rondo," dedicatetl to Mrs. Opie, (manuscript.) " A Can- tata," (words by >Irs. 0|)ie.) " Grand Duet, Harp and Piano-forte," dedicated to Miss F. Jerningham. '• Fantasie and Rondo," dedicated to Lady Maria Ucldcrs. ITSHER, JOHN ARRAHAM, doctor of rau- aic, was boni in I/Ondon in 1741. 'Ilic following are some of his compositions: 1. ".Monster of the Wood," opera, published by Clemcnti. 2. " Sylphs," opera, published by the same. 3. " Canzonets," published by Rroderip. 4. " Nino Concertos for the Pinno-forte," puljlLshetl by de- menti and Rroderip. o. " Four Concertos for the Hautboy," ])ublLshed by Clemcnti. 0. " Diver- tLsements for two Flutes," publishetl by Clementi. 7. "Violin Solo, "published by Clementi. 8. " Vio- hn Trios," Ops. 1 and 2, published by Preston. FISIN, JAMES, wa-s boni in Colchester, and received the first acquirements of his musical education under the tuition of the well-known Frederic Charles Reinhold, whose abilitiw and talents were highly ajjpreciated by the most emi- nent professors of his time, .'yter quitting Col- chester, in the year 1776, he was so fortunate as to be placed under the ausi)ices of the late Dr. Runiey, from whom he experienced infinite ad- vantages, as well from his fricncLshi]) as his transcendent knowledge of music. For many years Fisin was patronized by the late Sir Edwiird Walpolc, from whose exalted protec- tion and benevolent attention he derived great benefit. In the year 1801, in consequence of the ill state of hLs health, FLsin fixed his abode at Chester, in which city he resumcect in a circle of dLstinguislied charac- ters, nie following are among the pubUshed works of Fisin : " One Set of Canzonets," dedi- cated to ML"ks Crew. " Oue Set of Canzonets," deilicated to l^dy Vernon. "'OireeSets of Can- zonets," dedicate n|wofP»n. A win.l iiKtrnmrnl of Ihr anrlt-nU, c<>n«iitir)« iif rrrtUor canr« ciitJUkt lwU»w llip joint and finning ttoptMsl piprt, Ukc tho«v of Uie »Ioi>|N'iI iliapiu«n of lIsTl'l.A rASTOHICIA. (I.) Thf n»nir lirrn h.y i:\nm, Bnthrr ct^Mtcal wri!rr«, tn the o«trn pipe u», il t\ (» r'i. FITHELE. The old English appellation of the fiddle, and supposed to have been deriveil from the Ij\tin wonl ./f Dy D^{, Ihnmb. Iicrt Lland Finger*. Bight Band Finger*. 00 oo oo oo oo Fourth Fiiigcr. I^,» 00 oo oa 00 oo oo oo oo oo oooo oo The long key, which is occasionally added to the flageolet, takes the semitones in every octave throughout the scale. FLAMMIXL FLAMMIXIO, a Roman no- bleman, ))ublished at Kome, in 1610, " ViUaneUe, A unc, duo, e tre I'oci, cxtn Stromcnto e Chitarra Spa- gnola." FLAXDRUS, D. ARXOLDUS. Composer of madrigals, some of which were published at Dil- lengen, at the commencement of the seventeenth century. FLASCTIXER, GOTTIIELF BEXJAMIX. A composer of songs, ))ublished at Zittau and Lcipsic between the years 17S9 and 1 "'JO- FLAT. A sign of depression. A character wluch, being placed before a note, sigiiifies that the note is to be sung or played h;Uf a tone lower than its natural pitch. l"hc natural scale of music being limited to fixed sounds, and adjusted to an instrument, the instrument will be found defective in several points ; as particularly in that we can only proceed from any note by one iwrticular order of degrees ; that for tliis reason we cannot find any interval re<}uired from any note or lettoi* upwards and downwards ; and that a song may be so con- trived, ;us tliat, if it be begun by any particular note or letter, all the intervals or other notes shall be justly found on the instrument, or in the fijced .104 FLA ENCYCLOPAEDIA OF MUSIC. FLO series ; yet were the song begun with any ntlier note, we could not proceed. To remove or supply this defect, musicians hnve recourse to a scale proceedina; by twelve degrees, that is, tliirtcou notes, including the extremes, to an octave ; n-hich miikcs tlie instruments so perfect, that there is but little to complain of. lliis therefore is the present system or scale for instruments, viz., betwixt the extremes of every tone of tlie natural >cale is jjut a note, which divides it into two une([ual jjiirts, called semitones, and the whole may be called the semitonic scide, con- taining twelve semitones betwixt thirteen notes, .'n the compass of an octave. Now, to jircserve the diatonic series distinct, these inserted notes cither take the name of the natural note next below, with a character called a sharp, or they take the name of the natural note next above, with a m.irk called a fiat. Iliis semitonic series, or scale, is very exactly represented by the keys of a piano-l'?rtc or organ, the foremost range of keys being the natural notes, and the keys be- hiiul, the artificial notes, or the flats and shaqis. ANlien a note representing an intermediate sound is written on the same degree of the staff as the lower note of the two sounds between ■which it occurs, the sharj) is used ; and the note, letter, or sound Ls said to be sharped ; but when the note stands on tlie same degree with the upiier note of tlie two sounds between which it occurs, the flat is used ; and the note, letter, or sound is said to be flatted. The mark now used for the flat was originally the letter B, introduced to avoid the tritone, or shiu^) foiuth, between F and B natural. This character was formerly of such importance, that it is enumerated by Gafurius among the clefs, and was accounted the clef of the F hexachord, as the other two dels, now called the tenor and the bass, were of tlie li and C hexachords. These letters were selected from the seven, to show the jjlaces of the three semitones, in the three ditferent scales of Guido, termed naturale, durum, and mol'.e ; and, being the highest sounds of the two which formed each semi- tone, were always sung with the syllable k.\. llie Germans add the syllable es to the names of the letters wliich are flat. The French use the term benwl, from the Latin, and annex it to the vocal syllable ; thus, si bemol is B flat. FLATS AND SHARPS «re nlncfd. In ill comDMilionf, upon the Irlter* whore we rtinl dit'm. bi-cause they could not bv placed diftervntW without carrvinfr the •emitone* fnmi their iiaturaliituo- tion«. The ufc ot flats and iharus i* to enable the coni|in«vr of music to iiliK-e the key note on men a letter a* he please*, aui yet til pr\'ferve the natural ^tutr "f t'lv i . I.ivi . FLAT SKIOM). Th- '.tiroK)undi at the - of 1 dint ; K K. C is a minor secikiol hiijher thm ; lower than C. The sain, is true witli ■ rval is soiiu- limes calli'il llie rfi ' . in.l rh.- t.-nn i. in. liil hi harmonr. It is found also in the other »cales, iH-tween F sharp ajid U, U flat and A, .^c. as in the follow ing example : — ^ -1^ m tll tho*e irv dintonic •emUoncs, nnd flirm minor or flai tectmdK FLAT, DOVBLK, or OtH'HLK FLAT. A ch«r»ctcr compound- td or two rtiilf. and tlgnifyin^ that the note N'fl>rc which it ii pUcrd «• to b« lunn. nr pUyotl.two •ciuitono* lowrr Ihiin tt* natural piUh. FLAT HFTll. Tliit ii coinpoM'd of Ave dif;rTr licum " for a double I orchestra, which the Italians mttch admired. Or I his return to Paris, he devoteil himself to the I composition of dramatic music, and brought oul several operas, which were only moderately §uc- I eessful. He died in 1785. 305 FLO EXCYJLOP.EDIA OF MUSIC. FLD FLOHin. An epithet applied oy vaodem \_f3tiiL-i, in ancient music, was an instrument of musicinns to any movement, or pA'sage, com- posed in a brilliant, fancil'ul, rich, and embel- Lislicd style. FLOllin SONG. An expression used by the musicians of the fourteenth and filtccuth centu- ries, and api)licd to the invention of figured iescani, to dLstingnish it from the old chant, or plain song. FLOURISH. An appellation sometimes giv- en to the decorative notes, which a singer or instrumental jjerfonnor, adds to a passage, with the double view of heightening the effect of the composition, and dis])laying liLs own flexibility of voice or finger. There is nothing of which a sensible performer will be more cautious than of the introduction of flourishes, because he is never so much in danger of mistaking, as when he attemi)ts to improve hLs author's ideas. With performers of liltle taste, plain passages are indiscriminate invitations to ornament ; and too frequently, in the promptitude to flourish, the beauty of a studied simplicity is at once overlooked and destroyed. Auditors who are fonder of execution than of expression, and more alive to flutter than to sentiment, applaud these sacrifices to vanity ; but those who prefer nature to affectation, and listen in order to feel, know exactly how to value such performers, and their performances. FLORSCIIUTZ, EUCHAR. A composer of pocal and instrumental music, published at Leipsic between the years 1792 and 1802. His duets for the piano-forte jire much admired. FLOTE. Tlie German for fliUe. FLOTOW. A young and popular composer of German operas, much in vogue, of late, at Vienna, and elsewhere. His " Alessamlro Stra- delUi," first gave him celebrity. This was followetl by *' Martha." The overtures to these two works are much played by the concert orchestras of the day. FLUGEL. (G.) A harpsichord. FLUTE. This is a common and well-known instrument, which has always held a high place in public estimation, its tones being exceedingly rich and musical, affording a beautiful accom- paniment to the human voice, piano, guitar, &c., and an indispensable auxiliary to the orchestra. It has existed in many forms. Tlic Latins called it fi.i(ula, and sometime.? ti'iia or jnpe ; from the former of wliich some derive the word Jiiite, though Uorel will have it derived from fiutta, thus called a fnitando in fiuciis ; inasmuch as a flute is long, like the lam]>rey, and ha.s holes all along it, like that fish. Tlie ancient fixtid/r, or jUitfs, were made of reeds ; afterwards they were of wood, and at length of metal. Rut how they were blown, whether as our flutes, or hautboys, docs not api)ear. It is plain some had holes, which at first were but few, but altcrwarcLs in- creasctl to a greater number, and some had none. .Some were single pipes, and some a combination of several, i)anicularly Pan's syringa, which con- sisted of seven reeds, joined together sidewise. Those seven reeds had no holes, each giving but one note — in nil seven distinct notes ; but at what interv'als Ls not known. Perhaps they were notes of the nat'iral or diatonic scale. The the wind kind, resembling our flute, or flageolet. The principal wind instruments of the ancientc were the tibia and fistula ; though how these were constituted, or wherein they differed, or how they were played on, does not appear. All we know is, that t.\\o fistula was at first made of reeds, and afterwards of other mattei-s. The flute has had many names, as flauto, flautino, fiauto tra- verso, flauto tedeacD, flautone, fluta, &C. FLUTE- A-BEC. or FI.STULA DULCIS. Thi* was once a common flute, and was blown at the end ; it was also termed the English flute, and by the French la flute douce. Tlie flute-a-bec wag held perpendicxdarly to the mouth like the clari- net. FLUTE, ANCIENT. An instrument, which had some sort of mouthpiece, and was double as well as single. It was often composed of two tubes, both played together, which would seem to show that the enlightened nations of antiiiuity possessed some knowledge of harmony. TILE BOEHM FLUTE was completed by M. Boehm, of Munich, in Germany, in December, 18.32, and Mr. Badger, the American manufac turer, claims for it — perfection of tune, because every aperture is in its projier and natmal position ; erjuality of tone, because the holes are equal in size and distance, relatively, to the conical form of the instrument ; superior quality of tone, be- cause the bore of the instrument Ls not sacrificed (as in the ordinarj- flute) to a faLse arrangement and size of the finger holes ; greater suscepti- bility of sweetness, because ever>' note can be produced without exertion or difficulty ; increase of power, because every hole is enlarged to the most available extent consistently with pu- rity of sound. FLUTE, COMMON. This instrument con- sisted of a tube about eighteen inches long and one inch in diameter, with eight holes disposed along the side, by the stopping and opening of whicli with the fingers, the sounds were varied and regulated. This was an improvement on the flute-i"i-bec, which name came from the old Gaulish word bcc, signifyuig the beak of a eoek, because the end at which it was blown is formed like the beak of that animal, llie common flute is still so called to distinguish it from the Ger- man flute. l/ucrctius says " the common flute had its origin from the breathing of western winds over certain reeds; " and thus, he tells us, was suggested to man the rural pii:c, the simple tube, which the ingenuities of later age' have im- jiroved into one of the most fa.scinating instru- ments of which art can boast. FLUTE, (JERMAN. A wind instrument of German invention, consisting of a tube tormetl of several joints, or pieces, screwed together or into each other, with holes along the side, like thost of the common flute. It is stopped a: the uppci end, and furnished witli movable brass or silvei keys, which, by oi)ening and closing certain holes serve to temper the tones to the various flats anfl sharps. In playing this instrument, the per former apj)lies liis under lip to the hole abou> two inches and a half from the upper extremity, while the fingers, by their action on the hole* and keys, accommodate the tones to the notes of the composition. The flute was held in much snr. FLU ENCYCLOPAEDIA OF MUSIC. FLU esteem in days of anti(iuity ; it filled an impor- tant place at festivities, in the senucc of the teinple, in trium])liaiit strains, and in the sad- ness of funeral obscciuies. It was deemed so esj-ential to oratory, that speakers rc;;ulated their discourse, and poets the rhythm of their verses, by its sounds. It was invented at a very early period, and passed throui;h many ehangos ; but only in modern times has it obtained that degree of perfection which we may bo justified in tcrra- inf» its culmination point, 'llie liute lias Ix^eomc a new instrument. Not only is ils treatment and mode of performance altogether diri'erent in our days ti-om what it was formerly, in resjxH't to its lieing more free and more decisive, but the taste for this instrument has become more extended and more retined, and the important part which has been assigned to it in the modeni o]iera has so f;ir extended the circle of its utility, that the liutc may l)e almost said to rival the violin. In a word, such is the degree of perfection to which it has attained, that all the ac(iuirements of our ancestors on this instr\iraent would now appear mean and contemptible. This most delightful of wind instruments, and which, of all others, is wLshed that those performers wlio arc am jtious of drawing from the flute the tones of the bassoon or tlie clarinet would well consider this, and 1)C governed by tlie pretlominant character of tlieir instrument, whieli is confessedly the elegiac — u cliaraeter of the greatest sweetness, and of thai pathos which goes at once to the heart. AVith- in a few years, Mr. A. Ci. Badger, of New York, has commenced in this country the manu- facture of the Uoclim flute, which he considers an improvement on all others. In his " His- tory of tlie Fhite," he sriys. At the com- mencement of the last century, the German flute, which, in allusion to the position in wlucli it was held, was al.«o tenaed the " Ftauto tra- verso," or transverse flute, began to divide iha public favor with the flute-ii-bec. The sujieri- ority of the (iennan flute over the fluteu-bec consisted in its improved (juality of tone and somewhat l)ctter intonation. On tlie flute-i'i-bec no skill of tlie perlormer enabled liiiu to vary, to any extent, the iiuantity and «iuality of its tone, or the pitch of the notes, owing to its being voiced with the tongue, like the pi]'e of an organ, or like a common wlli^tle ; but on the tiennan flute the thought to approach the nearest to the human I notes were produced by the immediate agency of voice, IS, however, sometimes miscmiiloyed by players, in forcing it to produce a kind of trum- pet tone, instead of its natural mellifluous sound, lliis tone Is quite foreign to the character of the flute, and has, in a great measure, been the means of strengthening the prejudice that prevails against it, and which will not allow it to be a proper in- rtrument for concertos. This prejudice is still moi-c confirmed by the generality of compositions of this kind, as they are, in many instances, much too unifonu to keep attention alive, or to interest strongly the hearers during any long series of passages. If players were more studious to imi- tate the varied and more delicate bowings of the violin, and particularly it* ettccts in Uiulo, and above all in sUH\uto passages, then the flute con- certo, instead of resembling the tones of a musi- cal clock, could not fail to touch the lieart, and to produce the powerful effects of the human voice, to which the sounds of this instrument so much assimilate. The virtttori>e by the powers of execution, and by artificial difficulties, than by simpliiitj- and purity of taste ; he considers that which costs tl'.e most the mast worthy of attention. Art is now every thing; and, as this always stands op- posed to nature, the rirtiioim who studies only to CXI itc admiration and surjirise freiiuenlly exer- ci-e-< liis jviwers at the expen--o of the ear, to wiiich he ought always to pay the greatest defer- ence, and without whose approval all music is vain and ineffectual. 'Hie triie master of his in- ptruiuent is able to show on that alone all the power which music po:ise8ses of touching the I'.eart, of unlocking all the sacred sources of the feeling, and will require nothing from his instru- ment that is confriiry to its genius. Uc-al art Ls only trom within ; where she reigns, mechanical art must always yield due siibmission. She holds the cninmiind over the powers of execution, and create« a language peculiar to herself, in order to give utterance to deeply-»i-ntc, and the new head joint in 17.52. The use of the latter is obvious; but it has puz- zled the critics to divine what could possibly have been the object of thLs additional I) shaqi key, which, in conjunction with the new turning head, v.-ere said at the time to have corrcctc*! " aL the im] erlections of this instrument in joint of bad notes and lal-e tuning." 'ITiey could not sup- pose it intended to make the enharmonic differ- ence between D sharji and E flat. Thus woulr. have been attributing a refinement of perceptior. to Quanz utterly inconsistent with thcob.tusenCB* of ear which could endure the extreme imj)crlec- tion, not only of the chromatic, but of the dia- tonic Luterx'ais of hia instrument. We know bj 307 FLU EXCYCLOP.CDIA OF MUSIC. FLO the flute music of his time, that several of the scales nearest related to that of D major were then cmi)loyeterdam, where, and at Berlin, many of his works have been published, between the years 1795 and 1802. FODOIl, JEAX, elder brother to the preced- ing, wa.s also a good violinist, and composer for his instrument. His works are voluminous, and have bcL'n published at Paris and in (jermany. He remained some time at Petersburg duriitg the French revolution. FODOR, MADAME M.VIXVILI.E, an ac- complished singer, was born in Paris, in 179:J; paj*sed her childhood in St. Pelersburi;, and made her dtbutal theOpera Coraicjue, in Paris, in 1814. iShc performed in England, in the seasons of 1817 and 1818. ."^hc subsesand tender- ness. It has been said of her at Vienna, that her ability consists in making art appear like artlesa- ness. FOER.STER, CHRISTOPH. A celehratetl in- strumental and church composer, in fierraany, at the commencement of the last century. His works are very voluminous. FOER.STER, EMAXUEL ALOYSIUS. Chap- el-master at Vienna, where he has compose<>gan the overtures, and always found hiniiclf in th« chorus ' Lilt up yc or heads ' when ho arrirw) 309 FOR ENCYCLOPJiDIA OF MUSIC. FOO £t Brooksby gate, ' Tlianks be to God ' the moment he got tlirour;h tlie Thurmasten toll Hftte. As the pace of liLs horse was pretty regu- lar, he contrived to conclude the Amen chorus always at the cross in the lieli^rave gate. Though a very jiious person, eccentricity was at times not restrained even in the pulpit. It need not be stated that he had a pretty good opinion of his own vocal i)owers. Once, when the clerk was giving out 'he tune, he stopped him, saying, ' John, you ha /c jiitched too low — follow me ; ' then clearing u]) his voice, he lustily began the tune. When the psalmody went to hLs mind, he enjoyed it, and in ])aroxysms of delight, would dangle one or both of his legs over the wide of the pulpit during the singing. AVheu preaching a charity sermon at Slelton, some p'titloinen of the hunt entered the church rather l<»(e. lie stopped, and cried out, ' Here they come ; here come the red coats ; they know their Christian duties. ITiere is not a man among them that Ls not good for a guinea ! ' The doctor was hinaself a performer. I tliink it was at the Birmingham festival that he was sitting with his book upon his knee, humming music to the performers, to the great annoyance of an attentive listener, who said, ' I did not pay to hear you sing.' ' nien,' said the doctor, • you have that into the bargain' " FOUD, TIIOM.\S, one of the musicians in the suite of Prince Henry, the son of King James I., was the author of some canons and rounds, printed in Hilton's collection, and also of a work entitled " Musicke of sundre Kinds, set forth in two Books, &c." This work was published in folio, in the year 1607. Thomas Ford composed the beautiful madrigal, " Since first I saw your face." FORKEL, JOHANN NICOL., a doctor of philosophy, and director of the music at the University of Gottingeu, was born in 1749. His knowledge of musical literature is universally allowed to have been very e.vtensive, and his theoretical works on that science arc considered as the highest authority among modern musi- ci.Tus. The following list embraces his principal works : 1. " Uber dU Thiorie dfr Musi/:," (the Theory of Music,) Gottingcn, 1774, in 4to. 2. " Mu.si/Mlisch KritUche BihUothtk," Gotha, 1778, .3 vols. 8vo. .3. " On the better AiTangement of Public Concerts," Gottingen, 1779, in 4to. 4. " A Definition of certain Musical Ideas," Gottingen, 1780, in 4to. 5. " Almanac of Mu- sic, for 1782, ."?, 4, and 9." 6. " Allficmcine (Uxrhichte dvr Mii. Its ertect forms a strong feature in the character of modern music ; we never find it expressed in any author before the time of Haydn. It may be dcscril)ed as a forcible expression of sound, which Ls no sooner uttered than it drops into the utmost degree of softness. It has its origin in the ebullition of our passions. We hear it iu the expressions of joy, rage, and despair; irdeed, it is natural to persons under any violent emotion. Like all other forcible expressions, its meaning wLU depend upon the situation and manner in which it is used. As used in the following passage, its efl'ect is rather that of violence. g.#[^— *S» Sii^s ^Isgj I will brcik • bercfttilof brut. This effect Ls produced upon the violin by striking the note with a firm and strong bow ; which is no sooner commenced than it Ls light- ened, and falls into a soft and continued sound. Its inrtuence upon the wind instruments ii similar to that upon the voice. FOURNIER, a French dramatic com brought out the opera " Lis deux Avcikj Bagdad," at ParLs, in 1782. FOURTH. A distance comprising tKrc tonic intervals ; that is, two tones and a The fourth Ls the tliird of the consotanc the order of their generations. posei, <:s d« e dia- half. es in 310 FOU EXCYCLOPiEDIA OF MUSIC. FIIA FOUHTEEXTII. ITie octave, or replicate, of the hcveiith ; a cU^tanco coraprclieudhi^ tliir- t«eu cUiitouic uiter\'uL!. FOUTKXELLE. A French dramatic com- poser. His principal work, the ojiera of " He- cuba," was broui;ht out in 1799, but most of the music is said to have been borrowed from (Muck and Sacchini. He has aLso composed some ad- mired violin music. FOY was many yeaiH ft professor of music at Dorchester, Dorset, and he was of a truly religious and consc luently of a very friendly disposition. His hospitality was so •jrciit that it became almost proverbial. He was a ^rPi't friend to the iX)or, and, indeed, if he could render service to any one, it always afforded ..im the srentest pleasure. Foy was a tine per- former on the violin. He died suddenly in i London, while on a visit, in IS2U. I FOY, J.VMES, son of the preceding. From j the early proofs which he manifested of a talent for music, his father determined to brini; him up to that profession, and commenced teachinj^ him the piano-forte. In the year 1814, when the lameiiterti le I'rU (If Litt^.ratitre et ISi-aux Arts d'- t Institut Sationa. lie FrniitY." Framery aliio wrote tlie music, as well as the words, of " Im Siircifre i>ar Hazard," an openi, performed at Paris ui 178.'J. FliAXC, GIILLAIME. One of the fifty musicians who composed the tun«X4 to the French version of psalms by Marot. These tunes were tirst printed at Stra.hurg, in the year 1.54.5, and were afterwards, with several others, set in parts by UourgeoL* and Gondimel. FU.yXCESCHL D. FUAXCESCO. An Ital- ian writer on music, and editor of an edition of the works of Metastasio, with copious notes on the subject of music, published at Lucca in 1789. TliLs work is considered by the Itnliuns os a chef-trtriirre in mui-ical literature. "FU-\XC(F.rU. FU.VX(;oiS, chamber musi- cian to the King of p'rance, was l>orn at Paris in 1()9S. He was a good violinist, and composed some instrumental music and several opents. He died at Paris in 1787, aged eighty-uine. Fll-yXCtKUU, LOUIS, first vioUn at the opera at Paris, died in 174.5. He was generally c^ed L'honiifte homme. FR.VXCIEUII, LOUIS JOSEPH, eldest son of I^uis Francieur, was born at Paris in 1738. He was educated by his uncle, Fram.oLs Franco-ur, who placed him at the opera, as a \-iolinLst, in 17.52. In 1767 he was appointed chef-iforcfuMrt at the opera. Li 1772 Francopur published a work entitled " DiajxiJion de toiu Ifx hutrumeni a i'eiit." He also composed some o]>eras. FllAXCK, JOHAXX WOLFOAXG. A com- poser of dramatic and instrumental music, chieflv publLshecl at Hamburg between the vears 1679 and l(i8f). FUAXCK, MELCHIOIl. A celebrated Ger- man church and secular vocal composer. Hia work.s, which are very numerous, and ehierty written in the Latin language, were published at different towns of (ierraany, between the rears ItiOO and IG.36. He died in Ki.'JO, at Cobourg. FIl.VXCO, a monk of Cologne, lx)m in th« eleventh century, wrote about filty years after (iuido, and was the next who imjirove*! descant. He admitted the fifth an a concord, but called major and minor sixths discords. He was the first who WTOte descant to xceular airn, called roiiiidiUiyf. He also made some improvementu in mea-suring time. He used five kinds of measure: 1st., tlirec longs; 2d, a breve; 3d, a long and two breves ; 4th, two breves and a long ; and .5th, a breve and a semibreve. Franco u.sed tlie dotted note, and liars ; but hU ban were for the piirpose of indicating breathing places or musical phrases, and not lor dividing the music into measures. FUAXCUS, JOAXXE.*;. A compoMr ot » cred muaic published at Auijsburg ia 1600. 311 FRA EXCYCI.OP^-DIA OF MUSIC. FRI FRAXKLIX, BKNJAMIX, a philosopher nnd strttosinnu, the soil ol' a soap boiler and tal- low rhaiidler, was born in Boston, 170*), and died in 1790. lie invented a musical instrument i'alloipon one of them as the s])indle and glasses turn round. The spindle, thus jjrepared, is fixed horizontally in the middle of a box, and made to turn on brass gudgeons at each end by means of a foot wheel, lliis instrumei.t is played upon by sitting belbre it, as before the keys of a piano- forte, turning the s))indle with the foot, and wetting the gliusses, now and then, with a sponge and clean water. 'Ilie fingers should be first soaked in water, and rubbed occasionally with fine chalk, to make them catch the gliuss, and bring out the tone more readily. Different parts may be played together by using both hands ; «nd the tones are best drawn out when tlie glasses turn from the ends of the fingei-s, not when they turn to tliem. The advantages of this iustriuneut, says Dr. Franklin, arc, that its tones are incomparably sweet, beyond those of any other, and that they may be swelled or softened at plea.sure, by stronger or weaker pressures of the finger, and continued to any length ; and when it is once tuned, it never wants tuning again. From the effect which it has, or is supjjosed to have, on the nervous system, it has been suggested that the fingers should not be allowed to come in immediate con- tact with the glasses, but that the tones should be produced by means of a key, as upon the piano- forte. Such a key has been invente^l in Berlui or Dresden, and an instrument constructed on thLs plan, called the harpsichord harmonica. But these experiments have not produced any tiling of much value ; and it Ls impossible that the delicacy, the swell, and the continuation of the tone should be carried to such perfection as in the first-mentionetl method. The harmonica, however much it might excel all other instru- ments in tlie delicacy and duration of its tones yet is confined to those of a soft and melancholy character, and to slow, solemn movements, and can hardly be combined to advantage with oth- er instruments. In accompan)-iug the human voice, it throws it ui the shade ; and in concerts, the accompanying instruments lose in effect, because so far inferior to it in tone. It is there-' fore best enjoyed by itself, and may produce a charming effect, in certain romantic situations. Besides the proper harmonica, there is the pegged or nailed harmonica, the pegs of which are of steel, and, being placed in a semicircle, are played with a strung bow. lliis has no resemblance to the proper harmonica, except some similarity in tone. FKAXZ, JOHAXX CHRISTI^S.X, a singer and vocal composer at Berlin, was bom in 1762. He published twelve songs in 1795, and is also the author and composer of the operetta " EdelmiUh und Liebc," produced at Berlin in 1805. FRAXZOXI, AMAXTE. A composer of madrigals, published at Venice at the beginning of the seventeenth century. FRA.SI. (I.) Phrases ; short musical sentences. FREDDI, AMADEO, chapel-master at Padua, published four operas of sacred music at Venice, between the years 1617 and 1642. FREDOX. A word formerly used to signify a short flight of notes sung to the same syllable. A kind of extempore flourish. FREISLICII, JOHAXX BALTHASAR CHRI8TIAX. Chef-d'orchesirc at Dantzic in 1731. lie composed much chamber and church music, very little of which ha.s been published FREXC'H IIORX. See Hokx. FKEXEl'SE, J. L. A writer in defence of the French school of music against the Italian, at the commencement of the last century. FRERE, ALEXAXDRE. Member of the Academy of Music at Paris in the early part of the last century. He published, at jVmsterdam " TransjMsilioiis de Miuu/tw, rdduites au nattircl, par I" Secoiirs de la ModulUion. Avec unc Pratiijtie dti Tmits/xisitioiis inrr/uliirement icrites, et la Maniire ifen surmonter Ifs Dijficultis." FREROX, ELIAS CATIIARIXA, was a Jesuit, born at Quimper in 1719. He published 512 PRE EXCYCLOPyEDIA OF MUSIC. FRC at Paris, in 17i53, " Deux Lettres sur la Musiqite Prani^aise, en Riponac h celie tie J. J. Rousseau." 1''IIESCHI, GIOVANNI DOMENICO. A monk, bom at Viccnzn. lie was chapcl-mastcr, and a much admired chureli and dramatic compo- ser at Venice. Hi.-* publications bear date from the year 1060 to U58.5. In 1680, the opera of " Bi-renice," set by this composer, wati produced at Padua in a most splendid manner. There were ohoruscs of one hundretl virt^ins, one hunilred soldiers, one hundred horsemen in iron armor, forty comets of horse, si.x trumpeters on horse- hack, six drummers, six ensigns, six sackbuts, six L'leat flutes, six minstrels playing on Turkish instruments, six others on octave flutes, si.x jiages, three scrjeants, six cymbalists, twelve huntsmen, twelve grooms, six coachmen for the triumph, six othere for the procession, two lions led by two Turks, two elephants by two others, Berenice's triumphal ciu- drawn by four horses, (■i.x other cars with s[)oils and prisoners drawn by twelve horses, and six coaches for the procession. Among the scenes and representations in the first act was a vast jilaiu with two triumphal arches, another with pavilions and tents, a siiuare pre- pared for the entrance of the triumph, and a forest for the chase. Act second, the royal apartments of Berenice's temple of vengeance, a spacious court, with a view of the prison, and a covered way for the coaches to move in procession. Act third, the royal dressing room completely furnished, stables \%-ith one huuilrctl live horses, a portico adorned with tapestn,-, and a delicious palace in perspec- tive. In addition to all these attendants and decorations, at the end of the first act there were representations of every kind of chase, aa of the wild boar, the stag, deer, and bears ; and at the end of the third act, an enormous globe descends from the sky, which, opening, divides itself into other globes, suspended in the air, upon one of which is the figure of Time, on the second that of Fame, on others Honor, Nobility, Virtue, and Glory. FRESCOBALDI, GniOLAMO, a native of Fcrrara. was bon\ in the year 1601, and at about the age of twenty-three was appointed organist of the Church of St. Peter's at Rome. Fresco- baldi is not less celebrated for hLs corajjositions for the organ than for his great powers of execu- tion on that instrument, lie was the first of the Italians who composed for the organ in fugue ; and in this species of comjwisition, originally invented Sy the Germans, he was without a rival, llo may be truly consideretl the father of that stylo of organ plaving calletl by the Italians tocniioji, and by the English roluntaries. In the year lii'iS, Bartolomo (Jrassi, organi.st of St. Maria in Acipiirio, at Rome, published a work of Fres- cobaldi, entitled " lit Partitura il I'rinm Libro delle Caiizoiii, fi una, tre, e quatro Tori, per sonare rtxi o.7'i« Sorte di Siromcnii." From the title, it seems that these were originally vocal compo- sitions, but that (irassi, for the improvement of those who were employed in the study of com- position, bad rejected the words, and publishoerur Fwd» 40 313 FRO EXCVCLOPiEDIA OF MUSIC. yrjL nand III., flourished about tbo year 1650. lie WHS an excellent perl'ormer on the organ and harpsichord, and his compositions for those in- dtrumentH linvc been hii^lily applauded, lie is said to have been partial to imitations in music of ditleient occurrences in life, to which he had the power of ^ivin;; fircat expression. FROEIILICII, JOSEPH, a professor of music at Wurtzbur;;, was born there in 1780. He has written some works on the theory of mu.sic ; also several compositions for the church, and much instrumental music. FUOSCII. (G.) The nut of a bow for the violin, tenor, bass, &c. F SHARP. The character now used for a sharp was originally designed to represent, by its four cross lines, the four comma.« of the chromatic semitone. Such is the signification of the mark given by Bontem]n, 1695. The sharp was used by Marcheto, in 1274. The Germans consider this character as an alteration of the letter B, and call it a cross, (Kreu:,) or Intticed B. They also add the syllable is to the names of those letters of the scale which are sharped. The French use the term diesc, derived from the Greek word diesis, and annex it to the syllables of Guido, thus : Fa-diese, F sharp. FrCHS, GEORG FRIEDRICH, a German instrumental composer at Paris, was born about the year 1770. He has published much instru- mental music since the year 1790. Most of his compositions are for wind instruments. FUEGER, GOTTLIEB CHRISTIAN, bom at Heilbronn in 1749, published at Zurich, in 178.3, a work entitled " Caractcristische Klavier- stUcke." FUG A. (I.) Fugue. FUGA DOPPIA. (I.) Double fugue. FUGATA. (I.) An epithet applied to com- positions written in the style of fugues ; as, sinfoiiia fiif/ata, a fugued sj-mphony. FUGHErrA. (I.) A little fugue. FUGUE. A term derived from the Latin word fiit/a, a flight, and signifying a compo- sition, cither vocal or instrumental, or both, in which one part leads off some determined suc- cession of notes called the sulijcct, which, after being answered in tlie fifth and eighth by the other parts, is interspersed through the move- ment, and distributed amid all the parts in a desultory manner, at the pleasure of the com- poser ; sometimes it is accompanied by other adventitious matter, and sometimes by itself. 'ITiere are three dLstinct descriptions of fu;/ucs — the simple fugue, the double fugue, and the counter fugue. The futjuf, simple, contains but one subject, is the least elaborate in its construc- tion, and the easiest in its composition. The fulfill', doMe, consists of two subjects, occasion- ally infenninglcd and moving together ; and the fi'tgiie, counter, is that fugue in which the 8ub- iocts move in a direction contrary to each otlier. n all the different species of fugues, the parts fly, or run after each other, and hence the der- ivation of the general name fiuiue. On the ;psthetic character or expression of the fugue, wo find the following in an article on the fugues of Bach, by J. S. Dwight : — " There seems to be no such thing as an exhaus- tive description of fugue, any more than that ever- growing, kindling, intertwining flight and pursuit of echoes of one melody can exhaust itself. " Bach's fugues," said some one, " have no end ; when you have played them through, you have not played them out." With liL; skill, — that Is to say, with his intimacy with the organic secret running through all being, whereby unity un- folds into variety, — the theme could be sus- tained, still varied, still preserved, in infinitum. " A fugue is the unfolding of a musical germ ; it is the development, the opening out, the organic growth of a musical thought, first lj"ing latent in any simple phrase, according to its innate law. Li its effect, as you get it on the grand scale from a multitudinous chorus, it is the theme echoed back, reflected from all cjuarters, till it becomes all-pervading. One snatch of melody wakes all the echoes tlirough the i-ealm of sound. Just so the moon puts out one little point of light in the veiled firmament, and instantly the clouds are luminous, and every streamlet glimmers, and every i)olished leaf and every gilded spire tele- graph the arrival of hght above. " Nature is full of fugue. Through all her phenomena there is thus tendency of many to one end ; this endless hide-and-seek, of inter-, twining, imitative, and yet most sensitively indi\-idual hues or curves. The spiral growth of the plant is a fugue. The wheat field bowed before the breeze, the swell of the advancing ocean, wave upon wave, rising and blending into the whole, is a fugue. But perhaps the clearest illustration of it is in flame ; there you have the very outline of its motion visiblj- j>or- trayed — a peq)etual, restless soaring up of in- numerable little confluent tongues of flame, all tending upward to one point. Thus the fugue kindles and rises, a soaring p^iTamid of sounds, an harmoniously-blended rivalry of individuals in eager imitation and pursuit of one another. First the theme — a simple phnise of a few bars, but characteristic and pifiuant enovigh to fasten on the mind and provoke inquiry into its relations — is uttered by one pnrt or voice ; instantly another and another takes it up, till all are swept away in muigled pursuit of one another, all possessed, uisjiired with the one sentiment, yet each ambitious to exceed tht other's illustration and outdo his testimony. " As a form of art, then, it is analogous to Gotliic architecture, lliere, too, innumerable details of figure, grouped columns, intersecting arches, leaves, flowers, spkes, minarets, see.-n striving, yearning upwards, and the raa.ssive, intricate eixsemhle looks light and instinct with aspiration, as if it would float aloft ; you cannot convince yourself that it Ls fi.xed ; such is tlie mystery of form. It was the expression of the sentiment of that age ; the sense of the finite every where losing and finding itself in the in- finite— of unity in variety. It seems to say that nothing is iiuLshed ; no individual form or existence completes itself; but each and every thing relates, refers unto the whole, and in devel- oping its own tendencies reveals a world." FUG UI.ST. A musician who composes fugues, or performs them extemporaneously. FULL. -■Vn epithet applied to certain anthems ; to the organ, when all or most of it,s stops are out ; to a ioore, thf reveral parts of which are U PUN ENCYCLOPiEDIA OF MUSIC. FU3t complete, and its combinntions closely construct- ed ; niid to a band, when all the voices and instru- ments are emiiloyed. FUNDAMENTAL. An epithet applied to a chord, when its lowest note is that I'roni which the chord is derived ; also the lowest note of such a chord is caUed the fundamental note. FUXDAMF.NTAI- BASS. The name given to uny bau note when accntniKinit'd with the chord derived from that note. FL'NEBRE. (F.) Funcial ; a.t, marche funcbre, a dead march. The Italian adjective is the same ; Bl4, imirria fiDiebre. FUNZIONI. (I. n.) ITie general name assigned by the Italians to those oratorios and other hdcred compositions occasionally performed m the llomish church. FUOCO. (I.) Fire, animation. FL'llCIIEIM, JOHANX WILIIELM, a com- poser of the seventeenth century, published some instrumental music at Dresden in the year 1674 and 1()87. FUKIOSO. (I.) Furious, with agitation. FURLAXO. (I.) An antiquated dance. FUllXITURE. The name of one of the stops of an organ. FUKIBOXDO. (I.) A word applied adver- bially to movements intended to be performed with energy and vehemence. FURORE. (I.) Fury, rage; as, con furore, with fury, with great agitation. FURSITIXAU, CASPAR, a celebrated flutist at Oldenburg in ISOl, was born at MOnstcr, in 1772. He has published much instrumental music, chicflv at Offenbach, since the year 1802. He died in 1819. FURSTEXAU, AXTOX BERXHARD, flu- tist to the King of Saxony, at Dresden, and old- est son of the preceding, was boni at Monster in 1792. He has been one of the most distinguished masters of the flute, and his exercises and studies nave been frequently reprinted in Germany, England, and France. FCRSTEXAU, MORITZ, son of the pre- ceding, was born in Dresden in 1824. He l)cgan the study of the flute at the age of six. In 18.>2 he astouLshed the inhabitants of Dresden at a l)ublic concert, and has since accompanied hia father on his concert tours through Germany, exciting the greatest interest. FUSA. (L.) A quaver. F QUADRATA. The name given by the early writers on counterpoint to the sign which represented sharji F, in tlicir mii.sica fnha, or transpositions; and the form of which, like oar natural, approached that of the square. FUX, JOH AXX JOSEPH. A celebrated con- trapuntist, and composer of sacred and theatrical music, was a native of Styria, a province of (icr- many, in the circle of Austria, and chapel-raa.ster to the Emperor of Germany, (Charles VI. He was born in 1060. In 1701, he publi>hed, at Xurcmburg, a work entitled " Concentu.i Muairo- Inatrumcntalis, in septan Partitn.i divisii.i." He also composed several operas, among others, one called " Eliza," on the occasion of the birth of the Empress Elizabeth Christiana ; this was printed at Amsterdam. Fux, however, is better knowni to the world by liis " Gradiu ad Pnriia.i- sum, sive Manuductio ad Com/nsitiomni Mu-sicte retftilarem, methodo novA ac certd noiidum anti tarn exactoordine in liicem editd," printed at Vienna, in the year 1725, and dedicated to the Emperor Charles VI., who defrayed the whole expense of the publication. This work, which has been translated into Italian, is, up to the present mo- ment, the guide of all the masters and schools in Italy. Fux died about the year 17')0. It is recorded that t^harlcs VI. esteemed him .so highly, that he caused the gouty old man to be carried on a litter from Vienna to Prague, in 1723, to superintend an opera at the coronation festival. Fux had great influence on the musical taste of his time by his compositions. Ilis sacred music is still highly esteemed, particularly ammo canon- tea, which was published at Leipsic. lis o ENCYCLOr.'EDIA OF MUSIC. GAB G. G is the nominal of the fifth note in the natural diatonic scale of C, to which Guido applied tlie monosyllable Sul, thus : ^ -^ng — I m m Tosb. Dgmluuit. Toolt. DomloMll. TodIo. G also stands for one of the names of the highest clef, or the treble clef. GAA, or GAH, G. M. A good violinist and pianitit, at Heidelberg, in 1803. He published at Manheiin, in 1798, " Six Aiisf/csuchte Lieder." G ABLER, CHRISTOPHER AUGUST., a vocal and instrumental composer at Revel, pub- lished much music at Leipsic between the vears 1788 and 1802. GABLER, MATTHIAS, boni at Spalt, in Franconia, in 173G, published at Ingolstadt, in 1776, a treatise, in 4to., on the tone of instru- ments. He died at Wembdingen in 180.5. GABRIELI, AXDREA, a celebrated organ- ist of .St. Mark's Church at Venice, flourished in the second half of the sixteenth century. He published many madrigals, and much church music at Venice, between the years 1.572 and 1590. GABRIELI, CATHARIXA, one of the most celebrated singers of the eighteenth century, was born at Rome in 1730. She was a pu- pil of Porpora and Metastasio, and was famed for her astouisliing eapricci. Of this extraor- dinary woman, Brydone thus speaks, in his "Tour through Sicily and Malta," vol. ii. p. 319 : " The first woman is Gabrieli, who is certainly the greatest singer in the world, and those that sing on the same theatre with her must be capi- tal, otherwise they never can be attended to. This indeed has been tlie fate of all the per- formers, except Pacherotti, and he too gave him- sell" up for lost on hearing her performance. It happened to be an air of execution exactly ada])tcd to her voice, in which she exerted her- self in BO astonishing a manner, that, before it was half done, poor Pacherotti burst out crying, and ran in behind the scenes, lamenting that he had dared to ap|)ear on the same stage with so wonderful a ! singer, whiTe liis small talents must not only be lost, but where he must ever be accused of pre- sumption, which he hoped was foreign to his character. It was with some difficulty tliey could prevail on him to ap])car again ; but from an ap- plause well merited, both from his talents and his modesty, lie soon began to pluck up a little cour- age; and in the singing of a tender air, adtlressed to Gabrieli in the character of a lover, even she herself, as well as tlie auiliencc, is said to have been moved. 'Hie jierfonnance of Gabrieli is so generally known and admirtd, that it is needless 31 to say any thing to you on that subject. Her wonderful execution and volubility of voice have long been the admiration of Italy, and have even obliged them to invent a new term to express it ; and would she exert herself as much to please as to astonish, she might almost perform the won- ders that have been ascribed to Orpheus and Timothcus; but it happens, luckily perhajis for the repose of mankind, that her caprice is, if pos- sible, even greater than her talents, and has made her still more contemptible than these have made her celebrated. By this means her character has often proved a sufficient antidote both to the charms of her voice and those of her person, which arc indeed almost equally powerful ; but if these had been united to the qualities of a mod- est and an amiable mind, she must have made dreadful havoc in the world. However, with all her faults, she Ls certainly the most dangerous, suen of modern times, and has made more con- quests, I suppose, than any one woman breath- ing. It is but justice to add, that, contrary to the genenUity of her profession, she is by no means selfish or mercenary, but, on the contrary, has given many singidar proofs of generosity or disinterestedness. She is very rich, from the bounty, as is supposed, of the last emperor, who was fond of having her at Vienna ; but she was at last banished that city, as she has likewise been most of those in Italy, from the broils and squab- bles that her intriguing spirit, perhaps still more than her beauty, had excited. When she is in good humor, and really chooses to exert herself, there Ls nothing in music I have ever heard to be compared to her performance ; for she sings to the heart as well as to the fancy, when she pleases, and she then commands every passion with unbounded sway. But she is seldom capa- ble of exercLsing these wonderful powers ; and her caprice and her talents, exerting themselves by turns, have given her, all her life, the singular fate of becoming alternately an object of admira- tion and contempt. Her powers in acting and reciting are scarcely inferior to those of her sing- ing ; sometimes a few words in the recitative, with a simple accompaniment only, prod'ice an effect that I have never been sensible of from any other performer, and inclines me to believe what Rousseau advances on the branch of music, wliicli with us Ls so much despised. " She owes much of her merit to the instruction she received from Metastasio," particularly in act- ing and reciting ; and he allows that she does more justice to his operas than any otlier actress that ever attemi;fed them. Her caprice is so fixed and stubborn, that neither interc^it, nor flattery, nor threats, nor punishments, have the least power over it; and it appears that treating her with respect or contempt has an equal ten- dency to increase it. It is seldom that she con- descends to exert these wonderful talents, but most particularly if she imagines that such an ex- ertion Ls expected. And instead of singing her airg as other actresses do, for the most part she oulv 6 OAI5 ENCYCLOP^.DIA OF MUSIC. GAB hums them over, a mezza voce ; and no art whatever is capable of making her sing when she does not choose it. The most succc.hsIuI expedient ha.s ever Deen found to prevail on her favorite lover (for she always has one) to place liimself in the centre of the i)it or the front box ; and if they are on pood terras, which is seldom the case, she will address her tender airs to him, and e.xert herself to the utmost. Her present inamorato j)roraisod to give us this specimen of his power over her. He took his scat accordingly; but (Jabricli, probably suspecting the connivance, would take no notice of hira ; so that even this expedient does not always succeed. The ^•iceroy, who is fond of music, has trietl every method with her to no puqiose. Some time ago he gave a great din- ner to the principal nobility of Palermo, and sent an invitation to Gabrieli to be of the party, livery other person arrived at tlie hour of invita- tion. The ■i-iceroy orderctl dinner to be put back, and sent to let her know that the company waited her. The messenger found her reading in bed. She said she was very sorry for having made the company wait, and begged he would make her apology, but that really she had en- tirely forgotten her engagement. Tlie viceroy would have forgiven this piece of insolence, but, when the company came to the opera. Gabrieli repeated her part with the most perfect negli- genie and indifference, and sang all her airs in what they call sotto race, that is, so low that they can scarcely be heard. The viceroy was offended ; but as he is a good-tempered man. he was loath to make use of authority; but at last, by a perse- verance in thLs insolent stubbornness, she obliged hira to threaten her with punishment in case she any longer refused to sing. On this she grew more obstinate than ever, declaring that force and authority should never succeed with her ; that he might make her cry, but tliat he never could make her sing. l"he viceroy then .-ent her to j)rison, where she remained twelve days ; during which time she gave magnificent entertainments every day, paid the debts of all the poor prisoners, and distributed large sums in charity. 'Hie vice- roy was obliged to give up struggling with her ; and she wi\s at last set at liberty amidst the accla- mations of the poor. She alleges that it is not always caprice that prevents lier from singing, but that it often depends tijion physical causes. And this, indeed, I can readily believe; for that wonderful flexibility of voice that runs with such rapiility and neatness through the most minute divisions, and produces almost instantaneously so great a variety of modulation, must surely de- jiond on the very nicest tones of the fibres. And if these are in the smallest degree relaxed, or their elasticity diminished, how is it pos,sible that their contractions and expansions can so readily obey the \v ill as to prod\ice these effects • 'Ilie oi>cning of the •;;lottis which tonus the voice is extremely small, and in every variety of tone, it.s diameter must sutler a sensible change ; for the same diame- ter must ever produce the same tone. So won- derfully minute arc its contractions and dilatations that I>r. Keil, I think, computes that, in some voices, its opening, not more than the tenth of an inch, is divided into upwards of twelve hundred parts, the different sound of every one of which is perceptible to an exact ear. Now, what a nice tension of fibres must thU require I I should imagine even the most minute change in the air must cau.sc a sensible difference, aiul that in foggy climates the fibres would be in danger of losing this wonderful sensibility, or, at least, that they would very often be \nit out of tune. It is not the same ca.se with an ordinary voice, where th« variety of divisions run through, and the volu- bility with which they are executed, bear no pro- portion to those of a (iabrieli." Gabrieli went to Kngland in the season of 177.i-177r>, and Dr. IJuniey, amongst other more minute particulars, speaks of her as follows : "Catcrina (iabrieli was called, early in life. '/>a Cuochetina,' being the daughter of a cardinal's cook at liome. She had, however, no indications of low birth in her countenance or deportment, which had all the grace and dignity of a Roman matron. Her reputation was so great before her arrival in England, for singing and ca])rice, that the public, expecting, perhaps, too much of both, were unwilling to allow her due praise in her per- formance, and too liberal in ascribing every thing she said and did to pride and insolence. It having l>een reported that she often feigned sickness, and sang ill when she was able to sing well, few were willing to allow she could be sick, or that she ever sang her best. Her voice, though of an ex(iuisite quality, was not very powerful. As an actress, though of low stature, there were such grace and dignity in her gestures and deportment as caught every unprejudiced eye ; indeed, she filled tlie stage and occupied the attention of the spectators so much, that they coidd look at nothing else while she was in view. Her freaks and cupifijlerics, which had fixed her reputation, seem to have been very much subdued before her arrival in England. In conversation she seemed the most intelligent and best bred virtuoso with whom I had ever conversed, not only on the subject of music, hut on everj- subject conceniiug which a well-eilucated female, who had seen the worUl, might rea-son- ably be expected to have obtained information. She had been three years in Uussia previous to her arrival in England, during which time no peculiiurities of individual characters, national manners, or court etiquette had escajied her ob- ser\-Btion. In youth her beauty and caprice had occasioned a universal delirium among her young countrymen, and there were still remains of lx)th sutlicicntly jiowerful, while she was in England, to render credible their former inlluence." GABHIEU, FU ANTES A, of Fcrrara, was a pupil of Sacchini, in 1770, at the conscr»-atory of the (hpcilaletto, at Venice. In 1786 she sang at the Opera in I.ondon, and was second only to Madame Mara. G.vnUIEIJ, GIOV.VNNl, a celebrated com- poser and organist of St. Mark's Church at Venice, die, con- certos, and various other flute solos, with orches- tral or piano-forte accompaniment. He also wrote some songs, most of which were published at Lcipsic. 3i; GAD ENCYCLOPAEDIA OF MUSIC. GAl OADE, XIELS W.. n Danish composer of sjTuphonie's overtures, and other instrumental musio, who, siuce the death of Mendelssohn, has greatly occupied the attention of Oermany and the musical world (generally. His style has many points of resemblance with that of Men- delssohn, whom he succeeded in the direction of the Gwandhaus Concerts at Leipsic. Hut there is a certain wild, northern, sea shore, Ossianic chann in hLs music, which is (juitc individual. His concert overture, called " Xach- klClnrje atts Ossian" (Echoes fiom Ossian) is full of this His first symphony, too, in C minor, is :cmaikahle for its richness of instrumentation, and its romantic, dreamy tone. These works buvt! become great favorites in the concert room. G.-\EXSB ACKER, JOHANX, a composer at Prague, and pujjil of the Abb6 Vogler, has published much vocal and instrumental music since the year 1803. GAFFORIXI, ELISABETA, was one of the most charming virtuosos of the nineteenth c«ntury. She shone in Italy, and in the principal cities of Europe, through nearly the period of 1796 to 1815. She possessed a very supple and very sonorous contralto voice, which went up to F, and down to A. GAFOR, or GAFURIUS, FRANCHIXUS, was a native of Lodi, a town in the Milanese, and born about the year 1451. His youth was spent in a close application to learning, but par- ticularly to the study of music. He was elected professor of music at Verona ; and he afterwards resided successively at Genoa, Xaplcs, Monti- cello, Bergamo, and Milan. In the latter place he was appointed conductor of the choir of the cathedral, and received many distinguishing marks of honor. He was living in 1520, so that he must have been at least seventy years of age when he died. His first work, " T/icorcticiim Opus Armnnicte DisciplituF," was printed at Xa- ples in the year 1480, and was httle more than an abridgment of Boethius, with some additions from Guido. In 149G, he published at Milan his " Pracfica Miisica vtriusque Caiitvs ; " which treats chiefty of the elements of music, and the practice of singing, according to the method of Ouido. This is written in so clear antl perspic- uous a manner as to show plainly that Gafor was perl'ectly master of his subject. Another work by this writer was entitled "Aiigelicum ac dicinum Opus Miisico'." It was printed at Milan in 1508, and, from its style and manner, seems to have contained the substance of the lectures which he had read at Cremona, I^odi, and other places. It, however, contains little more than what may be found in the writings of Boethius and other preceding harmonists. His treatise " Ue lliirm'»iid Miisiconim Iiistrumeiilorum," printed at Milan in 1518, contains the doctrines of such of the Greek musical writers as had come to the hands of the author. The writings of Gafor, in the cotirsc of a very few years, became so famous, that they were spread almost all over Europe; and the precepts contained in them were inculcated in most of the schools, univcr- Fitie-:, and other public seminaries of Italy, France, Germany, and England, llie bcnetits arising from his labors were manifested, not only by an immense numl)er of treatises on music that appeared in the world in the succeeding 31 age, but also by the musical compositions of the sixteenth century, formed after the precepts of (iafor, which became the model of musical perfection. GAGLIAXO, GIOVAXXI BATTISTA DA. A comjxjser of madrigaLs and motets in the first half of the seventeenth century. He was a na- tive of Florence. GAGLIAXO, MARCO DA. A celebrated Florentine composer of the seventeenth century. He was one of the earliest dramatic composerB of Italy. GAIEMEXT. (F.) A word signifying that the movement to which it Ls preft.\ed Ls to be performed in a cheerful, lively style. GAIL, MME. SOPHIE, born at Melun, published several sets of admired romances at Paris in the early part of the present century. She also composed the music of " LiS deux Jaloux," and one or two other dramatic pieces of great merit. Madame Gail died in the vear 1819. GAILL.\RD, JOHN ERXEST, was the son of a peruke maker, and a native of Zell. He was born about the year 1687, and was iji- _ structed in composition first by Marschall, and afterwards by Farinelli, the director of tlie con- certs at Hanover ; likewise by Steffani, who also resided at that place. Alter tinLshing his studies he was taken into the ser\'ice of George, Prince of Denmark, who appointed him a member of his chamber music. On the marriage of that prince, GaiUard went to England, where he seems to have studied the English language with considerable diligence and success, and, on the death of Battista Draghi, he obtained the place, then become a sinecure, of chapel-master to the (lueen dowager, Catharine, the relict of King Charles II., at Somerset House. He com- posed a" Te Deum" a "Jubilate," and "Three Anthems," wliich were perfonncd at St. Paul's and the Royal Chapel, on thanksgivuigs for vic- tories obtained in the course of the war, and he was generally esteemed an elegant composer. His merits and interests afforded some reason, at one time, to suppose that he would obtain the direction of the musical performances in the kingdom ; but not being able to stand in coir.pe- tition either with Handel or Buononcini, he wisely declined it. He, however, set to music " Cah^iso and Telcmachus," performed at the Ilayraarket 'Hieatre in 1712. This, notwithstand- mg the excellence both of its poetry and music, was condemned by the friends of the Italian Opera, and it was therefore represented under unfavorable circumstances ; but some years after- wards it was revived, and with better success, at the theatre in Lincoln's Inn Fields. Gailinrd published, at different times, "SLx Caiitntas," "Three Cantatas," "Six Solos tor tl.c Flute, with a Thorough Bass," and " Six Solos for the Violoncello or 15assoon ; " in 1728, " 'I1ie Mnn-.ing Hymn of Adam and Eve," taken from the fifth book of " Paradise Lost," the latter of which has lately been republished, and in 1742, a trans- lation of Tosi's " Opinioni de Cantori antichi e moderni," under the title of " Observatioiis on the florid Songs or Sentiments of the ancient and modern Singers." He also pubUshcd some operas. His principal employment for several years was composing for the stage. He set to H GAI ENCYCLOPEDIA OF MUSIC. GAL music an oi)cra in one net, performed at the theatre in liucoln's Inn Fields in 1717, called " I'un and Sj-rinx ; " and by virtue of liis engage- ments with Mr. Rich, he was doomed to the task of comi)osing the music to all such enter- tainments as that gentleman thought proper to give hiiu, which consisted of a strange mixture of opera and pantomime. These, as far as can now he collected, were " Jupiter and Europa," " 'llie Necromancer, or Ilarlcciuin Faustus," " The lives of Pluto and Pro;H!rpine," and " Apollo and Daphne, or the Burgomaster tricked." One of his lait works of thi;< kind was the music to an entertainment called " The Uoyal Chase, or Merlin's Cave," in which is that famous song, "With early horn," by singing which for some hundred nights, Mr. l^eard lirst recommended himself to the notice of the public. He composed also the music to the tragedy "(Kdipus," which had before been sot by P\irccll. This was never printed, but is preserved in tlie library of the Academy of Ancient Music. Many of his songs were insert- ed in the Musical Miscellany ; and about 1710 he published a collection of twelve songs, which he had composed at diH'erent times. About the year 171o, he had a concert for his benefit at Lin- coln's Inn Fiolclnfeientre, in which were performeimenle tuo^iam la Musira ne-jU Stromenti artificiali, si di torit, coiif ili /i!'), ed in particoiare net Liuto," Ven.ce, UCS. G.VI ' V VORA. A performer of con- si, l«wi,, on the stage of the Kind's llie- »tre,%i^e ii;i_vmiu:ket, and the last of Handel's scholars. That celebratetl musician composetl several of hLs most favorite airs expressly for h*r, both in his operas and oratorios, in wliich she sang with great a])plnuse, and appeared so latejy as the year 1797, in Ashley's oratorios at Covenl (iarden 'I'heatre. After quitting the stage, she re-ii ; English, which she acquiied in the family travels ; and Itidian, des- tined to be the study of her future lut. At n later period, when invited to appear on the great lyric stages of (jcnnany, she made hersell thor- oughly conversant with the Teutonic language. Her genius in painting and drawing was as soon developed as her faculty for languages and l\er aptitude for music. Her surpassing talents foi sweet sounds were developed from her earliest infancy. At seven years of age, sh.e accom- panied on the piano-forte her father's pupil-, when he gave his singing lessons. Such was her manual dexterity, facile tingering, and poeti- cal touch, that at tirst it was i)roposed she should piu'sue the career of a pianist, and sh« became one of the m-ost accomplished scholars of Liszt. Curiously enough, she never receivetl any regular lessons in singing. Her father died in 1832, before her voice was tixed, and her gifted sister, Maria MaUbran, was wandering unceasingly throughout Europe, so that Pauline never heard her but twice on the stage. Her brother, Manuel, resided in Paris, whiLit her education was going on in Brussels ; so that what she acquired in vocalization was the result of her spontaneous studies — guided, however, by the good taste and counsels of her moth.er. After having accompanied the family migrations, first to England, then to New York, and after- wards to Mexico, Pauline returned to Europe in 1828, and completed her education in the Bel- gian capital, drawing and painting occupying her earnest attention as much even lus music and singing. At sLxtecn years of age her voice became lixed. IJke the organ of her sister, in quality it combined the two registers of the so- prano and contralto, ha\nr.g that soul-stirring tone which exercised such a potent spell on her hearers. In compa.s3 her voice had three oc- taves. In the month of May, 1839, before she had attained her eighteentli year, she made her tirst appearance on any stage at the King's I'heatre, in the character of Desdemona, the same season that Mario Krst made his dchiU. Her success was most brilliant. She sang an aria composed by Costa, introduced in " IHcUo ; " she was recalled several times during the j)rogre««s, and at the end of the opera. In the month of Octol)er following, engaged for the Italian ( )• • r ■ in Paris, then jjlaying at the Odion, she ci> ■ equal enthusiasm, by her dibut in tb.e - in ■ character. Her repertoire wan contincd, however, to Tancredi, Cencrentola, .iVrxue in " .Vnii- ramide," and Rosina in " // Burbierc." In the month of April, 1840, she was married to M. I/>uis Viardot, hnmmc-de-lettrcs, at that time direct< r of the Italian t)pera, who on his m.irria^e resi;;ncd that post. >I. Viardot is a distinguished ))ubli- cist in Paris, and was recently offered the post of charije if Affaires at Madrid, by the provisioDA Government of the republic. llie apjiearance of Pauline Viardot Garcia was indeed quite a musical event, anl European 1 GAR ENCYCLOr.'EDI.V OF MUSIC. GAS mnnnp;crs were engcr to offer licr engagements. Her Inst ni)]>ear;ince in London was in the season of 1841, when she »ang in Cimarosa's " Orazi et Ciiriazi," with Mario, ller health was not in the best state, and her phy^icnl strength not sufH- cicnt to answer to tlie calls iijion her ardent nature in giving vent to the dramatic excitement of the scene ; as the peculiar chnracterLstic of (iarcia is, that her stage abstraction is so perfect that all traces are lost of the artiste in the character she Ls so vividly presenting. It was for this reason that she declined to receive the offers made to her by the Academic lloyah de Muiit/iie, in Paris. She ])refcrred to travel, and visited Spain, sing- ing in Madrid and Grenada, and then passed another season in Paris, singing with Grisi and PtTsiani. Her next engagement was for two Bcasons in Menna, where her triumph was im- mense, singing every school of music, so as to satisfy the exigencies of the most classic musician, as weU as to astonish and dcUght the general body of amateurs of Italian music. When Ku- bini formed the troupe at St. I'ctersburg, Mme. Viardot Garcia was the selected prima donna; and there, by the side of Madame Castellan and Mile. Alboni, sh.e had three triumphal seasons, the rigor of the climate alone compelling her to trj' a more congenial atmosphere. Finally slie appeared at the Italian Opera, Berlin, and when Mile. Lind (juitted the German Opera, Mme. Viardot took her i)lace in the repertoire. Hamburg, Dresden, Frankfort, Leipsic, &c., were cities in wliich she created uni^aralleled enthusiasm. Her last engagements were at Berlin and Hamburg, in German opera. The following are the operas in which Mme. Viardot (Jarcia lias sustained characters : Desde- mona, inllonsini's " Otcllo ; " Rossini's " Cencrcnto- la; " Kosina in " // Barbicre ; " Camilla, in Cimaro- sa's " Orazi ut ( 'uri'izi ; " Arsace, iji " Semiramide ; " "Norma;" Ninctta, in " La Gazza Ladra;" Amiiia, in " La Sonnambuln ; " Romeo, in the "C'apiilctti et Moiitecchi " of Ilellini and \'accaj ; " Lucia; " " .I/a- ria di Rohan ; " Leonora, in Donizetti's " Favorita." In Mozai't's " Don Giovanni " she has been ecjually successful as Zcrlina and Donna Anna. In Meyer- beer's " Robert le Diablc " she has doubled, in one night, the parts of the Princess and Alice, the lat- ter, being one of her best assumptions. In Berlin she took the amateurs by storm in Gluck's " Jphi- gcnieen Tauride " and in Ilalevy's " Jaive." In the la-st-mentioncd work, the sensation she produced by one exclamation in the last scene, when Rachel is on the point of being immolated, and says to Elca/.or, "Father, I fear death," was electrical. As a tragedian her powers ore transcendant : every action, every gesture, every expression, are in accordance with the di'amatic situation. Her "Valentine" in Meyerbeer's "Hii^nenoti," has been also the admiration of the Berlinese connoisseurs, among whom we may mention, as enthusiastic admirers of her vocal and histrionic genius, the distinguished composer of that opera, and the Earl of Westmoreland. Her vocalization is characterized by its invariable adherence to, and identity with, the pervading sentiment. In every relation of private life Mme. Pau- line Garcia Viardot is endeared to her family and friends. Ii\ every circle she shines by tlie brilliancr of her varied talent* ; and royalty, rank, and fasliion have in turn, in every country. whilst acknowledging the supremacy of the artiste, admired the character of the woman. GARDI, FRANCESCO. An Italian dramatic composer between the years 17S5 and 1794. GARXERIUS, a learned musical theorist, livetl at the close of the fttteenth century. H« was fixed on by I"erdinand, King of Naples, to form an academy of music, conjointly with Ga- fmius. GARNIER. Professor of the hautboy to Louis XVI. He pubUshed some music for hia instrument at Paris iu 1788. GARNIER, le jeune. A professor of the flute, and performer in the opera orchestra at Paris in 1799. He published some music for his instru- ment. GARNIER, musician to the King of Poland, published a method for the piano-forte in 176C. G-^RNIER, a violinist at Paris, published some instrumental music since the year 1792. GASPAR. A composer, whose works ar« much praised by Franchinus. He lived in th« latter half of the fifteenth and beginning of the sixteenth century. Dr. Buniey discovered a mass by this comjwser among the collection of music in the British Museum; it is dated 1.50S. GASPAR, MICHAEL, printed in London, in 1783, a work entitled " De Arte Medendi apttdpris- cos, Mutices ope at'jue Carminum, S^c." GASP^VRLNI, FRANCESCO, born at Lucca about the year 1600, was one of the most cele- brated vocal composers of his time. He excelled equaUy in chamber and theatrical music. His cantatas are esteemed among the finest of the kind that have ever been published, and his operas, of which he composed a great ntimber, are scarcely exceeded by those of Scarlatti. He joined with Albinoui in the composition of the opera of " Emjelberta," and was Hving at Rome in the vear 1723. His printed works are " CantaM da Camera a Voce sola," piibllshed at Lucca in 1697 ; and a treatise entitled " L' Armonioo pro- tico al Cembalo, reffole per ben suoiuire il Basso," published at Venice in 1708. GASPARINI, QUIIUNO. A composer of church music, and also some instrumental pieces, pre-viously to the year 1797. He was chapel- master to the King of Sardinia at Tuiin, 8 oout the year 1770. GASSE, FERDINAND, a Neapolitan, was pupil of Gossec at the Paris Conservatory, and gained the jirlze for composition iu 1805. He afterwards went to Rome, where he composed some sacred and dramatic music. GASSMAN, FLORIAN LEOPOLD, chapel- master to the Emperor of Germany, and suiior- visor of the im]ierial library of music at Vienna, was born in Bohemia in 17'29. He composed some church music, likewise some ojicras and in- strumental pieces. His quartets, when compared with those of Haydn, are stiff and ice-cold com- positions. Gassman was one of the raajsters of i Salieri, who succeeded to his appointments o chapel-master, &c., at Vienna. I GASTOLDI. See Castoldi. 22 viAT EXCYCLOP.'EDIA OF MUSIC. OAV- G ATA YES. («.) A harpist nt I'liris ; ho has published a method for the guitar, and mui-h haip music, since the year 1800 ; nl>o some ro- manccM, among the moat pleasing of which is " Le paucro Acemjle." GATES, BEKNARD, was teacher of the choristers at the Chajjcl Uoyal in London, about the year 1710. Ilauders oratorio of " Esther " was perlbrmed in the house ot Gates, and met with considerable applause, inducing, as it is said, its composer to jiersevere in that style of music. Gates dieleed intimidate men not accustomed to them, but not you, Romans I " GAU'niEKOT, LOUISE, MADAME, a cclo- brated female violinist, was considered, in 1790, among the most celebratetl players on that in- strument. She died in 1808. GAU'nilEU, DENIS, snniamod the Elder. .\n admired French lutist. 'Die principal pieces of the elder Gauthier are those entitled " L'lm- mortflle," " La XonjMrriHf," and " Le Tomhvau fie Me.aiiijinii." Tlierc was also another Denis (Jau- thicr, who comjioscd some much admired le;*sons for tt-.e lute, of which the most esteemed are tho.se entitled " L' llomicidc," " Le Canon," and " f^ Tomhcaii de Lencloa." GAUTHIER, PIERRE, •« musician of Prov- ence, was diiector of an opera company, which c.vhibitcd, by turns, at Marseilles, Mont))eUicr, and Lyons. He embarked at the Port de Cette, and iierished in the vessel, at the age of fifty-five, in li')97. There is e.\tant of his composition n collection of duos and trios, which ia much es- teemed. ■ to Louis XV. He was the author of " Traitf. A I I' Ilarinoiiit it la I'ortie de tout k- Monde," published ; at Paris iu 1798. GAVEAUX, PIERRE, composer to the (>,>,;■„ Feydeau at Paris, was born at Rcziers in 17';f. He becnnie chorister in the cathedral of that town at seven years of age, and ir. less than two year- was able to read every descrijition of music, and in all clefs, at sight. He subsetiuently went tc Bourdeau.x, and was attached to one of thr churches as tenor singer ; here ho received lessor.s in composition from Fraju-is Reck, and com- posed several motets, which met with tlie apjiro- bation of his master. tJaveaux then engaged i;i the theatrical career, first at Bour. 9. " La Gasconade." 10. " Les yoins supposis." 11. " Les deux Joekies." 12. " Sophie ct ilonears." 13. " Lionore, mi r Amour Conjugal" 14. " La Locataire," 1799. 1.5. " Le Diuble Coulcur de Hose." 16. " Le Trom- peitr trompi." 17. " Lise et Colin." 18. " Oicin- skn." 19. " Ccliane." 20. " Tout par Ilasard." Besides the^e dramatic pieces, most of which were succetisful, traveau.x has composetl some romancei and uistrumental music. His lively air " La Pi/te de Tabac," has been popular throughout Europe. GAVrS'IES, PIERRE, a celebrated French violinist, wa-s bom at Bourdeau.\ in 1728. At fourteen years of age he made his il/.but as a per- former at the Concert Spirituel at Paris, when Viotti, having heard hi.s playing, designated him as Le Titrtini de la France. Ga^•inies published three operas of sonatas, and several concertos. A year before his death, which took place in 1799, he published a collection of violin music, enti- tled " Ia'S rinift-fuatre Matinees ; " most of the pieces in it are e.vtremely difficult. 'ITie only dramatic work of Gavinies is " Le Pretendii," f n intermidi; porfonned with success at the Italian theatre at Paris in 17i')0. In 1791, he was «])- pointed professor of tho violin at the Paris Con- servatory. G.WOT. A dnncc con-isting of two light, lively strains, in common time, of two crotchets ; the first of which 'contains four or eight bars, and the second, eight or twelve, and sometimes sixteen, each beginning with two crotchets, and ending with one, or the half of a bar. Some authors say, that the first str.iin of the tru« oarot has its close in the dominant, or fifth of the key, and that if it be in the tonic, or key I note, it is not a garot, but a rondeau. I G.VVOTTA. (I.) Gavot ; the air of a danc* See (f AViiT. GAWLER. An orp\nist in Ixindon, and au- 0.\UZ.\RGUES, CHARLES. Chapel-master I thor of, 1. " Harmonia Sarra , a Collection of 323 DAY EXCYCLOP-EDIA OF MUSIC. GEM Psidm Tunes, with Interludes, with a Thorough BasH, foniiiiiR a most coiuplefe Work of Sacred Muxie ; " I^iidon, published by Cleraenti. 2. " Dr. Watts"s Divine Psalms." 3. " Lessons for the IIaq)siohord." 4. " Klevcn single Volunta- ries for the Or(;an.' 6. " Twenty-four Interludes or short Voluntaries for the Organ." GAYE. Chamber musician to Louis XV. An anecdote is related of him, that, having spoken disrc:era Tcrza," or second set of concertos, ap- jjcared, which established his character, and ))laced nim it the head of all the masters then living in this species of composition. His second set of solos, commonly called his French solos, either from their style, or their having been com- jiosed and engraved in France, was published in 1 739. These were admired more than jilayed ; as, about this time, it became more than ever the fashion for public solo players to pcrfonn only their own compositions, and others were unable to execute tlicra. His third set of concertos, which ai)i)carcd about the year 17H, was so labored, clitHcult, and fantastical, as never to be played in either public place or private con- cert. His long-promised work, with the title of " Otiiila Armoiiira," published in 17 1'2, appeared too late ; for, though there are many combina- tions, modulations, and cadences, that woidd open the mind and enrich the memory of a young stu- dent in hanuony, he promised too much, and his authority in the kingdom was diminished by new music and new performers, as well as by his own freijuent change of sentiment; setting up, at one time, as a mode of perfection, what he would de- spise and condemn at another. His "Treatise on tiood Ta.ste, and Rules for Playing in Good Taste," did not appear till about 1747; but that was too soon for the time>. In- deed, a treatise on good taste in dress, during the reign of (iueen Flizabeth, would now be as ii.iiful to a tailor or milliner, as the rules of taste iji music, forty years ago, to a modern musician. In 17fM he published his " .\rt of Playing on the Violin," which was a very useful work in its Jay ; the shifts and examples of diflereut ditHcul- ties and uses of the bow being infinitely superior to those in any other book of the kind, or, indeed, oral instruction, which the English nation could f)oaides these practical and theoretical works, re published two books of " Hariisichord Pieces," that are rendered impracticable by crowded har- mony and multipliere--ents he received from th« great, wliencver he could l)c jirevailed ujjou \c. l>lay at their houses, were his cliief support. In 17:tl he advertised a weekly concert of mu.ic, to be carried on at Hickford's room by subscription, and at whidi h(*])layed the first violin liimselt. In 17H he had a l)cnetit concert at the little theatre in the Haymarket, by command of some of tlie royal family, and in \' V.) i\ mnn-i-tn npiri- tiiiilt; during Lent, at Drury Ijinc 'ITieatrc, in which he led the band, and i)layed a concerto from the fifth solo of his fourth opus, and the tenth solo of the same set. The \insteady manntr in which he led seemed to confirm the Neapolitan account of his being a bad mental arithmetician or calculator of time. .\tter this he went to Paris, where he continued till 17.io, when he re- turned to England, and published a new edition of his two first sets of concertos. In 17(11 he went to Ireland, to visit hLs scholar Dubourg, master of the king's band in that kingdom, who always treated him with great respect and afi'ection. It is supposed tliat his death was accelerated there, the next year, by the loss of an elaborate treatise on music, which he had been many years com- piling, and which, by the treachery of a female servant, was conveyed out of his room, and could never be recovered. Sur\'iving this loss but a short time, he died at Dublin, in 17G2, at tha great age of ninety-six. GEMMIXGEX, EBERIIARD FRIEDRICH, RAROX DE. Privy counsellor to the Duke of Wurtemburg about the year 1781. He wa.s a musical amateur of superior taste and acquire- ments, and comi)oseions of the three ]>rincii>al t/rnrrn, therb was a common genus, consisting only of tho stidde sounds of the t/nu-rn ; as al 'o a mixed genus, ])artaking of two, or of all the three geitera. It is worthy of notice that, in thus col- lection, or combination of ijrnrra, which wai rarely useition at T.eipsic under Sebastian Bach. His works consist ihielly of preludes and fugues for the organ and niano. GERBER, son of the preceding, was born in 3 mCy, and succeeded his father as organist at the court of Sondershausen. He is well known as the author of the " Xeues IIu/iiscfies lexicon iler TonkUnstler," Leii)sic. 1812, 4 voLs. 8vo. This was by far the most valuable work on musi- cal biography which had been i)ublLshed on the continent, and wa.s especially rich in its accounts of the composers of the German school. GERBERT, MARTIN, Prince Abbot of the convent of Benedictines, and of the congregation of St. BlaL-.e, in the Black Forest, was born in 1720, at a small town in Austria. He united to extensive learning the most elevated mind, and simple and amiable character. Having frequentlv in his youth had opportunities of hearing excel- lent music in the chapel of the Duke of Wurtem- hurg, at Ludwigsburg, and even of occa.'.ionally singing himself, he imbibed that affection lor music to which we are indebted for his learned and toilsome researches on the history of that art. M'ith a view to render these researches more pro- found and useful, he undertook to travel for three years in France, Germany, and Italy, and was enaliled, through Ills authority in the church, to discover the most secret treasures of musical literature, by obtaining admittance into the libra- ries of the convents, and thus collecting from the fountain head the materials for his history of church music. At Bologna he became intimate with P. Martini, lliey agreed to communicate to each other their different knowledge, and that 1'. Martini should write the history of music in general, while Gerbert confined himself exclu- sively to that of the church. The number of seventeen thousand authors, that Martini had collected, certauily astonished Gerbert ; but he says that he actjuainted him with a still greater number existing in the German libraries. In 17';2 he announced his intention of writing a history of church music, by a j)rintod prospec-tus, and soliciting any information that could be given on the subject. This jirospectus is to be found in the critical letters of Mai-puig. He finished this work in six years, though, in the interval, (the 23d of July, 1708,) the abbey and valuable library belonging to it became a prey to the flames, occa- sioning the loss of a great part of his materials, and likewise of his time, which he was obliged to emjiloy in giving directions for the construction of a new edifice. ThLs work is in two volumes, and contains many prints ; it is entitled " De Can- tu vt MiiA-ird ikicrd, a primd ecclesiie eetate vsr/iie a/l prieseiui tempiis. Auetore Martino Gerberto, Mnnas- terii et Congregationis St. li/asii de ."silvd Sujrd Ai'- bate, Sacri(/HC liomani Imperii Princijx: Typijs Suii- Dlasinnis, 1771." Gerbert divided his hLstory of church music into three parts : the first finishes at the pontificate of St. Gregory ; the second goes i.» far as the fifteenth century ; and the third to his own time. But the work which has given the Prince Abbot Gerbert the greatest title to gratitude from artists and literati, is one of far more impor- tance, published in 1784, under the title of " .Scnyj- torcs Ecclcsiastici de Miisicd Sacrd jmtissimum. Ex tariij Italia, GaiJia, et Germanitf cotUcibiis Manii- scrijitis collecti et nunc primum piib/icd liicc doniiti , a Martinn Gerberto monaxterii ct Congregat.- S. ISIus. in Silrd .\igrd Abhnic, S. Q. H. I. P. Typi.t San-II/a- sinni.s, 17S4." TliLs is a collection of all the an- cient authors who have written on music since the third cent>iry to tl-.e ii ventio i ol pri tting, OER ENCYCLOPAEDIA OF MUSIC. OIA ftiid V hose works had remaiiiud iu niaiiuscript. I The h-anied amateur has by this work reiidtTfd | nil immortal service to the scieiu-c of music. Un- t'ortuiiate'y, it Ls now very dilHcult to procure a I copy of tliis book. Forkel has given an cxteii- hive aunlvriis of it in )ns " History of Music." I'lic Abbot (ierbert kept up a constant corrc- | sponilcnte with the celebrated Ciluck. lie died j in his seventy-third ye;u:, in 1793. I GEHIUNI, MLLE. LUGIA. An amateur per- | former on the violin, and jjiipil ot the celebrated , \'iotti. In I79i< slie went to Lisbon, where she ' performed some concertos on the violin, between ; the acts, at the Italian Theatre. She aitcrwards ' encased at the same theatre as singer, and proved | r "rselt e>iually jxiwenul as in instninicntal music. 1 1801 she went to Madrid, and alterwards per- formed on the violin at some public concerts in London. CiEUMAX SCAT,!;. This scale of the natural notes is A, II, V, I), E, I', (J ; not A. 1!, C, &c. : the B Ls always reserved to expre.*s 15 tlat. (JEKMAN SIXTH, or EXTREME SHARP SIXTH. A sixth consistins of ten sMuitonic in- tervals, as from F natural to the D shiu^) imme- diately above. GERSTEXllERG, JOIIANX WILHELM, VOX, consul to the King of Denmark, was bom at Toudern in 1 737. He was a most able and enliglit- ened amateur musician. He wrote two disserta- tions, the tirst on Italian lyric poetrj', the second on the manner of tigurin;.^ chords. UERVAIS, CHARLES HUBERT. A French composer of dramatic and other vocal music. He died at I'wis in 174-t. GERVAIS, P. X., the elder, was born at Mau- hcim. He was one of the best violin pupils of Fraenzl. He died at Lisbon iu 170.5. Some of his music for the violm was published at I'arLs. GERVASOXI, CARLO, chapel-master at Bor- go-Taro, published, in 1800, two volumes octavo, entitled " L3, and studied mu- sic under Hiller. In 17;(0 he was director of the mu>ic at the Italian Theatre at Dresden. He crmposed some siicrcd music, also several dra- mat.c pieces and piano-forte music. He died at Dre=.den iu 1805. GESTOURS. (F.) The name by which those itinerant minstrels were formerly di.stin- guished who intcrhirded their songs and tales with jokes and witticisms, accompajiied with humorous gesticulations. GESrALDO, CARLO, Prince of Venosa, (a principality of the kingdom of Naples,) flourished about the latter end of the sixteenth century. He was the nephew of Cardinal Alphonso (iesu- aldo, Archbishop of Naples, and received his in- »tructions in mu>ic from Pomponio Nenna. Tlie writers of all countries give to this prince the character of being an extremely learued, ingeu- ' 32 iou.s, and artiticial composer of raadrigals. lie L generally supjiosed to have imitated and im- proved tliat plaintive kind of air which dl^tin- guislies the .Scots melodiei. Dr. Burney, liowever, says, that, in a very attentive perusal of the wliole six books of the Prini-e of Veno^n'r' madrigals, he was utterly unalile to di>cover the least similitude to, or imitation of, the Caledonian nirs; and, in- steaooks of his madrigal-i weie published in parts, in lo':.5, by Simon Molmnro, a musician and chapel-master of (ienoa. In the year l.i!)3 the madrigals of the Prince of Venosa (six books') were published to- gether by the same person. Tlie pieces contained in this eilition were upwards of a hundred iu niunber. Two other collections were afterwanU printed ; l)ut it Is probable that the edition of ltjl3 contains tlie whole of his works. GEYER, JOHAX'X .EGIDIl'S. An amateur musician, resident at Leipsic since the year 1799. He composed much piano-forte and vocjil music of merit. He died iu the prime of lile, in the year 1808. GEZEK, WENZEL. An organist at Prague, of some celebrity as a church composer. He waa boru in 1733. G GAMUT. The first (} below the bass clef note. Guido, who first added this note to the aucient scale, applied to it the (ireek letter gam- ma, from which it derives it-s present name. G FLAT. The flat seventh of A flat ; the fifth flat introduced iu modulating by fourthii from the natural diatonic mode. GHERARDESCA, FIIJPPO, boni at Plstoia, was a pupil of Martini. Ho i)ublished, subse- quently to the year I"''", some operas, whicb were performe*! nt different Italian theatres. In 1770 he comi.oseo>er, in the year 17'Jt. He was a pu]>il of Cnpclli, and had a lively imagination, that funiuhed him with agree. filA ENCYCLOPEDIA OF MUSIC. GIL : ble flights, which, from their novelty, afforded | and at five or six feet distance from the notes, ai uch pleasure, and contributed not a little to ■ roijagate and estttbli:)h the tajite of subsequent ■gcs. GIAI, GIOVANNI ANTONIO, an Italian composer, compo:ied for the theatre at Vienna an cpera entitled "Mitrtilate," which was afterwards performed at Venice in 1730. GIANNOTI. A performer on the double bass, at the Grand Opera at Paris, in the year 1739. He wTOte a treatise on composition, published in the year 1750, entitled " Le Guide du Composi- teur." GLUIDINI, FELICE, was l)orn in Turin in 171C. When a boy, he was a chorister in the Duomo at Milan, niuler Paladini, of whom he learned singin;;, the harpsichord, and composi- tion ; but havini; previously manifested a dispo- sition and partiality for the violin, his father recalled him to Turin, in order to receive instruc- tions on that instrument of the famous Somis. But though his preierence for the violin, upon which he soon became the greatest perlormer in Europe, seems a lucky circiimstance, yet he had talents which would have made him a superior harpsichord player, had he continued to practise that histrument. But he told Dr. Burney that he was perfectly cured of that vanity at Paris, by the performance of Madame de 8t. Maur, a scholar of Kameau, who played in such a manner as not only made him ashamed of his own per- formance, b\it determined him never to touch the instrument again in serious practice. He went to Rome early in life, and afterwards to Najjles, where, having obtained a place among ripinnos in the opera orchestra, he used to flourish and change passages much more Ireciuently than he ought to have done. " However," says Giardini, " I ac- quu-ed great reputation among the ignorant for my impertinence ; yet, one night during tl'.e opera, Jomclli, who had composed it, came into the or- chestra, and seating himself close by me, I deter- mined to give the maestro di cnpcIJa a touch of my taste and execution ; and in the symphony of the next song, which was in a pathetic style, I gave loose to my lingers and fancy, for which 1 was rcwai-ded by the composer with a violent slap in the face ; which," adds Giardini, " was tl'.e best lesson I ever received from a great master in my life." Jomelli, after this, wius, however, very kind, in a different way, to this young and won- derful musician. Giardini went to England in 17.30. His first public jjerformance in London was at a benelit concert for old C'uzzoni, who sang in it with a thin, cracked voice, which almost frightened out of the Httle theatre of the Hay- market the sons of those who had, perhaps, h&ird her at the great theatre of the same street ivith ecstasy. But when (Jiardini played a solo ind concerto, though there was very little com- pany, the ai)plause was so long, loud, and furious, as. nothing but that bestowed on (iiu-rick had ever equalled. Dr. Burney had met him the night be- fore, at a private concert, with (iuadagni and Fra-ti, at the house of one of tlie best dilettanti performers on the violin at that time, and says, " We were all eciually siirpriscd and delighted witli the various jmwcrs of liiardini, at so early a period of his lile ; when, besides solos of hLs own composition, of the most brilliant kind, he played several of Tartini's in manuscript at sight. well as if he had never practised any thing else. Ills tone, bow, execution, graceful carriage j himself and instrument ; jilaying some of my own music, and making it better than I intended, or had imagined it in the warm moments of concep- tion ; and, lastly, i>laying variations extempore, during half an hour, upon a new but extraordi- nary kind of birthday minuet, which accidentally lay on the harpsichord, — aU this threw into the utmost astonishment the whole company, who had never been accustomed to hear better per- formers than Festing, Brown, and Collet." Such was the esteem which Giardini acquired in Lon- don, from his talents, that in 17of he was placet, at the head of the opera orchestra. Two years afterwards he joined Mingotti in the manage- ment of the opera ; but although they acquired much fame, their management was not attended with much success. During this period Giardi- ni composed several of the dramas which were j)erforraerc- liidiiim for the organ, and other organ pieces of his composition, in Smith's " Mitsica Antiqua." GIBBONS, ELIJS, brother to the celebrat- ed Orlando Gibbons, flourished about the year 1600. Two of his compositions are to be found among the collection of madrigals for five and six voices edited by Morley, in London, in lliOl, under the title of " Tlie Triumphs of Onana." (JinitOX.S, CHUISTOFIIER. the son of the celebrated Orlando (iibbons, was, from his child- hood, educated to the profes;tion of music under his undo, Kllis (iibbons, organist of Bristol. He had been a chorister in the chapel of Charles II., organist in private to his majesty, and organist of AVesfmiuster .\bbey. Tlie king had 80 great a partialitv tor this musician, that he was induced to give him a personal recommenda- tion to tlic University of Oxford, rol. He died in the year 1(576. C. Gib- bons was more celebrated for his skill in playing the organ than for his compositions. There are, however, many of his anthems extant, though we know of none that have been le-s printed. ITiose most celebrated are, " ( rod be merciful unto U9," " Help me, O Lord," " Lord, I am not high 42 3 minded," and " Teach me, O Lord." It w said that he assisted in the work entitled " Caution Sacra," containing English and I>atin hjinns and anthems, published in 1671. (ilBEL, O'lTO. Director of music, singer, and composer at Minden. He was born at Borg, in the Island of Femeni, and die97 he was ap- pointed master of the children, and afterwanls, in tl-.e reign of King Charles I., organist of the Chapel Royal. He died in 16.1.3, at the age of seventy- five. His compositions are chiefly services and anthems. GILLES, JEAN, bom in 1669 at Tarascon, in Frovence, was director of the music, or chapel- master, in the church of St. Stephen, in Toulouse. He was a singer in the choir of the Cathedral of Aix, and a fellow-pupil with the celebrated Cam- pra. There are many fine motets by (iilles; several of them have been perfonued in the )r>n- cert npirituel at Faris with great ajjplause, particu- larly his " Diliriam te." But his capital work is a " Misse (Its Slnrts," of which the following his- tory Is recounted by I^borde : " Two counsel- lors of the piu-liament of Toulouse died nearly at the same time, each of them leaving a son. The two youths were united in the closest friendship, and they agreed to join in celebrating a grand funend ser\-ice for their parents. They, conse- quently, engaged Gilles to comi)ose a rtijuicm, allowing him six months to complete the work. AMieu the mass was finished, Gilles colUfted all the musicians in the town to a.ssist at the rehear- sal, inviting the most celebrated masters of the neighborhood, and among others Campra and the Ablx- Madin. 'Die composition was found to bo admirable ; however, the two young counsellors had changed their opinions, and would not have it ]>crl'ornied. Irritated by this circumstance, Gilles said to one of them, " Eh 6iV;i .' die ii<- sera c-riruiie jtniir jx-rsoniw ; fen rem avoir ntrrinie .'" — Very weU, then, its first perfonnance shall bo for myself. In fact, he died a very short time atfer, when this mass was sung for him. It was subsequently used in 1764, at the funeral ^er^•ice in honor of lUuueau, at the Oratoirc church in Faris. (JIMM.V, IIY.VCINTO. A learned Italian priest. He published a work at Naples in 1724, entitled " Idea deIJa Storia drlT ItuJi'i l^trra/n," in 4to., in which is a dissertation on the rise aid progress of Italian music. (» IN ALT. The octave above the G, or trc' U clef note ; the ''rst note in alt. 29 eiN ENCYCL01'.i:i)IA OF MUSIC. OID O IX AI/nSSIMO. The octave above G in lit, aiid the lil'iecnth above the G, or treble clef note ; the first note in altissimo. GINGUENE, 1'. L. A French author and warm partLsan of I'iccini in the disputes between the PiccinLstsand (jluckLstf. lie wius born at UcnneH in 174S. lie published a jiumphlct entitled " Ku- tretien siir I' El at arliicl de I'Opcra de I'tirin." This book caused a violent critique from Monsieur Suard, wliich appeared in the Mercure of tliat time. lie subseiiuently carried on a paj)er war with MM. Suard and I'abbi' .\rnaud, under the name o( Mi'top/iiU: (iin^uenc occupied himself much in the study of Italian literature, and the liistory of music, lie wrote, conjointly with Framcry, the article Musique in L' Eiuyclop^:die Mitliodique. Much of Ginguene's " lUstoire de la Miisit/iie" is translated from Dr. 13urney, whom, by the by, he mij^lit a.s well have quoted throughout tlie whole article of Cantalc, which is one of the most inter- esting in the volume. In 1801 this writer pub- lished a very interesting memoir of the lite and writings of Nicolas Piccini, where he ai)i)ears to have acknowledged the errors of his youth. The partisans of Gluck, and even those of I'iccini, were pleased with the moderation he at length observed towards the reformer of the French opera. GIXI, GIOVANXI AXTOXIO. Chapel-mas- ter to the King of Sardinia, at Turin, about the year 1728. lie composed the music of the operas of " Mifiidale" and " Tamerlano," also much other vocal music. GIOCOSAMEXTE, or GIOCOSO. (I.) Mer- rily, playfully, with sportiveness. SjiionjTnous with scherzando, which see. GIOJOSO. (I.) Joyously, -n-ith buoyant hi- larity. GIOKDAXI, GIUSEPPE, was born in Na- ples in 17.5.3. He went to England early in life, and resided so many years in London, that he was at length almost a,s well acquainted with the English language, and English style of music, as any individual of his time. In the yeiir 1779, he entered into a speculation with Leoni, the singer, by taking the theatre in Chapel Street, Dublin, for the performance of operas, in which the whole of the musical department was to be under his management. This connection continued about four years, Giordani composing the music, and Leoni superintendijig the singing. They had considerable encouragement ; but owing, as it is supposed, to several improvident engagements which they made, they at length became bank- rnjits, and the concern was, of course, trans- ferred to other hands. (Hordani from this time continued to reside at Dublin, as a teacher of mu- sic, where he had several ])upils of distinction. He married there the daughter of Mr. Wilkinson. He not only wrote, but published, much music Df his Italian opera.s, which were in general well received. Those that are now in print are, " .-!;•- tajieriir," " Aiiti;/i>>w," and " // liaccio." Of his English operas, the first that «as published ap- pears to have been " Perseverance, or the Third I'irao the bcwt," performed in Dublin in the year 178''. His sonalas and other i)ieces for tl:e i)iano- forte, as well as his single songs, lioth Italian and English, had a great sale, llesides the above, Giordani composed an onitorio entitled " Isaac." GIORGIS, JOSEPH, a violin pupil of Viotti, published, at ParLs, some concertos and airs with variations for his iiLstrument. He was violiuLs*, at the chapel of the King of We:itphiilia about the year 1810. GIORXOVICHI. See Jaunowich. GIOVAXELLI DA VELLETRI IIUGGIERO, born about 15(30, was a cha])el-raaster and suc- cessor to Palestrina in the churcli of St. Peter at Rome. He was also a singer in the pontifical chapel. There is extant a collection of madrigala by Giovanelli, that were printed at Venice. He composed many masses, some of which have been much celebrated. He also publish.ed a work on music in 1581. GIRANEK. Member of the chapel of the elector of Sa.\ony, at Drer.den. He died m 1760, and left some music of bis composition for the violin, harpsichord, and flute. GIRAUD, member of the French Academy of Music, composed, in conjunction with Berton, the opera of " Deucalion et Pi/nha," which was per- formed in 1755. In 1762 he composed alone, " L Opira de .Sociiti." His motets also met with much success in France. GIRBERT, CHRISTOPH HEIXRICH, direct- or of the music at the theatre of the Margrave of Anspach, BajTCuth, in 1785, was a celebrated pianist and composer for liis iusti'ument. Gilbert was born in 1751. GIROLAMO, DU N.WARRA, a Spaniard and renowned musician, flourished in Italy about the year 1550. GIROUST, FRAXCOIS, was born at ParL^ in 17.30. At seven years old he was chorister at the church of Xotre Dame, where he learned composi- tion under Goulit, music master of that church. In 1 775 the king named him master of the Chajel Royal, and afterwards superintendent of his mu- sic. Giroust composed several oratorios, an}- one of which would have rendered a comjioser cele- brated. In that of " Le Passat/c de la Mcr liou^," he sur])assed himself. He also composed for the opera ; but, through cabal and envy, his works did not appear there. It was athrmed by connoisseurs who heard the overture of hLs " Tiliphe," that it was at lea.st equal to that of " Iphiginie." Giroust died at Versailles in 1799. GIS. (G.) G sharp. GISMOLL. (G.) G shari) minor. GirrER, J., published at Mnnbeim and Mentz. in 1784, three quatuors for the flute, violin, viol, and violoncello, and three duets for tlie vioUn. GIITETH. An instrument which David brought from Gath, of the harp kind. GIULIXI, .\XDREAS, chapel-master at Augs- burg. He was a iirotound theorist in music ; he taught singing for the church, also comjjosed much sacred and other music. He died in 1771. GIULIXL COXTE GIORGIO, a celebrated poet and composer at Milan in 1714. He died in 1780. GIULLARI, or GIOCOLARI. The name for- merly given in Tuscany to those bonds of buffoons, dancers, actors, singers, and instrumental per- formers, retained in the courts of princes, and other great persons, and who by their gamtols 330 GIU ENCYCLOP.i:i)IA OF MUSIC. GLB (isrces, sporfci, and songs, amused and diverted the company. GIUS'l'O. (I.) A terra sif^nifyiiiR that the movement before which it is written is to be performed in an equal, steady, and just time. GIVING OUT. A tenn used by tlic organist.s to 8i|;nify the previous or preluding performance, by whi'h the psalm tune about to bo sung is aiuiouuced, or i/iven out, to the congregation. GIZZI, DOMINICO, was born at .Vprino, in the kin'j;dom of Naples, in IGSl, and died at that (■ai)ital in 171."). He was a celebrated sin^jcr, and in 1720 founded a school of singins. in which ho fonucd the famous Conti, suiniimed (ji/ziello, in hon« • of his master. The rep\itation of (Ji/./.i us a ma.ucian is purely traditional, as none of his works are now existing. GIZZIELLO. See Conti. GL.VESKU, CAUL LUDWIG TRAUGOTl', bom at Wcissenfeld in 1747, was director of music at the seminary there, aiul comi)osed much church and instrumental music, lie died in 1797. GLAREAN'US, HENRY LORIS, or I.ORIT, ^o called because he was of GlarLs, in Switzer- land, was born in 1488. He first tau;;ht music at Cologne, and afterwards at Bale, Paris, and lastly at Friburg, where he died in 1 oiiS. His music overy piece of vocal music in which melody and tlie vibration of a finger gloss will >-ield in the way above described. The less thetivxnntity of water in glasses of similar fonus and eiual ca- pacity, the lower will be tlio scale; heiue the facility of forming a complete scale bv the quan- tity of water contained in each, 'llic skill, or rather knack, of operating upon the sets of glasses for the production of melodies and har- monies, is that of procuring instantly the required vibration by a gentle and rapid action of the finder upon their edges, and so (juickly from one to another as to be able to introduce hunuo- nies to the sounds of the air or luelody before the vibrations of its glasses have iciuted. A touch of the finder on the ed^e of a glas.s puts, of course, a stoj) to its vibration, and thus prevent* confusion. See article Fiianklin, 1Ji:.nj.vmix. GLEE. A vocal composition in three or more parts, generally consLsting of more than ou« movement, and the subject of which, notwith- standing tho received sense of tlic word ffke, may be either gay, tender, or grave ; bacchana- lian, amatory, or pathetic. When the glee was first introduced is not exactly known, but it is of modern invention, and was originally, as appears evident from its name, confined to themes of cheerfubiess and couN-iviality. The term itself is derived from a Saxon word sigiu- fvins miwiV, and therefore, in very strictness, master was J. Cochheus, and his preceptor in literature the celebrated Erasmus, with whom he was united in the strictest friendship. Erasmus, in his letters, represents (ilaroanus as a man of profound and universal learning, joining to the knowledge of philo-^ophy, theology, and mathe- matics, that of ijoetry, geography, and history. The Emperor Maximilian 1. gave him a crown of laurel aiul a ring, as a mark of his esteem for harmony are combined, whatever may be the nature of the subject on which it treats, partakes more or less of the glee, as some might su]>pose; but the term '//raciical music about the year l.)00, that is to say, at tho epoch of the Flemish school. n\e author establishes the twelve tones of the ecclesiastical chant, and gives on each of them a choice ot musical pieces, for two, three, four, and frequently more parts, selected from the chrf d'tFiirrrs of tnc l)est masters of his time. In this work are to be found documents respectinij many of the best composers. Choron has republished much from this writer, in his great work on music. Gl.ASER, JOHANN MICH., horn at Erlang- cii in M 25, was a violinist in the Chapel Royal at .\ns]Mich. In 177o ho rotxirncd to Erlangen as town musician, where he resided till his de- cea -e. .Some sjnnphonies of his composition were publlsned at Amsterdam. GLASSES. ITie musical glasses is an instru- ment consisting of a number of glass goblets, »rs»nibliii!j finger glasses, which are tuned by tiilini; them more or les.s with water, and jdayed upon with the eiul of the finger damped. There ire lew persons at a dinner table who have not •■ietl their skill in producing the sound which use a musical term sii;nificant ot joyous, mirth- ful, cheerful, compositions. The first use of the term i/iei-, we believe, is found in a pulilication , by I'layford, liitl7, entitled "Dialogues, OUv-b, AjTOS, and Ballads, of two, three, and four I voices," in which tho glees are all of that mirth- j fill nature wliich the word indicates. There j seems to be a dLstinction betwei-n the term* madrigal and glee. " .\s fair as moni " a niatl- rigal lor three voices, was composed by NN'ilbyo ill 1.5".)S. Whatever distinction there may have been in early times, and large as the dill'erence mav have been between the madrigal and ^!c-e, modern writers confound the terms ; the glee no longer remains in the narrow bouniLs of ita first definition, but makes inroads over the boun- darv line of the madrigal on the one siile, and that of the catch on the other. The beautiful glee, as it is generally called, of " Hark, the lark at heaven's gate sings," by Dr. Cod otheri of their countrymen to join tliein. and then turned their arm-t sut recsfully a^.tiiMt the Uriton*. gleemen were dibtin- ffiiiihed by two appellution^. the one iignit'yinf,' mrrry.nriker^. and the other harpers. .Mimii-ry, daneinir, tunihilng, ahiKlit of hanil, and varinun 'leeeptive triek*. were used by gleemen to amuse their i|»ecbJtor«, an'l thev bi-came the juggler* and merry-makers as well u the minstrels ul'their time. GL?:iCIINLVXX, JOHAXN ANDREAS, was born in (jermany in 17"o. In 1791 he was made director of music to the court at Hildburghausen. He has composed much vocal and instrumental music. GLEISSXER, FIIAXZ, musician to the court at Munich, has composed an oratorio of consider- able merit, called " Lazarti»," also much other vocal and ijistrumental music since the year 179<5. GLIDING. A term applied by flute perfonn- CTs to the action of gently sliding the finger for- wards from off the hole it has been erajiloycd in Btopiiing, by which the ear is imperceptibly led to the succeeding sound. GLISANDO, or GLISSICATO. (I.) In a gliding manner. GLOEGGL, FRANZ XAA'EK. Chaje -mas ter at lint/ in 1790, and founder of a music echoo there. GLOESCII, CARL WILIIELM, born ai Her- lin in 17.'J2, was the only son of I'cter Gloesch, t celebrated perfonner on tlie hautboy. Carl Gloesch was, in 17G5, chamber mu.sician and music ma-ster to the royal family of Pru.ssia. lit died at Berlin in 1809. GLORIA. (L.) A principal movement of the mass or Catholic service. GLORIFICATION. Singing in praise, and to the honor, of God. GL08S0P, MRS. Formerly Miss Fearon, an excellent English singer. .She went to Italy for improvement in her art, and was engaged at the Theatre of San Carlos, at Naples, to supply the place of Madame Fodor, and at a salary, it w reported, of thiity thousand francs (one thousand two hundred and fifty poun(Ls) per annum. GLOTTIS. (Gr.) Two semicircular mem- branes, situated at the top of the larynx, and forming a small oblong aperture, which can be dilated or contracted at pleasure, and by the various vibratory motions of which the tones of the voice are modified, llic same name is ako applied by the ancients to an additional and movable part of the flute, which they placed be- tween their lips in performance, and which is supposed to have been similar to our reed. The name which answers to the Latin word tinyult, the tongue, seems suflicient to explain that thb wa.kin^ the advice of any one, anci by ho doing he avoided the usual rou- tine of other composers. In fact, expression seemed to be his principal study, whilst he dLs- re;;arded the dictates of usage and fashion. At the lirst rehearsal, which was attended by a con- Kidcnible number of amateurs, one aria was wanting on account of some reijuired alteration in the words; when Gluck, perceiving that his music was much criticized, took advantage of the deticiency of the above air, and brought it out entirely after the Italian model, merely to please the car, and williout piying tlie lca.st attention to the words, to the relation of the rausic, or to the general character of the drama. This little ruse operated wonders at the second grand rehearsal, when it wa.s whispered about by the dilettanti that this song was not the com- po^itioll of (jluck, but of their favorite San Slartini. Still Gluck took no notice of the above remark, and the tixst public representation of the opera took place when the audience were almost unanimous in their approbation of the entire music, with the single exception of the air a rif'iliciirie, which they condemned as dull and inappropriate, the general outcry being, that it destroyed the unity and character of tlie whole opera. It was thou that Gluck took signal vengeance on his hyjicrcritics at the rehearsals, by himself avowing the air in question to be San Martini's composition. This ojjera so establLshed his fame, that he immediately received orders to compose ior sevenJ of the principal theatres in Italy. lie in consequence jiroduced " Dcinetrio " and " Ipmnin'-itru" for Venice, " Artamcne" ioT Cremona, and " Altssanriro neW Indie " for Turin ; also composed successively, for Milan, " Dcrno- fooiite," in 17 12, *' Siface," in 1743, and " I'/ufdra," in 1744. Almost all these works were succes-s- ful, and placed him in the highest rank of hi.s profession. In 174.) he wa.s invited to England, where he composed an ojiera entitled " La Caduta de Ijiijaitti," and a pa:.ticchio called " Piramo e Tiahf ;" he also reproduced his " Artamctw." W\» " Civlulii de Oi^aiili" was performed at the King's Theatre before the Duke of Cumberland, in compliment to whom the whole was written and composed. 'llie music had considerable merit, and the opera was tolerably well received, though it had only five representations. His " Artiiincnr," which was produced in the same s«.-v;oii, (174fi,) was also successful, and Monti- celli was every night encored in the beautiful air " Iliimefena il mtslo cUjIio." " Pyrnmo e Tithe " was a selection of the most beautiful airs from all his other works; but from their inapplica- bility, as thus collectetl, to the scenic rci)resenta- tion, the jjasticchio, as a whole, disappointed the l)ublic ; and soon after its representation, the composer quitted England, being much aston- ished to tind that those airs which had been most efl'eetivo in the operas for which they were originally composed, were without effect when reproduced with other words and action. Gluck next proceeded to Copenliagcn, and from thence to Germany, where he composeil several thcjitri- ;al and other works, and zealously applied him- self to repair th.c dei'ects of his education, both by the study of languages and by a.ssociatio{i liimself with individuals distinguished in tin literary world. One result of these pursuits was, his actiuircment of bolder and more comprehen- sive ideas than had ever jireviously been con- ceived as to the effects producible by the union of poelry and miusic. lie soon felt that thrise beautiful melodies, on the powers of which the Italians chiefly relied for the success of their vocal comjiositions, were in them-elves only cajjable of jjleasing the car, and could never reach the heart. When spoken to concerning the pathos of certain cel'.-brated Italian airs, he was known to reply, "They are ehanning, but," adopting an energetic Italian e.xpressioii, " thoy do not draw l)lood." It was from about thi* time that (iluck totally abandoned the Italian school of composition, seeming to think with the Abbe Aniaud, that their opera is a concert to which the drama is a mere cloak. He now, tm the Giulio Romano of music, commenced tuni- iiig his mind to a new dramatic system, where every thing should be in strict keeping, the music never varying from the style demanded by the pa.ssing scene ; where, in fact, the interest should result from the perfect ensemble of all the i)arts of the drama and mu.sic. He deter- mined further, that it was hopeless to bestow that energy and those charms on music, of which it is susceptible, if it be not intimately allied with animated and simply expressive poetry, such, in fact, as truly depicts natural and detenninate sentiments ; that vocal music may be made to become a language expressive of all the affections of the human heart, but that, in order to bring it to this degree of jiower, the melody must follow with prccL-'ion the rhythm and the accent of the words, and the instru- mental accompaniments must a.ssist by their own expression, either in strengthening the voice part, or atfording a contrast to it, as the scenic situation may require. In the year 17.')4, the high reputation of Gluck caused him to be in- vited to return to Italy, when he brought out at Home hLs " Clrmenza di Tito" and " Aiiti;/oiitu." He then gave an opera named " CIclia," for the opening of a new theahre ; and proceedetl to I'arma, where he coiiii)Osed " Baucis e Philemon," and " Ariiteo," all of which were successlul ; in his own opinion, more so than they deser\-e.ary to state oome jmr- ticulars. Gluck, having t)ecome convinci-d that the poetry of Metasta-oet, whom ho met at Vienna ; particularly statintr hit con- viction, that it would lie proper to introduce choru.siH with action, notliing tending more to produce jiowerful theatrical effect than the sen- timents ot an impassioned multitude. Calznbig^ had himsell' re.Hectcil on the im|>ertc<-tions of th« Italian opera, and as he took the saiue view of the subject as Uluck, he was delighted to f jid k 333 GLU ENCYCLOPEDIA OF MUSIC. GLU prcftt a musician rcndy to join with him in at- ' toiuptiiif; a revolution in this (leiwrtmcut of literature and tlic tine arts. lie accordingly ; wrote the ])oem of " Orphem," which Gluck set to music, and it was fijst pcrfonned at Vienna in 17«i4. It excited more astonishment than pleasure on its first rej)rcsentalion ; the public car having been accustomed to the routine of recitative, and to the mannerism of the usual Italian airs. Still, however, its great musical beauties surprised the connoisseurs, whilst its simple and affecting situations and expression ixcitcd hitherto unknown emotions in the sen- sitive mind, lliese feelings so prevailed, that at I he filth performance of the opera all objectors were silenced, the piece wa.s generally applaud- ed, and its success became more continued by a very considerable number of successive rcjjre- pentations. In 1705 Gluck war, again invited to Parma, on occasion of the marriage of the infanta. He then proposed to give " Orp/wux," but that performance was not agreeable to the court ; the opinion of the citizens of Vienna having no weight with the Italian amateurs, who could not imagine the possibility of writing better poems than those of Metastasio, or tiner music than that of Jomelli, Sacchini, or I'iccini. Millico, the principal singer at Parma, being requested to npjjear in the part of Orpheus, said, at tirst, that Buch a request was made only to destroy liLs reputation. Gluck, however, overcame all ob- stacles, and insisted on risking the performance, esteeming the Italians to be more attached to , their sensations than their opinions ; in which judgment it would seem he did not err, for the opera met with perfect success on the first repre- sentation, and had twenty-eight successive per- fominnces, the " Arniiila" of Traetta, who was engaged at the same time with Gluck, not being allowed to be brought forward. " Oi-j)hcm" wa.s afterwards performed with success in almost every theatre of Europe. Amongst others it was, in 1773, brought out at the court theatre at Naples, when, on a duet in the third act l)y another composer being substituted lor the original, the audience called loudly for the resti- tution of Gluck's music. This opera obtained the honor of being the first ever printed in Italy, those composed antecedently having been only cojiied for sale. Gluck now visited the principal cities of Italy, and amongst others, Naples, where he was en- gaged to compose two operas : in one of these he wrote for Cartiirclli the celebrated air, " .St mai senti spirarti stil volto," with which the Neajiolitan professors found much fault, chiefly on account of a long j)ause in the vocal part, during which the instrumental accompaniments continued the movement. Tliey even laid the score of the air before Durante, to hear his opinion of it. " I will not pretend to decide," said tliat great master, " how lar this is strictly agreeable to rule ; but one thing 1 can assure you, that we should, any of i us, be very proud to have imagined and composed n similar passage." The brilliant success of" Or- | phrtis" induced Gluck and Calzabigi to unite I their cJforfs in treating iqwn the same plan a still I more tragic subject ; they accordingly composed | "Alrrate," which was first performed at Vienn» In ! 17'^H. Never did any opera obtain sue! great ] Bp])lanse or d\.nv so many tears ; no othtr drama wna even allrwed at the court theatre for the two 33 succeeding years, every perfonnance during that time being " -l/fci/c." In 1709 it wa,s printed, with the following dedication prcfixec to it, writ- ten by Gluck : " When I determined," says 1:q "to comjwse music for this poem, I proposed tc myself to shun various abuses in composition, which the vanity of singers, or excessive compla- cency of composers, had introduced, and which had rendered the Italian opera a most fatiguing and ridiculous, instead of a splendid and beauti- ful spectacle. I endeavored to reduce music to its legitimate puri)Ose, which is that of seconding poetry, in order to strengthen the expression of the sentiments, and the interest of the fable, with- out interrupting the action, or weakening it b^ superfluous erabelhshments. It struck me that mxisic ought to aid poetry, a-s \-ivacity of coloring, and a happy agreement of Ught and shade, strengthen the effect of a correct and well-designed picture, by animating the figures without altering the outline. I have, therefore, never in thb oi)era interrupted a singer in the waiTuth of a diulogiie, in order to introduce a tciWowf. ritornclh, nor have I stopped him in the midst of a dis- course, to display his agUity of voice in a long cadence. I have never deemed it requisite to hurry over the second part of an air when it consisted of the most impassioned and important portion of the subject, in order to repeat the words of the first part four times over; or to fin- ish where the sense does not conclude, in order to give the singer an opportunity of showing that he can vai-y a passage in several ways, and dis- guise it in his own peculiar manner. In short, I have attempted to reform those abuses against wliich good sense and good taste have so long de- claimed in vain. I have considered that the over- ture ought to prepare the audience for the charac- ter of the coming action and its subject ; that the instrumental accompaniments should be used only in proportion to the degree of interest and passion of the drama ; and also, that it is princi- pally requisite to avoid too marked a disparity in the dialogue between air and recitative, in order not to break the sense of a period, or interrupt in a wrong place the energy of the action. Lastly, I have thought that I sliould use every effort in aiming at simplicity, and have accordingly avoid- ed milking any show of difficultie-; at the expense of clearness. I have set no value on novelty, un- less it naturally sprang from the expression of the subject. In fine, there Is no rule of composition that I have not willingly sacrificed for the sake of effect. Such are my principles, and fortunate- ly the poem strongly seconded my project, llie celcbrate, not announcing himsclt' by any of the means em- ployed by (iluck. He had previously composed no less than three hundrei before related. " .fr;;i»V/rt " was pertormed with moder- ate success in Mai-ch, 1777. It wa.s the same with this opera a-s with " A.'ccstc ; " the public accus- tomed themselves to it by degrees. Witli respect to " Iphitjcnia in Taiiris," and " Echo and Nar- cissus," the former redoubled the enthusiasm of Gluck's admirers, and the latter (though eon- dcmnetlt could not cool it. The public were not at first favorable to " Iphirjenia in Tauris ; " but by keeping the work on the stage, being cnrofid in the jjerformances, adding superb ballets, and causing it;< praises to be heard every where, nu- merous audiences were attracted. The two last- named openus were the latest comjdete produc- tions of theii- great composer. He resided -several years after at Vienna, wl-.erc he peaceably en- joyed in quietude his repulafioii and fortune. He had i>rojeetcd, and even begun, the opera of the " Danaidi'.t ;" but being attackcil by apoplexy, he was unable to continue it, and afterwards gave the poem to Salieri, who subsequently produced it with succesfi. (Muck dietl of a sccoml apoplectic attack in 17S7, leaving a fortune of nearly six hundred thousand francs, (about twenty-five thousand pounds.) J. J liousseau's admiration for the genius of Gluck, as soon as he bei arac ac- quainted with his works, is well known. All Paris ob:en-esented himself from such entertainments. To one per- son he said on this subject, that Gluek had come to France to give the lie to a jiroj osition which he had formerly defendeorcs. Gluck was one day j)layiim on his piano the part in " I/ihi'/min in Tnnri.i," where Gre-te*, left alone in prison, alter having ex])erienceil hU «c- custome■ mime rentre dans mm rrr-ir." i^mt one present thoiight he ol>srr»-ee rhythm Ls the same as origi- ually. According to a notice in " Tlie New Montllly Magazine," vol. iv. page ;i89, there is a copy of this national song, published without date, by Kiley and Williams, in whidi Anthony Younix, organist in London, is called author oMlie ail', riierc is also a story, that thi* national .song, an llurney, the author of " The History of Mu- sic," uiuint lined, was not made for a King (icorge ; but that, in older versions, it ran thus, " God save great James our king ; " and Hurney adds, thM it was originally written and set to music for the Catholic chapel of James II., and no one durst own or sing it after the abdication of James, fear- ing to incur the penalty of trea.son, so that the song lay dormant sixty years, before it was re- vived for George II. It is very interesting to observe how this sons, of which the words have no great merit, has become dear to the whole English nation, on account of the associations connected with it. Tlie French Marseillaise Hjnnn is of a much higher character, and ee the violin until fourteen years of age, when, a change occurring in his father's circum- stances, his mother's death soon following, he was placed in a situation as clerk in the office of a very respectable solicitor in Canterbury. There, although laboring under the disadvantage of daily employment at the desk, GoodlMin made such progress on the violin, that upon the death of Ms tather he succeotled to liis teaching, though only then eighteen years of age. Being left, with two younger brothers, to his own re- sources Goodban next l>egan seriously to apply him.self to the study and practice of the piano- fnrte, and the science of muac generally. In 1809, he was appointed one of the lay clerks in the cathedral, and soon altorwards took to the profession as a teacher of the violin, piano-forte, and singing, as hLs only means of support. In 1810 (the society being then in a declining state) O. Saffery gave u]) tlie leading and direction of the orchestra at the Catch Club, when, at the solicitation of the members of tlie society, Goodban undertook the duties of that honorable situation, and to this circumstance principally attributes the success of his subsequent pro- fessional career. Goodban's principal publica- tions are as follows : " A complete (juidc to the Violin," published in 1810; " .V (iuide to tie Piano ; " " A new Game of Musical Characters, adapted for the Improvement of Beginners and Amusement of Performers in generrtl," pub- lished in 1818; "Tlie Kudimcnts of Music, with progressive Kxercises to be written ujjon Slates, being a new System of Musical Instruction, and adapted as well for teaching in Classes iis for private Tuition," published in 18'20 ; " A Cilee to Apollo and Bacchus, for four Voices," dedicated to the President and Members of the Catch Club, Canterbury. GOODGUOOM, JOHN. An English composer and singer at the Chapel lloyal, London, about the year 1750. Some of lus sacred music ha»» been published. GOODSON, RICHARD, bachelor of music and organist at Christchurch, Oxford, was elected profes.sor o'" music there in 1682. He died iu 1717. GORDON, JOHN, a professor of music at Gresham College. He died in 1730. GORGHEGGI. (I.) Rapid divisions, as ex- ercises for the voice in singing. GOSS, JOHN JEREMI.VH, was a native of Salisbury, and be<'ame a chorister boy of that cathedral. Ills su])erior abilities procured hira the situation of a gentleman of the ('hapcl Royal, and vicar choral of St. Paul's and Westminster Abbey. He was much admired as a singer, his voice being, not as is freoscd several operas for it. In 1770, he founded the concert of amateurs, where the Chevalier de St. George was first violin, and which liad the greatest success during ten sea- sons. In 177.3 (Jossec took the management of the spiritual concert, and in 17iS4 was appointed a principal i)rofessor in the royal school of sing- ing and declamation, founded at the Minus plaisirs by M. le Uaron Ureteuil. At the com- mencement of the French revolution, he accept- ed the situation of director of the band to the national guard ; and many symplionies, hymns, &c., for wind instruments, were at that time com- posed by him, and perfonncd by this band on different public occasions. In the year 1795, a law was passed by the National Convention, de- finitively fixing the organization of a Conserva- tory ol Music, when Gossec was chosen, con- jointly with Messrs. Mehul and Cherubini, in- spector of the establishment and professor of composition ; Catcl, his principal pupil, being at the same time named prol'cssor of harmony. The jjupils of Gossec have, for the most part, obtained the great prizes at this institution. Gossec at the age of seventy-eight composed a " Te Deum." After the dissolution of the Conservatory, in 1815, he was rewarded with a penision, and con- tinued to freciuent the sessions of the Academy of Fine Arts until 1823 ; but then, having reached the age of ninety years, his faculties grew feeble, and he retired to Passy, where he passed the remainder of his days in peace. The following anecdote Ls related respecting the celebrated " O lalutaris" of this master. In the year 1780, Messrs. Lais, Cheron, and Rousseau, tliree French suigers, were in the habit of fre juently accompanying Gossec to dine with M. de la Salle, secretary of the Opera, at Clienevieres, a village near ParLs. The. curate of the parish, who was well known to them, one morning re- quested the three singers to penorm in his church the same day, on the occa-^ion of some l>«t!val. " ^Vith all my heart," said Lais, " if Gossec will wrilc something for us to sing." Gossc. immediately asked for music paper, and whilst the parties were at breakfast, wrote his " O laiutaris," which, two hours ai'tcrwai'd*, was eung in the cl.urch. This composition has been printed in England, in a very elegant musical work, entitle! "Vocal Anthology." GOTI, ANTONIO, a celebrated Italian sing- er, was engaged at the ojiera at Stuttgard, when under the direction of Jomelli, in the year 1663. lie was still living in Italy in 1771. GO'rrSClIED, JOIIANN CIIRISTOPII, first prolessor of philosophy, senior at the University of iKjipsic, and colleague of the grand college of the princes. He has published several treatises on music, comprising, 1. " Idccs aur fOriijiuect I'Aniir/uiti de In Miisiqiie, ct sur It Qiialitis de (Ode;" 2.. "Idtlet sur Ifs Cantuirs ;" 3. Idies sur VOpira. Gottsched died in 1766. GOUDIMEL, CLAUDE, a musician of Franche Comi)tc, who seems to have lost his lif« at Lyons, on the day of the massacre of Paris, for setting the psalms of Marot, is ranked among th« most eminent composers of music to CalvinLstical psalms and spiritual songs. Goudimel has been much celebrated by the Calvinists in France fo» tills music, which was never used in the church of Geneva, and by the Catholics in Italy, for in- structing Palcstrina in the art of composition, though it Is doubtful whether this great har- monist and Goudimel had ever the least ac- quaintance or intercourse together. He set the " Chaiuions Spiriiuclks " of the celebrated Marc- Ant, de Muret, in four parts, which were printed at Paris in \o6o. We may suppose Goudimel, at this time, to have been a Catholic, as the leaVned Muret is never ranked among heretics by French biographers. Ten years after, when he set the psalms of Clement Marot, this version was still regarded with less horror by the Catho- lics than in later times ; for the music which Goudimel had set to it was printed at Paris by Adrian Le Roy and Robert Ballard, with a privi- lege, in 15rv5. It was reprinted in Holland in 1607, for the use of the Calvinists, but seems to have been too difficult ; for we are told by the editor of the psalms of Claude le Jeune, which were printed at Leyden in 1633, and dedicated to the States General, that, in publishing the psalms in parts, he had preferred the music of Claude le Jeune to that of Goudimel ; for as the counterpoint was simply note for note, the most ignorant of music, if possessed of a voice, and acquainted with the psalm tune, might join in the performance of any one of them : which is impracticable in the compositions of Goudimel, many of whose psalms, being composed in fugue, can only be performed by persons well skilled in music. GOUGELET. a musician at Paris, published there, in 1768, two collections of ariettes from French operas, with accompaniment for the gui- tar. He afterwards produced his " Mithode, ou Abrigi des Jid(jles d' AccomptuitwtneiU de Clavecin," and " Reciuil d' Airs, avcc AccompaffnemeiU dun nauvenu Genre." GOUPILLIER, or GOLTILLET. Chapel- ma&ter at the church of Meaux, in France, and subsequently at the chapel of Versailles, in the year 1683. Several of the motets of Goupillier were composed by Dcsmarets. Louis XIV., having been apprised of this fact by Goupillier himseli', said to him " Atez-vntis du mains pai/e Dcsmarets t" Goupillier replied, " Oui." The indignant monarch commanded Desmarets never again to appear in his presence. Such was the sensation created by this att'air, that Goupillier was obliged to retire. The king, however, granted him his pension of retreat, and likewise conferred on him a good canonry, to console him in his disgrace. He did not long enjoy these benefits, as he died a very few years afterwards. GOW, NEIL. The following interesting ac- count of this extraordinary mu:-ical charactet was written by the reverend princijial Baird, of the college at Edinburgh. " Neil Gow was born in Strathhand, Perthshire, of humble but honest parents, in the year 17'i7. His tasle lor music was early decided. At the age of nine he begar to play, and was, it is said, self-taught, till abou« 338 30W ENCYCLOP.^DIA OF MUSIC. oo\« I ais thirteenth year, when he received some in- nructioii of Johu Cameron, an attendant ol" Sir (jcorgo Stewart of (Jrnndtully. Tlie following anecdote of a competition, which happened a few years after this, deser^'os to be related, not only as a ]>roof of natural genius assuming its station at an early period, but on ac(rount of the circumstance with which it concludes and which was perhaps the first ncknowledgnu'iit of that peculiar professional ability to which lie alterwards owed liis fame. A trial of skill hav- ing been proposed, amongst a few of tlie best I)crformers in the country, young Neil for some time declined the contest, believing himself to be no match for such masters in the art. At bust, however, he was i)revailed on to enter the lists, and one of the minstrels, who was blind, being made tho umpire, the prize was adjudged to Neil (iow, by a sei\tence, in the justice of wliicb the other comi)etitors cheerfully acanient>ition for Abucairnoy," and ' Loch Eroch side," are striking specimens of feeling and power of embellishment. 'ITicse wore set and prepared for publication by bis son Nathaniel, whose rf--pevtable character and pro- priety of conduct Imig secured him the esteen. and favor of tlic public, and whose knowledgw of composition, and variety of talent in the art, joined with the grellte^t refinement of taste, elegance of expression, and power of execution, rendered him, beyond all dispute, the most ac- comi)li.-ihed and siicce-isful performer ol Scottt^L music whom that country has jn-oduced. In pn- vate lil'e Neil (iow was dislinguLshed by a sound and vigorous understanding, by a singularly ncuto penetration into tlie character of those, both in the higher and lower spheres of society, with whom he had intercourse, and by the conciliating and a))i)ropriate accommodation of his remarks and replies to the peculiarities of their station and temper. In these he often showetl a liigh degree of forcible humor, strong sense, and knowledge of the world, and proved himself to have at once a mind naturallv sagacious, and it period (iow's excellence was doubtless unrivalle 1 i very attentive and discriminating habit of obscr- in his department of Scotch national music, and formed, ir. truth, an era in the progress of its improvement which has since been completed by his sons. The livelier airs which belong to the class of what are called the strathspey and reel, and which have long been peculiar to the nor h- crn part of the island, assumed, in his hand, a style of spirit, fire, and beauty, which had never oeen heard before. It is curious and iiitcreUing to inipiire, on the principles of art, in what con- sisted the peculiar character of a performance which had thus channcd and enlivened the scenes of gayety and innocent pleasure, with eer\-eird Gray, Hon. Wil- liam Maule, M. P., and for the County Hall, Perth, by Sir Henry liaeburn ; and he has been introduced into the view of a Highland wedding, by the ingenious Mr. Allan, to whom he was re- quested to sit for the purpose. In this jjicture, too, Mr. Allan has pre^-erved an admirable like- ness of Donald Gow, the brother of Neil, his steiidy and constant violoncello, and without whose able and powerful .iccompaniiucnt Neil could scarcely, in his latter days at least, be pre- vailed on to play a note. He dieil at Inver, neat Dunkeld, in I SOT. Itesides his son Nathaniel, mentioned below, he left another, John, who long resided in London, and was also dis< tinguiiihed and admired, as inheriting much r' 333 «ow KXCYCLOPyEDIA OF MUSIC. GRA nis fftthcr's musical taste and power of execu- tion. Two other sons, of eletely established their rejjutation as true dc- Rceudantd of old Neil. On the whole, a family of such celebrity in national mu^ic as that of the Gows, Scotland is not likely soon to witness again." GOW, NATHANIEL. Son of the preceding. His ability as a performer beini; alluded to in the fore^joinj; sketch, we need liere only subjoin the following list of the works publislied by him : "The Bcfluties of Neil (iow, in three Parts," " Fourth, Fifth, and Sixth Collections to follow the above." These six books contain the chief compositions of the Gows. " The complete de- pository, in four Parts." The above are mostly all old, original, slow, and dancing tunes. "The Vocal Melodies of Scotland, in two Parts." This work contains slow airs only, without the words. " The curious Collection of Scotland, arranged by Nathaniel Gow." GRAAF, C. FRIEDRICII, a musician, born nt Rudolstadt, in Germany, composed much vo- cal and instrumental music towards the close of the last century. Most of his compositions are published at Berlin ; some few at the Hague, where, from the year 1762, he was chapel-raaater to the Pri)icc of Orange. GRAAF, FRIEDRICH HERMANN, younger brother of the preceding, was born at RudoLstadt, about the year 17.30. He was an excellent ilutist and composer for his instrument, and was for some time in London. He died at Augsburg in 1795. GRAI3UT, a French musician, was chapel- master to Charles JI., King of England, and di- rector of the music at one of the London thea- tres. The first dramatic piece produced at Lon- don under the name of opera was of his com- position, entitled " Ariadne, or the Marriage of Bacchus." It was performed for the first time in 1674. His second complete opera, with re- citatives, was " Albion and Albanius," performed iu 16S5. GRACE. Grace, either in vocal or instru- mental performance, consists not only in giving due place to the appoggiatura, turn, shake, and other decorative additions, but in that easy, smooth, and natui-al expression of the passages which best conveys the native beauties and ele- gance of the composition, and forms one of the first attributes of a cultivated and refined per- former. GRACES. The general name given to those occasional embellLshments which a performer in- troduces to heighten the etfect of a composition. The old English graces, used about 16()7, are divided into two classes — the smooth and the shaked. In the first class are the beat, backfall, double backfall, elevation, springer, and cadent; iu the second are the shaked backfall, close shake, shaked beat, shaked elevation, shaked radcnt, and double relish. 'Hie principal graces of melody are the appoggiatura, the shake, the turn, and the beat ; with the mordent, boat, slide, and s])ring, pecviliar to the Germans. The thief ornamenta of harmony are the aqieggio, tremaudo, &c. GRACE-NOTE. Any note added to a com- position as a decoration or improvement. Se€ GUACES. GRADO, sometimes WTitten GRADDO. (1.) A degree. A M-ord which, together with the preposition di, is apidied to the notes of any pas- sage moving by conjoint intervals; as when the sounds gradually rise or tall, tluough the lines and spaces, witliout making any hiatus or skip, they are said to be tli ffraddo. GRADUAL, or GRAIL. A service book, formerly used in the Romish church, containing all that was sung by the choir at high mass ; as the tracts, sequences, and Itallelujahs ; the creed, of- fertory, and trisiiffitim ; as also the office used at sjirinkling tlie holy water. The gradual was always performed iu tlie ambn, or desk. GRj\.DUATE IN MUSIC. A person wlio has taken the degree of doctor, or bachelor, iu the faculty of music. GR^EFE, JOIL\NN FRIEDRICH, counsellor of the chamber and of the posts of the Duke of Brunswick, was born in the year 1711, at Bruns- wick. He was an enlightened and zealous ama- teur of music. He wrote on singing, and composed many songs, which have been mucli admired. He published sLx collections of airs, the first of which appeared in 17.36 ; likewise " Les I'saumes de Cra- mer," with an accompaniment for two violins, iu 17G0, and a French ariette in parts, also much other vocal music. He died at Brunswick in 1787, aged seventy-six. GRAEFF, JOHN GEORGE, a cUstinguished performer on the violin and flute, was born about the year 1762, at Mentz, (where his father held a considerable post under the government,) and originally intended for the church, but having a strong predilection for music, was placed under the tuition of the celebrated Charles Frederic Abel, and subr.equently under Haydn. He quit- ted his native city at an early age, and suc- cessively visited Basle, Bcme, and Lausanne, meet- ing with encouragement etjual to liis most san- guine expectations, during a period of five yeare' residence in Switzerland. At Lausaiuie he was intimate with the celebrated Monsieur Bonnet do la Rove, and Duverdin, the friend of Gibbon the historian. Leaving Switzerland, Graeff made a year's stay in Paris, where his jierformanccs were received with the most marked applause. Among the number of his more intimate friends, there was the Abbe Vogler. GR.-ESER, J. C. A musician at Dresden. He published at I^eipsic, in the years 1786 and 1787, three series of sonatas for the harjjsichord, ot great taste. He died about the year 1790. GRAETZ, a pianist and comjwser for the Chap- el Royal at Munich in 180.3, was a pupil of Haydn and Bertoni. He published an oratorio called " The Death of Jesus," also much other sacred, and some dramatic music. GR.EVEN. A Gennan amateur composer of music, excellent pianist, and composer for his in- strument. He died young in 1770. Cramer \\ns inserted a sonata of liis composition in his " Flo- ra," and speaks highly of his taste in music. German mu8ician« GRAIIL, ANDR. T., 340 GRA ENCYCLOPAEDIA OF MUSIC. GRA born about the year 1715, pwbUshed some vocal and iustrumcntal music at Lcipsic. GRAMMATICAL ACCENT is the common measure accent, and is marked by the length of wordti, and with a regular succestjion of strong and weak parts. GRAN CANTORE. (I.) A fine or great singer — an exi)ression the application of which is generally confined to the first mau or woman of the serious opera. GUAN GUSTO. An expression api)licd by the Italians to the style of any full, rich, and high-wrought compo^ition. A song, chorus, overture, sonata, &c., the cast of which answers this description, is said to be composed in the gran t/iuto. These words sometimes apply also < to performance : the manner of a line and great 8Uigcr is said to be ui the (/ran gusto. GRAND. An epithet applied to compositions and performances which derive importance from their style, length, or fulness of parts. Hence we say grand sonata, grand overture, grand con- cert, &c. GIL:VNDFOND, EUGENE, was born at Com- piegue in 178(). lie studied the violin at the Conser\'!itory under Ivreut/er, and composition under Berton. lie comjMxsed many collections of romances, some of which have been publLshed, two concertos for tlie N-iolin, and the music of a comic opera, in two acts, performed at the Thid- tre Feyileau. GRANDI, ALESSANDRO, a cclebratetl Ital- ian cliurch composer, was a Sicilian by birth. He was chapel-master at Bergamo. His compo- sitions bear date from the year 1619 to 1G40. GRANDIOSO. (I.) In a grand and elevated style. GRANDVAL. A French musician. He pub- lished a work at Paris, in the year 17'i2, entitled " Essai 3ur le bnn Gout en iluaitiue." He likewise composed some cantatas. GRASSET, M., cfuf-d' archest re at the Italian openi at Paris, during Madame Catalani's man- agement, was born 1769. Some of his concertos for the violin have been published. He wiis looked upon as the best pupil of Bortheaume. Grasset was one of the professors of the violin at tho Paris Conser\-atory. Gli^VSSINI, GIUSEPPA, an ItaUan female smger of great celebrity, between the years 1795 and 1810. Her voice wuh a contralto of uncom- mon sweetness, and which she manageened to be at Bologna. ITierc another of her nieces was for the tirst time presenteil to her, with a rei)eiured in the Italian theatre with a contralto voice ; previously the part was sus- tained by men. Her tones, i)urely feminine, were received with distrust ; and some time elapsed before listeners could become reconciled to a voice deemed much too low for a woman. Such, however, w;is the rich and mellow tjuality of her new tones, extending only from A in the ba.s8 to C in the treble, that a new source of deliglit in the vocal art seemed to have been opened. She was beautiful and graceful, and her acting in- imitable, whUe her i)athos and feeling were the more evident when contrasted with the cold and Huty tones of Billington. From Gmssini we may date the dwtio for female voices, which has proved so great an improvement to the opera, and af- forded Rossini the opportunity of disjilaying such exqui.site and incomparable tii:>te. Gra-ssini wa.s at Florence in XVil'A, and she died at Milan in 1850. GRATIAS AGIMUS. (L.) Part of the Glo- ria. GRAUN, CARL HEINRICH, chapel-master to Frederic the (Jrcat, at Berlin, was born at Wahrenhrack, in Saxony, in the year 1701, and educated in the school of the Holy Cros« at Dres- den. He was first engageout two years, during which time the king con- structed one of the most complete and most mag- nificent theatres in Europe, to which (imun wa» the composer during the remainner of his lil'a At the onset of his mus'cal career, Graun df- 341 o n .\. EXCYCLOPiEDIA OF MUSIC. GRB voted his talents chiefly to the service of the church. IIo, however, afterwards composed a grciit number of o|)crius, a few of which are in the (ierman, hut by far the (greater part in the Itahan hui<^uan the violin from (Jucru, a pupil of Cai)ron, and afterwards perfected himself under Baillot. Gra- verand was during several years a violinist, and then ch'f-liments he could receive. The publications of (ireatorex are, a compilation of " I'.salm Tunes," harmo- nized by himself, and dedicated, by pennission, to the king. His labors have been cliieHy con- tiued to the arranging many musical composi- tions for the Concert of Ancient Music, and the Vocal Concerts, by adding complete orchestral, vocal, and instrumental parts, to what, jjcrhaps, was only a duet or air. Of this sort are, " Sing unto God," Dr. Croft ; " ThLs is the day," Dr. Croft; "We will rejoice," Dr. Croft; " (Jreat is Jehovah," Marcello ; " Hark, my Daridcar," I'urcell ; and a great number of harmonized glee.s. He also i)ut wind instruments to the musette in Handel's sixth grand concerto, ar- ranged the minuet to (iluck's overture in " Iphiijciiie," and adapted the favorite movc- I'lent in Handel s lessons for a full band. (illEAT SIXTH. The appellation given to the chord of the Hfth and sixth, when the fifth Ls perfect and the sixth major. GREr.EU, (ilACOMO. A German musician, who went to London, in 1703, with Margarita de I'Epine, afterwards Mrs. I'epu.sch. In 1705 (ire- ber composed at the New Ilajnnarket Theatre an llalinn pastoral, called "The Loves of Ergasto." lliis was the first attempt at dramatic musio ia the Opera House. GRECO, GAETANO, liorn at Naples in the •arly part of the eighteenth century, was director of the conservatory of / J'oreri di (Jiesu Christo. It is not known whether he devotetl liimself ex- clusively to tuition, as none of his com]>o.sitioa8 have lived ; but his reputation, as a learned pro- fessor, has survived him, and if ho luis not been immorUdized by his works, he has by his pupils. He was I'ergolesi's first master, and is. said to have bestowed particular care on his illustrious disciple, and to have foreseen his talents aiul genius. (iUEEK SCALE. This, in the time of Aris- toxenus, consisted of two octaves ; and the whole system was composed of a ditferent series of four sounds, with one note added to the bottom of the scale to complete the doul)lo octave ; all these sounds had different denominations, like our gamut. The (irecks used all the four and twenty letters of the alphabet for musical charac- ters, or symbols of sound. The Greek and Chinese scales of music have a very evident re- semblance to the Scottish ; the old national airs of Greece and those ol Scotland have so strong a similitude, that one would imagine them to have been composed at the same time by tho same genius, and in those age;i when harmony and nature went hand in hand. GREENE, DR. M.VT'RICE,. born at London, in liiOO, was the son of the Rev. Thoma.s (ireene, sergeant at law. He was brouglit up in the choir of St. I'aid's, and when his voice broke, was bound apprentice to Brind, the organist of that catheilral. He wa.s early noticed aa nn elegant organ i)layer and composer for tha church, and obtained the place of organist of Si. Dunstan ni the west, before ho was twenty years of age. In 1717, on tlie death of Daniel I'urcell, he was likewise elected organist of St. .Vndiew's, Holboni ; but the next year, his mitster, Brind, dying, (ircene was a]>poiiitcd his successor, by the dean and chapter of St. I'aul's ; upon which event he quitted both the places he had previously obtained. On the death of Dr. Crofts, in ll'ii'; he was a])])ointed organist and com])oser to tie Chapel Royal, and on the death of Eccles, in 173.1, master of his majesty's band. In 1730 ho ob- tained the degree of doctor in music, at Cam- bridge, r.:id was a))pointod public music jirofess- or in the same university, in the room of Dr. Tudway. (ircenc \va,s an intelligent man, a con- stant attendant at the opera, and an acute oliserver of the improvements in compo-.ition and per- formance, which Handel, and the Italian singers employed in his musical dramas, had introduced. His melody, therefore, was more elegant, and hLs harmony more pure, than that of his pred- ecessors, though l(';ts nervous and original. — Greene had the misfortune to live in the age and neighborliood of a musical giant, with whom he was utterly unable to contend, but by cabal and alUance with his enemies. Handel wits but too prone to treat inferior artist.s with contempt; what provocation he had recciveite of uncommon gifts and i'lspira'ioiu, an 3-13 (iltE ENCYCLOPEDIA OF MUSIC. GKE subject to human frailties, which enthusiasm, priusc, anil the love of fiime, more frequently au>{raeiit than diminish. AVe shall not oiuit to notice, that Greene, in conjvmction with Festing, hns the credit of beini; the first institutor of the charitable fund for the support of decayed musi- ciaus. See Fkstixo. Greene, during the last years of his lil'e, began to collect the services and anthems of the old English church composers, from the single parts used in the several cathedrals of the kingdom, in order to correct and publish them in score — a plan which he did not live to accomplLsh ; but, bequeathing his papers to Dr. Hoyce, it was afterwards executed in a very splendid and ample numner. Greene died in 17o.i, and wa.s succeeded, as composer to the Chapel Royal, and master of his majesty's baud, by his worthy pupil. Dr. William Boyce. GREGORIAN' MUSIC. Sacred compositions introduced into the Catholic service by Pope Gregory. GREGORY, ST., caUed GREGORY THE GREAT, a Roman pontiif, was born at Rome, of an illustrious family, about the year 5.50. His rank, and talents recommended him to the notice of the Emperor Justin, who appointed him prefect of that city. Reiiig of a religious turn of mind, and Hnding that the duties of his office attached him too much to the world, he retired to a monastery ; but he was soon sum- moned from his retirement by Pope Pelagius II., who appointed him one of hLs deacons, and sent him to Constantinople in the capacity of nuncio. Upon his return to Rome, he was em- ployed by Pelagius as his secretary, but at length obtained leave to retire to his convent. Here he hoped to devote his days to study and contem- plation ; but a plague, that raged with violence in the capital, drew him from his seclusion. He came forth from his retreat, and instituted Utauies, which were sung in procession about the streets of the city. On its an-ival at the great church, it is said that the contagion ceased. Of this distemper Pelagius died, and Gregory was unanimously chosen to fill this high dignitj'. Though of an infirm and weakly constitution, he possessed a vigorous mind, and discharged the duties of hLs station with ecjuanimity and firm- ness. One of the greatest events wliich, by his prudence and judicious management, he effected, during his pontificate, was the conversion of the English nation to Christianity. But what par- ticularly entitles Gregory to notice in this work, w his having effected a reformation in the music of the church. About two hundred and thirty j^ears before the period in which Gregory lived, St. Ambrose, who was then Bishop of Milan, I'.ecamc one of the patrons of church music, and instituted, in his church at Milan, a peculiar method of singing, which received the name of caiUiis Ambrosiaiiiis, or Ambrosian chant. St. Augustine, the disciple of St. Ambrose, speaks of the great delight he received in hearing the psalms and hymns sung there. " As the voices," nays he, " ttowcd into my ears, truth was in- stilled into my heart, and the affections of piety overttowed in tears of joy. The church of Mi- lan," he continues, " had not long before begun to pracfi-c this method. It wius here fii-st or- dered that hynris and psnlms should be siuig after the manner of Eastern nations, that th« people might not languish and jjine away with a tedious sorrow ; and from that ])eriod it has been retained at Milan, and imitated by almost all th« other congregations of the world." Tradition says that it was uijon occasion of St. Ambrose receiving St. Augustine into the chiuch, on hit conversion, that the BLshop of Milan composed the celebrated " Te Deiim," which has since ex- ercised the talents of the most celebrated com- posers. The chant thus established by St. Am- brose continued in use, with few alterations, till the time of Gregory the Great, whose object in reforming it seems to have been twofold ; he en- larged the former jjlan, by introducing four new modes or tones into the " canto feri)io," and banished from the church the " canto fif/uiato," as being too light, and destitute of that gravity and simplicity suited to the solemn offices of the church. John Diaconus, the author of Gregory's Life, informs us that he established a singing school at Rome, and that it subsisted three hun- dred years after his death, which happened in 604. He assures us that the original " Anti- photiarium," or volume of anthems of this pope, was still existing, as well as the whip with which he used to threaten the restive scholars, and also the bed on which his infirmities obliged him to rechne, when, in the latter part of lus life, his zeal still led him to visit his favorite school, and hear the scholars practise. 'ITiLs pontiff is like- wise said, by ecclesiastical writers, to have been the first who separated the chanters from the regular clergy ; for it was his observation, that singers were more admired for their fine voices than for their precepts or their piety. At present this kind of singing has become venera- ble from its antiquity, and from the use to which it is appropriated ; for though the more rich and varied strains of a Haydn and a Mozart have been adopted in the general service of the Roman Catholic church, yet, on particular oc- casions, the Gregorian cliant is exclasively used, and heard in all its ancient glory, especially during the penitential seiison of Lent, and in the holy week. It is true that its simplicity, and its total dissimilitude to secular music, preclude all levity in the composition, and all licentious- ness in the execution, and that to cars long habituated to artificial and refined music, its simple tones may have little charm ; yet the amateur will deliglit to trace in these inartificial movements some of the melodies of the olden time, and, perhaps it may not be too much to add, of the days of Athenian glory. GREGORY, WILLIAM, a gentleman of the Chapel Royal in the reign of Charles II., was a composer of several anthems. The best are, i " Out of the deep have I called," and " O Lord, i thou hast east us out." GREIXER, JOHAXX M., a good violinist, I was born at Constance in 17"21. He filled the j office of chapel-master to several German courts, up to the yeiu- 1781. I G REIN Eli, JOHAN-N THEODOR, pub. I lished in 1774, at Amsterdam, two works, eom- I prising symphonies, each coiitaiuiug six different ' pieces and six ducts. 1 GRENET, a French dramatic composer, pre ' duced, in 1737, the opera " Le Trinmphc de V Hm tnoitie," and in 1759, " Aj)oUon, Dcnjer (T Admit*. 314 fiRE ENCYCLOPEDIA QF MUSIC. GKB I OREXET, CLAl'DE DE, born at ChAteau- dun, in Beauce, in 1771, wiis an otHcer in the French anuy. He was a jjiano-lbrte pupil of Kuhn, and composed several concertos and sona- tas for his instrument, likc\vise some romances, published at Paris. GREXIER, a musician at Paris, pubUshed there, about the yetu 1786, some airs for the vio- lin and violoncello. GRENIER, GABRIEL. A haqiist and com- poser for his instrument at Paris since the year 1792. lie has also published some romances. GREXSER. or GREXZER, JOIIAXN FRIEDRICII, professor of the hautboy to the Kint; of Swc.len, about the year 17S3, wi\s born at Dresden. In 1779 he published at Berlin six trios for the tlutc, and other instrumental music. GRESXICK, AXTOX, bom at Liege in 1753, Vent at an curly a^e to Italy, where he studied ander the celebrated Sala, member of the Conser- vatory at Xaples. He afterwards visited London, where he composed the music for the opera of . ' Demetriitu," and obtained the situation of cham- oer musician to the Prince of Wales, lie pub- lished much dramatic music at Paris, amongst which wa-s the four act opera of " La For€t de Brama," a work that he himself thought would entiiblish his reputation, but which is said to have caused his death, from liis great disappointment at its being only received at the theatre A correction. H': died soon after, at the early age of forty- 8' rcn. GRETRY, ANDRt: ERXEST MODESTE. fhe father of Grctry was a teacher of music at Liege, where Andre Gretry was born, in the year 1711. At an early age, he became sensible to the charms of music, and to this sensibility, when he was only four years old, he was near falling a sacrilice. It Ls related of him, that bein^; left alone in a room where some water was boiling in an iron pot over a wood tire, the sound caught his ear, and for some time he amused himself by dancing to it. The curiosity of the child, however, was at length excited to uncover the vessel, and in so doing he overset it. The water fell upon and dreadfully scalded him from head to foot. From the great care and attention that were paid to him by his parents, he at length recovered in every respect from this accident, ex- cept having a weakness of sight, which continued ever afterwards. When he was six years old, his father placed him in the choir of the collegiate cliurch of St. Denis, and unfortunately, but necessarily, under the tuition of a master who 'n-as brutal and inhuman to all hLs pupiht. Young Grctry had his full share of ill treatment ; yet such was his attachment to this man that be could never prevail upon himself to disclose it to his father ; tearing that, by his inlluence, the chapter might be induced to take some steps that would l)e injurious to him. What little the youth acquired, during tliis time, " wa-s not," as he said, •• BO much from the lessons, as in spite of the les- sons, of his master." An accident, however, which for some time put a stop to his studies, de- scr\'es here to be relatclicated kinds of music. He has him.scLf stated, that one of the first things he did was to carry hLs master a mass, which he had just completed. " Stay, stay," said Moreau; " you proceed too fa.st ; " at the same time, returning to the young composer hLs score without looking at it, he \NTOte down on a slip of paper five or six semibrcves. " Write," says he, " a treble to this bass, atd ihow it mo to-morrow, but attempt no more ma.sscs." (jn>- try withdrew, a little humbled, RO)-ing to himself, " My father was right in thinking my late master too indulgent." He carrie success was so decisive, that he was very near suffering fatally from the jealousy of a rival in Lis prolession. Admired and courted in the capi- tal of Italy, Grctry here continued his labors and his studies with assiduity and perseverance, till M. Mellon, a gentleman in the suite of the French ambassador, incited in him a desire to visit I'aris. In his way to this city, in 1767, he stopped at Geneva, and composed there his first French opera of " Isahelle et Gcrtriuk," which was so suc- cessfid, that he was called for after the perform- ance. It was some time before Grctry could obtain in I'aris a piece to compose ; and he was first introduced to public notice there in 1728, by writing the music to Marmontel's opera of " 1^ Huron." This was received with the most flat- tering applause. The opera of " Liici/e " fol- lowed, which was even more successful than the former. His fame was now established in France, and he produced nearly si.xty comic opera.s for the great Opera House in Paris. Of these, " Ze- niirei't A:or," and " Itic/uml Vintr de IJon," have been translated, and successfully brought on the English stage. The ta.ste of the Parisians tended greatly to corrupt that of Grctry, but he has done much towards improving theirs. They have met about half way, and perhaps the genius of the French language, the style of singing, and the national prejudices, even if he had detcnnined to continue inflexible, could not have admitted of a nearer approximation than we find in liis music. Sacchini has been known to say of Grfc- try, that he remembered him at Naples, where he regarded him as a young man of great genius, who wrote as much in the style of that school as even any of the Italian masters ; but when ho heard liis comic operas at Paris, many years after- wards, he did not find that he wa.s much im- uroved by composing to French words, and for jFrcnch singers. Grctry died at Montmorency in 1813. GRETUY, ilLLE. LUCILE, second daugh ter of the jjreceding, comjiosed the music of tht Italian comedy of " Le Markiijc d' Antonio," in 178G. She afterwards produced the opera of " Louise el Toiiiette," performed in 1787. GRETSCH. Violoncellist at the chapel of th« Prince of 'ITiurn and Taxis, at liiitLsbon. Hi composed much music for his instrument, which is considered excellent in its kind. He died ii: 1784. GREVILLE, Rev. R. An Enghsh amateur composer of glees and other vocal music. Hi:i glee, " Xow the bright moniing star," is a higlilj celebrated composition in that style. His com- positions appeared about the year 1787. GRIESIJACII, JOHN HENRY, eldest sou cf a German musician in the service of George III. of England, was born at New Windsor, in 1798 At the age of eight his father placed him under his uncle, G. L. J. Griesbach, to be ir-structed in the theory of music and the piano-forte. Ho jierformed before their majesties for the first time in 1810, being then twelve years old, and in the following year was appointed pianist to her ma-- jesty, and had the honor of playing a solo piece for tlie piano-forte every night, at her majesty's' private concerts. This lionor he enjoyed till the demise of her majesty ; when, wishing to have the advantage of instruction from Knlkbreni\er, which he had previously obtained at different periods, for about a month each time, he went to London, and resided with him, where he had also the great advantage of improving by con- stantly hearing the extraordinary performance of that great master. The following is a list of .1. H. Griesbach's works, pubUshed up to the thii- tieth of October, 1823 : " A Quartet for Piano- forte, Violin, Viola, and Violoncello," dedicated to Mr. Kalkbrenner ; " Two Fantasias for the Piano-forte ; " " Romance for the Piano-forte ; " and some duets. These works are highly sj)oken of by the editor of the " Quarterly Musiciil Re- view." GRIFFIN, GEORGE CHARLES. An Eng- lish professor of music, and composer, bom at London in 1770. He was one of the original members of the I'hilharmonic Society. Some of the instrumental compositions of thus gentleman are of a very superior order, especially " A Quar- tet for two Violins, Tenor, and Violoncello," which was performed at the British conceits, and highly appreciated there. GRILL, FRANZ. A German composer of in- strumental music, published at Offenbach and Vienna, between the years 1790 and 1795, in which year he died. GRILLO, NICOLO. An Italian composer of vocal music about the year 1750. His cantatas were much admired. GRIMAREST, J. L., a French musician, pub- lished, about the year 1707, a work entitled " Traiti dii Ricitatif." He Ls believed to have died about the year 1713. GRIMM. HEINRICH, singer at Magdcbur?, and subseijuently at Drunswick, in the bcginniii); of the seventeenth century. He wrote maa< musical works, also luuch sacred mutiic. 34G GRI EXCYCI.Or.KDIA OF MUSIC. OUi GRIMM, FREDERIC MELCHIOR, cominon- Iv called the " Uaroa Griium," wan bom at Rnt- ishon ill 172:i. He went to I'arLs in 1747, be- came attacJiod to the literiuy and philosoijhical coteries there, and an associate of Rousseau. He was deeply interested in music and the tine arts generiiUy, and wrote much about them. He was a li'iend of (irctry, and aided Gluck's tlramatic re- form greatly by liis writings; lience the Parisians hold iiis memory in honor. He died at Gotha Ln 1807. GRISI, JULIA, or GIULIETTA. This great- est Itidian dramatic sinijcr since the day of Mal- ibran, is, according to one account, the oldest of the two nieces of the celebrated Grassini, (both gre^^ singers,) and was bom on the 28th of July, 1811, 'It Milan. FotLx, however, places her birth in 1812, and that of her sLster (sec below) in 1805. At all events, Julia is the Grisi for years past in every one's mouth, and who has become 80 identified with Iiellini"s Norma, as to be often called " the Diva." She commenced her musi- cal education in her native city ; afterwards her vocal studies were directed by th.e com])oser Marliani. Alter a dibut of no great mark in Ita- ly, slie arrived in Paris in 18:52, and a])i)eared for the tirst time on the 16th of October of that year, in the r(')le of Semiramide, (Rossini's.) Ilie reg- ular beauty of her features, the truth, flexibility, and compass of her voice made her success cer- tain from the tirst, although there were marks of inexperience in her singing. Success did not bUncl her to the necesyity of further persevering studies ; her jjrogress was rapid, and she grew in public favor day by day. Several operas, partic- ularly licllini's "/ Puritaiii," were written at Paris for this young cnntatrice ; in that she cre- ated an enthusiastic partiality for the singing " a ilemi-roijr," of which she made fTecd among the distinguished artists. Returning to Italy, the sang at Milan. I'anua, Florence, Genoa, and Venice. In this last city Bellini wrote for hct the part of Romeo in " / CapnUti." In 18:i2 she appeared in Paris in " La S/ratn'cra " with liitle eti'ect ; but her Romeo, and her Malcolm in the " Dmna del Ltiyo," placed her in a more favora- ble light. In 18.3;i she returned to Italy, and since then married Count Rami. She died in 1810, at her husband's villa in Robeceo, (prov- ince of Lodi, ) leaving a large property. j GROEXEMANX, ALRERT, born at C.logue, was organist and composer at the great chiu-ch of the Hague about the year 1750. In 1739 he resided at Leyden, where lie was esteemed a good I violinist. He ])ublished at that time muiJi music j for the \nolin and Hute. About the year 1700 lie became insane, and died some years afterwards iu contincmcut. GROEXEMAXX, JOHAXX FRIEDRICH, brother to the preceding, residetl, about the yeai 1761, at Amsterdam, and publLshed there and at London some compositions for the flute, &c. ORGS, A. J., published at Paris, in 1783, his I fifth work, containing airs for the harpsichord and harp. GROSE, an organist at Copenhagen, pub- lished some pleasing vocal and instrumental mu- sic between the years 1780 and 1792. GROS FA. The name formerly given to cer- tain compositions of the church, which were written in square notes, eemibrcvcs, and minuns. GROSHEIM, GEORG CimiSTOPH. A Ger- man musician, boni at Hesse-Cassel in 17iM. He has composetl much vocal and instrumental mu- sic, some of wliich is for the organ, between the years 1790 and 1800. GROSSE. (G.) Major, in regard to iiitcr>''al8. GROSSE C.USSE. (F.) The great drum. GROSSE SOXATE. (G.) Grand sonata. GROSSE, SAMUEL DIETOICII. A cele- brated German violinist and composer for hLs in- strument. His playing was much admired at Paris in 1780. He died in 1789, at the early age of thirty-two. His compositions were published by Imbault in Paris. GROSSE, Sen. An excellent violinLst, in the se^^•ice of the prince royal of Pmsia in 1779, and at the C'hapel Royal of Rerlin in 1790. He waa a pupil of Lulli, and published some musij for his instrument. GROSSE, II., eldest son of the preceding, was a violoncello pupil of Duport, and was professor of his instrument at the Chapel Royal, llerlin. He has publLshed some instrumental music. Ilia younger brother wos second hauttxty at the saice theatre. (JROS.SE, WILLI.VM LEOPOLD. wa.s horn in Dessau, the capital of .Vnhalt, in Upper Sax- ony. His father wa« an officer of the fnrvsts be- longing to the dukedom of Anhalt- Dessau, and intended his son WilUara for the same businem, which his activity of mind and body particulnrW adapted hira for. Having, as a child, a great prepeucd at Gera, and nearly consumed the whole town, in 17S1. On th'it oc- casion, he published six sonata.s at Leipsic, by subscription, and soon got nearly fourteen hun- dred subscribers. He died in 1795. GRUPPO, or GRUPETTO. (I.) A word formerly used by the Italians to signify a trill, or shake ; brought into England, together with that embellishment, about the middle of the seventeenth century. The grupetto Ls never ex- pressed by any sign, but rele and ballad-like air, " f'/ia ftiro," aciiuired him very grtmt and just applause ; out in the zenith of public favor, by l-.is private difference with the honorable Mr. llobart, at that time patentee of the Opera House, concerning a suppose, many motets, and was a cele- brated performer on the violin. GUARDASONI, DOMENICO. An ItaUan dramatic composer. He was manager of tlie Ital- ian opera at Prague and Leipsic. He died in 1806 at Prague. GUARDUCCl, TOMMASO, of Montefia-srone, one of the greatest singers of Italy, was a jiupil of Bemachi. He flourished about the year 17.iO. Guarducci sang at the opera in I,ondon during several seasons, commencing with that of 17i>7. The tide of prejudice ran high against him on hi* first appearance in Londor ; but he had the goo4 349 QUA ENCYCLOP.'EDIA OF MUSIC. CUE sense to discover, before it was too Into, that a Hiugor x-nnnot captivate the Englisli by tricks or iliKtrumciital execution ; and many years alter- ■ward.f, ho told Dr. Hurney, that the gravity of English taste had been of iutiiiite service to liim. GUAllXEllIUS, ANDREA, of Cremona. Born about 1G30, a Celebrated ranker of violins, and pupil of Amnti. Most of hLs instruments are defined thus : "Andreas Gunrneriua fecit Cremonee rub titulo fsineta; Teresa; 1680." GUAIIXERIU.S, PIETKO, son and pupil of the preceding, was also born at Cremona, about 1670. The violins which he made in his native city hoar dates anterior to 1700. After that time he removed to Mantua. His violins ai'e in- ferior to those of hLs fatlier in brilliancy of tone, yet they often sell for 1000 to 1200 francs. GTARXERIUS, GIUSEPPE, nephew of Pietro, was born at Cremona, and the most cele- brated of the musical instrument makers of that name. He is said to have studied vnth Stradi- varius. His violins sell for 2000 to 3000 francs. GUEXEE, LOUIS, born at Cadiz in 1781, was one of the principal violins at the grand opera at Paris. He was a pupil of Rode. Gue- n6e published several works, containing " Dxiets for the Violin," "Two Trios," "A Volume of Quartets," "A Concerto," &c. GUEXIX, A., formerly first violin at the grand opera at Paris, and afterwards in the eervice of the King of Spain, was born at Lan- drecias, about the year 174.5. He was a pupil of Gavinie, and has published much music for his uistruraent. GUEXIX, MADEMOISELLE, of Amiens, composed, at the age of sixteen, the music of the opera of " Dapknis et AmattMe," which was gen- erally admired. GUERILLOT, H., member of the Conserva- tory at Paris, and of the grand opera band. He was a good violinist, and composed some con- certos for the violin, some of which were pub- lished at Lyons in 1782. GUERIXI, FRAXC. Of Xnples, chamber violinist in the service of the Prince of Orange, between the years 1740 and 17C0. He composed some instrumental music. Guerini resided for some years in London. GUERRE, ELIZABETH CLAUDE JAC- QUE'lTE DE LA, a female musician, the daughter of Marin de la Guerre, organLst of the chapel of St. Gerv-ais, in Paris, was born in that city in 1669, and instructed in the practice of the harpsichord, and the art of composition, by her father. An oi)cra of her composition, en- was represented in by joining a very respectable church choir in his native parish. At fourteen years of age, he pursued with increasing ardor hLs musical studies, and soon became leader of tht choir above mentioned. At twenty-one he left the country, and through the introduction of a friend obtained a situation in business in Lon- don. There he determined to relinquish his pursuit, and a|)i)ly solely lo his business ; but on attending Portland chapel one .Sunday, by ac- cident, his resolution gave way, in consequence of again hearing the music in which he had taken so much delight in his native parish. From this moment he formed a part of this ex- cellent choir, at that time so justly celebrated in the metropolLs. He now lost no opportunity of hearing the best public musical performances in London ; and after a five yeara' residence there, an advantageous offer presenting itself, he be- came an as.-istant to Henry Bullen, of Bury St. Edmunds, in which place, in the course o: a few years, he set up business for himself. Here, under the friendly instructions of Frost, the then organist of St. James's paii.sh, he not only htecame a i)erformer on the organ, but also gre.itly im- proved his musical taste and acquirements. About the year 1705, the choir of St Mary's Church was intrusted to Guest, and when an organ was subsequently erected, he became organist. What liad been in early life merely an amusement, afterwards became his sole employ- ment ; he relin(iuL'Tnent, he found time to publish "The Psalms of David," arranged for every day in the month, many of the la^t old tunes being retained, and more than sixty new ones introduced. To thLs work was prefixed a short introduction to singing and thorough bass. Soon afterwards he published a sort of supplement to his former work, entitled " Hymns and Psalms," the music to which be adapted and composed. In addition to his compositions in sacred music, he published many songs. GUEST, GEORGE, son of the preceding, was born in 1771. He was very early instructed in the rudiments of music by hLs father, and man- ifested a great precocity of musical talent and cajjability. ^^^len no more than two years old he began to practise the diatonic scale ; at tluee he could sing " God save the king ; " at tive he sung in public at St. James's Church, Bury, Han- del's song, "He shall feed his flock," accom- panied by a fuU band ; at seven he took the first treble at the opening of the organ at Stow Market. Here he attracted the notice of Mr. Taylor, or- ganist of Chelmsford, by whom he was immedi- ately recommended to Dr. Xares, who, after titled " Cf.phale et I'rocris, -naa x<;ij»c:itiin;^« »ii , : , , , . . .• tt i i- ' - — - - ' gjjg jjgjj I hanng heard hun smg some ol Handel s inu:nc the Royal Academy of Paris, in 1G94. in the year 1729. GUERREXO, VIANA, of Seville. A cel- ebrated Spanish musician in the sixteenth cen- tury. He passed the greatest part of his life in Italy, and composed some excellent church music. GUEST, RALPH, was born in the year 1742, at Basely, in Shropshire. At six years of age he began to discover a jiowerful jiropensity to mu- sic, which he was able to indulge and improve appointed him to a situation among the boys in the King's Chapel. In this excellent school he made great proficiency in musical knowledge, and so distinguished himself by his skill in singing, that by Dr. AjTton, who succeeded Dr. Xares, in conjiinction with Messrs. Stanley and Linley, he wa-s brought to sing two songs in an oratorio performed before his majesty. " Upon this occasion, the king, who was an excellent judge of music, expressed great approbation, and gave commands to Stanley flat Master Guest 350 GUO ENCYCLOPylUHA OF MUSIC, GUI (houkl alwnys Hin(» two sonf»s in the succcediiiR oratorios. At the oommcinointion of Ilniidcl in 1784, young (jiiest Imvin^ obtiiiiied the situation of juincipal treble singer in the King's Chniicl, linrtlomnn enjo\-inf; the same honor at We:->t- minstor Abbey, they each acquitted themselves with (jreat credit in the prominent parts which were iissiijncd thorn. The circumstances of these contemporaries in after life were widely differ- ent ; liartleman nc(iuircd a dcptroc of pni)uliinty whidi (iucst could not possibly attain In 1787, havim; been solicited to nccojjt tlie organ nt Eye, Sutlblk, he left the King's Chapel, to undertake the duties of that sitmition. He remaineil nt Eye only two years, being in 17H9 api)oiiited to the organ erected by Oreen, at Wisbeck, in the eounty of Cambridge. For this oIKcc there were nt first no fewer than nineteen candidates ; but when it was understood that Guest was one, and that they were to undergo an examination by Dr. llaiidall, in St. Mary's Church, Cambridge, they all witlidrew their claims, except three. Guest having ijorfonocd several difficult pieces of music, and having extemporized upon a given subject of a few bars in a masterly manner, he was recommendccl to the capital burgesses of Wisbeck by Dr. Kandall, and by them accepted. Guest resided at Wisbeck, where he was cel- ebrated an a teacher of the piano-forte, and as an extemporary performer upon the organ. In this last respect he long excited admiration by the correctness and elegance with which he poured forth the impid' es of the moment. To a thorough knowledge of his art, and a complete mechanical command of his instrument, he superadded the further excellence of a ch.aste yet brilliant original conception of musical ideas, which he never failed to develop with precision and effect. Guest was the author of a variety of musical publications, which were well received, particu- larly his " Fugues and Voluntaries for the Or- gan," " An Anthem for Clmstma.s Day, inscribed to Dr. Clarke," " A Set of Ilj-mns for the .Service of the Church," and " Six Grand Pieces for a full Military Band." lie was aLso the author of several admired glees, duets, and songs. GUGEL, II. A celebrated performer on the honi, and corajjoscr for his instrument. lie waa resident at St. Petersburg, and went from thence to Paris. His knowledge of his instrument was great, and his powers \ipon it beyond all expec- tation. Boni nt Stuttgart in 1780. GUGI,. MATTILEUS, organist at the cathe- dral o{ Salzburg, pubhshed there, in 1719, " Fun- damenta PartitiiKP in C'omjh'iidio Data." A thiid edition of this work was published at Augsburg in 1777. GUGLIELMI, PIETRO, .«on of Joachim Gu- glielmi, mn.stcr of the chnjel of the Duke of Mo- denn, wa.s born at Miwvsn di Carrnrn, in 1729. He studied music under his fntlier till he wn.s eigh- teen, when he wns sent to the Conservatory of horctto, nt Napier.. 'I'he celebrated Durante then directed this school, from whejice Piccini, Sac- chini, Cimarosn, Maio, Tmjetta, PaLsiello, S;c., have i-ssued. Gugliebni did not announce any great disposition for music, but Durante subjei-ted him to the dry studies of counterpoint and com- position, lie left the Conservatory at the age of twenty-eight, and composed, nearly directly, for the princi])nl t^entrcs of Italy, comic and serious operas, in both of which he succeeded 0(|unlly well. He wius sent for to Vienna, to Madrid, t'l London, and returned to Najjles, being then in his tiftietii year. It waw at this epoch that his faculties acquired their greatest activity, and that his genius shed its greatest lustre. He found the theatre at Naples occupieel by the great talcntt of Paisiello and Cimarosa, who there dis|nitc(l the palm. He revenged himself nobly on th^ latter, of whom he had caase to comphiin. He opposed a work to each work of his adversary, and constantly conquered him. Pope Pius VI. offered Guglielmi, in 17IJ3, the situation of ma:»- ter of the chapel of St. Peter. This retreat gave him, being then sixty-five, an opportunity of dis tinguishing himself in church music, (iugliel mi's works are reckoned to be more tlian two hundred. The best are the operas of " / due Gcmelli," " Im Pa-Htorclla Nr>bile ;" aiul among his oratorios, " Im Morte d Olnfemc," and " l>,horah." Zingarelli looked upon this last as tl;e rhef- d'ceiivre cti (iuglielmi. Musicians discover in this composer simple and elegant melodies, a clear and 8upi)orted liarmony, nnd whole ])ii'ces full of fancy and originality. He died in 1S04, iu his seventy-seventh year. GUGLIELMI, PIETKO CARL(J, a Neapol- itan musician, and eldest son of the i)reveut the year 1 79.3, bs one of the tte^t A-iolinists i iid composers for his instrument in Germany. HAEXDEL. See HA-vnEL. HAEXDLER, chapel-mastcr to the Bishop of 366 HAE ENCYCLOPAEDIA OF MUSIC. HA(J \Vurtzl)ur;5, wiis born at Xureinberg, towards the elobc ol' the seveiitecutli century. He was a pujiil of Pa'.'hclbel. Soon alter the year 1712, he was named organist of the court of Wurtz- burg. He died in 1712. HAENEL. or HAENDL. JACOB, caUed also GALLUS, was one of the greatest German con- trapuntists, about the year 15.50. His works con- sist cliietty of motets and chuixh music. He died at Prague in 1591. IIAEXSEL, PETER, chapel-master to a no- bleman at \'ienna in 1798, was a pupil of Haydn. He publLslied " S'euf Quatuors d deux Violons, Tenor, et Violoncello," Ops. 1, 2, 3, (Offenbach, 1798.) '" Trots Themes variis pour le I'iolon, aeec Ace. de Viola," Op. 4. "Air, acec Variations pour la Ilurpe," Op. 4, (Offenbach, 1799.) "Six Qua- tuors d deux J'ioions, Tenor, et Violoncello," Ops. 6, 6, (Offenbach, 1799.) "Six Quatuors n deux Violons, Tenor, et Violoncello," Op. 7, (Offenbach, 1800.) " Trois Quatuors a deux Violons, Tenor, it Violoncello," Op. 8, (Offenbach, 1801.) " Trois Quatuors h deux Violons, Tenor, et Violoncello," Op. 9, (Offenbach, 1802.) ILEllLEMME, A. G., an Italian composer of the seventeenth century, published, iu 1664, " / »acri Salmi di David, tnessi in rime volgati da Giov. Diotati," Lucca. HAESER, JOHANN GEORGE, born in Ger- many in 1729, was, till the year 1808, chapel- master of the university church at Leipsic. He died, much lamented, in the year 1809, leaving five cliildren, all of whom aie respectable musical chai'acters in Germany. HAESSLER, JOIIAXX WILIIELM, diiector of music, and organist at Ertiirt, was born in that town in 1747. He was an excellent per- former, and likewise a good tenor singer. Haess- ler went to England iii 1791, and performed on the piano before their majesties, and also in sev- eral churches. He afterwards proceeded to St. Petersburg and Moscow; where he remained until his death. His works are numerous for the organ and piano. HAEUSSLER, ERNST, a violoncelUst and composer, born at Stuttgard in 1760, resided, in 1801, at Augsburg. He published much vocal and other music between the years 1792 and 1800. His " 12 Canzonctte Ital. Ace. p. il Piano-forte e Chilarra," published at Vienna, in 1800, are said to be extremely beautiful. HAGUE. DR. CHARLES, was born in the year 1769, at Tadcastcr, in Yorkshire. From ear'.y youth he manifestetl great fondness for music. A violin was placed in his hand, and liis brother, who was many years older than himself, became liis preceptor. In 1770 he left his native place for Cambridge, where ills brother liad be- gun to reside. From the last-mentioned period, lie had the advantage of excellent instruction, both in the jiractice and the theory of his future profession. He became the pupil of Manini, an eminent performer on the violin, and studied the rudiments of thorou^jh bass, and the princi- ples of composition, under the elder Hellcndaal, a man of undoubted attainments in musical gcience. Under these favorable circumstances, Charles Hague rapidly acquired celebrity, by Ids exquisite performance on the viohn, wluch to the close of lite continued to be his favorite iustru- mcut. About the year 1785 Manini died; and by the advice, as it is believed, of his university IKends. young Hague then resided for a time in London, I and became the pupil of Salomon. Already an I excellent perfonner, he could avail hi:nself to the uttermost of the instructions of that great master; and from Salomon, without doubt, ha acquired no small portion of that skill and power which enabled him to give such delightful effect to the compositions of Haydn. l)ui-ing this period he had the good fortune to be assisted in the study of vocal harmony by Dr. Cooke, ol glee writers in modem tijues second to few in point of elegance, and perhaps the most learned. On his retui-u to Cambridge he had the satisfac- tion of numbering among his pupils many mem- bers of the university, eminent both for rank and talent. In 1794 he was admitted to the degree of baclieior of music in the University of Cambridge. In 1799 the professorship of music became vacant, in consequence of t)ie death of Dr. Randall ; when, encouraged by liis numerous friends among the members of the senate, ho became a candidate for the appointment, and was successful. Soon after his election to tHe professorship, he proceeded to the degree of doctor of music. Dr. Hague, fi-om that time, considered himself as completely settled in Cam- bridge, where he continued to reside. During the spring of 1821, he frequently complained of being unwell ; but no danger was apprehended. Towaids the end of May, he was making ar- rangements for some concerts on a grand scale, which were to be performed at the approaching commencement, when he became alarmingly HI. He remained two or three weeks in a state which gradually destroyed all hopes of his recovery, and on the 18th of June, 1821, he expired, deeply regretted by his family and liis friends. Dr. Ilague was well accjuainted with the jiriuci- ples of playing on keyed instruments, although not a performer himself. Resides the violin, he wiis a complete master of the tenor and the violoncello. On iiublic occasions, on which his services were more pai'ticularly called forth, ho was accustomed to lead the musical performances with a precision and a certainty which showed that he was clearly entitled to the situation in which he was placed. In quiurtets, his style of playing was the most delightful that can 1)o imagiued. If, however, we were required to state one department in which he more particu- larly e.\.celled, we should mention his violin ac companiment to the piano-forte. In that we are almost inclined to think he was unrivalled, so prompt was the intelligence with wliicli lio seized the meaning of the composer, so fascinat- ing the elo(iuence with which he developed his ideas. Dr. Hague was well acquainted with the theory of music. Whoever would understand the principles of composition will find it an ad- vantage to consult many writei-s for the jmrpose of illustration ; but it is indispensable that he study one standaid author thoroughly. We may observe that students in music are not Iho only students to wliom this hint may be useful. In the last age Ramoau was generally held to be the great master tlieoiist — the hierophant of the mvsteries. Dr. Ha;:ue had studied in the school 356 QAG EXCYCLOP.EDIA OF MUSIC. II A 11 of Raraeaii. lie had rend many modem writers, but Ran)ca\i he had studied. On sulijccts of this kind Dr. IIii^uc was always ghid to converse, and olten has " the witching time o" night " found the professor and his biographer with music paper before them, and black-lead pencils ill their hands, discussing concords and discords in all tlicir forms, and estimating "Thrlr bmrinm anil Ihcir tiei. Their nice cuancctiuns nitd ilv[>vuUeuL-ivf.** ITie late professor had no exclusive admiration, either of ancient or of modern music ; he know the pecidiar value of each. He was anxious to preserve a sensible distinction between the secu- lar and the e!-clesii\stical style. To record his opinions of the great composers of ditferont ages is beyond th.e sco]ie of this memoir. It may, however, be observed, that he was very copious and iinimaled in his praise of Tartini, whose works ho had studied with assiduity. His mas- ter, llcUendaal, had been n puitil of Tartini ; and from Hellcndaal he had derived sevenil of Tartini's precepts of cotu])osition, which he used to repeat with great jilcisure. Of the productions of lii* contemporaries. Dr. Hague was always disposed to speak with kindness and liberality. He spoke with rapture of tlie music of " Palestine," and in Ids copy of the words of that oratorio ho had made remarks on each movement, in a style which manifested the justness of his taste and the acuteness of his critical powers. The men- tion of Dr. Crotch has brought to mind a cir- cumstance which will probably be thought not uninteresting, and which might otherwise have been forgotten. For a short period during the early years of that extniordinary genius, he was the pupil of Charles Hague, who was also at that time very young, being but six years older than his pupil. In a journal of Dr. Hague's yet remaining, the circumstance is .stated, with ad- miration of the rapid progress which his pui)il had made ; and with a declaration, that to have had such a pupil would always appear to him the greatest honor of his life. In due time Crotch became professor of music at Oxford. It is pleasing to consider that the tutor and the pupil invariably regarded each other with the greatest atlection. Numerous must have been the good qmditics of that man of whom it may be Biiid — lus it may with truth be said of Dr. Hague — that many were the friends who were attached to him wlien living, and who lamented his death. Of the single songs which he pub- lished, few are known to the present writer. They are siuil to possess considerable merit. In ISO-), " .V Collection of Songs" wjis published by the Uev. Mr. Plumptre, then fellow of Clare- hall, Cambridge. To this work l)r. Hague ren- dered his assistance in adapting the music, and in a few instances as a composer. 'Die volume was compiled for the most praiseworiliy puq)oses. It contains many pleasing and popular meloditM, which are as much as may be freed from di!lic\ilty. All that was intended to he done was ably per- formed. The title page of a musical publication seldom atl'ords a date ; hence it is not easy to say in what year Dr. Hague introduced to the public (by permission of the composer, Mr. Wheeler, of Cambridge) "Six Glees for three and four Voices." Tlie^e are productions of great swcot- ■lesH and elegance. Il' any person should bo induced to become acquainted with tliem on ihi» recommendation, he can hardly fail, we think, to be delighted with such compo^itions m " Happy the man," " Welcome, dear Stella," " .My Phillida, adieu, love I " Some of oui renders will not perhaps di-spiso the infonnation. that the words of the last-mentioned glee may be found in Percy's " Itelinui's," vol. ii. p. :!t)2, 5th edition. Dr. Hague's principal publications art the following: I. "An .Vnthem composed for the Degree of Bachelor of Music, and performew 111 inr. ■! • 1. ri .. . ost\iti!ul composition-s. HAHN, (iEOROE J. J., a actiM k and directot 3£7 UAI ENCYCLOPEDIA OF MUSIC. a . of music at Mdnncrstadt, in Frnnconia, has pub- liKhed, Kiuce the year 1718, many tlieoretical and pmctical works, chiclly in the German language. Jlis " OJfiriiiin frxpertimim tuia rural/', turn cicile," consisting of six masses and psahns lor a full orchestra, was published at Augsburg in 1759, and thescnond edition oi\ua"OeneraU>ass-achuler " in the same town in 1708. IIAII5EL. An actor and good tenor singer in Vienna, subsequently to the year 1791. He compo;-ed an operetta, called " Dcr Tyroter 11 Vm- tel," wliicli was very successful, and jjublished in ditforcnt ways in several of tlie large townis of Germany. HAIGII, T. An English puinist and composer. He was a jiuijil of Joseph Haydn, and has not only aiTniiged for the piano many of his master's most celebrated works, but has made himself known by several very excellent original com- positions. Among hLs works may be mentioned a " Single Violin Concerto," (Preston.) "Throe Duets, with favorite Airs for Piano-forte," Op. 6, (Preston.) " 'J'hreeeasy Ducts," Op. 7. " Di- vertimento." " Twenty-eight Sonatinas, with Preludes and two easy Duets." " Twenty-eight Sonatinas, second Set." "Six Sonatas," Op. 4. " Tliree Sonatas," Op. 6. " Six Sonatas," Op. 8, dedicated to Dr. Haydn. " Tliree Sonatas," Op. 9. "Two Sonatas," Op. 12. "Sonatas," Op. 16. "Sonatas," Op. 19. "Eight Divertimen- tos," Op. 42. " Divertimento, with IMuc Bells." " Crown Prince of Sweden's March." " Sonata, ■with Care the Canker." " Sonata, with Fal, lal, Li." " Sonata, with Louis XVI.'s March." " Thema, with Variations," dedicated to Miss ITiornton. " -Vir from ' Zauberfiote ' of Mozart, with Variations." (All published by Preston.) "Three Sonatas," Op. 30. "Two Sonatas," Op. 31. "Twelve Petits Pieces. Second Edition," Op. 32. " Three Sonatas," Op. 39. " Prelude, Minuet, and Dance Cossacque." " Second Di- vertimento for Flute or Violin," Op. 40. " Ar- rangement of Haydn's Symphonies, Xos. 1, 2, and 3, (Letters A, B, and C,) in which are intro- duced the admired Canzonettas, ' Far from this throbbing bosom,' ' My mother bids me,' and ' Now the dancing sunbeams play,' for Piano- forte and Flute." HAIL COLUMEL'V. This, the most popular of all the national songs of America, was written by the late Judge Joseph Ilopkinson, under the circumstunco-i related in the notice given below. Joscjih Hopkinson, son of Francis Ilojjkinson, one of the signers of the Declaration of Inde- pendence, was born in Philadelphia, November 12, 1770. He was educated at the University of Pennsylvania ; studied law with Judge Wilson and Mr. llawle ; and jiractised with brilliant success in his native city ; wius twice elected to Congress from Philadelphia, (1.S15 and 1817.) In 1828 he was ai>i)ointed judge of the district court for the eastern district of Pennsylvania — this being the same oiKce which his father held by Washington's ni)poiutment. Judge Joseph Ilopkinson remained in ofhce till his derea>e, which took place June 15, 1842. He was the delight of the circle of society in which he moved. "His accomplL^hed mind," says Mr. WaLsh, " observ'ant of all the events, characters, and opinions of the day, was peculiarly qualitied to delight, besides instructing, in convivial inter- course, by a strong relish for refined socipty, «• cheerlul and vivacious spirit, and a peculiai poignancy of remark and raciness of anecdote.'' The following is Judge Hopkinson's own ac- count of the origin of " Hail Columbia," written .•\.ugu»t 24, 1840, for the Wyoming Baud, at Wilkcsl)arre, at their desire. " This song wa-s written in the summer of 1798, when a war with France was thought to b€ inevitable — Congress then being in session in Philadelphia, deliberating ujion that im]X)rtant subject, and acts of hostility having actually occurred. 'I'he contest between England and France was raging, and the people of the United States were divided into parties for the one side or the other ; some thinking that policy and duty required us to take part with republican Franco, as she was called ; others were for our connecting ourselves with England, under the belief that she was the great preservative power of good princi- ples and safe government. The violation of out rights by both belligerents was forcing us from the just and wise policy of President AVashing- ton, which was to do ecjual justice to both; to take part with neither, but to keep a strict and honest neutrality between tliem. The prospeft of a rujjture with France was exceedinglj' offen- sive to tl'.e portion of the peojjlc which espoused her cause ; and the violence of the spirit of party has never risen liigher, I think not so liigh, as it did at that time, on that question. The theatre was then open in our city. A young man be- longing to ir, whose talent was good as a singer, was about to take his benetit. I had known him 'vhen he was at school. On this acquaintance, he called on me on Saturday afternoon — liis ben- etit being announced loi the following Monday. He said he had no bo.xcs taken, and his prospect was, that lie shoidd suffer a loss instead of re- ceiving a benetit from the performance ; but that if he could get a patriotic song adapted to the tune of the " President's March," (then the pop- ular air,) he did not doubt of a full house; that the poets of the theatrical corjis had been trying to accomplish it, but were saiisticd that no words could be composed to suit the music of the march. I told him I would try for him. lie came tlie next afternoon, and the soiig, such as it is, was ready for him. It was announced on Monday morning, and the theatre was crowded to excess, and so continued, night after night, for t!.e rest of the season — the song being en- cored and repeated many times each night, the audience joining in the chorus. It was also sung at night Ln tlie streets by large assemblies of cit- izen-, including members of Congress. The enthusiasm was general, and the song was heard, 1 may say, in every part of the United States. The object of the author was to get up an American spirit, which should be independent of and above the interchts, passions, antl policy of both belligerents, and look and feci exclusively for our honor and our rights. Not an allu.sion is made either to France or Englaiul, or the quart el between them, or to which was the most in fault, in their treatment of us. Of coiu-se th« song found favor with both j)arties — at least ncitlicr could disavow the sentiments it incul- cated. It was truly American, and nothing else and the patriotic feelings of every AmericaE heart responded to it. Such is the history of 368 HAI EXCYCLOP/EDIA OF MUSIC. HAM this song, wliich has endured intinitcly beyond any expectation of the author, and beyond any merit it can boast of, except tlint of bcinf? truly and exclusively patriotic in its sentiments and spirit." IIAIXDEL, or IIEINDL, was, in 1793, court musician and chef-cCorchcstre at the theatre at Passau. IIAKART, CAROLO. A viol-da-Rambist and composer, who died about the year 1730. HAKE, IIANTZ. A violinist at Stade, in the middle of the seventeenth century, lie pub- •Ishcd some music for hLs instrument. HAKEXHERCIER, ANDREAS. Chapel mas- ter at Dantzic in the bc-jinningof the seventeenth century. He was one of the most eminent com- posers of his time. His works, wliich are chiefly Rkcrel, bear date from the year 1612 to 16t.5. HAI.nCADEXZ. (G.) A half candence, or cadence on the dominant. HALBERTOX. (G.) A semitone. HALBXOTE. (G.) A minim. HALEVY, JACQUES FROMEXTAL, one of the best dramatic composers of the French school, was born at Paris in 1799. He entered the Conservatory in 1809. He is best known by his operas "La Juive," and "V Eclair," and his completion of Herold"s " Ludovico." In 1827 he was appointed teacher of harmony in the Conservatory, and pianist at the Italian Opera. In 1829 he became director of singing at the (irand Opera, and in 1833 he succeeded Fctis as teacher of composition at the Conservatory. In 1835 the king of the French conferred on him the cross of the legion of honor; and in 1836, when Reicha died, he was elected to the vacant place as member of the Academy of Fine Arts of the Royal Institute of France. HALF HEAT. This Zwiammetuchlag, being the inff rior note, is struck only once, and at the same time with the principal note, and is immediately quitted. Kollman terms it a base-tfrace, and says it is employed to strdigthcn the parts, and to Bupply the wiint of pedals in the organ. It may be written by a small note, like a short appoggia- tura, thus : — -'- 4. Jlic half heat is very simUar to the acciacatiira of the Italians. The chromatic licenses are de- rived from the half beat. II.VLF XOTES. Semitones are sometimes called half notes, thnvigh improperly. Hutler says, " From Mi to Fn, and from La to Pha, is but half a tone ; between any other two notes there is a whole tone ; but in singing, how to tune each note and half note to hLs fellow, cannot be declared by precept." HALL, IIEXRY. Tlie son of Captain Henry Hall, of New Windsor, was bom about the year IBS'T, and educated in the Royal Chapel, where he had for his tirst master Dr. Plow. His tirst promotion was to the place of organist of Exeter. After that he became orgAnLst of Hereford, and • vicar choral in that church. He died iu 1707. He had a son named after himself, who was also organist of Hereford, and died in the year 1713. 'ITie similar situation of these two persons, ant the short distance of time between their death, rendered it dItKcult to distinguish one from the other ; and this difficulty is increased by the ad- ditional circumstance that each liad a taste for poetry. The elder was a sound musician, and composed many anthems, well known to those who are conversant in church music ; and most of the musical compositions with the name Henry Hall are to be ascribed to him ; for it has not Ix'cn ascertained that the younger was the author of any ; and indeed it seems that his character of a musician Ls lost in that of a poet. HALL, WILLIAM, a violinist in the Chapel Royal of King William II., died in the year 1700. There are some i)riuted airs of his com- position. See Hawki.ns, Siu John. HALLELUJAH, or ALLELUJA (Hebrew.) Praise ye the Lord. ITie singing of IlalMujahi was a sort of invitation, or call to each other, to praise the Lord. St. Austin says, that in some churches it was sung only on Easter day, and the fifty daj's of Pentecost ; but that it was never used during the time of Lent. St. Jerome informs us in his epitaph of Fabiola, that it was commonly sung at funenils, and speaks of the whole multitude joining in the Hallelujah, and making the golden roof of the church shake with the peaLs of the chorus. This expression occurs often in the Psalms, and its full, fine sound, together with its simple and solemn meaning, has rendered it a lavorite of musica. composers, llie vowels in it are very favorable for a singer. HALTER, WILIIELM FERDIXAXD, or- ganist of the reformed church at Konigsberg, in Prussia, published some excellent music lor the piano-forte. He died in 1806. Sevenil sets ot his sonatas are published at Leipsic and Augs- burg. HAMBOY.S JOIIX. One of the oldest doctors of music in England. He flourished about tne year U70, and left the following works: IsU " Siimmum ArtU Miaices," in manuscript; and 2d. " Ca)Uio)U'3 artificiaUs dicersi Uciieru." He was an excellent musician for the age in which he lived. HAMERTOX. WILIXVM HENRY, was bom in Xottingham, in the year 179.5. At an early age he became a chorister of Christchurch Cathe- dral, Dublin, where he received his musical edu- cation. In 1812 he visited I^ndon, with the intention of studying vocal music, and lor that puq)ose became the pu])il of Thomas Vaughan. He retumetl to Dublin in 1811, and then com- menced business professionally, as teacher of vocal music, the organ, and jiiano-forte. In 1815, on the resignation of John Elliott, Hamerton was appointed ma-ter of the musical academy, in which he had been himself eilucated, and in which several of his pupils have di«linguished themselves, particularly Master Onusby, who so much attracted the attention of his majesty on his visit to Dublin, as also Master Hill, a chori»- tcr. In 1822 Hamerton ofhciatod i;nituitously as organist and preceptor to the Molyneavix a-ny- lum for blind females, and was ap|H>intcd ons of the gentlemen of his majesty's Chapel Rojal 9 QAM ENCYCLOPEDIA OF MUSIC. HAN n Dublin. His compositions, which are all vocal, coiiiiint of a tew songc, duets, and harmonized aii'8, Bomc anthems and chants written for Christ- churdi Catliedrul, and an elementary work, of which the title is, " Vocal Instructions, combined with the Theory and Practice of Piano-forte Ac- lompaniment." IIAMMEL, STEFFAX, an organLst, of a con- vent at ^\'urtzburg, published some good sacred music between tlie years 1786 and 1807. HAMMEUSCHMIDT, ^VNDREW, a Bohe- mian, born in IGll, was organist, first of the church of St. Peter's, at Freiberg, and afterwards of that of St. John, at Zittau. He was chiedy celebrated for his assiduity in the improvement of the church music in Saxony, and some of the other German provinces. He died in 1675, at the age of sLxty-four. His compositions were chietly motets for four, five, and sLx voices. HAMMOND, HENRY, an EngUsh doctor of divinity, born in 1G03, was one of the preachers to the comt of Charles I. To hLs " Paraplu-ase and Annotations upon the Book of Psalms " he has added a curious dissertation on the use of music in divine service. He died in 1660. HAMPEL, ANTON JOSEPH. A celebrated performer on the horn, in the Chapel Royal at Dresden, in 17-18. He was the master of Punto. HAN, GERARDO, published at Amsterdam, in 1730, " Simatc a tre," Op. 1. HANDEL, properly HAENDEL, GEORGE FREDERIC, the son of an eminent surgeon and physician at Halle, in the duchy of Magde- burg, and circle of Lower Saxony, was born on the ■i4th February, 1684. In his early youth, he discovered such n passion for music as could not be subdued by the commands of his father, who intended him for the jjrofession of the law. He had made a considerable progre^^s in thLs art by stealth, before he was allowed a master; but at seven years old, his father, finding it impossible to fix hLs attention to any thing but music, for which he seemed to have been endowed by na- ture with very uncommon propensities and facul- ties, i)laced him under Zachau, organist of the catheelral of Halle, a man of considerable abili- ties in his profession. By the time he was nine years old, our young musician was not only able to officiate on the organ for his master, but began to study composition ; and, at this early period of his life, is said to have composed a serWce, or, as it is called in Germany, spiritual cantata, every week, for voices and instruments, during three successive years. Mr. Weideman was in posses- sion of a set of sonatas in three ])arts, which Handel comjjosed when he was only ten years old. In the year 1698, at the age of fourteen, he was carried to Berlin, where operas were then in a very Hourishing state, at the court of the Elec- tor of Brandenburg, afterwards King of Prussia, who at that time retained in his service not only many ItAlian singers of eminence, but likewise Buononcini and .Vtlilio, to comjiose. Handel dis- tinguished hiraseli so much in this city as a won- deriul performer for his ago, that his electonil highness offered to send him into Italy at his own expense, for tlie completion of his musical stiulies. His fatlier, however, jierhaps from a mistaken •jiirit of independence, declinetl tliis honor, and the young musician returned to Halle. The death of his father happening soon after he left Berlin, Handel, unable to support the expense of a journey to Italy, whither he was ambitious of going, removed to Hamburg, in order to procure a subsistence by his musical talents, this citv being, next to Berlin, then the most renowned fo»- its operas. John Matheson, an able musician and voluminous writer on the subject of music who resided at Hamburg during the whole time- that Handel remained in that city, informs us that he arrived at Hamburg in the summer of 1703, endowed with genius and a good disposi- tion. "Here," says >Iathcson, "almost hLs first acquaintance was myself, as I met him at the organ of St. Mary Magdalen's Church, on the 30th of July, whence I conducted him to my father's house, where he was treated with all pos- sible kindness and hospitality ; and I afterwards not only attended him to organs, choirs, operas, and concerts, but recommended him to several scholars. At first he only played a ripieno vio- lin in the opera orchestra, and behaved as if he could not count five, being naturally inclined to dry humor. At this time he composed ex- tremely long airs, and cantatas without end, of which though the harmony was excellent, yet true taste was wanting, which, however, he soon acquired by his attendance at the opera." As these young musicians lived much together, they frequently had amicable contests and trials of skill with each other, in which, it appearing that they excelled on different instruments, Handel on the organ, and Matheson on the harpsichord, ther mutually agreed not to invade each other's prov- ince, and faithfully obser^-ed this compact for five or six years. "Handel," says Matheson, " pre- tended ignorance in a manner peculiar to himself, by which he made the gravest people laugh, with- out laughing himself. But hLs superior abilities were soon discovered, when, upon occasion of the harpsichord player at the opera being absent, he was persuaded to take his place, for he then showed hunself to be a great master, to the astonishment of every one except myself, who had frequently heard him before upon keyed in- struments." Soon after .thLs, an opera called " Cleopatra," composed by Matheson, was per- fonned on the Hamburg stage, in which he acted the part of Antony himself', and Handel i)layed the harpsichord ; but Matheson being accustomed, upon the death of Antony, which happens early in the piece, to preside at the harpsichord as com- poser, Handel refused to indulge his vanity by relinquLshing his post ; which occasioned so vio- lent a (juarrel between them, that, as they were going out of the house, Matheson gave him a slap on the face, upon which they both imme- diately drew their swords, and a duel ensued in the market -jilace, before the door of the (.)pera House ; luckily, the sword of Matheson broke again--t a metal button upon Handel's coat, which put an end to the combat, and they were soon after reconciled. This rencounter happened on the .5th of December, 170-t ; and, as a proof of a sjieody reconciliation, Matheson tells us, that on the 36th of the same month, he accompanied the young composer to the rehearsal of liLs first opera, " Almira," at the theatre, and performed th« principal character in it ; and that afterwar la tl'.ey became greater friends than (!ver. On t it 2")th of February, I70-), Handel produced a soc/i. i 360 II AX EXCYCLOP.EDIA OF MUSIC. n\s opera, culled "Nero," which, as well as " Al- inira," met with a very favorable reception. After the run of thcuo two dramas, Matheson, who per- formed the jirincipal character in both, quitted the staf;e, ou beinf; ajipointed secretary to the British resident at Hamburg; — an office in which he continued till his death, at the distance of near si.xty years from his Krst apj)ointment. From 170.i to 176s, when Handel set two other opera.H, " J'hriiido, " and " DaJ'iie," he did not compose any thiu^ for the sta-je, but had many scholars, and composed harpsichord pieces, sin<;le songs, and cantatas innumerable. Handel, liavinii ac- quired at Hamburg a sum sufHcie.-t to enable him to visit Italy, set out for that seat of the Muses, a journey after which every man of genius so ar- dently pants. He staid some time at Florence, where he composed the opera of " Rodrigo." 'nieucc he went to Venice, where, in 1709, he produced his " Aijrippina," which is said by his biographer to have been received with acclama- tion, and to have run thirty nights. Here he met with Domenico Scarlatti, Uasparini, and Lotti. Ho then vLsited Kome, where he had an oppor- tunity of hearir.g compositions and performers of the first class. Here the elder Scarlatti and Uas- parini had brought vocal music, and Corelli in- strumental, to great perfection. At Cardinal Ot- toboni's, by whom Handel was greatly caressed and patronized, he had frctjuently the advantage of hearing the natural and elegant Corelli perform his own works. Here the young composer pro- duced a serenata, " II Trionfo del Tempo." Aiter iiis he proceeded to Naples where he set " Ada e UnUttea," in Italian, but totally different from the Englisli drama, written by (iay, which he set, in 1721, for the Duke of Chandos. When he re- turned to (icrmany, on quitting Italy, in the i>eginning of 1710, he proceeded immediately to Hanover, where he found a munificent patron in the elector, who afterwards, on the death of Queen Anne, ascended the English throne by the name of George I. Tliis prince had already retained in his service, as miwslro di cajieUa, the elegant and learned composer Steffani, whom Handbl had be;brc met at Venice, and who now resigned his office in his favor. This venerable musician served as a model to Handel for cham- ber duets, and facilitated hLs introduction to the smiles of his patron, the elector, who settled on him a pension of fifteen h\in(lred crowns, upon condition tliat he would return to his court, when he had completed his travels. Handel, accord- ing to this j)roposiliou, went to Dusseldorf, where he had a flattering reception from the elector palatine, who likewise wiMhee the pre- cise moment when this great musician had ar- rived at the stage of existence which DnntccAlla " // nte;;o del crimmiit i/i w>stra vitit ; " wlien the human friune and faculties have attained theii utmost strength and vigor. Ho was cadoweil with extraordinary natural jiowerx, by that time highly improved by cultivation ; with a hand which no difficulties could cmbarrn.ss ; n genius for composition original and incxhaustibli- ; at the head ot a protossion which lucililHte^ ai'coss tc the great, and with extraordinary aliihtics iiuturet their patronage ; high in the favor ol the sover- eign, nobles, and public of a rich and i>ow«rfit i'j 361 HAX ENCYCLOPAEDIA OF MUSIC. HAN nation, at a period of its prentest happiness and tranquillity ; when it was not only blessed with leisure and zeal to cultivate the arts of peace, but with power and inclination liberally to re- ward tliose whose successful efforts had carried them beyond the re-^ions of mediocrity. .Such ■were Handel's circumstances when he first en- tered into the service of the Iloyal Academy of Music. In his treatment even of first-rate sing- ers, Handel was somewhat despotic, as the two following anecdotes will evince. The very sim- ple and well-known air, " Verdi prati," in " Al- ciiui," which was constantly encored, was at first sent back to Handel by Carostini, as too trifling for liim to sing ; upon wliich he went in a great rage to his lodgings, and, with a tone in which few composers except Ilandel ever ventiu-ed to accost a first-rate singer, exclaimed, in liis usual curious dialect, and with his accustomed impet- uosity, " You tog ! don't I know better as your- Bcluf vaat is pest for you to sing ? If you vill not sing all de song vaat I give you, I vill not pay you eiu stiver." On a similar occasion, upon Cuzzoui insolently refusing to sing his admirable air, " Fa'sa imagine," in " Otho," he told her that he always knew she was a very rkcil, but that he should now let /ler know, in her turn, that he was Beelzebub, the prince of rlevils ; and then taking her up by the waist, declared, if she did not immediately obey hLs orders, he would tlirow her out of the window. During the first years of Handel's retreat from the opera stage, the profits arising from his ora- torios were insuflicient to indemnify his losses ; and it would remain a perpetual stigma on the taste of the British nation, that his " Messiah," that truly noble and sublime work, was not only ill attended, but ill received, on its first per- formance in 17-tl, wore not its miscarriage to be ■wholl}' ascribed to the resentment of the many great personages whom he had offended in re- fusing to compose for Senesino, by whom he considered himself affronted, or even lor the opera, unless that singer was dismLssed. ThLs inflexibility, being construed into insolence, was the cau:se of that powerful opposition, at once oi)pressive, mortifying, and ruinous to its victim. Finding it impossible to stem the torrent of persecution, Ilandel visited Ireland, in order to try whether, in that kingdom, his oratorios would be out of the reach of prejudice and en- mity. Pope, on this occasion, personifying the Italian opera, put into her mouth the following well-known lines, which she addresses to the goddess of dulness : — *• Strom in new armi, lo! piant Hnndel itanda. Like (^Id Brinrvus with liis hun'Xii)l. ; from 1700 to 17i)H, hv eight jjertormanccs, under the con- duct of Mt. J. C. Smith, 133-2/. ; from 17(i9 to 1777, l>v nine performances, under the direction of Mr.' Stanley, 2032/. .• being, in all, 10,299/. ITie organ in the chapel of this hospital wa.s likewise a present from Handel, and he be- queathed, as a legacy to this charity, a fair cojjy of the original score of the " Mc-ssiab." From the time of his return from Ireland, with little opposition, and a few thin houses, in conseiiuence of great a.s.semblies of the nobility and gentry, manifestly and cruelly coUectctl together on his night.s of performance, with hostile intentions, by some implacable remains of his most ])o\ver- fiU adversaries, he continued hb oratorios till within a week of his death. Ikit though the " Messiah " increased in repu- tation every year, and the crowds that tlocked to the theatre were more considerable every time it was performed, yet to some of his other oratorios, the houses were so thin as not even to defray his expenses ; which, as he always employed a very numerous band, and paid his perfonners liberally, BO deranged his nttairs, that, in the year 17-1.5, after two iwrformances of " Hercules" January a and 10, before the I^nt season, he stopped pa)-mcnt. He, however, resumed the perform- ance of his oratorios of " Samson," " Saul," "Joseph," " BeLshaz/ar," and the " Messiah," in March. " But," says Dr. Buniey, " I perfectly well remember, that none were well attendetl, excejit 'Samson,' and the 'Messiah.'" Dr. Burnev likewLse informs us, that he has fre- quently heard Handel, as pleasantly as philo- sophically, console his friends, when, previous to the ciirtain being drawn up, they have lamented that the house was so em])ty, by saying, " Never mind ; de moosic \i] sound de petter." In 1749, "Theodora" was so very unfortunate- ly abandoned, that he was glad if any professors who rlid not perform would accept of tickets or orders for ailmission. Two gentlemen of that description having applied to Handel, after the disgrace of "'nieodora," for an order to hear the " Mes-iah," he cried out, " O, your sarvant, mein herren I your are taranable tainty ! you would no CO to 'Theodora:' dcr vas room enough to dance there, when that was perform." His majesty. King (ieorge IL, was n steady patron of Handel during these calamitous times, and constantly attended his oratorios, when they were abandoned by hLs court. Handel, late in lite, like the greatest of poetJi, Homer and Milton, w;is atllictcd with blindness, which, however it might dispirit or embarrass him at other times, had no etfect on his ner\-es or intellect in public; as he continued to play con- certos and voluntaries between the parts of his oratorios to the last, with the same vigor of thought and touch for which he was ever so iustly renowned. To see him, however, le eervioc in l.Ls own parish churoh of St. George, Hanover Square, where his looks and gestieula- tions iiidicnted tlic xitraost fer\'or of unnfTocted devotion. He was buried in Westminster Abbey, tlie dean. Dr. I'ejirce, ]5ishop of Uochcster, as- iLstcd by the choir, performing the funeral solem- nity. Over the j)laoe of hLs interment is a monu- ment, designed and executed by Koubilliac, representing him in full length, in an erect pos- ture, with a music paper in his hand, inscribed, " I know that my Redeemer livcth," with the notes to wliich these words are so admirably set in his " Messiah." Tl'.ose who were but little acquainted with Handel wore unable to characterize him other- ■wise thnn by his excellences in his art, and cer- tain foibles in his nature, which he was never studious to conceal. Accordingly we are told that he liad an enormous api)etite, that he pre- ferred liurgundy to Port, and tliat when pro- voked lie would break out into profane expres- sions. These are facts that cannot bo denied ; but there are also particulars which mark his character but little known, and which possibly may be remembered elsewhere, when those that serve only to show that he was subject to human imperfections are forgotten. In his religion he was of the Lutheran jiersuasion, in wliich he was not such a bigot as to decline a general confor- mity with that of the country which he had chosen for his residence, at the same time that he entertained very serious notions in regard to its importance. These he' would frequently express in his remarks on the constitution of the English government ; and he considered as one of the greatest felicities of his life that he was settled in a country where no one suffers molestation on account of his religious principles. His attain- ments in literatiue cannot be supposed to have been very great. The prodigious number of his compositions will account for a much greater por- tion of his time than any man could well be sup- posed able to spare from sleep and the necessary refreshment of nature ; and yet he was well ac- quainted with the Latin and Italian languages ; the latter of which was so familiar to him that few natives understood it better. Of the English also he had such a degree of knowledge as to be susceptible of the beauties of our best poets ; and this he has sufficiently evinced by the admirable manner in which the sound is almost constantly an echo to the sense of those passages which he has selected and set to music. The style of liis a state of retirement, showing no solicitude to form new ones. HLs residence was on the south side of Brook Street, near Hanover Square, in a house afterwards in the occupation of Sir James Wright, four doors from IJond Street, and two from the passage to the Stable-yard. His per- manent income was six hundred pounds a year, arising from jicnsions, that is to say, one of twi hundred pounds, granted by Queen Anne, and two others of two hundred pounds each, granted, as already related, by (ieorge I. and Queen Caro- line. Tlie rest was precarious ; for some time it depended u])on his engagements with the direct- ors of the academy, and afterwards upor the profits arising from the musical perfonnai, ;«8 which he undertook on his own account. We have seen that, in his ruinous contest with the nobility, he sold out ten thousand pounds, the whole of his former savings, without being able even then entirely to extricate him- self from his difficulties. However, he had at all times the prudence to regulate his ex]ienses by his income. Equally untainted by avarice or profusion, when, some years afterwards, he again found himself in a state of affluence, he re- assumed his former course of hving. HLs social affections were not very strong, and to this it, may be imputed that he spent his wholfe liie in a state of celibacy ; that he had no female attach- ment of a less honorable description may be ascribed to a bettor motive ; and we may truly say that Handel, endowed with many virtties, was addicted to no vice, or even foible, that was in the remotest degree injurious to society. A temper and conduct like this was, in every \new of it, favorable to his pursuits ; no impertinent visits, no idle engagements, or ratlier expedients to kill time, were ever suffered to interrupt the course of his studies. He had a favorite Kucker hari)sichord, the keys of which, by incessant practice, were hollowed like the bowl of a spoon. He wTote very fast, but with a degree of impa- tience proportioned to the eagerness that possesses men of taste to see their conceptions reduced into form. Like many others of hLs profession, he was passionately fond of paintings ; and, till his sight failed him, viewing collections of pictures ui)on sale was one of the few recreations in which he indulged himself. Handel in his person was large, and rather corpulent, ungraceful in his gait, which was ever sauntering, and had some- what of that rocking motion which distinguLshes those whose legs are bowed. His features were discourse was very singular ; he pronounced Eng- finely marked, and the general cast of his coun lish as tlie Germans do, but his phraseology was exotic, and j)artook of the idiom of the different countries in which he had resided — a circumstance which rendered his conversation cxceecUngly en- tertaining. HLs habits of life were regular and unLlorm. For some years subsequent to his going to England, his time was di^•idcd between study and practice, that is to say, in composing for tiie opera, and in conducting concerts at the Duke of Rutland's, the Earl of Rurlington's, and at the houses of others of the nobility wlio were jiatrons of music. 'ITiere were also very fre- quently concerts for the royal family at the queen's library, in the Green I'nrk, in which the princess royal, the Duke of Rutland, Lord Cow- ])er, and other jjcrsons of distinction performed. Of these Handel had the direction ; and as these •ounections dissolved, he gradually retreated into tenance placid, bespeaking dignity attempered with benevolence, and every quality of tlie heart which has a tendency to beget confidence and insure esteem. Though he was impetuous, rough, and iieremptory in his manners and con- versation, yet he was totally devoiil of ill nature or malevolence ; indeed, there was an original humor and jjleasantry in his most lively sallies of anger and impatience, which, \inited witli his broken English, rendered him aither the cause of merri- ment than uneasiness. His natural j)roi)ensity to wit and humor, and happy manner of relating common occurrences in an uncommon way, enabled him to throw persons and things into very ridiculous attitudes. Had he been as great a master of the English language as Swift, hL boiis mots would have been as frecjuent, and of » similar east. 3G4 HAN ENCYCLOPAEDIA OF MUSIC. HAN At the coronation of the kiiij; in 172", Ilnndel had words gent to him by the bishojjM for the anthems, at which he munnured and took otfenoc, as he thought it implied his supjioscd if;nori\nce of the Holy Scriptures. " I have rend my Uihle very well," said he, " and shall choose for my- seli." And his own selection of the words, " ^Iy heart is inditing of a good matter," &c., was very judicious, and inspired him with some of the tinest thoughts that arc to be found throughout nis works. This anthem was sung at the corona- tion, while the peers were doing homage. Ur. IJurney informs us that, besides seeing Handel at hLs own house in IJrook Street, and at Carlton House, where he had rehearsals of his oratorios, by meeting him at Mrs. Cibbcr's and at Frasi's, who was then Ilurney's scholar, he ac- quired considerable knowledge of his private character and tuni for humor. Handel was very fond of Mrs. Cibber, whose voice and manners had softened hLs severity, and atoned for her want of musical knowledge. At her house, on Sunday evenings, he used to meet (Juin, who, like Han- del, in spite of native roughness, was abnost as fond of music as of good cheer. Mrs. Cibber, the first time these giants met, prevailed on Handel to sit down to the haqisi- chord, when he played the overture of " Siroe," and particularly delighted the company by the wonderful neatness with wliich he played the jig at the end of it. Quin, after Handel was gone, being asked by Mrs. Cibber whether he did not think Mr. Handel had a charming hand r " A hand, madam r You mistake ; it is a foot." " I'oh ! poh ! " said she ; "has he not a fine linger?" "Toes, my dear madam." In fact, lu8 hand was so fat, that the knuckles, which usiuiUy appear convex, were like those of a child, dinted or dimpled in, so as to be rendered con- cave ; however, his touch was so smooth, that his tingers seemed to grow to the keys. They were so cur\'ed and compact when he played, that uo motion, and scarcely the lingers them- selves, could be discovered. " I remember," says Dr. IJunicy, " at Frasi's, in the year 1748, he brought in his pocket the duet from ' Judas Maccabiuus,' ' From these dread scenes,' in which she had not sung, when that oratorio was first performed in 17-i'i. When he sat down to the haq>sichord, to give her and me the time of it, while he sung her part, I hummed, at sight, the second over his shoidder, in which he encouragetl me, by desiring that I would sing out ; but unfortunately, something went wrong, and Handel, with his usuid impetuosity, grew violent — a circumstance very terrific to a young musician. At length, however, recovering from my fright, I ventured to say that I fancied there was a mLstnke in the writing, which, upon ex- amination, Handel discovered to l>e the case ; and then, instantly, with the greatest good humor and humility, said, ' I pec your barton — I am a very odd tog : Maishter Schmitt is to plame.' " Handel wore an enormous white wig, and when things went well at the oratorio, it had a certain nod or vibration, which manifested his pleasure and satisfaction. Without this signal, nice observers were certain that he was out of humor. At the close of an air, the voice with which he used to cry out, " Chorus 1 " was ex- tremely formidable indeed ; and, at the rehearsal of his oratorios at Carlton House, if the Prince ' and Princess of Wales were not exact in entering : the music room, he used to be very violent ; yei such was the reverence with which hLs royal highness treated him, that, admitting Handel to have had cause of comitlaint, ho has been hear^ to say, " Indeed, it is cruel to keep these pool peo|)lc," meaning the perfonuers, " so long from their scholars and other concerns." Hut if th« maids of honor, or any other female attci dants, talked during the iierformance, it Ls to be feared our modern Timothcus not only swore, but called names ; yet at such times, the Princess of ^Vale8, with her accu-^tomed mildness and benignity, used to say, " Hush ! hush ! Handel Ls in a i)as- sion ! " 'Diough totally free from the sordid vices of meanness and avarice, and jjossessed of their opposite virtues, chaiity and generosity, in spite of temporary adversity, and frtviuent mal- adies of body, which sometimes extended to intellect, Handel died possessed of twenty thou- sand pounds, which, with the exception of one thousand to the fund for decayed musicians, he chierty bequeathed to his relations on the con- tinent. In regard to his performance on the organ, the powers of speech are so limited, that it is abuost a vain attempt to describe it, otherwise than by its effects. A fine and delicate touch, fi volant finger, and a ready execution of the most diffi- cult jiassages, are the praise of inferior artists ; they were scarcely noticed in Handel, whose ex- cellences were of a far superior description. Ilia amazing command of the instrument, the fulnesa of his harmony, the grandeur and dignity of his style, the copiousness of his imagination, and the fertility of his invention, were (lualities which absorbed every subordinate attainment. Mlien he gave a concerto, his usual method was to in- troduce it with a voluntary movement on the diapasons, which stole on the ear in a slow and solemn progression ; the harmony close wrought, and as full as could possibly be expressed, the passages concatenated with stupendous art, the whole at the same time being jjerlectly intelligi- ble, and carrying the appearance of great sim- plicity. ITiLs kind of jjrelude was succeetled by the concerto itself, which he executed with a de- gree of spirit and firmue«s that no one ever pretended to equal. Such, ui general, was the manner of his perfonnance ; but who shall describe its effects on his enraptured auditory ! Silence, the truest applause, succeeded the instmit that he addressed himself to the instrument ; silence so profound, that it checkeil respiration, and seemed to control the functions of nature, wliile the magic of his touch kept the attention of his hearers awake only to those cnchantuig sounds to which it gave utterance. Wonderful as it may seem, this command over the human passions is the acknowledged attribute of music ; and by effects like these the ])octs have ever described it, always supposing in the bearers a mind susceptible of its charms. Hut how are we to account for the influence of that harmony, of which we are now spe;iking, on those who, aa far as rcganb music, may be said to have no pas- sions, no affections, on which it could o]>erate ? In all theatrical representations, a part only of the audience are judges of the merit of what they see and hear ; the rest are always drawn togethci by motives in which neither taste nor judgment have any share ; and wit) , respect to music, it ii 36o BAN ENCYCLOPEDIA OF MUSIC. HAN notorious thnt the greater number of mankind are destitute, though not of hearing, yet of that Muse which, suj)eradded to the hearing, renders us Husceiitible of the fascination of musical sounds ; and in times wlien music whs less fashionable tliaii it is now, many of both sexes were ingenuous enough to confess that they wanted that sense, by saj-ing, " I have no car for music." Persons such as tliese, who, had they been leil to themselves, would have interrupted the hearing of others by their talking, were, by the jjcrformance of Handel, not only charmed into silence, but were generally the loudest in their acclamations. ThL*, though it could not be regarded as genuine applause, was a much stronger jiroof of the power of harmony than the like effect on an audience composed only of judges and rational admirers of his art. There seems to be no necessary connection be- tween those faculties which constitute a com- poser of music and the powers of instrumental perfonnance ; on the contrary, the union of them in the same ])erson, in the superlative degree, ap- pears scarcely practicable ; nevertheless, in tlie person of Handel, all the perfections of the mu- sical art were concentrated. He had never been a master of the violin, and had discontinued the practice of it from the time he took to the harp- sichord at Hamburg ; yet, whenever he had a mind to try the effect of any of his comijositions for that instrument, his manner of touching it was sucli as the ablest masters would have been glad to imitate. But what is still more extraordi- nary, without a voice, he was a most excellent singer of such music as required more of the pathos of melody than a quick and voluble ex- pression. At a concert at the house of Lady Rich, he was once prevailed upon to sing a slow song, which he did in such a manner that Farinelli, who was present, could hardly be persuaded to sing after him. To enter upon a critical inquiry into the several merits of the various works of this great master would far exceed the hmits of this work. Of some of hLs ])roductions a transient view has already been taken. Among those of the first and highest class, no competent judge will hesitate to rank his first " Te Deum," and "Jubilate," his " Corona- tion and other Anthems," the " Detiingen Te De- um," and the truly sublime choruses in his orato- rios. To i)oint out the various excellences in the choruses of Handel would be an endless task. In general, it may be observed that they are fugues, in which the grandest subjects arc introduced, and conducted with such art as only himself possessed. Some are in the solemn style of the church, as that of the conclusion of the first part of " Sftul ; " others have the natural and easy elegance of madri- gals; others are in the higliest degree expressive of exultation, such as that in "Israel in Egyjit," "I will sing unto the Lord," and tliose in the " Mes- siah," " Tor unto us a child is born," and "Hal- lelujah, for the Lord God omnipotent reigneth." Lastly, tliere are others ii\ a style peculiar to him- •elf, and calculated to excite terror, such as, " He ^ave tliem hailstones for rain," " Hut the waters overwhebncd tlieir enemies," and " Thy right hand, O Lord, hath dashed in pieces the enemy," in " Israel in Egy])t." And though, perhaps, it may be said that Handel, agreeably to the jjrnc- tice of his countrj-men, lias too much affected imitation, particularly in the latter of the above- mentioned unrivalled productions, by pa<«sage8 broken in the time to express the hopping of frogs, and others calculated to resemble the buzz- ing of flies ; and that in " Joshua," he has en- deavored, by the harmony of one long-extended note, to impress upon the imagination of his hearers the idea of the great luminary of the uni- verse arrested in his course, or, in otlier words, to make them hmr the sun stand still, it may be justly said that they abound with innumerabla examples of the true sublime and beautiful in music, and that they far surpass in majesty and dignity the productions of every other deceased or living author. The lessons of Handel for the harpsichord were composed for the practice of the Princess Anne, and consist of suites of airs, intermixed with fugues, the latter, perhaps, more proper for the organ, and because they require a masterly hand, but little practised. ITie character of an author is but the necessary result of his works, and the permanent fame of Handel must ultimately rest on the merits of his oratorios, and other sacred productions. Many of the excellences, which, as a musician, recommended him to the patron- age of the public duiung a rendence of fifty years in England, he might perhaps possess in common with a few of the most eminent of his contemporaries ; but till they were instructed by Handel, none were aware of that dignity and grandeur of sentiment which music is capable of conveying, or that there is a sublime in music, as well as in poetry and painting. This is a dis- covery which we owe to the genius and inven- tive faculty of this great man ; and there is little reason to doubt that the many examijles of sub- limity vniU. which his works abound will con-, tinue to engage the admiration of judicious hearers as long as the love of harmoiy shall e.xLst. AVe shall conclude the foregoing account of this great musician by an extract from a very able criticism in the " Quarterly Musical Review," where the author, in an Essay on the Formation of an English School of Music, introduces the following observations on the works of Handel : — " Though not, strictly speaking, an English composer, Handel has always been the first and most continual object of English admiration. But his popularity is fast ebbing away, and the higher classes are almost universally devoted to Italian music. Handel was a composer of great majesty and strength ; even his elegance partakes of sub- limity. His style is the great, and is simple in the degree which contributes most to this end. From a singer lie refjuires more legitimate and genuine expression than any other master. In the hands of a common performer, Ilnnders best pieces ar«k for an English audience the same nice tinish which, in English singing, we cannot dispense with. We are apt, too, to consid- er what we do not entirely comprehend, to be idiomatic and peculiar. And we are certainly much more easily satisfied with Italian than with English expression. Though these causes may appear somewhat subtle and remote, they have, I am persuaded, a very powerful operation. I shall now proceed to others, which arise more immediately from the nature of the compositions of this English favorite, and of Italian music. " A certain portion of terror frequently mixes itself with the emotions of the sublime. In music this is frequently effected by association. ^Vhen we hear and feel ' I know that my Re- deemer liveth,' 'The trumpet shall sound,' or (iny song of a like cast, the ideas of death, -esurrection, and judgment till all the mind. We cannot dwell without strong emotion upon such subjects ; the sensation produced is too sublime and too awful ; and when it is passetl away, we are not solicitous to recall it but at cer- tain and solemn occasions. Svich are the genuine effects of Handel. I have already remarked that even his lighter compositions partake of grandeur. In his ' Ads and (inlafea," in despite of music so exquisitely beautiiul, dc-icriptivc, original, and impassioned, the mind is stiwued beyond its common pitch, and we are not affected by the tenderness of the lovers, in the same manner, or to the same degree, as we are by the amatory compasitions of the Italian masters. In the story tUtlf, love is mingled with apprehension, and pathos with ideas of the bulk, the ferocity, thi strength, the hideous figure, and the rage of I'olypht-me. 'ITicse serve to give the mind a contrary determination, and prevent it from sink- ing into that delicious languor which it Is th« sovereign art of the Italian school to produce. " 'Hie genius of the Italian language, of its poetry and its music, is principally calculated to excite the gentler passions, llic frequent re- cuiTence of soft syllables, the sweetness of the passages, and the lubricity with which a true Ibdiun singer glides through melody, melts us at once into a dream of i)ity or of love, 'llius then we see that the passions wliich most agreeably bias and affect the mind, arc all on the side of Italy. If it should be urged that only one mus- ter is adduced against the wliolc Italian school, I reply, that I have selected the man to whom the English are most devoted, and in truth, the only one, nationally speaking, who is extensively known to the British public. ITic works of early English composers, I'urcell, Croft, lilow, ( jrccne, Boyce, and Ame, though high in the estimation of sound taste, are now seldom heard. Their style, with an exception, perhaps, in favor of the last master, is considered obsolete. It certainly lacks the improvement of modem art and modern ta-ste, while the reasons produced against Handel bear still more strongly upon these really English writers. It appears to me that so far- as apj)cr- tains to composition, the Germans have already effected for themselves what I propose to the English. 'Hiey have blended and incorjiorated, with the happiest success, the sweetness, the tenderness, and the variety of Italian melodv with a strong and natural character of Gennan music. Haydn and Mozart rank in the very highest order of genius ; and so truly do their notions of expression accord with our own, that we may assert, no composers have treatcidereost ' and of the ' Seasons,' to which, in point of style, they bear, perhaps, some analo;^. Tlie • Creation ' of Ilaydn, then, il' it seldom riset into magnificence, is full of elegance and inven- tion ; nor can I point out a single weak or unin- teresting melody. Joy, gratitude, benevolence, and love are expressed with as much puritv and as much ecstasy by Haydn, in the ' Creation,' m are the sublime emotions which inspire all th< hopes and the terrors of religion, all the blessing, and honor, and glory, and power, we assign \t 367 HAN ENCYCLOPAEDIA OF MUSIC. 11 AR the great Creator and Preserver of luaukiiid, in the 'Messiah ' by Handel." The I'oUowing is a clirouological list of Ilan- del's woiks : — Operas : " Almira," an opera performed at Hamhurj;, 170o; " Xero," an opera performed at Hamburg, 170.5; " Fhrindo," " Dafiu;" 1708; " liiiiiiUlo," Loudon, 1711; " Tiiseo," " I'astor Fido," 1712; " Amatliflc," 1715; " li/uiflamisto," 1720; " Mttzio Scevo/fi," 1721; " Otloite," 1722; " Oiitiio Cesare," " Ftoridantc," " Flacio," 1723; " Tamcrlano," 1724; " Itodelinda," 1725; " Ales- lamiro," " Sripiotie," 172G : " Ilicardo I'rimo," 1727 ; " liodriijn," performed at riorencc, 1709 ; " Ayrip- piiia," Venice, 1709 ; " Amnicto," London, 1727 ; " Tolimco," " ^iroe," 1728 ; "Lotario," 1729 ; " Par- tenope," 1730; "Poro," 1731 ; "Orlando," "Sosarme," 1732 ; "Arianna," "Ezio," 1733 ; "AriodaiUe," 1734 ; " Alcina," 1735; " Arminio," " Atalanta," "Giita- tino," 1736; "Berenice," " Faramondo," " Ales- sandro Severo," " Pasticcio," 1737 ; " Serse," 1738 ; " Imeiieo," " Parnasso in Feste," " Dcidamia," 1740. Miscellaneous works: "Anthems," 8 vols. ; " Cantatas," 4 vols. ; " Te Deums and Jubilate," 3 vols. ; " Opera Songs," 2 vols. ; " Laudate ; " " Collections of Songs and Cho- russes;" " Motetti e Duetti;" "II Trionfo del Tempo," Rome, 1709; " Acije e Galatea," Napoli, 1709 ; " Oratorio Ilaliano ; " " Cantate ; " " Concer- ti;" " Concerti Grossi;" "Transcript of six Sona- ta.s for two Hautboys and a Bass," 1694 ; " Sona- tas for two Violins and a Ba.ss," two sets ; " Harp- sichord Lessons," two books, 1720 ; " Fugues for the Organ ; " " Organ Concertos," three sets ; and " Cantata.s, composed at Hamburg and Rome, between 1703 and 1710." Oratorios: "Esther," composed 1720; "Esther," publicly periormed in London, 1732 ; " Deborah," " Athalia," Ox- ford. 1733; " Acis and Galatea," (at Cannons, 1721,) 1735; "Ode, St. Cecilia's Day," 1736; "Israel m EgjiJt," 1738; "L" Allegro ed it Pcn- sieroso," 1739; ".Saul," 1740; "Messiah," 1741; "Samson," 1742; " Semele," " Belshazzar," "Susanna," 1743; "Hercules," 1744; "Choice of Hercules," and "Occasional Oratorio," 1745 ; "Joseph," and "Judas Maccaba;us," 1746; "Alexander Balus," and " Joshua," 1747 ; " Sol- omon," 1749; " ITieodora," 1750; " Jephtha," and " Time and Truth," 1751. HAND-GUIDE. An instrument invented by Kalkbrcnner to insure a good position of the hands and arms on the piano-forte. HANF, JOHANN N., organist at Schles- wick, died in the year 1706. He published some vocal and instrumental music. IIANISCH. FltiVNZ. A celebrated performer on the hautboy, and composer for his instrument. He was born in Bohemia, in 1749. There was another of the same name, who was celebrated at Vienna as a performer on the trombone. IIANKE, CAUL, singer and director of the music at Flensburg, in Germany, has composed fnuch vocal music for the church and theatre ; also much instrumental music. His works bear ilate between the years 1780 and 1800. Hanke •was for some time chef-d'orcheatre at the theatre at Hamburg. HAN.SMANN, bom at Potsdam in 1764, was chamber musician and violoncellist at Berlin. He WBii a pupil of tlie ctlebrutcd Duport. HARANC, LOUIS ANDRE, first violin of the Royal Chapel, and chamber musician at Paric. wiis born in that city in 1738. \Vhen only six years of age, he executed the most difficult sona- tas of Tartini. He travelled in foreign countries from 1758 to 1761, when he returned to France, and was received in tlie Cliapcl Royal. The dau- phin, father of Louis XVI., chose Ilaranc, in 1763, for hLs violin master, and took lessons till his death in 17G5. Haranc composed much in- strumental music, which has, however, remained in manuscript. He died in 1805. HARBORDT, GOITFRIED, a German com- poser, has published some music for the piano- forte and flute at Brunswick, since the year 1796. HARD, J. D., chapel-master to the Duke of Wurtemburg, was born at Frankfort on the Maine in 1696. He was a celebrated performer on the viol da gamba. HARDER, AUGUSTUS. A musician, resi- dent at Leipsic. Since the year 1802, he has published a considerable (juantity of vocal music, with accompaniments either for the piano or gui- tar. He has also published some sonatas and/wto- naises for the piauo-forte, and progressive pieces ; also variations for the guitar. HARDIMENT. (F.) Bold, brisk, animating. IL^JIDOUIN. Several songs by a composer of this name are in the Jiecueil d' Airs siriextx el a boire, Paris, 1710. HARDOUIN, ABBE I,OUIS, probably a son of the preceding, resided at Rhcims in 1788, and publLshcd there " Douze Messes en ilusique h qua- tre Parties." HARMATL\N, or CHARIOT AIR. This term is derived from the Greek, and is the name given by the ancients to a certain air composed by Olympus. According to Hesychius, it de- rives its name of c/iariot air from its imitating the rapid motion of a chariot wheel, or as being, from its fire and spirit, proper to anijuate the horses that drew the chariot dui-ing battle. H.VRMONIA. A daughter of Mars and Venus. Her name was first used to indicate music in general. She is said to have introduced music into Greece. HARMONIC HAND. Guide's diagramma. HARMONICA. A musical instrument con- structed with glasses. See article Gl.\sses ; al^o FiiA.NKLi.v, Benjamin. HARMONICL (I.) Harmonics in violin music. HARMONICS. 1. An epithet applied to those concomitant, accessory sounds which accompany the predominant, and apparently simple tone of any chord or string. 2. The mathematical mensu- ration of musical sounds ; whatever ajjpertains t< harmony ; as the liarmonic divisions of the mon- ochord, the harmonic jiroportions, &c. The an- cients reduced their doctrine mto seven parts, namely, sounds, intervals, systems, genera, tones, mutations, and mclopccia. HARMONICAL TRUMPET. An instru- ment wluch imitates the sound of a trumpet, and 363 HAR EXCYCI.OP.EDIA OF MUSIC. HAR •rhich resembles it in every thing, exccptinj? tliat it is Ioniser, and consL-its of more brunches. This ig Bometiiuos I'allecl the sackbut. IIAKMOXIC TULVI). "llie common chord. Tlie union of any sound with its third and its perfect tilth i'onns the /icirmonic triad. Triad, in music, signifies three dillercnt sounds combined together, at the distance of a tliird and a tifth from tlic lowest. HAUMOXIE. (F.) Harmony in general; also music expressly com[>08ed for a military band. HARMONIOUS. A terra applicable to any two or more sounds which form a consonant or agreeable union. Authors, csj)eciaUy poets, freiiuently apply thi.s cjiithct to the tones of a single voice or instrument ; but only those sounds can bo properly called harmonious which arc so with respect to each other, when heard together ; consequently, that epithet, when confounded with the word nu'lodiotts, in used in an improper iiense. HARMONIST. A theoretical musician. One who, to a thorough knowledge of the principles and con^tructions of all the received combinations, adds an intimate acciuaintnnce with the various Iratuitioiis anil evolutions of harmony, and the principles on which they are conducted. HARMONIZED. A melody is said to be harmonized when additional parts are subjoined, 80 as to give it body, or a fulness of effect. To harmonize is to combine two or more parts agreeably to the established laws of couutcrjioint. HARMONOMETER. An instrument formed for the purpose of measuring the harmonic rela- tions of sounds, and consisting of a monochord so disposed as to be capable of being divided at pleasure by movable bridges. HARMONIZER. A practical harmonist. In the extended sense of the word, any one who fabricates or produces harmony, not excluding even the original composer ; but in its usual ac- ceptation, a musician whose talents reach no farther than to the apjjlying additional parts to the productions of others ; filling up scanty pieces, garnishing popular airs with accompani- ments, or subscribing new basses to old tunes. HARMONY. (From the Greek.) llie agree- ment, or consonance, of two or more united sounds. Harmony is either natural or artificial. Natural harmony, strictly so called, consists of the harmonic triad, or common chord. Artificial harmony is a mixture of concords and discords, bearing relation to the harmonic triad of the fundamental note. The word harmony being originally a proper name, it is not easy to deter- mine the exact sense in which it was used by the Greeks ; but from the treatises they have left us on the subject, we have great reason to conclude that they limited its signification to that agreea- ble succession of sounds which we call air, or melody. The moderns, however, do not dignify a mere succession of unaccompanied sounds with the appellation of harmony ; for the formation of harmony, they rc(iuire a union of melodies, a succession of combined sounds composed of con- sonant inter^'als, and moving according to the stated laws of modulation. Rut as the laws of hamiony wcvc not digested into n code biit by very slow digees, its princii)les, for a long lime, consisted of no other than almost arbitrary rules, founded, indeed, on tljeapi)robalion of the ear, but unsanctioiu-d by that science which accounts for effects ralionally, and deduces its conclusions from minute, profound, an-> h- hi :=3r Fuudameutal Dass. In the chord of the 4, or third inversion of the flat or dominant seventh, the ba.ss is rarely repeated or included in the upper harmony ; and the cliord itself may be civsily known by reflect- ing that it is the common chord of the note above the bass, or the half note when it bears the tame literal or svUabic name as the whole tone. * ll in ciiMoimr)' in call tlir diuiiinnnl nrvenlh .1 fl.il Kevpiilli, (IiIioiieIi its intcrvnls iii.ny, in diffiTpm kcv", Ih' exiirp-weil hy iny iif llu- fiilliivvini: ni)in» : 1,7, t?7, u'j47, or = (,"• ^"' brevity's Kiikc. tl>r Icrm fiiit Ii;m liccn adopted wlicii tlicre i« occasion tu iiifii>H)ii the ctr.>d. C4Q. fciWI'l flf Ci Example. Dkbt. Com ebordofO. IE ^^-= -gCto>-' l^^fl WbohtMM. tUlftoA*. Third Chord, or Chord op the Flat Ninth. The chord of the flat ninth includes the two foregoing chords with the addition of the inter- val of a flat ninth or second, and has four inver- sions. In the inversions of the flat ninth the fundamental note is omitted ; and in elegant writing the bass note is avoided in the upper har- monies, which is the occasion of its having but four positions. Positions. \H. 2d. 3d. 4th. m 9'iSP- ?t5«*- ^ ^^ ^ b9 h^ ^ Inversions. 1st. 2d. 8d. 4th. Fuudaiucntal liass. These last chords, or inversions of the flat ninth, preserving their visual notation, admit of prefl.\ed signatures, which change their effect to the ear, and render them audibly difterent ; little changed in appearance, but most materially in their expression : the fundamental basses, how- ever, in some instances, vary according to the pre- fixed signs — of which more will be found in an- other section. The common chord may have either a major or minor third, the fundamental remaining un- changed. Example. ^§S1 MMor. VoM. Htjor. Minor. H^. Mtan. Ulnsr. M^jv. Mijv. b S b B b E ^ S-=^ ffiirar ^^H"^TtI 370 HAR ENCYCLOP.^DIA OF MUSIC. IIAR When a b , **, or t: , is placed over or under a bass note, it signified, in old thorough bass, that the third from the bass should be b. **, or =. ITiis usage is yet retained by the modems sorae- tiraes in the basses to recitatives, and it is fitting that the student should be made accpiaintod with it ; also that he should know every other conventional telegraph belonging to the said myiitery. A stroke or dash through a figure signifies that the interval represented by that figure shall be played half a tone higher ; as does also the + attached to the figures 4 or 2, thus : 4+, 2+. SS A diush also, thus — , after a figure or figures, signifies that the same harmony is to be jilayed iu the right hand, though the bass may change. It is generally used as a short hand for the fig- ures 4 ; but it also serves for others, which will 2 he explained in due place. It denotes likewise the continuance of one or more notes, or figures representing notes. Example. fc 3ES ^=^ ^ :2=g=3 a !. 6 {w^^r~r-r\=^^=^r^ feg^J4yt^^l m ■szii « « 01, 7 A 6 - 4 7 _^ J 4 7 ^1 The chord of the seventh is more licentious than the common chord, and may have its third, filth, or even seventh, minor or major, ^^^len the third is minor, it is usual to prepare the interval of the seventh in a foregoing chord, which Ls nothing but a lingering or delay of some mem- ber of a previous harmony ; but we have bold instances of this not being always the case. Mozart, who alone is a tower of strength, fur- nishes us with an instance of an unprepared »eventh with a minor third ; and when remon- ftrafed with on the monstrous innovation, as it wail then deemed by witless critics, he coolly re- plied, "Pormerly it icas wTong ; henceforth it yhaU be right 1 " ' Examples of the different SE%"E>rTiis. Slmpl* Flat 8cT(iith. Fill ScTroth, with Minor Tbird. i^^^^W Be it remembered that a !=>, b, or i*, c^w a bass note, signifies that the third is to \)e - b, or **, and that the use of any of these signs iii equivalent to the figure 3, regulated by thcii re- spective inrtuences. rut IWTMith. «tlk flftl ff«v#«l>i. *^ >!•>» niii. MkMc TU.-t. '4^ b? -«- 6 7 7 ^ ^:d5 I Flat ScTcnth, with ItHnor Third and Flat nflh. Flat Bmnth. with Minor Third. Examples of the Flat Ndjth and rrs iNTEBalONS. /- fl *»i: — ' — ' ' — H ' 1 '— •- W5 — ©— 1 §^ ^ s /J? >? , ( ll . . I — I g \ ul JTf?7 ^j^^^^§^^ The first inversion of the flat ninth is general- ly calleims. A com- plete orchestra is adapted only to large places, as theatres, concert rooms, &c. Music in which there is much detail, too many notes, too rapid a movement in the different parts, too quick a succes.sion of chords, much complica- tion of harmony arising from too minute an elaboration of the parts, produces no effect m such places. All that results is a kind of indis- tinct and buzzing noise, which says nothing to the soul, and affords but little pleasure to the ear. For such an orchestra the movement should be bold and moderate. Passages in unison ; noble and well-pronouncod traits of melody ; occasion- al majestic passages in the ba,Hs, which part, in- deed, shoidd always march with a certain degree of gravity ; great masses of soviud, jjrovided they do not last too long, and thus degenerate into mere noise ; little rapidity in the succession of the chords; and, in fine, whatever partakes of (randeur and simplicity, will not fail to produce its proper effect. In ■WTiting for a small orches- tra, usually destined for a confined space, it \t almost always necessary to proscriie all such in- strument* as are too shrill or noisy ; such as the trumpets, trombones, and drums. It will also be requisite to treat the wind instruments rather as solo in.struments than in aggregate masses, a6 otherwia" by their superior power they will in- falhbly drown the stringed instruments, which latter ought always to predominate in the orclies- tra. Indeed, at any time, ten or twelve wind in- Htruments are more than sufficient for eighteen or twenty stringed instruments. In arranging mu- sic for any ])articular orchestra, the composer will of course be guided by the instruments which it contains, and by the tidcnts of the per- formers. A com|dele orchestra may be divided into two parts or masses of instruments, viz., stringed instruments and wind instruments. In orchestral compositions, the principal parts are universally a-ssigned to the stringed instruments. Nor is this preference without good foundation ; they are easily tuned to any required pitch, they may be played ujion for any reasonable length of time without fatiguing the performers ; they admit of the utmost rapidity of execution ; they are capable of perfect intonation in all keys, and that with almost equal facility in eacli ; and, lastly, by their jiower, sweetness, variety, and dchcacy of tone, they are admirably ada])ted to every style and to every variety of expression. The wind instruments are used to enhance and diversify the effect, and to ijnpart light and shade to orchestral compositions. Besides their use iu the forte passages, where they usually double the stringed instruments either in the unison or oc- tave, they are often employed alone, or alternate- ly with the former ; occasionally, too, short solos, duets, &c., are given to one or more of them ; or, when the stringed instruments contain rapid successions of notes, the wind instruments pro- ceed by notes of long duration ; this preserves the impression of the full harmony, while it superadds the advantages of variety and contrast. Harmony in four parts forms the basis of orches- tral composition ; but it is often intersected by that in two or three parts, or even by passages in unisons and octaves. All the parts of these harmonies may be doubled, tripled, or quadru- jded, according to the relief which the composer may desire to give to them. Harmony aa for luatrtimcnts, in Tiro Parts tcilh the Two Masses combined. In grand con- ceptions it is sometimes necessarj- to consido: the whole orchestra as a single instrument : consequently, in two-part harmony we may give one part of the duet to the stringed instru- ments, and the other to the wind instruments, thiis : — ^^giM^^^P a;aTr.j r I "W^^^ The upper jtart of the above pnrase may b« executed by the mass of nind instrument!, and 373 HAR ENCYCLOPAEDIA OF MUSIC. HAB the lower part by that of the stringed instru- ments ; thuH : — FlulM, Uuilt»jt ud CUrinaM. tr ■•-«■— J « Wl»4 IiiJtnuuoli Ib ihiM dlfvrff&i ocutm. i?fes E£ art 1 3S •*»• ■*», ntS^ SlrtDgod lastrumtoU la Xhn* diffcrrat mU*««. l*^? iteE^^ -*--#4- ^§ ife -] — 1 ^■ ^^^ i'^*d- Harmont in Three Parts fob the Two Masses. We have said before that one entire mass may be considered as a single instrument ; as each mass is cajjable of executing severnl parts of the harmony, they may be distributed iu any of the several following ways : — 1. The upper parts of the trio may be given to the wind instruments, and the third part or bass to the stringed instruments, in unisons or octaves. This arrangement is the best when the lower part contains a striking melody. 2. Tlie bass and one of the upper parts may be given to the stringed instruments, and the other upper part to the wind instruments in unison. 3. The parts of the trio may be executed by the wind instruments, and at the same time also by the stringed instruments. No. 1. «o.2. ARRANGEMENTS IN FOL'K DIKKEREXT FORMS, POB TUE ENTIRE OKCHESTKA. No 1. ■At- -^ -^^m i m *=^3 Butbora k ClwtoeU. m ^ 1 ^ — ^ ' — hr — ' 1 I I .#■• ^ J. ^ jnAi — ■» — --f^- iie tf ^±p^^iif^^^= No. 2. FluM k H«ulbo7«. J /^ I ■» — ■» - — ■*•- — - r ~±T"y~,'s--i: , Clu'u. Cl'ia 4— "He lb* BMtwu, M fr*^a«atlj neeon. 374 HAK EXCYCLOPiEDIA OF MUSIC. HAB Wo. 8. ' * ' ^•^— ♦-^--- ^r *— -— ' ' y^l_)^_f^[^^^|gj^ WiDd instniments In unison. Hautbnj'8 & CUiriocU. '?t^±^^it«*^ Extended position of Wind Instruments. Hems. ^ -s^—- =- 3t ■»-• Bassoons #• J I ,1 Two Tiolin parts. i ^ .< >^ 3=: -o — ?s>- ^^ I i*» o ©-#• -*r- jJifXi*- Tenors in octaves to the Bass. i!E^=l -«-- -liziL No. 4. Flutes and Hautboys. ^»A •• I 1-* i 1 — ^— —t — « **■?■ ■'So-*- rnyf-?"! Clarinets. s ^ f^-J I ; f^ r-rf ; [J I J? r l:g i Homi. tr Bassoons. .'J^J- 'I I I I ^ I ^^ Violins. I ^M=^W^^ than the Ist Violin 5^ 3t* I II.iUMO.SY I.\ FoUtt P.\UT3 FOB THE TwO MaMM CUMUL.NED. The difTerent combinations of which this spe- cies of harmony is capable are as follows : — Firstly. The three upi)er parts may be e.xecuted by wind instruments, and the bass by all thi stringed instruments in unison. Secondly. One upjjer part may be played by the wind instruments in unison, and the other three by the stringed instruments. Thirdly. Two parts may be given to the wind instruments, and the other two, one of which must be bass, may be e.xecutcd by the stringed instruments. This arrangement can be used with success only when each mass, considered separately, forma a correct harmony in two parts. Fourthly. The lour parts may be executed by each of the two masses ; each one thus forming a complete quartet. Flutes. -^ ^ 95^ 'r^^-z IIautboyi>, P W J ^^i Y-ff^r\-r^. S Clarinets. Wind Instruments as a Trio. I ^5e 9 ZSiS- Rbt n^ Vjtr.-:^, bsIh Horns added. I 1*^ C< Sf -/v> 1 Bassoons. ?fe 1^ E vi> ■ Stringed [DBtrumentfl playing the bass of cbe harmony. UNISON! PASSAGES. The unUon lnof great ImporUnc* in the orrhc^tni. When it is eniplovnl to exprev n simple and melodious ideAf the elTect L« certain. It rnrlet- the har- mony by allowing h to repose, without roldiluir the nrrhe^tra of it« energy and rirhnew The uninnn i.* juiweptlblc of difTer- ent modiflrationn, viz. : with ."ttrini;i'«lin«tnmirnt> only ; with wind inotrumentP only; with both nin^oed rnmbincd ; Um uniiion varitU In differvnt manner*, as follows : 1. By SfHCCp€aing, 2. By Appoggiatvras. 8. By R*su. 0^.^JfVp^ j^: ' r r>~[ ^^1 375 UAR EXCYCLOPiEDIA OF MUSIC. II A H KXAMIM.KS OV SlMl'UPU'ATION FOR WIND INSTItUMKNTS. Ak the wind iiiMrumcnU Jo not gfti.nilW «HmH »r the saiiic d<-|{ni- of Ulsiliict and voluble execution at the ftriucej liintrunientH, It often becomes necessary to Klmpttft pungtt* of rapid bot«5, to a» U> adapt tbem for liutnuuenU of lea powers of Tolubiliij, u follow* : Original Pimn^e Original Paisnge. No. 1. -J -| • -^^ J I !_!_; ■ — I |-^w»»- Original Pas.uige. m^^m Xo. 2. No 3. Simplification. m m Simplification. Simplification. PED ih PASSAOE FOR A NUMEROUS ORCIIESTRA. Pedal passages frequently occur In orchestral music. In which tiifv tbi- .«triii(?i!l Mistruiiient,« may play the pedal note in unisons and octaves, and the upjwr notes of the harmony may be given to the wind inslrunientx : or lioth uia»»cs may combine in playing such passiigcs, the bnus instruments taking tha pedal-note, and the more acute iustrtuuent£ the upper parta of the hannony. As the following passagv for both i Mmbincd. Double UaMW. HARMONY OF THE SPHERES. A In-poth- ssis of Pyth;i;;orii.s and his school, nccordiiip; to which the iiiotions of the hoiivoiily hodies pro- duced a luusic impcrcciitible by the ears of mor- tals. He supposed these motions to conform to certain fixed laws, which could be expressed in numbers, corresponding to the numbers which give the harmony of sounds. 376 EAR ENCYCLOP-EDIA OF MUSIC. II A R HAIU)I,D, the elder. An organist at Vienna, celebrated lor his compositions iu fugue about the year 1796. H.UiPEK, TUOMAS. 'lliis celcbratetl per- former on the trumpet was bom in Worcester, in the month of May, 178(5, it is beUevcd in the parish of 8t. Nicholas. At about ten years of age he (luitted his native city for London, where he studied music under Eley, and soon entered the East India volunteer band, his instruments being the horn and trumpet. In this situation he remained about eii^htecn years, performing also at some of the minor theatres during the first seven years of his militiu-y service, after which he was engaged as first trumpet at Drury I>ane 'llieatre ai\tl the English Openi. lie after- wards engaged as first trumpet at the King's Theatre, Ancient and Philharmonic Concerts, and at other ijrincipiil concerts and music meet- ings both iu town and country. He continued to be conne<-ted with the East India Company during his wliole life, having held the appointment of inspector of musical instru- ments up to the time of his death — a fact which forms no slight testimony to that regularity of life which is too frequently absent in members of his profession distinguished for their talents. It is scarcely necessary to note here, that in all the great musical festivals of the la-st forty years, Harjjer sustained a part, and that he long held the supremacy on his own instrument. Among other remarkahlc occasions on which he assisted, it may be mentioned, that he played at the funeral obsequies of the two great commanders. Nelson and AVeUington. Sir George ."smart, in a letter to Mr. Sminan, of Exeter Hall, after his death. Fays, " I took much interest in hLs professional career, which commenced at the oratorios under my direction at the Theatre Uoyal, Drury Lane, by his accompaniment of ' The trumpet shall sound.' in the iierlormance of the ' Messiah,' on January 30, 18i:i." nie attack which terminated his valuable life occurred on the •.'Oth of January, 1853. He left his home (Chad's Kow, King's Cross) to attend rehearsal. During the rehearsal of AVeber's " Conctrt Stock," he complained of coldness, and a violent pain between his shoulders. Medical aid was jiromptly called, and he was removed from the hall to Mr. Surman's residence ; but, in spite of every attention, be expired about halt past two o'clock, from discive of the aorta, as appeared by a post-mortem examination. It is worthy of re- mark, that he breathed his last, as he lay" upon a sofa beneath a portrait of the great author of " I know that my lledcemer liveth." The evening's performance, in which he should have taken a part, was commencing with the " Dead March in Saul," and Callcott'a beautifully expresaive glee, — • ForgiTf, blc»t ihndc, tht tribatarr fMr That mourns Uty exit from « Horld like this." The last time Ilarjier visited Worcester was in September, IS.ii, after the liirmingham festival, in wliich he was engaged ; and it is a pleasing trait in the character of this worthy native of that city, that he never missed, if he could help it, whenever he was in the neighborhood, of spending the Sunday in Worcester, and attending his p^-ish church, St. Nicholas. It was also a most gratifj-ing sight, at the various festivals, to 48 see the veteran, with hit three talented sons, aU seeming so much attached to each other, and all vying in the resjxxit they paid to their honored piu-ent. A correspondent of the " London Musiea. Times " says, " Mr. Ilaqier may be considered the last of that tine group of instrumentalists to which Ijndley, Willmau, Mori, Cramer, Nicholson, Jtc, belonge; other engagements : hence his name has fre-man in the duchy of Schleswick, wrote some works on mu- sic, and some vocal compositions, iu the latter part of the last century. H.A.RRIN'GTON, DR., a physician at Bath, was a celebrated amateur musician and vocal composer in the latter part of the last century. lie was a liueal descendant of Sir John Harring- ton, the godson of Queen Elizabeth, and trans- lator of " Orlando Furioso." A volume of glees, sung at the Bath Hannonic Society, and pub- lished in the year 1797, contains the principal part of the following compositions by this mas- ter ; the remainder are to be found in a volume of glees jjublished by the doctor, in conjunction with Edmund Broderip, organist of WeUs Cathe- dral, and the Rev. William Leeves, of "Wrington, Somersetshire, composer of the still prevailing melody of" Auld Robin Gray : "' " Now we're met like jovial fellows," glee, three voices. " How happy, how joyous are we ! " glee, five voices. " I gave her cakes, and I gave her ale," canon, three in one. " lanthc the lovely," ballad harmonized. •' Success to our innocent social delight," glee, three voices. " Tlie Bath Toast," glee, three voices. " The .Mderman's ITiunib," glee, three voices. " O synge unto my roundelaies," glee, three voices, words from Rowley's poems. " O thou whoso notes could oft remove," glee, three voices. "The rose's life is one short day," glee, three voices. " How happy, how joyous," glee, five voices. " O tliat I had wuigs like a dove," rota, three voices. " (iive me the sweet delights," catch, tliree voices. " Sweet doth blush the rosy morning," duct. " How sweet in the woodlands," duct. " Life's short moments still are wasting," glee, three voice.s. " How great is the pleasure," catcii, three voices. " At the close of the day," glee, three voices. " See o'er the brow the moon doth i)ecp," fairy glee, three voices. " Come, follow, follow me," fairy glee, four voices. The last of the doctor's publications that wo are ac- quainted with appeared m March, ISOO, with a dedication to the king. It is a sacred dirge for ]>assion week, " Eloi ! Eioi .' or the Death of Christ," and was sung by Madame Mara, Nield, and Welch. HARRINGTON, a celebrated performer on the hautlwy, was bom in Sicily. He was a pupil of Lebrun. He performed at Salomon's concert* in London, in the years 1793 and 179-1. HARRINGTON, JOHN. An old Enghsh composer in the reign of Henry VIU. He studied counterpoint under Tallis. See Haw- kins, SiK Joii.v. HARiaS, JOSEPH. Many years organist of St. Martin's Church, Binningham. His abilitiee as a composer M-ere well known ; the works of Handel were his chief model. He died at Liver- pool iu the year 181-1. H.\RRIS, JOSEPH MACDON-\LD, was placed at an early age as a chorister in Westmin- ster Abbey, under the late Mr. Guise, where he remained till the breaking of his voice, when he received from the dean and chapter a marked testimony of their approbation of his conduQt. On leaving the choir he became the pujiil of the late Robert Cooke, then organist of Westminster Abbey, but is principally indebted for his profes- sional acquirements to the works of Purcell, Corelli, S. Bach, Handel, Haydn, and Mozart, all of which he has carefully studied. Harris has subsequently been employed as a conductor of concerts, public and private ; also as a piano- forte and singing master and composer. In the following list will be found the princi- pal part of his compositions. Vocal trios : " Ye sleeping echoes wake, again." " Tlie heart that bends at beauty's throne." " The May Bird." " Daylight when the storm is o'er." " Virtue chains the conquer'd soul." " Zephyr, whither art thou strajingr" Duets: "Adieu, loved youth." " O, dinna weep." " The rainbow's lovely in the eastern cloud." " Come, all ye youths." Songs: "Come, it thou prize a love like mine." "The Indian Hunter's Song.' " Must it be r " " We part, forever part, to- night." " yUctto amabik." " ITie Evening Song." " 'i'he Child of Tantalus." "The Cid's Rising." "'ITie charmed Bark." " One Set of harmonized Airs." Piano- forte : "The Oddity," a rondo " Introduction to an original "Dieme, and Varia- tions." " Variations on a Scotch Air." " Vari- ations on a Welsh Air." " Fantasia for the Piano-forte." " La Suis.irsse, as a Rondo." " In- troductory Exercises for the Piano-forte." HARIUSON, ROBERT. This celebrated Eng- lish singer, bom in 1760, was trained from his earliest years among the choristers of the Chapel Royal of England. In this school and its ad- juncts, the king's concerts, and those meetings which are supported by the gentlemen of the chapel, he continued till hw death. His voice was a legitimate tenor, of no extensive compass, (about two octaves, from A to A,) of very limited power, but of a tone enchantingly rich and sweet. Harrison's conception was chaste, and it is ]jrobablo that he owed the peculiar superiority lie enjoyed over all others iu this resj)ect, and the infinitely minute fiiush of what he did, to the limited power of voice we have already s])okcu of. But this natural disqualification foi I the bolder flights of imagination ought not ta 78 tIAR ENCYCLOPAEDIA OF MUSIC. HAS Impeach the character of his judgment. In all that ho voluntarily attempted it was scarcely pos- sible to conceive any thing more pure. We say in what he voluntarily attempted, because it is a necessary reservation against the general cast of songs which provincial meetings, where oratorios ■re done entire, entail upon the profession. Har- rison's choice we sliould estimate by the songs which he adopted in concerts of selection. They were commonly Dr. I'epusch's cantata of " Alex- is," Handel's " Lord, remember David," and " l*leasure my former ways resigning," Dr. Boyce's " Softly rise," Zingarelli's " Onthra (ulo- rata," Webbe's " A rose from her bosom had strayed," and, in later days, Attwood's " Sol- dier's Dream," and Horslcy's " Gentle lyre." In fine, in the true aria cantabiU, Harrison was the most finished singer of his age or country, or perhaps of Europe. He died in 18 r2, at the age of tifty-two. HART. (G.) Major, in regard to keys and modes. Same as dur. HAKT, PHILIP, supposed to be the son of James Hart, one of King William's band, and ■whose name frequently occurs in the " Treasury of Music," and other collections of that time, was organist of the Church of St. Andrew Under- shaft, and also of St. Michael's, CornhiU. Tliere are extant of his composition a collection of fugues for the organ, and the morning h}-mn from the fifth book of the " Paradise Lost," which latter work he pulilished in March, 17 '29. He died about the year 1750, at a very -advanced age. HART, JOSEPH, was born in London in 1791, and entered St. Paul's Cathedral, as one of the choristers, at the age of seven years and a half, under the instruction of J. B. Sale, Son. At the age of eleven, he acted as deputy for Mr. Att- wood, the organist, on several occasions. Whilst in the cathedral choir. Hart received private in- structions on the organ from iS. Wesley and M. Cook, organist of Bloomsbury ; he also had les- sons on the piano-forte from J. B. Cramer. He remained in the choir nearly nine years, and at sLxtccn years of age was elected organist of ^^'al- thamstow church, Essex, which situation he left to become organLit of Tottenham, Middlesex ; this last appointment he held in 18-.'.5. It should be mentioned that Hart was elected organist of Tot- tenham, after a public competition and trial of skill of nine candidates. After ILirt left St. Paul's Cathedral, he went also as domestic organ- ist to the Earl of Uxbridge, where he remained three years ; and it was at liis lordship's decease that lie entered the profession as a teacher, com- poser, &c. At the termination of the war in ISl.i, quadrille dai\cing became the fashion, when Hart attended private parties as a piano-forte performer, and wrote several popular sets of quadrilles ; for instance, a set from " // Don Gio- raniii," '• Fifth Set from II Turco in Ilalia," " Sixth Set from La Ga::a Ladra," &c., &c. He published " An easy Mode of teaching Thorough Bass and Composition," a work especially intended for schools and young professors. He was during three years chorus master and iiiano-forte player ftt the English opera, during which time he com- posed several musical farces : '• Amateurs and Actors, " " Bull's Head," " Walk for a Wager," and the popular dramatic vipera of " The Nam- pire." 3 HARTMANX, C. A German composer, for some time in the Russian service, and subse- quently resident at Paris, where lie was a mcmbel of the Royal Academy of Music, and much cele- brated as a flutist. Among his works are •' SU Airs, Fran(;ai3 H Ilasae, Variations jnur la Flute, nvec Accom/xuf)Wine>U3 dun I', ou Viohncelio." " lieaieil de Priludes dans toutes Sortes de Modula- tions pour la Flute." " Recueil iC Airs nouveaux." " liecueil de Points cf Orrfue dans tout les Tons tna- jeurs et mineurs." " Trois Duos pour deux Flutes," Op. 7. I'hc whole of the above were published at Paris. HARTMAXX, C. H., an organist at Limbeck, in Germany, has published, since the year 1781, several sets of sonatas for the piano, and some dramatic music. HART-MANX, II. A. F. Chef-dorchestre at the French theatre in St. Petersburg. His son was di- rector of the music at Moscow in 1801, on the occasion of the coronation of the Emperor of Russia. HARTMAXX, JOHAXX, a musician at Ploen, died in Copenhagen in 1791. He com- posed much vocal music to Danish words ; also some music for the piano. HARTUXG, CARL AUGUST, one of the most famous organ builders of the eighteenth century, lived at Erfurt, and died in 1780. HARTUXG, CARL AUGUST. Organist of the reformed church at Bruns^viek. He has pub- lished some vocal music smce the year 1783. IIASER. CILUILOTTE HEXRIETTA. A celebrated singer, born at I.eipsic. in 1784, daugh- ter of the director of music in the university at Leii>sic. In 1804 she was engaged at the Itahan opera at Dresden. In 1807 she went through Prague and Vienna to Italy. Her fine voice, her execution, and her persevering efforts to combine the advantages of the Itahan and German meth- ods, gave her a brilliant success. In private life, she was distinguished for the correctness of her morals, and her uncommon modesty. The most celebrated theatres in Italy contended lor her. She was repeatedly called to liome, where she obtained great applause. She was the first female singer in Italy who ajipearcd in male characters, and ventured to cope with tho celebrated artists Crescentini, Veluti, \c. In Xaples, she was en- gaged at the'llieatre of San Carlo for a year, and was commonly known by the name of La Dicina Tedesca. She afterwards married Vera, a res[)octa- ble advocate in Rome, and retired from the stage. IIASLER, JOHAXX LEOXHARD, son of Isaac Hasler, a musician at Xuremberg, and born in 15i>4, was court musician to the Emperor of Germany. In 1.584 he went to Venice, where he studied counterjioint under the celebrated .Vn- drea Gabrieli. In 1601 he proceeded to Vienna, where the Emperor Rudolph U. not only took him into his service as musician, but granted him a patent of nobility. He died in ICtX'I. Hi* works were very numeroas, hut chiefly vocal, and for the church. He had two brothers, who were also very eminent as organists. HASSE, GIOVAXXI ADELFO, called, ip Italy, // Sasfyne, chapel-master to the King ot Poland, (Elector of Saxony,) was boru at Bcrgv 79 HAS EXCYCI.OPiEDIA OF MUSIC. HAS dorf, near Ilamburp, iu the year 1099. He learned the fir.-^t elciucntii of mutiic at Hamburg, where he went to scliool. His cxtrnordinary talents for the Kcieucc were first observed by Johann Ub-ic Konif;, a celebrated poet and musical amateur, who recommended him, in 1718, as tenor singer nt the o])orii in Ilambiuf;, to which theatre the renowned Keiser was then composer, and whose coni])ositious served a.s a model to Hassc. lie made extraordinary proj^ress in the succeeding tour years, at the cxj)iration ol wliich his pro- tector Kouig obtained for him the situation of singer to the court and theatre at IJruuswick. His studies had, however, been by no means con- fined to siugiuK, as he had become an excellent pianist, and iji the year after his arrival at Bruns- wick, composed an opera called " AiUiyDio," which was well received in that town. Still, llasso had abandoned himself too much to his genius, witliout studying any of the profound rules of counterpoint ; and he began to feel the incon- veniences of this negligence, and resolved to travel into ItiUy for the purpose of studying composi- tion iu one of its most celebrated schools. In 1721 he went to Naples, where he placed him- self for a short time under the tuition of I'orpo- ra. Amongst the great musicians who were then in that city, Alessoudro Scarlatti was the most conspicuously eminent, and Hasse ardently de- sired to profit by hLs instructions, but dared not make the proposition to him, fearing that his pecuniary means would not pennit his affording a proper remuneration. His good genius, how- ever, carried him through this difficulty; for meeting Scarlatti in society, he so gained on the venerable composer's affections by his tulcnts, modesty, and respectful manner towards him, that he in a short time called Hasse his son, and offered to give him lessons gratuitously. It may well be supposed that Hasse accejited this offer with no common delight. In the year 172.5 he received an order from a rich banker to compose a screnata ; this was the first opportunity of making known )us talents in composition which had ottered itself in Italy. His serenata was for two voices, and sung by Farinelli and Fosi before a brilliant audience with unanimous applause, lliis first success was extremely favorable to him, and he was soon after desired to comjjose an opera for the Theatre Royal. His piece was " .'y-- tos/rale," and so perfectly established his reputa- tion, that he wa.s afterwards called in Naples // Caro S/is.^niie. After this epoch, all the great theatres of Italy disputed the honor of possessuig him as nuwstrn at the head of their orchestras. In 1727 he went to Venice, where he was nomi- nated chapel-master to one of the conservatories. IILs success in this city was still increased through the interest of the celebrated Faustina, who after- wards became his wile. Amongst the composi- tions which he produced in consetiuence of his nituation as chapel-master, a " Miserere," for two soiinno voices and two altos, with an accompa- niment for two violins, violoncello, and double lass, was so peciduirly aduurml, that the great I'adre Martini called it divine mu-^c. In 17.'!0 he made himself further known at Venice by the composition of two ojiems, " DaliUi," and ",lf- tiuirsr," the words of the latter beini; written for him by Metastasio. His reputntioii had by this time extended to liermany, and he was offered the sitUAtions of chapel-master and opera composer to the King of Poland and Elector of Saxony, with a salary of twelve thousand dollan per annum for himself and Faustina, to whom he was now marrielete collection of his works, the expenses of wliich the king had promLsed to de&«y. In 1763 the court of Dresden experienced such reverses, that many persons attached to it were dismissed from their emi)loj-raents, among whom Hasse and his wife were obliged to retire on a small pension. Soon after this he went to Vienna, and in the fol- lowing tluee years composed six operas for that capital. In 17t)9 he brought out I'iraino c Tishe" an interlude, remarkable for a character of mu- sic distinct from all his other coiTipositions. His last opera was " Hu{irriero" perfonned at Milan in 1771, on the marriage of the Archduke Ferdi- nand. After this he retired te 'Venice, and in 1780 composed a " Te Drum," w^^ch was sung in the presence of the pope. Thia was his last composition, and he died at Venice in 178 i, in his eighty-fourth year. He had composed, only a few vears before his death, a " Requiem," which he meant to be performed at hLs funeral service. This work proves tliat he had retained hLs full ])owers for composition to a very advanced age. Dr. Uurnoy considered Hasse to be the most learned, natural, and elegant, and at the same time the most voluminous composer of his a({«. 380 HAS ENCYCLOP-'EI/I/i. OF MUSIC. HAU An e(iiml ju(l<;e of music and poetry, he showed as much judgment and genius in the exi)rcs.sion of his words as in tlie sweetness and melody of his accompaniments ; he considered the voice as the essential object of dramatic music, and jiaid every attention to make it conspicuous in his openis, and not hidden by loud and chromatic instrumental accompaniments. lie had also his detractors. The learned Ilomilius rcj)roaches his works with want of harmony ; and, in point of fact, he was in this respect much below Hach, Handel, and (iraun ; occasionally, however, there are murceaux in hLs works most powerfully har- monious. It should be remembered that his taste was formed under l'oq)ora, Scarlatti, I.eo, Vinci, and Pergolcse, at a period when the sim- ple and natural were considered sullicient to charm the ear and please the public taste. To this ancient jiartiality for simplicity he always remained faithful. Ilasse composed so much that it is said he often could not recognize his own music when played. He set all the operas of Mclastasio in two, three, or four different ways. Ilasse wius agreeable in i)erson, and of excellent disposition and principles. The following is a list of some of his compositions : " Scjostrate," Op. Naples, 1720. " Attalo." " lie di Bitinia," Na- ples, 1728. "i>a/(7«," Venice, 1730. " Dcnietrio," Venice, 1732. " Olimpia in Eruda," 1740. " An- tigoiio," " Leitcipjx>," "Dido," " iiemiramide," nil operas. Church music, oratorios : " Serpentes in Desvrto," " La J'irtii a pii delta Croce,^' " La De- posizione delta Croce," " La Cadiita di Gerico," " Magdalena," " II Cantico riW fanciulli," " La Coitvcrsione di S. Agostino," " // Giuseppe riconos- eiiUo," and " Pellegrini al Seputchro di nostra Sal- vaton;" all published at Leipsic m 1784. " .V. Elena alt Calrario," twice composed. A " Te Deiim," Venice, 1780. " Te Deuin," at Dresden. " Litania of the Virgin" Venice, 1727. " Litania for two Sopr., Alto, and Organ." " Litania for tico Sopr., icith Jiutrumcnial Accompaniments." IIASSE, FAUSTINA BORDONI, wife of the preceding, born at Venice in 1700, was a pupil of Michael Angelo Gasparini, of Lucca. She may be said to have invented a new mode of singing, by running divisions, with a neatness and velocity which a.stonLshed all who heard her. She had the art of sustaining a note longer, in the o;iinion of the public, than any other singer, by taking her breath imperceptibly. Her beats and tiiUs were strong and rapid, her intonation pcrfei r, and her proiessional perfections were enhanced by a Iteautiful lace, a symmetric figure, though of small stature, together with a coun- tenance and gesture on tlie stage which indicated au cntii-e intelligence and possession of the sev- eral parts wliich she represented. She first appeared as a theatrical singer at Venice, in 1716, in tlic opera of " Arindnnle." In 1719 she appeared on the same stage with Cuzzoni and ISemachi, in an opera composed by her master, Gasparini. Here she is called Viriuosa di Camera of the elector palatine. In 1722 she sang in loco's opera of "liajazet," at Naples; and in 172.5, at Vienna, ■where, according to Apostolo Zeno, she received great honors, as well as presents. At the palace of I'rince Lichtenstein, after singing to a great assembly, she was presented with a purse con- taining a hundred pieces of gold, and nearly as much more at the French ambassador's. She re- mained in England but two season'*, and then rctumeil to Venice, where, in 1732, she was mar- ried to Hassc, and soom after went with her hus- band to Dresden, in the service of which coiirt she continued till the year 17.50. During the war they retreated to Vienna, and remainctl there til] the year 177.); then retiring to Venice, the ])lace of Faustina's nativity, they ended their (hiys in that city. Faustina died in 1783, at the great agt of ninety, and her husband soon atlcr. IIASSE, NICOLAUS, organLst and composer at Uostock in 1().50, published " Dcliciie Mujiictr," and other collections of instrumental music. HATTASCH, HEINKICII CIIRISTOriLB. An actor and composer of some Gennan operettas, between the years 1780 and 1795. HA'n'ASCH, DISMA, a violinist in the Royal Chapel of Saxe-(iotha, boni in 172o, entered, in 1751, the service of the Duke of Gotha. Two symphonies aiul six violin solos of his composi- tion are known. He died in 1777. HAITON. DAVID, of lliom ton, North Britain, was born in 1709. He had great musical talents, and invented a musical instrument, called Jlii0 rum, something in the shape of an Irish bagpipe, upon which he ])l.nyed, with tolerable accuracy, most of the old Scotch tunes. His house, both internally and externally, was a perfect curiosity with figures, devices, and emblems of the most incongruous beings in nature ; many visitors resorted thither in conseciucnce. He had a coffin made for himself some years before his death, and realized the cost, by e.xhibiting the elo<{uent though mute memento mori. He died November 22, 1817, leaving a considerable property to be di- vided among some distant relations, as he never was married. HATZFELD, COUNTESS OF. A celebrated amateur musician. She performed, about the year 1793, at a private theatre in Vienna, several principal characters in Italian operas, and was coivsidered equal to almost any professional singer of her time. HAUDIMONT, ABBE D', a pupU of Ra- meau, was worthy of his master in the expression of his compositions, and perhaps surpassed him in taste. He wTote much for the church about the year 1780. HAUFF, AVILH. GOITL. A singer in a regiment of Saxc-Ootha, in the sen-ice of Hol- land. He published at Pari.s, in 1774, six sym- phonies, and afterwards, in 1776 and 1777, six sextuors for wind instruments, three trios for the harjisichord, and six quatuors for violins. HAUG, VIRGIIJUS, published a work caUed " Erotemata Miisiro' I'ractica ad captum pxicrilem formata," Brcslau, 1541. H AUITM ANN, MORITZ. As a contrapuntist and harmonist, Hcrr Music Director Hau]itmann is now acknowledged to stand at the head of th« profession. Ho was born in Dresden, •■V. D. 1794. His lather was "king's master builder," and educatetl his son Moritz for an archit€>ct, at the same time giving his nan a good musical e o o O • A o o ^ a-lzzTn ^^ s 7^=:. g^l^ ^^ ±: -sX" In rising and falling these octaves, the beginner will be ready to think that the lower D sounds flat, and out of tune, which may be the case, unless the low notes are blown strong and full, and the middle A rather soft, wliich should be remembered, as A is the pitch of your instrument in concert. SCALE OP SHARPS AND FLATS. fe ->T ^^«^ \h-f^ ^ 12^ 1 — 1 r-M F5^¥=H I'. 7—1 r- ^ — [—^Tl 1 b 1 U F • trc 0 ^D • 3 O • « • O- A E • • • • L_, U B o o B • • B • o A D • • • o ■?* 0 • • -1— ■ c • 0 7# F • • 2fi' 1 • • • s • • • • • • • • • a • • • 0 • • • 2k- .0 ..o.,». o • • •• (O •• •• 0 0 J J •• •• 00 00 •• •• 00 •• 00 00 00 •• •• o* o* • a 00 •• 00 00 •• •• 3fi < £•• 00 •• •• •• 00 00 •• as 00 •• •• oo 00 •• 00 •• 00 •• •• 00 00 •• •• 09 00 00 00 •• •• Jk = •~°- 2ft 4k 3fi ftk (Jk 7k » k A. Either of these ways of fingering may be used. — B. Tlie keys are marked only when thej are to be used. — C. This key is employed merely to ensure the proper intonation of K which Is un certain in some hautboys. — D. The o- with a line drawn through it indicates that only one half of the hole which it represents must be stoppetl. — K. 'Hiis key may be pre»seatience and repeated trials, he at length actually ]>roduced by means of ibis instrument, which ha.s l)ut two tones, a kind of tune, which drew the attention of all those who visited at the school. Haydn had by nature a sonorou* and j)leasing voice. Frank, who, to repeat Haydn's own words, treated his young cousin with more blows than bonbons, soon made the little tambourinLst play not only the violin and other instruments, but likewise taught him to vmderstnnd Latin, and to sing at tlie parish church, in a stylo that ere long made him known throughout the canton. Chance now brought to Frank's house Ketltcr, chapel- master of St. Stephen's Cathedral at Vienna, who was .searching round the country for additional voices for his choir; the schoohniuster immedi- ately introduced his little relation to him, when lledter gave him a canon to sing at lirst sight. 'I'he precision, distinctness of tone, and lire with which it was performed by the child, aston- ished Ketlter ; but, above all, lie was enchanted with the beauty of the boy's voice. He remarked, however, that he did not shake; and on asking him, smilingly, the rea.son, the child replied witli quickness, " How should I know liow to shako, when my cousin himself does not • " " Come to mo," said Hedter to him, "and I will teach you." He took him on his knees, showed him how to make two sounds succeed each other oint and of the rules of harmony wa» retpiisite; but how was ho to loam them : Hea- ter did not instruct the ihildrcnof the choir in composition, and never gave more than two lessons in it to Havdn. Moiart had an exocIlKit 49 385 HAY ENCYCLOPAEDIA OF MUSIC. HAY master in liis fatlicr, wlio was a good violin play- er. IJut poor Joseph was less lortunate, being only a discarded chorister at Vienna, who must jiay lor any lessons he received, and who had not a haltpenny to Kp])ly to that puq)ose; for hia lather, although he liad two trades, was so poor, that Joseph having once had his clothes Btolen, and having int'onued his father of the circum- stance, the poor man with difficulty sent hira six florins towards relitting his wardrobe. Of course Jio master in Vienna would give lessons gratU to n little unpatronizcd chorister; his situation was therelbro truly embarrassing. lie persevered, however, and in tlie first jdace, like Jean Jacques llousseau, he purchased, at a second-hand shop, some old books on the theory of music, among otliers the treatise by Fux, which he began to study with a degree of assiduity, not to be checked even by the tremendous abstrusencss of Fux's rules. Alone, and without a master, he labored on, and made n number of little discoveries which were subsequently useful to hira. Poor, freezing with cold in liis garret, without fire, and over- come Avith sleep, he studied on, by the side of his old broken harpsichord, and tliought himself happy. Thus days and nights flew rapidly by, and he has frequently been heard to say, that he never in after ILe experienced so much felicity. Haydn's predominant passion was rather the love of music tlinn the love of fame ; and yet his as- l)irations after fame hatl not a tinge of ambition in them, lie sought more to please himself^ in composing mu:-ie, than to acquire celebrity. It was not of Porpora that Haydn learned reci- tative, as has been rei)resentcd ; his recitatives, so inferior to those of the inventor of tliLs kind of music, prove this ; but he acquired through Por- pora the ti'ue Italian style of singing, and the art of accompanying on the piano-forte, which, to do well, is more difficult than is commonly imagined. He was so fortunate as to obtain these lessons in the following way : A noble Venetian, named Corner, was then at Vienna, as ambassador from That republic. He had a mis- tress, who was excessively fond of music, and had retained old Porpora in the hotel of the embassy. Haydn contrived, solely from his love for music, to get introduced into the family. He was liked, and used to accompany Porjiora and the above lady to the baths of ManensdorH', which was then a fashionable place. Our young friend, who was indifferent to everybody but the old Nea- politan, emjdoyed all methods to got into favor with him, and to obtain his patronage. He rose vcrj' early every morning, beat hi-s coat, brusliel his shoes, and arranged in the nice.-t order the c'1 man's wig. Porpora was ill-tempered beyond conception, and poor Haydn seldom obtained more for his trouble than the polite epithet of " tool," as soon as he entered his room of a morning. lUit, at length, tlie l)ear finding he was sjTved pruds, and havini; discovered some of the good ([ualities of his volunteer servant, would occasionally relax in his severity, and give Haydn some good advice. Haydn succeeded moie par- ticularly in obtaining this, whenever he accom- panied the beauteous Wilhelmina in singing any of Porpora's own airs, whidi were filled with difficult bassci. Joseph at Icngtii ac(iuired tl.e Italian taste in «in,'ing. The ambassador, sur- prised at the imijrovcment of the poor young nuui, settled on hi ii, on his returu to the city, a monthly pension of six sequins, (about threa pounds sterling,) and admitted him to the table of his secretaries. Haydn wits now independent ; he bought a black coat, and thiLS attired, went, as soon as it was light, to take the part of prin cipal violin at the church of the Fathers o Mercy ; from thence he proceeded to the chapel of Count Haugwitz, where he played the organ ; and afterwards sang the teuor at St. Stephen's. He then returned home, having Deeii fully era- l)loyed all day, and jjassed a great part of the night at his piano. His taste and knowledge in composition were thus formed upon the rules and examples wliich he could collect from the different musicians with whom he associated. Availing himself of every opixjrtunity of hearing good music, and following no one master in partic- ular, he began to form his own opinion of what was beautiful in music, but without any idea, at that time, of introducing a style of his own. At the age of nineteen, hLs voice broke, and he was obliged to leave his situation in the class of soprani at .St. .Stephen's, or rather he was expelled from it. One day, in a lively frolic, he took it into his head to cut off the tail of one of hi* companions' gowns — a crime which was judged unpardonable. He had sung eleven years at St. Stephen's, and the day he left it hLs only fortune was his rising talent, a poor resource indeed till it becomes known. He had, however, one ad- mirer. Forced to seek a lodging, by chance he met with a wig maker, named Keller, wlio had often noticed and been delighted with the beauty of his voice at the cathedral, and now offered him an asylum. This Haydn most gladly accepted, and Keller received him as a son, insisted upon his participation of their frugal repast, and intrusted to his wife the care of the young man's ward- robe. Haydn, finding himself thus established in the house of the wig maker, and exempt from all pecuniary cares, pursued his studies without in- ten-uption, and made rapid progress. His resi- dence here had, however, a fatal influence on his after life. Keller had two daughtei-s ; his wife and himself soon began to think of uniting the young musician to one of them, and even ventured to name the suhje.t to llaydn ; who, completely engrossed in hLs studies, had no thoughts to bestow on love, but made no objection to tlie proposal. He afterwards kepthLj word with that scrupulous honor which was his greatest characteristic, and this union proved far trom happy. He now began to think of procuring money by some of hLs compositions, and his first productions were some little sonatas for the piano, which he sold at a moderate price to the few scholai-s whom he had been able to meet with ; also some minuets, nllemandes, and waltzes for the Ridotto. He then wrote, for his amusement, a serenade for three voices, which, with two of liis friends, he used to perform on fine nights in t)ie streets of Vienna. A celebrated buffoon named Curtz, commonly called IJernardone, was then director of the theatre of Carinthia, and afforded much entertainment to the public by his jokes. . Crowds were attracted to the theiitre by his originality, and by his good hwKx operas. He had, besides, a pretty wi.e — an inducement, doubtless, to out nocturnal adventurers, to periorm their serenade under the harletiuin's windows. Curtz was ac struck with the originality of this iLusic, th»t he 386 HAY ENCYCLOP.-EDIA OF MUSIC. HAY came into the stxect to inquire who was the composer. " I," answered Haydn, confidently. "Howl you? nt yourn<;e?" " Kvcry one must have a bcj^innin;;." " Will, this is sin<;uhir enough ; come in with nic." Haydn followed the liarli'qnin, was introduced to the i)rctty wife, and took liis leave with the poem of an opera, en- titled " 'ilic Devil on Two Sticks," to which he was to compose the music. It was finished in a few da)s, was received with applause, and Haydn received twenty-four sequins (twelve pounds) for one of the roost ardent dilettanti of his capital "We may here take the opportunity of ftiatini; that, before Haydn, no one had an idea of un orche^t^n composed of eighteen Korts of iuslru- ments. He is also the inventor of the prrnlisniiwi, the hare idea of which made the old Riuarc-toei of Vienna tremble. Indeed, in music, as in every thinf? else, we have little idea of what the world was even a hundred ye;irt> back. The alUijrn, for instance, was then only an andaiUino. Other improvement.s of Haydn were, the obligini; th« it. Hut a nobleman, who had no beauty to boast, i wind instruments to execute pianUiimo, also the di.-coverinf» that he was alluded to under the ' extension of the scale into the heights of altUsimo. r.irae of "The Devil on Two Sticks," had the piece It was at aboiit tlie ago of twenty that he pro- prohiliitcd. In the composition of this opera, j diiced hLs first oet every day, and derived from his c:)nvcrsation some general rules relative to the fine arts, at the same time that he learned Italian. For six long years Haydn endured this conflict against penury, which has been the usual con- comitant, in the early part of their career, of most young arti>ts who have attained to celebrity. If at that time he had been ]>atronized by some man of distinction, and sent into Italy for two years, with a pension of a hundred louis, nothing would perhaps have been wanting to the pertec- tion of his talent ; but he had not. like Metasta.sio, his Uravina. .\.t length an opportunity presented itself of improving his circumstances, and he quitted the house of Martinez, entering into the emplojTnent of Count Mortzin in I'.iS. 'Hiis nobleman gave evening musical parties, and had a private orchestra in his pay. By chance the old I'rince Estertiazy, a passionate amateur ol music, was present at one of these concerts, which very jiroperly commenced with Ilaydn'i* symphony in .\, \ time. The ilelinht of the prini'e at this piece was unl>oundewn prevente»l tha« celebrity ; but the grave tierman musicians day by indisposition Irom attending the concert , warmly attacked the dangerous innovations in and as the will of princes, it not instnntlv com- them, and especially the members of the Mu.ical plied with, is liable to change, or to lie forgotten. Academy, a sort of club of amateurs who were many months elapsed belorc Haydn, who of patronized by the Emperor Charles VI., himself | course, was extremely anxious to cuter the sn^ic« 3S7 HAY ENCYCLOPEDIA OF MUSIC. HATi of the first noblemnn iu Europe, heard any thing i on p;ood terms with hLs wife, of composing, gratia, more on the subject. A means of recalling the young artist to the mind of the prince was en;;crly sought bv Fried- berg, a comjioser attached to his liigliness ; and he conceived the idea of making him compose a sjnnphony, to l)e jjerforraed at Eisenstadt, tlie residence of Prince Antony, on liis l)irthdny. Tlie composition was coiui)lcted, and was worthy of its author. On the day of the ceremony, the prince, surrounded by his suite, and seated on his throne, was present, as usual, at the concert. Haydn's symphony began ; but scarcely wa? the iirs: alUyro half over, than the prince, interrupt- ing the performers, asked whose was that fine composition. " Haydn's," replied Friedberg ; and jinor Haydn, trembling from head to foot, was made to advance. The prince, on seeing him, exclaimed, " What, is that the music of this little Moor? " (It must be owned Haydn's com- plexion justified the appellation.) " VVell, Moor, henceforth I retain you in my service. What is yo\ir name : " " Joseph Haydn." " Why, I re- member that name ; I liad already engaged you ; why liave 1 not seen you before r " Haydn, awed by the majesty wliich sun-oundcd the prince, made no answer. " Go," added the prince, " and dress yourself ns my chapel-master ; I command you never to appear again in ray presence as you are now. You are too little, and have a pitiful looking face. Get a new coat, a curled wig, a collar, and red-heeled shoes ; but above all, tliey must be high, that your stature may agree with your mind. You understand; go, and every thing requisite shall be given you." Haydn kissed the hand of the prince, and went and placed himself in a corner of the orchestra, rather unhap]>y at being obliged to give up wear- ing his own hair, and to disguise his youthful figure. The day following, he appeared at the prince's levee in the grave dress which had been appointed to him. He was nominated second jirofessor of music, but always retained among Ixis new companions the name of t/ie Mior. In consecjuence of the death of Prince Antony, which took place a year aJtcrwards, the title de- scended to Prince Nicolas, a yet more enthusi- astic amateur, if possible, of music than tlie former. Haydn was now obliged to compose a great number of pieces for the baryton, a very comjilex instrument, not now in use. It was, liowever, the favorite of his prince, wlio por- fonued on it himself, and every day desired to have a new ]iiece for it on liis desk. Most of Haydn's compositions lor the baryton were ac- cidentally l)urncd ; those that remain are useless. Haydn said, tliat the oliligation he was under to comjiose so raiu'h for this instrument improved Lau considerably. An event occurred about this period which for some time disturbed the tranciuillity of Haydn's life. As soon as he had obtained the means of subsistence, he did not forget to fulfil his promise to his old Iriend Keller, of marrying his dau<;hter Anne ; but lie soon found that she was a pr\ide, who had, in addition to her tiresome jjarade of \-irtue, a mania for priests and monks. The house of our poor composer was thus constantly beset by them, and he was himself incessantly annoyed »nd interrupted in hLs studies by their clamorous conversation. Added to all this, he was under the necessity, as the only merns of living at all masses and motets for the convents of these good fathers ; but such an em])loyment, imposed on him by her troublesome importunities, could not but be extremely disagreeable to a man whose productions were from the im])uLse of hLs own mind, and jmor Haydn at le:igth sought consola- tion in the society of a beautiful singer, named Mademoiselle Boselli, in the service of the prince. It may be imagined this did not increase his do- mestic happiness, and at length he sejiaratcd free hLs wife, whom, however, he always, in pecuniary concerns, treated with perfect honor. Attached to the service of a patron immensely rich and passionately fond of music, Haydn now enjoyed, in the family of Prince Esterhazy, that happy union of circumstances where every thin° concurred to give opportunity for the display of his genius. From this period his life was uni- form, and devoted to study. He rose early iu the morning, dressed with extreme neatness, and seated himself at a little table by the side of his piano, where the dinner usually still found him. In the evening he went to rehearsals, or to the oi)era, which took place four times a week at thp palace of the prince. Occasionally he devoted a morning to hunting ; but in general his spare time was spent either with hLs friends or with MademoLselle Uosclli. Such, without variation, was the tenor of his life for above thirty years, and may account for the amazing number of his works, consisting of three classes, instrumental, church music, and operas. In symphony he was the greatest of the great, before Mozart and Beet- hoven ; in sacred music he discovered a new path, capable, certainly, of criticism, but which ranks him among the first masters. In the third style, namely, theatrical music, he was estimable only, chiefly because he was but an imitator. Haydn produced, in the space of fifty years, five hundred and twenty-seven instrumental com- positions, without ever copying himself, unless intentionally. Leonardo da \"iiu'i always carried about with him a little book, in whidi he sketched the singular faces he met with. In the same way Haydn also carefully noted down in a pocket book the ideas and passages which occurred to him. ^^"hen he was in a happy and cheerful mood, he would hasten to his little table, and write subjects for airs aud minuets ; if he fou. - himself in a tender or melancni .V mood, Le woidd write themes for andantes and ada^f- ; thus afterwards, wlu-n composing, if he wanted anv jiarticular sort of passage, he had rec-j-se to his magazine. Haydn, however, ncvtr "undertook a symphony unless he felt himself quite disposed for it. He had a diamoiul ring, wliich had been given him by Frederic II., and he often con- fessed, that if he had forgotten to put this ring on be.ore he sat down to his piano, lie could not summon a single idea. Tlie paper on wliich he composed he would have of tiic finest and best descriiition ; and such was the neatness and care with which he wrote, that the regularity and dis- tinctness of his characters could scarcely be earts there are move- ments of anger, wliich are probalily meant to designate the feelings of the Jews and Hebrews crucifying their Savior. With rather a severe cast of countenance, and a laconic method ot expressing himself in con- versation, which are usually indications of an ill- tempered man, Haydn wius gay, humorous, and agreeable. This vivacity, however, it is true, was easily repressed by the pre-scnce of strangers, or people of sujierior rank. His genius naturally led him to em;doy his instruments to produce laugh- ter ;and olten.at his reliearsals, hegave little pieces of this kind to his brother musicians. But we ])os- sess few of these compositions. Of all Haydn's comic pieces, the only one extant is that well- known symphony, in which all his instruments cease successively, one after the other, so that, at the couclu-sion, the violin Ls left to perfonn alone, '["here are three anecdotes connected with this piece, which being all attested by eye witnesses, it Ls difficult to say which is correct. Some sav that Haydn, perceiving that the innovations he had made in music were offensive to the prince's musicians, determined to play them a trick. Ho had his sym|)hoiiy perlonued, without a previous rehearsal, before the jirince, who had been made act amusing symphony with these instruments alone, of which some even performed Bolos : the cuckoo is the buss of this piece. Haydn, being in I'^nglaiid many years after this, ibserved that the KngUsh, who liked his compo- sitions much wlien the movement was allti/ro, genera, ly went to sleej) when it was andnittc or adaiji'), whatever their beauties might be. He, in f-onsequonce, wrote an aiuUmle, full of sweetness »nd ttowinir melody, the sound of all the instru- ments in whicli gradually diiuinislies ; when, from the moment they all arrive at piaiiiisimo, they strike up again together, and, aided by the beat- ing of the kettle drum, make the drowsy audi- ence instantly attend. Haydn worked incessantly, but with difficul- ty ; which in him could not possibly arise from any deficiency of ideas : but his tiiste was not easily satisfied. A symphony cost him a month's labor, a mass almost double that time. His rough coi)ies are filled with different passages, and for one symphony, sufficient ideas are noted down for three or four. Haydii himself has said that hLs greatest happiness was study. Solitary and sedate as Newton, and wearing the ring given liim by the great Frederic, Haydn would scat himself at his piano, when, in a few moments, his imagination soared among the angelic chou's. Nothing disturbed him at ELsenstadt ; he lived solely for his art, exempt from any earthly cares, and this uniform and peaceable lil'e, devoted to the occujiation most pleasing to himself, con- tinued till the death of the I'riuce Nicolas, his patron, in 1789. At one time he was requested by the principal managers of the theatres of Naples, Mihm, Lis- bon, Venice, London, &c , to compose operas for them, liut the love of peaceful retiiement, his attachment to his prince, and to his own method- ical habits,retainedhim in Hungary, and were even more jjowcrful than his wisli to pass the moun- tnins. It is probable, had not Mademoiselle 15o- selli died, l.e would never have (juitted Ei>cn- Btadt ; but he then began to feel a void in hLs life. He had sent a refusal to tlic directors of the am- Ki-l spirituel at I'aris ; but since his favorite no ->uger existed, he accepted the projwsals of Salo- mon, who was then giving concerts in London, end who thought that a man of such genius as Haydn being on the spot, and comi)o:.ing ex- pressly lor his coniert:-, would certainly make tliem " fashionable. He gave twenty concerts a year, and offered Haydn one liundred sequins (fiftv pounds) lor each one; and accordingly he »e: out lor London in 1790, wlieu in the filty- ninth yesu of his age. He remained there rather more than a year, and the music he composed lor lliese concerts met with universal aj)i)robation. His amiable manners, in aihlition to his jjenius, rendered his succes-s liighly Haltering to his leel- iiigs. In 1794 Haydu again visited Loudon, when he was eugaged bv (ialliiu, maiu\g«r of the King's Theatre, Haymarkct, to compose an opera, which should be got up in the most splendid mannec The subject was the descent of Orjjheus into hell, Haydn began the work ; but some difficulties having arLsen as to the ojjening of the theatre, the composer, who secretly regretted his peaceful home, could not wait till the j)ermLssion to do so was obtained, and quitted London with eleven pieces of his " Orphcics," which, it is said, are the best of his theatrical compositions : he then re- turned to Austria, and never afterwards left it. George IIL, who was fond of no mu;-ic but Handel's, stiU highly appreciated that of Haydn, and the Gennan professor met with the most flattering rcceiition from him and the queen. Haydn had further the honoriU'y degree of tloctor of music conferred on him by the University of Oxford — an honor which Handel himself had never obtained, and which had been bestowed on only four persons since the year HOO. Being expected, accordi:ig to custom, on this occasion to give a s\iecimen of musical science to the university, Haydn sent a composition, which, whether read from top to bottom, bottom to top, or from the middle of the page, or on either sidp of it, fonued an air, and a correct accompaniment. The following is a copy of this singular ])iece of music, which, to be read double, the paper on which it is written must be held against tlie light. Ca.nox Caxckiza.ns a 3 Voce. H.vydn. :S±: !*-« Thy Voice, 0 liar - mo-ny, is Di - vine. •i>niA - ig SI '.fa - oin - jsjj o '^^lo.V ^1i ■ S>Z^ :rjs: Tliy Voice, 0 liar - mo - ny, is Di - Tine. •auiA - Id S] '.t unintcr- rui)tedly, tliree years. Latterly, he amused him- self" with putting accom])animents to some of the ancient Scotch melodies, for which a Ixtndon mu- sic seller gave him two guineas ])cr song : he ar ranged nearly three hundred in this wajf ; but, in 1805, he discontinued this employment likewise by order of his physician. F'rom this time he never left his villa at Gum- pendortf. When he wished to remind his frieiida that he was still living, he sent them a visiting card, with some of his own composition ou it 'ITio words on the cants were, — " Ilin Irt allr mfinc kr»n. All und •rhmeh bin IcIl" (.My •imigtli falls inc. I un olil au.l fnbk.) The music to these words stops in the middle of the period, and without arriving at the cu- dence, well expresses the languid state of the au- thor's health. MOLTO ADAGIO. » 111- 1_- -tl- . ^ .1. . . ..... Uln bt *lle HKiiic kraft. All unU tchwich bin klk About this time it wa.« detorminel that th« «' Creation " should Im? perforraesc, at the jMilace of 1 HAY EXCYCLOP--EDIA OF MUSIC. HAY Prince I.obkowitz. Tliey wore greatly assisted by the ))cau;i.nl voices o( Mndaiuc Frischer, cf Berlin, Miv;: r^. Wi'ituiOller, and Kadichi. More than tiftoi'n lumdred i)co])lc were present. The poor old man insLucd, notwilhstandin;; his weak- ness, upon once more seoin'^ that public assem- bled for whom he had labored so much. He was conveyed in hi:* arm chair into the m.if^niticent saloon, where every licart was art'ected. The Princess Estcrhazy, and Madame de Kurtzbcck, the friend of Haydn, met him. The flourishes of the orchestra, and still more the agitation of the ^pectators, announced his arrival. He was jlaced ill the middle of three rows of seats, oc- cupied by his Iricnds and the principal persons at Vienna. Be;oic the mu^ic began, Salicri, the direcior of the orchestra, came to receive Haydn's orders. They embraced ; Salicri then hastened to his place, and amidst the general emotion of the assembly, the orchestra commenced. 'llie effect produced by this sacred music, added to the sight of its great comjioser on the point of quitting this world, may be conceived. .Sur- rounded by the nobility of Vienna and by Ills friends, by artists, and by lovely women, whose eyes were all fixed on him, listening to the praises of God, which he himself had imagined, Haydn bade a glorious adieu to the world and to lue. So much glory and love frequently caused him to weep, and lie found himself much exhausted at the conclusion of the first act. His chair was then brought in, and as he was about to leave the concert room, ordering those who carried him to Btop, he first bowed to the public, and then turn- ing to the orchestra, with real German feeling, he raised his hands to heaven, and with tears in his eves, blessed tlie former companions of his labors. IJeforc Haydn had entered his se vent}-- eighth year, he had become extremely infirm. It was the last of his life. The moment he went to the piano-forte, the vertigo returned, and his hands quitted the keys to have recourse to his rosary, which was his last consolation. War broke out between France and Austria ; this intelligence troubled Haydn, and exhausted the remains of his strength. He every moment inquired what news there was, went to his ])iano, and with a feeble voice sang, " God save the Em])cror." The French armies advanced rapidly, and on the night of the 10th of May, having reached Schonbrunn, aliout half a leagu« distant from Haydn's little villa, they tired, the next morning, fifteen hundred cannon shot, only a hundred vards from his house, upon Vienna, that town so much beloved liy him. He pictured it to himself destroyed by fire and sword. Four bombs then fell close to his house, when liis two servants, witl terror depicted in their countenances, ran to him , the old man, by an effort, rose from his ann chair, and with a dignified air, cried, " Why such alarm : Know that where Haydn is, no evil can hai)pen." Hut this exertion was beyond his strength ; a convulsive shirering prevented him from adding more, and he was immediately con- veyed to his l)ed. On the ^(ith of May, he was tliiiobt comiilelely exhausted ; notwithstanding, ho had his ])iano moved towards him, and sang three times, with a-s loud a voice as he could, " God save the Emi)eror." They were his last words. At his piano he became insensible, and e.\pired ou the morning of tlie 31st, at the age of 39 peventy- eight years and two months. Madame Kurtzbeck had sent to him, during the occupa- tion of Vienna, to beg that he would suffer him- self to be removed into tlie city ; but he could not be persuaded to quit liis beloved retreat. Mo- zart's " Rcqulfm" was performed a few weeks afterwards, in honor of him. at the Scotch church, llie same homage was rendered ■'.o liLs memory at Ilreslau, and at the Conservatory at Pari*, and a hymn of Cherubini's comiiosition was sung. The music is worthy of the great m.in it celebrated. Haydn wa.s very religious ; it may even be said that through his firm faith in the truths of re- ligion. Ills talent was increased. The commence- ment of aU his scores is inscribed with some of the following mottoes .- " In Xomiiie Domini," or " Soli Deo Gloria ; " and at the end of them all, " Laiis Deo." If, when he was composing, he felt liis imagination cool, or that some insur- mountable difficulty prevented his proceeding, he rose from his ])iauo, took liLs rosary, and began to repeat it. He said this method never failed. " When I was working at the ' Creation,' " said he, " I felt myself so jienetrated %rith religion, that before I sat down to my piano, I prayed con-, fidently to God to give me the talent requisite to praise liim worthily." Haydn's heir was a far- rier, to whom he left thirty-eight thousand florins in cash, deducting twelve thousand florins which were bequeathed by him to his two faithful servants. His manuscripts, sold by auction, were bought by the Prince Esterhazy. HAYDN, mCHAEL, brother of Joseph Haydn, was formerly director of music at Salz- burg. In 1801, at his brother's solicitation, he was appointed to an advantageous situation in the chapel of Prince Esterhazy. where he met with that regard which his great abilities deserved. Many of hLs compositions are lor the church, and said to be of the most excellent kind. A few specimens are imerted in Latrobe's admirable selection of sacred music : these consist of verses taken from a mass, written for the use of country churches, and they ser\-e to show how wide a difference there is between the taste and ability of English and Gennan parish singers. Accord- ing to the testimony of his brother, Michael Haydn was in no way inferior to him.self as a musical genius, thougli he has not been e-^ually distinguished and successful. HAYDON. An English composer of vocal music, in the early part of the last century. The most remembered of his works Ls the duet " -■Vs I saw fair Clora." HAYDOX, THOM.\S, son of a respectable attorney, formerly of some eminence in the city of London, was bom in 17s7. He began the practice of the piano-forte about the age of seven vears, under the tuition of Edward Frith, a London organist ; but as it was intended he should follow hLs father's profession, music received, at that time, but a moderate share of hLs attention ; and the practice of it was, from accidental cir- cumstances, discontinued when he was about twelve years old, and until he was sixteen or seventeen ; at which time he spontaneously and vigorously renewed his studies with Frith, for whom he occasionally olHciated as organist. Finding a growing dislike to the quirks and quiddities of the law, he at length began to thialt HAY ENCYCLOP^DIA OF MUSIC, HAT seriouslj- of music as a profession, and to that end continued liis studies with Charles Neate, from whom he received much valuable instruction in the art of piano-forte playing. In 1810-lSll he performed several times in public, and became Boon after a member of the Uoyal Society of Musicians. Feelinf; the imperfections of the piano-forte, and observing that those professors most eminent for time and manner were often performers on some concert instrument, Iliiydon, at an early ])artof his ])rofessional career, attended »lso to tlie practice of the violin and tenor, in 'Jie hope of appreciating and enjoying the inesti- ;nable quartets of Jlnydn, Mozart, lieethoven, &c. ; and the establishment of the Philharmonic Society furnished liim, as well as others, with an opportunity of studying the etfects which so powerful an orchestra was capable of i)roducing, and of witnessing the manual skill and excellent talent of his own countrymen, when put in com- petition with some of the most eminent professors of the continent. Ilaydon, for a short time, devoted his attention to vocal music, and had the advantage of some excellent instruction from lliomas Welch, whose knowledge of dramatic ctlect, and of the connection between sound and sense, tended much to exalt hLs ideas of the powers of his art. To Dr. Crotch he was also indebted, in a great degree, for his knowledge of musical science. On the establishment of the Uoyal Academy of Music, Ilaydon was chosen one of the professors of that institution, 'llie compositions publi.shed by him arc bagatelles, which appear to have been written more for the amusement of a leisure hour tlian with the design of distinguishing the author as a composer. HAYES, C.VTIIAUIXR, a native of Limerick, Ireland. \\'hcn she was yet a mere child, it was the good fortune of " Katie Hayes " to attract the notice of the late Right Uev. Edmund Knox, then the Bishop of Limerick, by the singular precocity of her vocal powers. As he was boating on the Shannon with some others of his family, he passed the town mansion of the Earl of Limerick, and was attracted by tUc melody of a sweet but childish voire, singing in the garden. He listened, and was fascinated by the girl, and determined on discovering her. Accordingly, alter a few days, he found that she wns the rela- tive of an aged lady who resided in the mansion, and was generally to be found there when the earl was not iu town. "Katie Hayes" w.is shortly alter invited to the episcopal dwelling, where the kindest encoviragement overcame her timidity, and she soon became the star of a series of musical reunions that were given jjrincipally for her improvement, by her kind patron. Soon after this, Bishop Knox, who had fonned an even higher opinion of the cai)abilities of " Katie," detennined, so far as might be in his power, to secure her instruction in her art, and by the subscription of several of his friends, a sum of money was collected lor the purjiosc of placing her under the instruction of Signor Snpio, then • resident in Dublin. Here she arrived at the commciu'i^nunt of the spring in IStl, and imme- diately ronnncnced a course of banl and unremit- ting study, iu which her improvement was so unmistakable, that her first appearance in public was made at Signor Sapio's annual concert. exactly one month after her arrival in the Irish metrojiolis. Her timidity was still very great ; yet her progress had been so rapid under the instruc- tion of Signor Sapio, that her friends were astounded by it, and she at once became one ol the most po])ular singers at this period to bo found in Ireland. She remained with this instructor until ISi:?, a year which is signalized in her memory by her tirst ha>'ing listened to an opera, and luiving heard Madame (Jrisi, with the Signori Mario and Lablache, who then appeared in Dublin. From this moment her position of her friends, she was in the follow, ing year enabled to rejiair to Paris, where she placed herself under the tuition of Manuel Garcia — in every respect tlie greatest teacher of singing at present living, as may be readily divined, when it is remembered that he Ls the bnither of M.ilibran and Viardot Garcia, and in adtlition to this, has been the channel tlirough wliich Mario, Jenny Lind, Mademoiselle Nissen, and many others of the leading vocahsts of the day havo acciuired the instruction necessary to attain theii- present position. Somewhat more than eighteen months did Miss Hayes remain with Garcia, who was, to use her own words, " the kindest and most generous of ma-stcrs." Ho then decliu-ed that it would be impossible, by mere study, to add a grace to the fully develoiieil and beautiful voice she then possessed, so exten- sive wa-s it in its compass, and so perfect was it both in its upper and lower register. She there- fore made uj) her mind to proceed to Italy, and appear on the stage, under the auspices of the Signor Felice lionconi. Accordingly, about a month after, she made her tirst appearance on the stage at La .Scala, in the "Linda Hi Chamounit." So unspeakably triumphant, indeed we may sav, so absolute was her success, that at the conclusion of the opera, she was summoned before the curtain no less than twelve times. She next visited Vienna ; and hero her triumph was so flattering, that in a letter home she mentioned her fears that she should be (luito " spoiled " by it. On the lirst night of the Carnival, she appeared in Venice in a new opera. Her performance of the principal character rcali/.etl it« success, in s|)ito of the poverty of the music. She then once more repaireil to Vienna, and subseiiucntly visited Naples, Florence, and (tcnoa. Evcrywliere her course wa.s attended by the same triumphs. She afterwards rctunusl to England, to daz/lc and enchant the lover.-- of music in her own land. Hero she made her rtrst appearance at the Uoyal Italian Opera, in Covent GiU'den, and her success wils at the same time unecjuivocal and most decided. The crowd arovmd the doors of the theatre was almost numberless, and when they were opcnecar- ance of (irisi and Mario. From this moment hrt course has l)oen consistently onward. In tl.t following season she wo3 selected br Mr. Ltunit 1 50 393 HAY EXCYCLOl'yEDlA OF MUSIC. HE A to replace Jenny Lind, wliohad retired altogether from the hcenes, und reaped an even greater triumph at Her Majesty's Theatre, than any which ihe had previously gathered. She was al.so honored by an invitation to sin^ at Buckingham Palace, where the queen hersell' complimented her on the thoroughly "deserved success" which she had gained, and she received from I'rince Albert, who Ls very essentially a thorough judge ol' music, a warm and well-merited tribute of his admira- tion for her talent. At the close of the season, she ajiiieared also in oratorio, and in the " Messiah" of Handel, and the " St. Paul" of Mendelssohn, made a success so decided, that it at once estahli-hed her reputation a,s the greatest inter- preter of sacred music at present to be found. She had now determined upon visiting her own native land, and in November she reappeared in Dublin, (It the Philhannonic Concerts in that city. Here her reception was beyond concejjtion enthusiastic, and she was the recipient of an ovation of popular delight which is almost beyond belief. She then made her api)earance at the Theatre Royal, under Mr. Calcraft's manage- ment. Subsequently she appeared at her own native city. Limerick, and ui Cork, where the enthusiasm, high as indeed it mounted, could but equal that which had been displayed in Dublin. Indeed, her success in Europe ha.s been remark- able. She has sung repeatedly in private before the Queen of England, both at Windsor Castle and Buckingham Palace. She was honored by the wish, personally expressed to her, by the Emperor of Austria, that she should return to Vienna. In every portion of her professional career, her reputation for virtue a.s a woman has gone hand in hand with her reputation for genius and talent as an artist. She sang in New York, September, 18.51, and has since made the tour of the United States and Canada, giving concerts with considerable success. She hits also sung to enthusiastic crowds in Calil'ornia and ia South America. . HAYES, DR. WILLIAM, was, early in life, organist of St. Mary's Cluu-ch, Shrewsl)ury, which situation he retained, until, a vacancy occurring in the place of organist of Christchurch, Oxford, he was sufficiently fortunate to succeed to it, and consequently left Shrewsbury for liLs new ap- pointment. Here he was admitted to the degree of doctor of music, and afterwards appointed professor of music in the university, as well as organist of several of tlic colleges. Few of his compositions are at present known. 'WTiilst at Shrewsbury, he comjiosed and printed a set of " EngHsh Ballads." There are extant, in manu- script, several of his ccclesia.stical compositions, wliich were written for the different colleges, and a few of his catches, glees, and canons have been printed. Ho also assisted in the pub- lication of Dr. Uoyce's cathedral music. Dr. Hayes was considered a studious and active pro- fcss'or, as well as an excellent performer on the arg.m. He had the sole conduct and manage- ment of the concerts and music meetings in Ox- ford until the time of his death, about the year 177!). HAYES, DR. PHILIP, son of the preceding, was born about the year 17.'J'.), and received hw musical education principally from his father. Early in life, he was admitted oue'of the gentlemen of tlie Chapel Roj'al; in consequence of which appointment he resided almost whoUy in London, until his fa- ther's death, to whose situation in the univer- sity he succeeded. Resjjecting his compositions, which consist chiefly of anthems and services, little is known ; they are, however, said, in many respects, to have great excellence. For several of the concluding years of hLs liie. Dr. P. Hayes is supposed to have been by much the most cor- pulent man iii England. He Ls even said to have equalled in weight the celebrated Mr. Bright, the miller of Maiden, in Es.sex. The writer of the article respectuig him in Dr. Rees's Cyclopajdia is by no means liberal in his remarks. He says, that, " with a very limited genius for composition, and unlimited vanity, envy, and spleen, he was always on the fret, and by his sit- uation had a power, which he never si>ared, to render all other musicians uncomfortable. No one entered the university occasionally, or from curiosity, who did not alarm him. HLs extreme corpulency will be longer remembered than his abilities, of which he has left no example, that we can recollect, worthy to be recorded." In the month of March, 1797, Dr. P. Hayes went to London, for the puqiose of presiding at the' ensuing festival for the Musical Fund. He had dressed himself in the morning of the 1 9th of March, in order to attend the Chapel Royal, but was suddenly taken ill, and exi)ired shortly after- ■wards. HLs body was interrxjtl in St. Paul's Ca- thedral, the gentlemen of the chapel, and the cljoirs of St. Paul's and Westminster, singing Dr. Green's funeral anthem, " Lord, let me know my end." Several of the most eminent musical men attended as mourners. HAYM, NICOLO FRANCESCO, was born at Rome, of German parents, about 1079, and early in life settled in London, as professor of music, where he was engaged, at the be;t state, he was retained in the cathedral, and tumeil over, with the other boys, to the care and tuition of Mr. Bellamy, who succeeded Huibion as master. The chililren In those days were wholly provided for iu the house, and had ma.stcrs to su])erintcnd the othei branch«>s of their education. Wliile in the ca- thedral, he was occasionally borroweil to assist in the services of other dioct^es, so that from inces- sant employment therein for many years may )ta traced his constant predilection for culhedial duty althou:;h the fashion of the day, in a degree obligeurse, ho detcrmincw weeks ; but as the residence of a very short period brought him into contact with the sur- rounding neighborhood, music became the order of tlie day, and in the course of a few months he mustered an orchestra, vocal and instrumental, (purely amateur, with the exception of himself) of all the beauty and fa.shion of that part of Iievonshiro. Monthly dinners took place among the gentlemen, at which Heather states he lias heiu-d lour and live part glees executed with a precision that would have been creditable to some of his brother professors, llie kindnesc and libendity he experienced here from all parties became, in the end, the cause of extending hia stay from three or lour weeks to tliree years. Solicitations constantly arriving for his return to the metropolis, to wliich place lie had only ouco gone, from Devonshire, for a few years, to get married ! he once more shifted his quarters, and quitted the seclusion and peace of " Devon's myrtle vales "for the huge leviathan London, where he remained. HEBEXSTREIT, PANTALEON. The in- ventor of the famous I'antaleon, and at the same time one of the most skilful violinists of hLs time, followed, in 1697, the profession of a dancirig master at Leipsic, and had attained, even at that period, such jiroficiency on his instrument, that Count Logi cried out on hearing him, " Continent ! jai iti en ItalUi, et Je n at pas enletulu de jutreil." Iu 170.5, Ilcbenstreit went to Paris, and played there before LouLs XIV. This prince not onlv loaded liim with his favors, but even deigned to give his new instrument the Christian name of its inventor. The year after his return from Par- is, he entered the service of the Duke of Else- • nach, as chapel and ballet master to the court, where he played double concertos of his own composition with Telemann. In 1708, he went to Dresden, as chamber musician to the King of Poland, and there received a salary of a thousand crowns. The e.xact time of his death is not knowni, but he is supposed to have lived beyond the year 1730. HEBREW MUSIC. Notwithstanding the great labors of the early fathers of the church, and of many other learned men, there are few materials, even in the Scrijitures themselves, for a very satisfactory account of the music of the Jew- ish nation, whose restricted intercourse with other nations prevents our receiving any illustration of it from contemporary writers. All that can be done is to cite a few passages from holy writ, relative to the first ages of the world, from which it will be seen that, from a very early period, the art constantly minLstered to the religious cere- monies of the Hebrews. Moses (Gen. iv. 21) tells us that Jubal, sixth in descent from Cain, was " the father of all such as handle the harp and organ." This must have been but a short period after the deluge. Six hundred years iifter this period Laban reproaches Jacob thus : "Where- fore didst thou Hee away secretly, and ste.d away from me, and didst not tell me, that I might have sent thee away with mirth and with song, with tabret and with harp?" So that at this time vocal and instrumental music was not un- usual. For two bundled and fifty years after this period notliing occurs relative to music, when we find Moses, after passing the Red Sea, singing with the Israelites on the occasion. Miriam, Aaron's sister, " took a timbrel ia her hand, and all the women went out after her with timbrela and with dances." There seems ground for con- jecturing that Mfriam, by birth Egyptian, and educated in Egypt, might have learned the use of the timbrel and the dance in that coantry. The instruments mentioned during the administra- tion of Moses appear to have been confined to the trumiict and the tmubourine. After the siege of Jericho, where the rams' honis that were blowi were rather military signals than instruments of 396 HEU EXCYCLOriEDIA OF MUSIC. HEJ music, we hnve no record of music till the ap- pearance of tlie canticle of Barak and Deborah, which seems to have been sung in dialoi;ne with- out instruments, excepting the timbrel and the trumpet before mentioned. From several jias- Ba;;cs music appears to have been united with propliccy. Samuel (book i. ch. x. v. 5) says to Saul, " Thou shalt meet a company of prophets coming down from the high place, with a psal- tery, and a tabret, and a pipe, and a I'.arp before them." These prophets were doubtless poets or psalmodists, improvvisatori of verses which they Bang to the accompaniment of an instrument ; and many of the fathers have supposed that the Jews had a college or school of pr9pliets, which was also a .school of music, for they almost uni- versally accompanied themselves, or were ac- companied by others, with musical instruments. David, who had cultivated music from his in- lancy, seems to have been destined by his family to the profession of a prophet ; and St. Ambrose Bays that he was chosen by God, above all the other prophets, to compose the Psalms. The IK)wcr that the harp of David had upon Saul, when he was tormented with tlic evil si)irit, is an example, among many others, of the intiuence of music on the miUadies of the mind, and espe- cially in cases of melancholy. Under the reign of David music was much esteemed. He ap- pointed a great corps of musicians for the cele- bration of religious ceremonies, and his patron- age necc:isarily extended its intiuence. David, on all occasions, .seems to have been interested in the solemnities of his time : we find him con- tinually dancing and plajnng before the Lord, with songs, hari>s, p.snlteries, timbrels, c>Tnbals, cornets, and trumpets. As in Egypt, the mu.si- cians were confined to one family, that of Levi, which was exclusively con>ccrated to the Rcr>ice of tlio Lord and the cultivation of music. When Solomon was made king, four thousand were the number " which jiraised the Lord with instru- ments." Dr. liurney calU the reign of Solomon the .Vugustan age ot the Jews ; and though Sol- omon, unlike his father, was not himself a jier- formcr, and ranked " men singers and women Ringers, and the delights of the sons of men, such as nuisical instruments," among the vanities of the world, yet he continued the priests and I.evites in his employ. Li tlie reign of Jelioshaphat, the Levitcs were useful in the Held of battle, and were, by their songs, the cause of the victory that was gained; and, indeed, this was not the onlv instance in which they were similarly serviceable. Some time bel'oro the destruction of tbe temple «nd the first Habylonish captivity, music and the sacred rites had met with interr\iption, both on occountotwnrand bytheir intercourse with foreign nations. The captivity was a mortal blow to the endeavors they had made to recover their music ; and si\ty-six years, the period of it« duration, were snthcient to etl'ace all from their remembrance. This oblivion is feelingly deplored in the 137th I'salni : " How shall we sing tlie Lord"* song in a strange land ? " ReOstablislicd, but soon after- wards captives n second time, again delivered, and then contiuercd by the Egyptians, Persians, «nd Romans, successively, the unfortunate Jews had no leisure to cultivate the arts ; and it ap- pears jirobable that their music, which scarcely desert ed the name till the reign ot David, even at ita beet epoch, depended for effect more upo^ the number of the i)erformers than ni)on any refined knowledge of the art. Among the modern Jcw?s instrumental as well as vocal music was excluded from the synagogue from the time of the destruc- tion of Jerusalem. The singing they allow at the ])resent day is a modern innovation ; for, ac- cording to a jjassage of their prophets, the Jews consivler it contrary to tlieir law, or at least im- proper, to sing or rejoice until the coming of the Messiah. The (jennan are the only Jews in the present day who have a regular musical e^tab- ILshment in their synagogues. 'Hiey sing in parts, and have prcseirol traditional rac'odics, whicli ai-e considered very ancient. At Pra^^ue an organ is used to accompany the singing. HECK. A writer of a treatise on thorough baoa, published previously to the year 17!i7. HEEUEN, ARNOLD, H. L., professor of phi- losophy at Gottingen, was born in 17 '10. He wrote " Di.iseri. de Chori Grttcorum trayici S'atura et Indole, Ratione Argumenti habita," Gottingen, 1784. HEERINGEX, VOX, of Xew York, in March, ISoO, patented a new system of musical notation, and several works on this system were published the same ye:u- by Huntington & Savage, Xew York. Professor Heeringen's system dispenses with the use of flats and shaq)s, ami of what wo call the signature. Listead of our seven sylla- bles, do, re, mi, S:c., it has twelve, gising a sylla- ble for each letter, sharj) and natural. Doe, dee, ray, ree, me, fa, fee, sole, sec, la, lee, da, doe. The music is then written in black and white notes, the color having no reference to the length of the note ; that is, the white notes are to bo sung natural, or to be playes;t. He wrote much music for the churi-h, theatre, and chambtr, also several didactic works on mu.sic. His composi- tions bear date from the year 1709 to 1728. HEIXEKEX, XICHOLAS. Composer of " Eight Psalm Tunes in Score, with an .Vcrompa- niment for the Organ or Piano-forte." A critic in the " Ilarmonicon" ol>scr\-es of this publicition : " Mr. Ileineken's eight psaliiis do him infinite credit, as a harmonist. We have not often met with sacred music of this description, the inspec- tion of which has afforded us so much ple.T.-*un! as this modest, meritorious work. 'Die sweet- ness of the melodies, the skilful arrancement of the parts, and tl\e unexamplctl moderation of the price (three shillings) ought to recommend them, not only to all congregation'* that promote r!ero S97 II EI ENCYCLOPEDIA OF MUSIC, HEM tion:il siii;;iii;^, hut to every private family that wLslies to cultivate serious music." HEINLEIX, PAUL, director of the music and or({aui-it at Xui'emberK, died in IfiSfi. He resided lor some time in Italy, and was celelirated lor his pori'ormance on the harjisichord and sev- eral wind instruments. His compositions were also in hi^h estimation. HEIXUK'H, AXTHOXY PHILIP, is a Bohe- mian l)y birtli, but has so long resided in this country a^s to be '^pnernlly known as '■ Father llein- rich," the vptcran Kentucky composer. He was hred to the mercantile profession, but ultimate- ly bcoamc ])riiicipal in an extensive banking houi^e. In his early lii'e he does not seem to have gi\en much attention to music, and not until, durinp; his travels, he vL^ited Malta, did the pas- sion tor it take decided possession of him ; then (to use the words of his German biographer) he met with a (,'rcmona lady, who from that moment became his constant companion througli all his •wanderings, until she was stabbed by a careless musician in the Drury Lane orchestra. For long years they «eve never separated, and in the crowded city and the solitary prairie slie was his only and constant comfort and cheering com- panion. Xo marriage vow consecrated their love ! — the lady was only a fiddle. Several strange anecdotes are related of him and his violin, which we have not room now to relate. By one of those mutations of fortune common to com- mercial countries, he lost his large fortune ; he neither cjuailed nor repined at it, but only gave himself up the more to music. He was at Pliila- delj)hia when the news of his loss came, and he started from there and travelled on foot over the Alleghanics, and sought, in the solitude of the Kentucky forests, to hold more strict communion with his musical being. For twelve months he dwelt in a solitary log cabin, with no companion but his violin : the cabin is still pointed out as the residence of the musical enthusiast, by the old settlers. From there he ])rocecded to Europe, played there for several years in the large orches- tras, studying hard, and publishing his works ; he then returned to this country, but still had to struggle with adversity, which he bore up man- fully against ; then leeling a desire to see hLs daughter in Bohemia, he embarked for that coun- try, was still unfortunate, was taken sick, suf- fei'ed from jioverty, as it seems to be the fate of genius always to do : when he arrived his child had left, and he followed her over tlie continent, lind finally rejoined her in Xew York. Over sixty winters had shed their snows upon his brow, hut he still toiled on his musical path ; and »lthough some of his compositions have been publisl.ed in (iermauy, and hLs name finds an honorable jilace in the mu'^ical circles of that chosen l:in(l of harmony, still he desired that hLs latest and most mature works should first be given to the land of his adoption. HEIXlUrni, J. C. G., pubUshed some music for the harp and piano-forte at Dresden, between the ye:ir< 1788 and 179.5. HEIX.'^IUS, EUXEST, an organist at Arn- heim, imblishcd at Amsterdam, about the year | 17'iO, six coiicectos for the violin, and six four- [ pait symphonies. IIELBERT, a Gcrmau musician, and violinist at Paris, published, in 1 780, twelve trios for the violin, si.x duos for the flute, and an ariette. HELD, a violinist in the Clia])el lloyal at Mu- nich, was considered, in the year 1794, one of the best pupils of the celebrated Eck. HELD, JOH. THEO., a doctor of laws at Prague, was an excellent amateur singer, guitar- ist, and comi)o«er of vocal music. His first work was i)ublished in 1 796. It Is called " liOsc/icn, von I'fcjfcl, in Miisik," Prague. Another of his pub- lications is " 6 Lieiler mit KUivier," Leipsic, 180-3. HELDERUS, BARTHOLOM.^US, a church composer in the seventeenth century, was born at Gotha. His compositions bear date from 1G15 to 162 1. HELE, G. DE LA, chapel-master at the ca- thedral of Dornick, in Flanders, lived in the lat- ter halt" of the sixteenth century, and published some masses and other sacred music at Antwerj). HELPER, CHARLES D', canon and choir master of the cathednU of Soissons, composed several masses and vespers, bearing date from 16.53 to 1678. HELIA, CAMILLO DI. A contrapuntist of the fiiteenth century. Several of his composi- tions were published by De AntiquLs at ^"enice, in 1.5S.5, in which work may be found, also, some pieces by Vittorio di Ilelia. HELICOX. The name of a curious ancient instrument constructed for demonstrating the consonances. It is said to have been originally suggested by Ptolemy ; however, Zarliiio and Salinas made such important improvements in it, as to entitle themselves to a considerable share of the honor of its invention. HELLER lived, probably, about the year 170 as an instrumental perfonner at Paris, where, in the above year, Pleyel published two of his quatuors for wind instruments. HELLER, JOXATHAX, a doctor in theology, published, in the first half of the last century, several works on music ; among others, " De S.iUationibiis religiosis," Leipsic, 1737. HELLER, STEPHEX, one of the most grace- ful and original of the modern piano-forte com- posers, was born at Pestli, in Hungary, on the loth of May, 181-5. IIELLMUTH, FREDERIC, musician to the Elector of Mentz, was born in 1741- He evinced great talents for music irom hLs earliest iulancy, and had a fine tenor voice. Tliree sonatas for the haqisichord, with accompaniments for violin and violoncello, of his composition, were pub- lished at OHcnbach in 1774. IIELLMUTH, CARL, younger brother of the preceding, was a musician at Mentz, and husband to Joseplia Ilellmuth, a celebrated singer in Ger many. HEMBERGER, F. A German pianist and good composer, resident in France. He. pub- lished at Lyons and Paris several operas of in- strumental and vocal music, between the years 1787 and 1790. IIEMI. A Greek word, used in music, signi' fyiug hvlf ; as hemitone, half a tone. 393 II E M ENCYCLOPAEDIA OF MUSIC. HEN much ndmired, he was iii^ half n tone i thutis, re<1ucf(l to a minor thinl. ]n the t'Mrliii>tlon ot thi-. comixiunil term, the tint two or its coiii|)Oiieiit -ylh'lile* are not used tn their liti-ral sense, us /ju(/; but as less, or lesser ; as, hemidltune, a le.v.or /ejuer third. HEMIOPE.or IlEMIOPKfS. (Or.) A wind Instrument nse.l by the unc-ients, coiikistiug of a tube wtth three holes. A kind ot'tls- tula, or Mute. HEMMERLEIX, J. C, director of the con- sorts at Fulda, was considered, in the year 1800, on excellent violont ellist. lie was a pupil of Schlick for that instrument, and of Ulilmann for composition. He published a concerto for the violoncello (his Op. 1) in KSOl. HEMMEULEIN, J., a German composer, pub- lished, chieHy at Offenbach and Paris, twenty operas of instrumental music, between the vears 178.3 and I79o. HEXTMERLIN, J. X., chamber musician to the Prince of Bamberg, published there, in 1748, a collection of si.x ma-sscs, entitled " Chorus Mu- lantm." T!ic third of the collection is of his own composition. HEMMIS, F., chapel-ma.ster and organist at Osnabruck, published at Cassel, in 1781, a book of Catholic hymns, in octavo, and in 1792 and 1800, some njusic for the piano-forte. IIEMPEL, GEORGE CHRISTOPHER, chamber musician and violinist to the Duke of Sa.xe-Gotha, is known by his publications, since the year 170 1, of ditlcrcnt concertos and sympho- nies, and by twelve solos for the violin. He died at Gotha in 1801, in the eighty-sixth year of his age. IIEMPEL, CHARLES WILUAM, was bom at ClieLsco, near London, in the year 1777. He showeect of suc- ceeding to the organ at Truro being held out to him, he was indticed, in 180:1, to quit the raetrop- olis. In May, 1804, be was elected organist of St. Mary's. Truro, which post he tilleil for many years. Sacred masic now became his chief delight, anil he spared no pains in producing a choir, the jierformance of which was rarely to be equalletl out of a cathedral. It was long ere he turned his thoughts to composition ; but alter having composed a few psalms, which were publishetl in the " MUcrUnit pp. 2»;.5 to 291, of the yeat of " S/h-ciFHen He tioro tiio S HEXKEL, MICHAEL inductor fl..n)/iii. " T. 1, P. 3. unrler the title Miisicn," of thi TOU~ic and organist at the Dome Church in Fulda, ■was bom there in 17.'<0 He was a pupil of Vicrling, and has coini>osed and amuigetl much music tor the organ. He has also published some pieces for the guitar and flute. HEXXEBERO. JOHAXX B.M'TISTF^ or- ganist of one of the churches ol Vienna, com- posetl several dramntii- pivcs for one of the the*- 399 nEN ENCYCI.OPyEDIA OF MUSIC. HER ti*s of that city, and has ako published " S'nftw- ni h nuiitre I'nci e I'iano-foHe," and some military music, nicse compositions bear date from the year 1793 to 1802. HEXNET, FREYIIEim VOX. A noble amntcur of music, resident at Prajjue in 1796. Tlie musical meetings in his house were very cel- ebrated, where he not only took the first vio- lin himself, but composed much of the music whidi was performed, namely, symphonies, quar- tets, \c. HEX'XIG, C. F., chapel-master at Sorau, pub- lished nt lierlin, in 1775, a trio for the harpsi- chord, and in 1781, nt I*ipsic, a " Qttodlibet," for young musicians, in two volumes. The latter work is a collection of different pieces for the voice and piano-forte. In 1782 he brought out another collection of songs. Besides these vocal compositions, twelve sjTnphonies, si.x violin quatuors, and six divertimentos for twelve in- fitruraents, have been published b}' him at vari- ous periods. IIEXXIG, J. C. A flutist and composer for his instrument. His works have been published at Offenbach, Berlin, and Paris, and from Op. 1 to 19, bear date from the year 179G to 1300. HEXRY, B., a violinist at ParLs, ha.s published, eince the year 1780, " Concerto pour \'io!ou, a neuf. No. 1." " Etudes pour ie Violon, en deux Parties." " Gammes et Caprices en double Corde." " Thimes variis dans tes vinrfi-deuz Tons Ics phis usitis." These themes were adopted by Kreutzer, of the Cor.servatory, for the practice of his pupils. HEXRY Vni. was a composer and player upon instruments. He composed two masses, which were often sung in his chapel. He sang and played ujjon the recorder, flute, virginals, and set songs and ballads. An anthem of his composition, in E minor, has been printed in England. A\"hen he was journeying, six of the boys and six gentlemen of the choir attended him, who sang every day " Masse of our Ladie before noon, and on Sondaics and holidaies, Mas>e of the dnic, besides our Ladj- Masse, and an Anthempne in the afternoon." IIEXSEL, JOHAXN DAXIEL. Born at Goldberg, in Silesia, in 17o7. He wrote the words and music of an oratorio, called " Jesus," in 1798. He also publislied some dramatic and other music, and a didactic work on the piano- forte. HEXSELT, ADOLPH, chamber virtuoso to the Emi)ress of Russia, was born at Swnbach on the 12th of May, 1814. Hcnse'.t's piano-forte compositions are full of sound, dee;) feeling, and imagination, and perfectly clear and well rounded in their form, even when they are elaborate and richly ornamented. Played by the composer himself, they arc said to stream forth with a ful- ness of melodic and harmonic euphony, and Bome of them are deeply aflccting. His excel- lence as a player resides in a remarkably energetic fulnexs of tone. In those Icft-linnd passages peculiar to the itiides of Chopin he is unsur])asscd by any of his contemporaries. He is highly es- teemed in (icrmany as a sincere, gcnuiiu' artist, full of fire and generous enthusiasm, and belong- ing somewhat to that select class of pianists and comuosers, of whom Chopin, Stephen Heller, S:c., may tx- considered tj-jies. Two of his exquisite little romances for piano, viz., the " Pofnie d" Amour," and " If 1 were a bird, I'd fly to thee," have been favorites in chamber concerts in Xew York and Boston. HEXSTRIDGE, DANIEL, organist of the cathedral at Canterbury, about the year 1710, composed many anthems. 'Hie words of some of them are in the collection entitled " Divine Harmony," published by Dr. Croft, in 1712. HEPP, SIXTUS, an organist at Strasburg, was born in 1732. He was a i)upil of Jomelli. Two sonatas of hLs for the harjjsichord were published p.t the above town, and much more of his music is known in manuscript. HEPTACHORD. A terra which, with the ancients, implied two conjunct tetrachords, or a system of se\«en sounds. It was also the name given to a lyre, or cithara, with seven chords. In the ancient poetry the word heptachord signified certain verses that were sung to the sound of swcn chords ; that is, to seven different notes, or tones. The interval of the heptachord was equivalent to our seventh. IIEFTAMERIS. (Gr.) In the ancirnt mutie, the tennth put of a werh, or fortv-third part of an oct:ivo. HEl'T.APIIOXOS. (Or.) The name (riven to each of the ten mu.ical notes u<>cd in the middle aces. HERALDS, or DES HERAL"rS. ThLs appella- tion the French formerly applied to the minstrels, because, on account of the strength and clearness of their voices, they were qualilied, not only for animating the soldiers in battle, but for making proclamations at tournaments and public cere- monies. HERBERT!!, ROBERT. Born in Franeonia in 1770. He published some cantatas and piano- forte music. Several of his masses (manuscript) have been much admired. HERBIXG, A. B. V., assistant organist to the cathedral at Magdebxirg, died in the prime of life in 17G7. He published much vocal music of a comic cast, which was very jiopular in Germany. HERBST, JOI!X AXDREAS, was bom at Nu- remberg, in the year 1.588. At the age of forty he was appointed chapel-master at Frankfort on the Maine. He continued in that station about thirteen years, when he was called to the same ofhce at Nuremberg. In 1().50, at the solicitation of his friends, he returned to Frankfort, and kept his former place until the time of his death, in 16C0. He was deeply read in the theory of music, and in composition he had few equals. Like most of the Gennans, he was a sound and judicious organist. In the year 1^43 he published, in the German language, a work entitled " .l/i«i>(» I'oetica;" and ten years afterwards, a translation into the same language of the " Arte Prattica e Poetica " of Giovanni Chiodiiio. He was also the author of a tract entitled " Musica Moderna Prattica, occro Maniere del buon Canto," ])rinted at Frankfort in 16.i8, in which he strongly recom- mends the Italian manner of singing. HLs other works arc, " A small Tract on Thorough Bass," and " .V Discourse on Counterpoint." -Of his musical compositions there are only e.xtant " Mcletemata sacra Davidis," and " Suspiria S. Grc- fforii ad Christum," tor tlirce voices. These were printed in the year lfil9, at the same time w^th another of his compositions for sLx voices. HER ENCYCLOP-EDIA OF MUSIC. HETl HERDER, JOHANN GOriTRIEl) VOX. First preacher nt the court ol Wuiiuiir. He died about 1801. He published many works rehitiiig to music ; among others, one " On the Spirit ol' Hebrew Poetry," the second volume of which contains dissertations on the music of the Psalms, and on the union of music and dancing. HERING, C.VRL GOTl'LIEB, organist of a town near Leipsic, published eleven operas of piano-forte and vocal music, between the years 1789 and 1812. Among them are several didac- tic works of merit. They are all published at Leipsic. HERMANN, J. D., a German musician and celebrated pianist and composer for his instru- ment, resided from the year 178G at Paris, where he published ranny works up to the year 1802. HERMES, HERMANN DANIEL, a clergy- man of lireslau, born in 1731, composed some vocal music in a printed collection of music at Breslau, m 1790. HERMANNUS, CONTRACTUS. A Bene- dictine monk, bom in 1013. He received the name of Contractus from being paralytic in his lower extremities from infancy. He was equally celebrated a.s historian and comjioser, of which M'alther in his lo.\icon, and the Abbe Gerhert in his collection of composers, have given sufKcient proof; the latter having collected together the rare works of Hermannus, and inserted them in the second volume of his collection, under the title " Opiucula Miuica." In the same place he ha-s given specimens of the method of notation nt that period. liormannus died in 10.5-1. HEROLD, LOUIS JOSEPH FERDINAND, wa.s bom at Paris, of German parents, in 1791. He studied composition with Mehul, and the piano with Adam ; when more advanced, he re- ceived lessons from Cherubini. In 1810 he obtained the first prize (pr piano playing at tlie Conservatorj-. Two years later he won the first prize in composition, which gave him the means of a visit to Italy, where he spent some time in Milan, Plorence, Rome, and finally Naples. There, in ISl-i, he composed hi.s first opera, " The youth of Henry V.," which had no great success. Returning to Paris he produced many works for the Opera C'omique. ITie first, "Charles of France," an operetta in two acts, he composed in company with Hoiltlieu. ITiia pleased, and his operatic way wa.s o]>on. He composed, in 1817, " Ia^s Rosiires," and " La Clo- chette;" in 1818, " Le Premier rrnit;" in 1819, *' Let Tro jiteurs," and " L' Amour I'latoniifut ; " in 1820, " L'AiUeiir mart el riranl ; " in 1823, " Ln left an unfinlihcd opera, called " I.iulovic," which was completed by Hulevy, and successfully brought out in 183 1. The list of Hcrold's piano, forte works is considerable, including sonatas caprices, rondos, fantasias, viu-iations, &c. HERSCHEL, J.VCOB, brother of the cele- brated astronomer, wa.s born about the year 1734. He was master of the king's band at Hanover and an excellent composer of music for instru- ments, somewhat in the style of Abel and other musicians of his day. One set of his " Sonatajt lor Two Violins and a Boss " have been reprinted in England. He died in 1792. HERSCHEL. DR. FREDERIC WILLLVM, vounger brother of tlie preceding, was born at Hanover in 1738, where his father was a musi- cian, and by whom he was educated both in the theory and practice of music. In the course of his theoretical studies, he turned his mind to the higher branches of the mathematics, still, however, considering music b.s hi.s profession. In the year 17.57 he procured the situation of organ- ist in Yorkshire, which he held till 17615, when he accepted a place of the same nature at Bath. It wa.s here that he renewed with ardor his a.stro- nomical studies, and, with the aid of a telescope of an immense size, at length discovered the planet which is still known by his name. After this discovery, his majesty George HI. desired Herschel to bring his telescope for his inspection to Greenwich, and subsequently to the neighbor- liood of Windsor, where the king allowed Her- schel a pension, on the condition of his giving up music as a jirofession, and devoting himself en- tirely to astronomy. We have never heard of any compo-.itions by Dr. Herschel, but under- stand there are some in manuscript, HERSTELL, CONRAD, court organist at Cnssel, was bom in 1770. He is considered in (Jcrraany as an excellent pianist and organist, and has published some works for hLs instrument. HERSTiaCH, or HERABSTRICH. (G.) A do«ni bow. HEirOL, JOHANN CHRISTIAN, director of the concerts of the Duke of Mecklenburg- Strelitz, and periormer on the viol da gamba, was bom in Sunbia in 1(599. He was very cele- brated in tiermnny, as a composer of instrument- al music. He died in 17-i4. HERTEL, JOHANN WILHEI.M. son of the preceding, was born in 1727. He was also direct- or of the concerts of the Duke of Mecklenburg- Strclitx, and subsequently of the Duke of Meck- Icnburg-Schwerin. In his vouth he was coi\sid- Mtdctier," " l.ti.ilhinie" and " Le Vend6me en Fj- ! ercd one of the liest violinists of the school of fxitriif," the latter with M. Auber; in 1824, " I^ Bendn ; b>it the weakness of his eyes having 25, " l^ Lupin Ulunc ; " in lS2t>, i oblrgeiano-forte, on which, in a short period, he airiveil at the highest degree of perfection. His jiractical works are, 1 . " Two Sets of Songs," 17.)7-17*>0. 2. " Two Romances." 1762. 3. "Si.x Soiintos for the Harjwichord." 4. " -V Concerto for the Harpsichord, with Ac- companiments," Nuremberg, X'^y'. ft. "Six Symphonies," 1767. 6. " Six .Symphonic*." Ht also comi>osed many vocal jiie<-es for the court, among which two Passions are vcrr highlj spoken of, the first of which ap]>earc-7 Herz passed a year or more in giving concerts in this country, and he was one of the first of the virtuosos to reap the new field of public woniio.i j>nir ieiix Flutes," Op. 1, Berlin, 1792, and a collection of songs, with piano-forte accompaniment, in 1800. HEYSE, A. G., a harpist and composer at HIGH TREBLE. 403 Halle, has published several works for liis instru- ment, and lor the flute, sijicc the year 1792. HKrniKR, WILLIAM. This gentleman wt» made a doctor of music on the following occasion. William Camden, the justly celebrated antiquary, having, a few years previously to his dwease, de- termined to found a history lecture in Oxford university, his friend Mr. Heythcr was commis- sioned to wait on the vice chimcelior with the deed of endowment. Hoyther, having been very assiduous in tlie study of music, expressed a dei-irc to be honored with a musical degree ; and accordingly that of doctor was lonferred upon him in Ui'22, at the same time with his friend Orlando (jibbons. It is supposed tliai he then examined into the nature of musical instruction at Oxford, and found that although there wa.s a professorship of music founded by King .\lfred, yet the stipend was not suthcicnt to induce anv skilful man to become a candidate lor the office ; and the reading of an old lecture over and ovej again had long been considered a matter of form. He therefore proposed, in a convocation held in 1G2G, to found a new and more u.seful lecture; and having gained the pennission of the univer- sity, gave to them by deed, dated the 26th of February, 1627-8, an annual rent charge of sixteen pounds, sixteen shillings and eight pence, to found the above lecturesliip. Of this, thirteen pounds, six shillings and eight pence were to constitute the wagesof the music master, and the remaining three jjounds were to be given to tlie reader of a lecture on the theon,* of mu- sic, once every term, and of an EnglLsh lecture on music at the time of keeping the acts. Dr. Herther's endo«Tnent w.is incrcasetl by the ad- dition of the ancient stipend, and w/^s Rfter»vard8 further augmented by Nathaniel, Lord Crew, Bishoj) of Durham. Dr. Heyther, for some time pre\-iously to hLs taking bus degree, was a mem- ber of the choir of Westminster, and a gentleman of the Chapel Royal. Camden and he were on so intimate a footing as to rc-^ide together in the same house. He was appointed executor in Cam- den's will, and upon his death, came in tor a con- siderable lite estate in his property. Dr. Hey- ther's knowledge of music does not appear to have been verj- extensive. Wood informs xis that the musical exercise performed as the act for his degree was composed by Orlando Gibbons. He dieeiccstershire. Afterwards he returned to Lon- don, and, at the solicitation of some of the lead- ing musical characters in York, ultimately settled in that city. As a performer on the ])iano-forte and violin, he exhibited considerable ability, and as a teacher ])robably still more, having been em- ployed in the family of the archbishop and the surrounding nobility for many years. The fol- lowing Ust of his works bear evident marks of taste and genius : " Grand March," " Caledo- nian Melody," " Divertimento," " Lady of the Lake," " Six Military Pieces for a full Band," "Canzonet," dedicated to Kalkbreuncr, "Six Airs," " Six single Songs." HILL, THOMAS, brother to the preceding, was organist at Pontcfract, and n professor of eminence on the organ, piano-forte, flute, and violoncello. HILL, JOSEPH, younger brother of the pre- ceding, wa-s organiiit of Stockton. He was t performer of great ability upon the organ, piano- forte, and haqj. His princijial compositions are, " Prelude and Fugue, Organ or Piano-forte ; " song, " Blow, blow, thou vernal gale ; " glee, three voices, " ^\'hen Aurora's soft blushes ; " " Tlie Dawn, or the Shepherd's Call ; " " An In- troduction, Ail-, and Rondo ; " " Two Numbers of Progressive Lessons for the Piano-forte ; " " An Introduction, March, and Finale ; " also sevei-al productions lor the harp. HILLER, properly HULLER, JOIIAXN ADAM, chapel-master of the Duke of Courland, and conductor of the music at the church ot St. Thomas, at Ixipsic, was born in 1728. In his cliildhood he learned to play on the violin, flute, hautboy, and trumpet. He next took lessons on the harpsichord of the celebrated Ilomilius, then organist of Xotre Dame Church at Dresden, where Ililler had been sent to school. Singing, how- ever, was his jjrincipal occupation in music ; and what most contributed to form his talents in this resjjcct were fourteen operas by Ilasse, which he had the opportunity of hearing during nine years that he remained at Dresden, and of which he studied the scores with assiduity. An idea may be fonned of liLs zeal in this pursuit, from the circumstance of his having in three months copied the scores of seven operas by the above master. In 1758 he went to the Uiuversity of Leipsic to study jurisprudence. There he still continued, however, to cultivate music, and composed six symphonies, besides some sacred cantatas. He next began to occupy himself with the theory of music, and pubhshed a dissertation on music, or the imitation of nature by musical sounds. In 1766 he commenced editing a periodical work, entitled " Wochcntliche \achrichtfn und Anmer- kungen die Musik hctnffend," (Weekly Reports and Observations concerning Music.) This was the first periodical musical work in Germany. In 1762 he established a concert at Leipsic, which is cited by Gerber as a model for that species of entertainment. In 1771 he opened a singing school for young ladies, and, four years after- wards, founded a sacred amateur concert, in which his pupils sang. In 1786 he joined the Duke of Courland at Berlin, and had the honor of executing, in the cathedral of that city, the " Messiah" of Handel, with an orchestra of three hundred musicians. Besides his periodical work, he wrote " Instructions for Singing correctly, with Examples," also " Instructions for orna- mental Singing, ■\\-ith Examples." He translatet approved his mastery. After that he lelt Paris for a time, and retired to Frankfort. .\s late as 18.52 he was conductor at the Italian Opera in Paris. HILLMER, GO'lTLOB FIUEDRICII. counsel- lor to the Duke of AVurteraburg, was born in 17.")t5. He published at Frankfort, in 1781, a collection of odes and songs, and another volume of the same at lireslau, in 1785. HILTON, JOHN, bachelor of music of the Uni- versity of Cambridge, was orgajiist to the Church of St. Margaret, Westminster, and also clerk of that parish. He died during the time ot the usur- pation, and was buried in the cloisters of West- minster -Vbbey. He was the author of a madri- gal in five parts, printed in "The Triumphs of Oriana." In lvi27, he published a set of fa-los for three voices, which are remarkable for the excellence of their mclotlies ; and, in liir>2, a valuable collection of catches, rounds, and can- ons, for three or four voices, under the title of " Catch that catch can," containing some of the best compositions of this kind any where to he found. Many of them were written by liimsell, Mid others by the most eminent of his coutcm- jjoraries. In the books of some of the cathedral* •there ore preserved a morning and evening ser- vice of lus composition, wliich were never printed HIMMEL, FREDERIC HENRY, chapcl-ma.s- ter to the King of Prussia, was born in L7i;.5, at Treuenbriet/en, a small town in the dustrict of l{randenl>urg ; which same place also gave birth to the venerable Nichelmann, who was not only a great piano-forte player, but al!»o a profound composer. Ilimmcl wius intended for the church, and went to the university at Halle, to study theology. After remaining there two years, chance afforded him an opportunity of surprLsing the King of Prussia (Frederic WiUiiun II.) by his skill on the piano-forte, which prcpcsstrwetl the king so much in his favor, that hi> majesty settled on him an annual stipend, to assist him iu cultivating the talent which he evinced for com- position. In pursuit of this object, Himmel went to Dresden, where he selected for hLs master in counterpoint the celebrated Naumann, under whose ciureful and able tuition he advanced nip- idly in the science of composition ; so much so, tliat after two or three years he returned, in 17"J2, to Berlin, and presented to the king a part of the fruit of his studies at Dresden, namely, the ora- torio of " haofo," the words by Metastasio. This eomjiosition was, by his majesty's orders, imme- diately performed at hi:> private chapel, by the principal musicians of the court, and met with such applause, that the king appointed Ilimmcl his chamber composer, and presented him also with about five hundred pounds : hLs majesty further gave him permission to visit Italy for two yeiurs, supplying him with an ample stipend to defray all his expenses. Before he left Berlin for Italy, his cantata " La Daiiza " wa.s pcrfonued with much iclat: this wius also one of his Dresden compositions. It is probably at Venice that Himmel first resided in Italy, as we find, in the year 1794, his pastoral, "II prima Savi'jalore," composed for the theatre of that city. \t Na- ples the king ree same year, a great fire broke out in Potsdam, when he very honorably i)erformed his prole:.sional du:ie->. by giving a scries of concerts of .sacred mus-'c lor the benefit of the unfortunate sufferers. Ii. me year 1797, some splendid _/?/«« were given by t)»e king in honor of the prijiccss's raarrLige with the he- redit.iry Prince of Hesse-Cassel. This affordeerlcction. Ilia " Semiramulc " wa.s got up in the most majnifi- cent style at the great Opera House ; hc-ides which, he composccl, for the occasion of the weil- ding, two c.intatas, entitled " The llcs!>ian Sons" and "The Prussian Daughters;" also a grand cantata, called " Confidence iu Go ius, that an Italian might easily carve out ten works from Ilimmcl's one, and still be interesting." llimmcl himself presided at the piano-forte. Some critics have remarked, that many of the vocal compositions of Ilimmel, especially hLs early ones, are overburdened with instrumental accompaniments. This seems to have arisen from his superabundance of ideas, which age cor- rected. Woe to that juvenile talent which has uo shoots that will bear pruning ! Very shortly after the above-named festival, Ilimmel's cheer- ful music was changed into notes of woe, by the death of his muniHcent patron, Frederic Wijliam TI. On tliLs occa-sion he composed a " llequicm," wl^th was performed in the Dome Church, at the king's funeral, in 1797, by an orchestra of one hundred and fifty performers. For the corona- tion of Frederic 'William III., in 1798, Himmel composed a " Te Dcum." He then reijuested leave of the king to take a journey to Stock- holm and Petersburg. After having performed before the Russian court, the emperor gave him a ring set with brilliants ; his majesty also com- manded him to compose a new opera for the fol- lowing winter ; in consequence of which order, and with the permission of the King of Prussia, he remained during that winter in Petersburg, and produced the opera of " Alessandro ; " the first representation of which was for his benefit, and brought him the large sum of sue thousand rubles, besides many valuable presents. About the year 1801, Himmel A-isited France, England, and Vienna. In December, 1802, he resumed his func- tions at Berlin, where he died in 1814. The fol- lowing list contains his principal published works : " Vimjt Variations pour le Claviciii" 1790. " Der Leycrmann," 1796. " Dlumeiistraus, meinen GOn- tieni und Frcuiulen geicidmet bey meiiiem Abschiede atui Berlin im J." 1797. " Dar Bergntann," 1796. " Deutsche Licder am Klavier, ein Neujahrs- Ge- ichenk," 1798. " Musique Champitre exicutie b. PyrinoiU. le 14 Juilkt, 1797, a I'Occasion d'un File donnie a S. M. le Roi de Prusse, Fr. Guil. II., par la Sociiti dcs Eaux d Pyrmoiit," 1798. " Matro- senlied aus Roberts EiUind." " Deuisc/ies Lied zur Gebuiis/eyer K. Friedrich Wil/tehn III.," 1798. " Douze Variations sur V Air, Marlborough s'en va t'en guerre," 1798. " Frauer cantate zur Begrttb- nissfeyer Fr. U'ilJi. II. von Ilerkhts," 1799. " 6 Deutsche Liedcr, mii Begleitung einer FlOte, eines Violoncello, und des Piano-forte." " Six liomances de Florian, avec Piano-forte ou Ilarpe." " Six Romances Franf;aises, (Euvres de Florian, avec Ac- amijxignement du Piano-forte, Cah. 2." " Sotiate pcur le Piano-forte, avec la Flute." " Grande Se- nate, pour deux Piano-fortes," 1801. " Grande Ses- tAte, pour le Piano-forte, avec Accompagnement de deux A., deux Cors, el Violoncello," 1802. " Qua- tuor pour le Piano-forte, avec Flute, Vioion, ct I'io- hncello," 1803. " Fanchon ; d-ice of the king, but, being tempted by the offer of one hun- tlred pounds a year, he went over to the party of the Protector, and instructed his daughter in m\isic. HIXNER, chamber musician to the Queer of France, was a celebrated harpLst. He was ip London in 1781, and ven- much admired for hi« performance of adagios. He published much music for his instrument at Paris, ond four sona- tas (his Op. 7) in London. He also ^\Tote th< music of an opero called " Lafausse DcUcatesse.' lUXRICHS, JOIIAXN CHRISTIAX, a pro. fessor of statistics at St. Petersburg, was born a _ ^ Hamburg. He ])ublLshed in the former city r " Erossaise pour deux Piano-ftrtes, ou h \ work on the origin, progress, and actual state of "FaiKhon, arr. en Quatuora, pour deux, the music of the chase in Uu.ssia. Suard states 406 iIIN ENC\CLOPyEDIA OF MUSIC. nis that this work is extremely curious. ITic author was a Iriend of Muresch, who invented the style of music tor the huutiu^ horus, which has been since brou'^ht to such |ierlection in Kussia a^ to produce etfects of which uo other miuic cau give an iaea. lUNSTiaCIL (G.) An up bow. HINZE, AUGUSTUS IIIMBEUT, doctor of medicine m Sclilcswic, composed some opcrettus about the year 1797. mUE. PHILIPPE DE LA, a mathematician and professor of architccturo at Paris, died in 1718. In a work written by him, entitled •' Mi- moires de Mat hematii/ lies tt ile j'/ti/si(jue, sc," ParLs, 1G94, is to be found the following essay : " Ex/tli- catio diversonim iltontin aonorttm, qttos chorda super instrumttitum mitsicum btu-cinte soititum irmutinis tctisa edit, laudatd expositione I', de I'/iales, et suppte- tis particularibua non nullis ad qiue dictus pater non attendit." Hire also «Tote in the " Mimoires de fAcadi mil- lies Sciences," tor the year 171ti,a disser- tation entitled •' Iitpirieiu.es sur le Sun." IIIRSCH, LEOPOLD. An excellent violinist in the chapel of Prince Esterhiizy, when under the direction of the celebrated Ilnydn. The following of his works are published at Vienna : " Trois Duos pour deux I'iotons," Op. 2, 1801, and " Truis Duos pour deux Violons," Op. 3, 1803. HIS. (G.) B sharp. HISTORY OF MUSIC. The following sum- mary is from the French of Alexandre Choron ; always be traced to and classed under one of those periods which are re;»ardee Five of these princi/Htl jx-rioils may be di.'.tin- guished, namely, that of formation, develop, mcnt, progress towiuds perfection, permanence and decline. In the subject 1 am now alx)ut tr treat, the lirst three princijMii j>erioth of the musi cal art, namely, its formation, doveloi)ment, ana jirogress towards perfection, arc those I shall have occasion to consider. The existing state of ihin^s appears to me to belong to the fourth or perma- nent j)eriod ; but I do not feel authorized to s)>cak on that subject, lest I should lx> taxed with estab- lishing myselt' as arbiter, and with undertaking to appreciate immaturely the merits of those of whom posterity alone will liave the right to judge, FllisT EiiA. Orijin cin'l Fur/nation of the Mod- ern System of Music. — Music, as well a» all other arts, is chiefly derived from the ancienta ; and, as it is remarked of the French language, that it is merely a corruption or derivation from that of the Greeks and Romans, so it may ccjually be observed of modern music, that it is only a corr\i])tion or derivation from that of the same jxiople, who probably owed knowledge of the art to other nations still more ancient. I do not wish to inti- mate, by this remark, that, had the Greeks and Romans never existed, language, arts, or music had never been known, as some persons appear to imagine. Nature bestows on all the human race the same faculties; but, s\i]>posing the whole race of mankind were endowed in the same proportion with these faculties, which is certainly very doubt- ful, all are not placed in efiually favorable circum- It is not the intention of the author of the follow- I stances for the development of their talents ; thus. ing sketch to comprise in it strictures on every department of the musical art, a lalwr which woidd lead fiu: beyond the limits assigned to this article, but simply to give an abstract of the mod- ern European system of music, considered in its essential and constituent parts, which comprehend the laws of sounds or of notes ; rhythm ; simiin- technie, or the system of musical characters ; and, lastly, composition, which is so closely allied to the former subjects, that it would be difficult to divide them without a diminution of perspicuity and interest. I shall treat, then, in the most sum- miury manner, of all these compartments together ; and this union will he the more ea?y, as the prog- ress of these different subjects is gimultnneous, and is often comprised in the writings of the same author. .Vlthough no great improvement Ls ef- fected in any art suddenly, anil without much previous thought and consideration, and though every such discovery is introduced in so gradual a manner ns to be hardly perceptible, yet there are periods when accumulateil otwcn-atlons, and wants generally felt, lead men who are hajipily organized, or placed in favorable circiimstances, to seize on more exten-ive views of a subject, and to create more powerful methods of arriving at a knowledge of it, the superiority of which soon becomes generally expcrienccil. and cTcntually lends the habits nnd ideas of the whole mass of mankind in a new direction. Tliese rare moments which are, however, renewed at inter\-aLs, form what is called periods. Tliey are more or less remarkable, according ns the object attnine/ Anti/uiti/. — Although there remain to ui many works on the miisi"? of the ancients, still the obsc\irity which prevails in them, their con- tradictory a--sertions, and, above all, the want of models, have precluded the po-sibility of our having any very distinct anrl derided iilons on the siibject. .Vccording to Aristides ( juintiiianus, who has certainly lelt us the most complete treatise that now exists on theni\isicol the ancients, somii authors of his time defined music to be tlie art of sini^ini;, ond all that relnttM to it; others, the con- tem|)lative and active art of pert'oct and ort(nnio singling ; othi-rs, the art of tlic hrnutiful in sound* and movements. .Vs to (juii\tilinnus himself, he looks uixin the following ex]'o--ition of mu»ic u more or less important. AMienever they have I the most correct, namely, that it is the art of th« occurred, nnd whatever may have be«n the system I beautiful in bodies and movements, (ytoxiic tvi of ideas that has occaaioned them, they may | iii> >"■'>'( h niniwuni xui «ii«-thm, and of metre, to which subjects he devotes the first book of his treatise. Ly the word " har- mony," in the meaning of which all modern authors agree, the ancients understood what the French call intonation, or aiTangement of the sounds of the system. Keeping in view this dis- tinction in the ancient signification of the word " harmony," we may proceed to observe, that Quintilianus understood the division of the three genera with which we are actiuainted ; that is to say, the diatonic genus, the chromatic, and the enharmonic. The diatonic genus, in a space of two octaves and a half, comprised the interval between the la, below our biuss clef, (examjjle 1,) and the re on the fifth line, above our soprano clef, (example '.',) being the fuU extent of a man's voice : it contained eighteen strings or notes, which had separate names. (!•) (2.) The following example shows how these notes, beginning at the second, were divided into tetra- cbords, that is to say, assemblages of four notes succeeding each other by a progression of one semitone and two tones. o« ^=* ff^ :a? i^i^^ tUnlioH. 8«infb««. ^^ Krmhoot. Svinluni It may easily bo conceived that either of these notes niiglit be the final one of an air, which would give so many modes, i. e., keys, each mode .icing superior or inferior, according a.s the air eithi-r extended aitoxc the key note, or a^s the key note occupied the centre. Every note was repre- sented by a particular mark, according to th« mode and genus. I should liere observe, that each genus introduced a number of new notes, which notes were represented by different marks, varying with each mode, thus forming an almost endless vocabulary ; and as, in the formation of these marks or signs, analogy was in no way attended to, nothing could possibly be more con- fused, and the study of music became, of course, extremely difficult. As to rhytlim and metre, mu- sic was entirely subservient, in these respects, to poetry. Musical composition, it seems nearly certain, was, at the time we are speaking of, ex- clusively confined to vocal pieces ; for the ancient authors never speak of composition, unless in treating of the voccU part of that science ; aud it is impossible to discover in their productions one single precept relative to the use of intervals as harmonics, nor a single passage clearly proving that they were in the habit of using that style of composition. We may therefore conclude that the ancients were unacquainted with our har- mony ; whilst another decisive argument, in favor of this statement. Is derivable from our positive knowledge of the origin and progress of the mod- ' ern harmonic art. This I shall endeavor to prove in a succeeding part of this article. 2. Firtt Centuries of the Christian Era. — Music, very generally cultivated by the Greeks, waa equally esteemetl by the Romans, in the reigns of some of their first emperors ; some of whom, par- ticularly Caligula and Xero, piqued themselvea upon excelling in this art, and on obtaining the public prizes for it. " A\Tiat a pity to kill so good a musician ! " exclaimed Nero, whon about to stab himself, that he might escape the ignomin- ious death with which he was menaced. It is well known that he kept five thousand musicians at his own expense. After lus death they were all expelled the city ; and music, which under his reign liad enjoyed the greatest encouragement, from that moment sensibly declined. But what it particularly concerns us to remark Is, the influ- ence that music received fiom its admission into the religious ceremonit>s of the finst Christians, who alone have transmitted to us all the ancient practical music with which we are acquainted. It is well known that, in their assemblies, every person present joined in chanting the different parts of the liturgy, that is to say, the hymns and psalms, &c. This chanting must, of necessity, have been of the most simple and easy descrip- tion, being sung in chorus, without any )irepara- tion, by peojile who, generally speaking, had not the least idea of music, and who professed also, in every thing, to observe the greatest simplicity. Another cau.^e which, no doubt, contributed to denaturalize the ancient music, was the manner in wliich it was first set, in Christian churches, to a semi- biu' barons prise, or to still more barbarous poetry. The result was, that the rhythm of their mu.sic being derived solely from the words, it re- tained but a slight impression of any sort of meitsure, and was generally drawled out in slow and unecjual time, to a language without harmony. Xevcrtl-.eless, even in this state of degradation, it still retained some constituent rules, and a certain variety in its dianges and character, which ren- dered it capable of being applied to other kindi of performances. 3. .y. Antbro$c'$ and St. Gregory' i ItutUutUM of tM 40S HIS ENCYCLOPAEDIA OF MUSIC. ills Ecclesiastical Chant. — During the first four ceu- I of the Herulcs, overturned the wostern prajiiro, tunes of the Christian church, the state of music soon after which he was taken prisoner and killed is not known with precision. The principles were, at the expiration of that time, probably still the same as from t!.e bc^jinnin;,', nt least if we may judge from a treatise of St. Augustine ; but it appears that the practice of ecclesiastical chanting ■was then falling into great confusion, which in- duced St. Ambrose, who was consecrated ^Vrch- bishop of Milan in :i74, to undertake to give a fixed constitution to cluuch music. These two holy fathers were, as their works prove, great amateurs of the art ; and there still exist, in the Latin church, both the music and words of a piece of their composition, which is admired even to the prc-cnt time, and has met with a success e>iualling that of the chcj'-d' teucres of more mod- ern masters ; I allude to the celebrated canticle of the " Tc Dvum." "\\'e have no other specimen of St. -\mbrosc's peculiar constitution of the chant ; and, indeed, on examining the chants of the Milanese church, we tind no obvious differ- ence from that of other churches. It appears, however, that St. Ambrose actually left some de- gree of musical rhythm, in which, however. Pope Gregory, who flourished two hundred years after, far surpassed him. (Sec the article Guegouv in this Encyclopaedia.) We :ieed not repeat what we have there stated, and shall only obser\'e, that with the intention of simplifying music, St. Greg- ory substituted the Roman letters in place of the more complicated Greek notes. By A, B, C, D, E, F, G, he designated the seven notes of the lower oct^ive, {octuee i/raoe,) which begins at Ut ; and by a, b, c, d, e, f, g, those of the higher octave, (I'uclave supcrieur ;j aiul by the same letters doubled, the third octave. He appUed himself likewise to the comi)letion of the ritual, which he made up of select pieces, chosen from the best remains of antiquity. As the result of these vari- ous labors, he formed the system known by tlie name of the Jluman or (inyorian Chant, whicli is used to this day, precisely in the form in which it was then established. Not satisfied with having formed this code of musical doctrine, he main- tained and propagateil it by the establishment of a school for young orphans, who were brought up as singers for the different Christian churches. in liavenna, by order of Thcodoric, wlio founded, in fO.'i, the kingdom of the (joths in Italy. Il may easily be imagined that, in the midst ol such revolutions, the arts were entirely neglected, amongst which music suffered greatly; so that, at the commencement of the sixth century, when the whole western emjjire was become barbarous, its music was entirely reositive confirmation of this fact by an ancient anecdote, inscrtetl in the annals of the Franks, and which occurred under the reign of Charlemagne. This prince being at Home in 787, to celebrate the festival of Easter, 4. The Invasion of the Ikirharinns. — To enable u.s I a (juarrel arose, whiist he was there, between the to coutiuue the history of music with some regu- ' larity, it is requisite to notice those nations who will soon be louud to act a principal part in the history. Long previous to the period of which we have been speaking, that is to say, in the time of the Poman rcpubhc, and during the whole duration of tb.e Roman empire, that nation was distuibed l)y the irruptions of swarms of barbari- ans. Whilst the government continuetl wise and vigorous, these altenipt-< were easily repelled; but when, with tlie chiltlren of Thcodosiu.M, coward- ice and imbecility mounted the throne, the bar- barians found but lew obstacles to oppose them, and, inundiiting whole provinces of the empire, Boon rcduied tliem to submission. At the com- mencement of the filth century, the Goths ravaged It4\ly ; Home wa.s taken and sacked by Alaric. The Vandal.s, traver>ing Gaul and Spain, pene- trated into ^Vtrica, the lluns into Italv, and the Roman and French singers ; the latter affirming their singing to be superior to that of the former, who iji their turn accused the French of haWng corrupted the Gregorian chant. The dispute was earned before the emperor, who decided it by the following question : " Declare to U-s," said that prince to his suigers, " which is most pure, water drawn from its source, or that which is taken from a distant stream. " " Water from the source," replied the smgers. "Well, then," .said the emperor, " return to the original source of St. Gregory, of whom you have cWdently cor- rupted the chant." The prince then re>iuc>twl the pope to give him some .oiugcrs, wljo woidd correct the defects of the French siiu^ers. 'I"he pope immediately deputed two very le.irucl sing- ers, named Theiidore and Bcnoit, to undennke this otHee, and gave thcra antiphonaries note*! by St. Gregory himself. One of these singers the Franks, under I'haramond, made themselves emperor placed at Soissons, and the other at >!eti, masters, in 4;):i, of the northeni part of tiaul, commanding all the French singer* to cor-ect which entire country his successors soon after- their books from theirs, and to learn singins' M «wds got podscbsion of. li\ 47(5, Odoaccr, King well as instnimei.Vil acconpanimcnt of tl em. 62 409 HIS ENCYCLOPAEDIA OF MUSIC. nis Though this command met with some obstacles from llie obstinacy or incapncity of the various singers, yet the Uomiin chant which Charlemagne thus e>tabhshed in France continued generally m xxac till the commencement of the eighteenth century ; about wliich time the French bishops took it into their headii to reform the liturgy, and consequently the church music. This attempt succeeded, though, with regard to chanting, its effects were deplorable ; for beuig now left almost entirely to the management of ignorant people, devoid of taste, and even, at times, to illiterate schoolmasters, they substituted for the Roman chant, — which, notwithstanding its extreme sim- plicity, had always retained some sort of rhythm, — they substituted, I repeat, a slovenly and insipid style of church music, which indeed had little more of singing than the name. 1 must here avow the wish that at the uc.\t reformation of the Fiencli liturgy, which it appciirs is to take place sooner or later, the Roman plain chant may be substituted for these miserable compositions, and reiisttiblishcd in tliose rights of which it sliould never liavc boeu dcjjrived. It was about the same period, that is to say, in the reign of Pepin, father of Charlemagne, that organs were hrst in- troduced in the west. In 757, the emperor of the east (^Constantine CopronATuus) sent one to that prince, who presented it to the church of St. Cor- neille, at Compiegne. They soon became univer- sally used in the cliurches of France, Italy, and England. The organ was at that time very Uttle under>tood, and was exclusively confined to the perfonuance of the reyal, which is now no longer known; though its introduction is not the less remarkable, from the influence which this instru- ment has at all times possessed over the jirogress of the art, as we shall presently perceive. SliCONU EuA. Decclopment of Oie Modern Si/s- tem. — We have now' noticed in what manner the mclaifje of the musical ideas of barbarous nations with the remains of Grecian music gave birth to the modern system, and shall next proceed to obsen-e the gradual development of this system. This development may be traced to tliree princii)al periods : tirst, the creation of the gamut or scale, and of modern notation ; secouiUy, the invention of modern rhythm ; and thirdly, the determining of the value of notes, and of the rules of counteiijoint. To these same peri- ods may be traced the origin and progress of composition . we sliall therefore discuss them simultaneously, as we originally intended. IiivciUion of the Gamut and Origin of Counter- point. The invention of the gamut presupposes a ceruiin degree of i)rogress in the musical sys- tem, in the same manner that the alphabet convej's the iireliminary idea of the existence of a lan- guage. I make this remjurk that the scale of music may not be confounded with the system, which might otherwise easily be the case. It was in tlie commencement of the eleventh century, ill the year 1022, tliat the njusical scale first took the lorm wliich it now retains. This reformation ■was chiefly owing to Uuido, a Benedictine monk of the monastery of Pomposa, born about 990, at Arezzo, a httle town of Tuscany ; lor which reason he is commonly called in France Guy d'Arezze, but elsewhere he is known as Guido. Duly to ap])reciate tlie talents ol this celebrated man, we should recall to mind wliat we have already said in regard to the tetrachords of the Greck.s, and the reform of St. Gregory j and w« should know that, in the mtervening time between the death of that great jiontifl and the i)eriod of which we are now speaking, many attempts wert made to improve musical notation. Indeed, it may easily be conceived, tliat letters placed on syllables, to indicate sounds, could not be quickly understood ; it was therefore found necessary to seek some more intelligible method. ITiat which most naturally occurred was, to place the letters at diflerent degrees of height from each other, analogous to the elevation or depression of the voice, and to mark these degrees in a more accu- rate manner by means of parallel hues. This was the method employed before Guy, and he only simplified and reguhited it. Instead of repeating the letter, Guy merely wrote it at the commence- ment of the Une, and, whenever it afterwards oc- curred, simply put a dot in its place. Shortly after, he rendered this still plainer, by placing dots in the intervals of the hues ; using these intervals to denote degrees, by which he reduced the distances from one note to another, and made the scale much easier to perform at sight. Guy likewise added to the ancient system a bass note answering to sol, on tlie tirst line of the clef Fa : he designated this note by the gamma of the Greeks, (r,) and it is from this sign that the series of sounds in the system take their name of yam «<. To these inventions he added another — that of counting by hexachords instead of tetrachords, and of designating by the syllables ut, re, mi, fa, sol, la, the major hexachord, upon whatever degree of the system it was placed : this was the founda- tion of his method of sobuization, which, how- ever, it would be tedious to exi)laiu here. Tha invention of counterpoint is hkewise attributed to him, though without any foundation. It is true he was one of the first who wrote on the subject, but he was not the inventor ; for though this art had made Uttle progress, still it wa^f known before Guy's time, and the following was its real origin : — We just now observed that the organ was uitro- duced into France in tlie year 7.i7, and soon be- came universal in tlie churches of the west. It was directly used as an accompaniment to the voice. This accompaniment was at tirst entirely in unison ; but the facility with which several sounds could be cUstinguu^hed at once, occasioned the remark, tliat, among the various unions of sounds, many were agreeable to the ear. The minor third was one oi the tirst remarked for its pleasing harmony, and was thereibre generally used, though only at the close of an air, as we shall perceive from the following example : — at U lu ia ^m-. 3: and tills method was called organizing. There were likewise many other methods; for instance, holding on the sound of the organ on some note below the chant, or singing part, or playing tha air a fourth below or a tilth above, and frequently both together, which bust was called doiihle or- ganization. Soon after, this method was adopted in singing without the organ ; and from thcnc4 the terms descant, meaning double chant, triple^ qiiafiruple, medius, motet, quintet, '/»«/"•»/, &c., all of which preceded the term cowUvrjnint. An unin 410 HIS ENCYCLOPEDIA OF MUSIC. Ills terrupted scries of authors anterior to Guy, as | they have many accidental properties, which, foi Notker, Komi, of Auxerro, llucbnUl, and Odou do | the sake of bri'vity, must here remain uunoticelain. There are also two kiiuls of breves, which, however, he docs not describe. Tlie semibreve Ls major or minor. The forms of the notes ire as follows : the long SJ . the double long, ^2J ; the breve, 5 ; and the •emibrcvc, ^^. liesidos their own proper value. He indicates, also, the mark of relative rests oi pausc-i. He then proceeds to distinguish fivt modes, or elements of rhythm : the tirst mode contains longs, or a long followed by a breve • the second, a long preceded by a breve ; the third, a long and two breves ; the fourth, two breves and a long ; and, tinally, the fifth, comjjoscd of two semibrcves and two breves, 'lliese are the ele- ments of his rliyllimopd'ia. With regard to descant, he defines it to be the union of several melodies, concordant with each other, and com- l)Osed of different figures : ho distinguishes four species of descant, namely, simple, iirolafe, fpro- li>it used instead of descant. It would appear that, about this time, there was a great variety of opinions respecting the rules of coun- terpoint, for the doctor complains of the -jontinual changes in the art of music ; and about the same period, that is to say, in the year l.'i"22, Pope John XXII. Issued a bull forbidding the use of the descant in churches, it having degenerated into abuses, and having no longer any fixed principles. It is believed that Jolin of MurLs was still living in the year l.'if.o. lie, a,s well as Franco, had many commentators; amongst whom were Philip de Vitry, of whom little more Ls known than the name, and Prodoscimo de Beldomando, of Padua, who was a professor of raiisic in that town in the year 1422, but whose writings are now lost. From the thirteenth century to the close of the fifteenth, there is a comjjlete vacancy in the his- tory of counterpoint. It is generally supposed that no vestige now remains of the compositions of that period; but Mr. Pcrne, of Paris, has dis- covered, amongst *.he manuscripts of the royal library of Frau'^e, some sufficiently important materials to authorize the hope that this interra] may yet be filled up. 3. Fixation of the System of the Values of Xotet, ami of t/te Principles of Counterpoint. — Towards the close of the fourteenth century, the rhythmical feet, as determined by Franco, began to be aban- doned, and as many sounds were introduced into the measure or metre as the subdi^-Lsion of the dif- ferent orders of notes at that time would jicrmit. New forms or figures now became necessary to represent new values of time ; these were formed towards the close of the fourteenth and beginning of the fifteenth century. Not that we discover any traces of their origin in the writings of that period ; nor docs Prodoscimo, who wrote in 1412, mention them ; but we find them not only insti- tuted, but fixed and regulated, in authors of rather a later date, particularly in the writings of John Tinctor, who was first chapel-master to Fer- dinand, King of Naples, and subsequently canon and doctor at Nivello, in Brabant ; he must, therefore, have lived in the second half of the fifteenth century. Tliis author left many musical works ; amongst which is his dictionary of music, the first ever formed. He published it under the title " Dcfinitorium tcrminorum Musicce," the best possible title for a dictionary ; as works of this sort should be simply collections of definitions, and not alphabetical treatises. Tlie doctrine we find in John Tinctor is much better developed in the works of Franchino Gafforio. This writer forms, in truth, a memorable epoch in the history of music, as well by the extent as the stability of hLs doctrine. He was born at Lodi m 14.51, and was named, in 1484, chapel-meani an amazing cffoit of genius, when we reflect on the cxtrnonlinaiT diffic\ilty of liis coni]iosition.s. He liveres of the ablest of these masters, suf- ficient to gratify the curiosity of any reader. I propose myself to devote one of the parts of my collection of classical music to these works, thus rendering due homage to the memory of these patriarchs of harmony. Thikd Era. Vcrfecting of the Modern System. — The era which we have now attained is certainly the most important of all, being the goal and result of the preceding. It appears to oti'er to our notice the permanency of various parts of the art, as well of those which regard the foundation of the system as of those that relate to the ditfcrent kinds of musical composition. In fact, when we see doctrines, established without any variation for nearly three centuries, being considered as fundamental principles, — when we see chefs- dCwuvres admired for an equal length of time, and regarded as impossible, I will not say to be eclipsed, but even to be equalled, — it may with reason be supj)osed, that, in many points, the art tias attained the utmost limits of perfection, and that, li it does not now remain stationary at the same point, it can only recede, unless, indeed, the whole system were to experience a complete revolution, equal to that which has already taken place with the music of the ancients. To proceed with regularity, 1 must ilivide this article into two part-s. In the first I shall speak of the art itselt, and its progress, without any express allu- sion to the individuals or nations who contributed to its advancement ; in the second part I shall consider the question in an opposite point of view, and allude at some length to the schools tnd individuals. First Taut. Of the Art itself. — 'WTiat we have to say with regard to the art itself, must be discu-s-sed under two principal heads, namely, the musical system, properlv so calleil, and the dif- ferent styles of composition : this will be the sub- •tance of the two following sections. FuujT SncTlox. Of the MiisicaJ System. — Amongst the various combinations which resulted from the perfection or imjjerfection of the ancient modes, themes, and prolations, there is one which, according to Glareanus and other authors, was at all times the most prevalent ; I mean that one in which all the values of the notes were imperfect, that is to say, in a double or sub-double ratio. After a time, thLs combination became .so general, that it was in some sort exclusive, and was re- garded as the foundation of all the musical rela- tions. To this first simplification of the system of values, various modifications succeeded, which were brought about by the use of bars. As far as I can dLscover, bars were first introduced by composers who were desirous to render their cal- culation of corresponding values easier, and there- fore hit on the idea of enclosing within the same fixed space as many notes of the score as would agree with one note of great duration, such as a maxim or a long ; thus, in the origin of bar writ- ing, they only drew a bar at every eighth or every fourth measure. The works published in IGOO are printed in this manner, and are the tirst known with any kind of bars, which were not very generally adopted till about one hundred years after. The distance between the bars was in time diminished, till they enclosed but one measure, as in tlie present day ; the only excep- tion now being the d caj>c/la time, namely, in two semibreves, with a quick movement, when the bars are still marked only every second measvire, to avoid their too frequent repetition : this time is, however, rarely used, except in Italy, the French and German composers ha%-ing mostly submitted this measure also to the prevailing cus- tom. The introduction of bars, with their grad- ual increase, has produced the natural result of bringing into disuse notes of great value, and at the present period the note of highest value is the semibreve, if we except the Breve in ca- pclJa time. As for the round and tlie maxim they are now no longer knowni, except by the learned. But in lieu of these the modems have wonder- fully multiplied the diminLslied notes, by form- ing crotchets, quavers, semiquavers, &c., which are now very common, though formerly they were scarcely known, except in instrumental mu- sic, and then but rarely. The form of these notes has likewise sustained an alteration, though scarcely worth noticing. Formerly, the head of the note was square ; towards the middle of the seventeenth century they were formed roiuid, or of an inclined oval ; and in the course of one hundred years the round became universal, and Ls the form retained up to the present time. Khythm, as we have previously seen, has sus- tained but slight variation ; but it has been quite the reverse with sounds, and consequently with harmony and counterpoint. Till the close of the fifteenth century, the degenerated tones of the Greeks, as preser^-ed in tlie chant of the Ito- man church, served not only as a foundation to ecclesiastical chanting, and to the works of composers who endeavored to harmonize those chants, or to compose according to that system, but various profane songs of that time, wliich we still possess, and some of which are to this day popular, ajjpear to have partaken of the ecclesi- astical modes. In the course of the sixteenth century, however, a movement appeared, which led the art to that state of perfection to which il has now attiiined. To dispel whatever may ap- pear vague or obscure in this remark, it is neoe*- 414 dis ENCYCLOP-EDIA OF MUSIC. Hia lary to give a clear idea of what is meant in ' music by tone or mode, and subseijuently to demonstrate the relations subsinting between the modern and ecclesiastical modes. Xo one en- dowed with the most ordinary musical orRani/.a- tion, or capable ol" the slinhtcst observation, can tkil to have remarked the tendency that every musical jiicce l\as to tenuinnteoii some ]iarticular note or sound, lor wliich, it another were sub- stituted, the air would be rendered incomplete. This experiment may be tried on the most sim])le tunes known. You say ol a piece of music, it Ls , in the kfi/ of such a note, when it ends on that note or sound, and whidi note is called the tonic ' or jirincipul ; now, if you decompose a piece of i music wliich is supposce new mctliods were merely applied to profane and modem music, and the ecclesiastical chnnta con- tinued to be formed on the ancient rule.', some- what mitigated, however, according to the meth- od of Talestrina and the Uoman school ; but, 1 towards the close of the seventeenth century they began, in practice, to consider the church j tones merely as a form to enchain or keep within ' bounds the modem toucs, and accordiug to thi« 15 HIS EXCYCl.OPiEDIA OF MUSIC. HIS principle they applied tonal harmony to their ecclcjiastical compositions. It is thus tlint the school of Xaples, particularly Durante, considered the Kiihjoc't, and the modern tones are now uni- versally acknowledged in church music. Prac- tice has ever, in all the arts, preceded theory, or rather doctrine ; and indeed it should always be thus, lor doctrine should merely obser\'e tlie operations of genius and reduce them to prin- ciples ; it sbouid not advance too quickly, there- by exposing itself to be contradicted by experi- ence. If wc examine the successive doctrines of the jicriod we have been surveying, we shall find an additional proof of the truth of these obser- vations. P. Aaron, I.. Fogliani, and all those •who wTOte during the first two generations of the eLxtceuth century, added little to the improve- ments of the fifteenth. Zarlino, wlio published in lo71 his " Harmonic Institutions," collected and developed all the theories and precepts es- tablished up to his time ; and his work was then considered, and for long after, as the most emi- nently classical ever written on music. Far, however, was he fi-ora preceding in knowledge the composers of hLs day, for he appears not to have heard of Palestrina, who flourislied about 1552. All Zarlino's doctrine was established on the practice of the masters of the Flemish school, of whom he himself was a pupU. In this he •was followed by Artusi, Zacconi, and others, who •wrote towards the close of the sixteenth century. D. P. Ceroni, who published at Naples, in 1613, his " Mflopeo y Maestro," narrowed the bounda- ries of the doctrines of music. He modified his instructions according to those of Palestrina and other masters of the Roman school. Galeazzo Sabbatini, who, in 1644, gave rules for thorough bass, wrote on the same principles. But it was not until we possessed the treatises of Berardi, Buononcini, and Gaspaiiui, towards the close of the seventeenth or commencement of the eigh- teenth century, that the practices in counterpoint, introduced at the close of the sixteenth century, were reduced into a theoretical system ; from that time to this, these doctrines have remained nearly the same as they were established by the last-named authors. Hitherto I have cited neither French nor Gennan authors ; for this reason, that they have generally been behind- liand with the Italian in precept, and I have merely \\-ished to trace the progress of the art, and not the history of different schools. But towards the commencement of the eighteenth century, a French wTiter produced some sensa- tion with regard to doctrine ; I mean Ilameau, •who affirmed that all rules, up to his time, were merely blind traditions, without connection or foundation, and proposed reducing them to a few precepts, which he pretended to deduce from the laws of physics. As the opinions of this cele- brated man have for some time been much in ■vogue in France, and have had a usefvil influence on certain points of musical doctrine, I cannot here dispense with giving some idea of them. If wc examine the various chords used in ac- com]ianiment, 'wo shall find they may all be traced to different combinations of certain groups of sounds. For example, the chords ut, mi, sol ; mi, sol, nt ; sol, ut, mi, are evidently but three combinations of the sounds ut, mi, sol ; the ehords sol, si, re, fa ; si, ro, fa, sol ; re, fa, sol, si ; fa, •ol, si, re, arc four combinations of the souniU 4 Bol, si, re, fa ; in which each sound becomes suc- cessively the bass, the aiTangcment of the ligher sounds being perfectly indifferent. Now, if -we consider one of the chords which are composed of the same sounds as principal, the others .•nay be viewed merely as de])endents. M'ith this idea the ancients were perfectly acquainted, and they considered that chord as principal in which all the sounds were placed at intervals of thirds, the remaining chords (comijosed of the same sounds) being inversions of the first. Some ig- norant \vriters have attributed the origin of this idea to liamcau. In this they are mLstaken, and to be convinced of their error, they have only to glance at the ■writings of Zarlino, Berardi, and others, when they will find tliat the above idea, which Ls indeed founded in truth, had long been familiar to the ancients. What may with truth, however, be attributed to Kameau Ls his having endeavored to include all the laws of harmony in those laws which govern the princi])al chords. To this end he names these chords funflamcntal chords ; the note which acts as bass he calls tho fuixdamentaX tiote ; and finally he terms fujidament- al bass that hj-pothetical bass which is formed solely by the fundamental note. This being de- cided, he next proceeds to prescribe rules for the formation of this bass, or rather for the succes- sion of fundamental chords ; and, according to his doctrine, harmony will be regular whenever the chords of which it is formed, being brought back to their fundamental chords, offer succes- sions in the bass correspondent to the rules which he has established. Unfortunately, nothing can be more en-oneous than this doctrine : experience and a survey of those cases in which this method has been adopted, prove, first, that a fundament- al succession of notes, according to the method of Rameau, may have very bad derived succes- sions ; secondly, that on the contrary, from ex- cellent and generally admitted derivet. Church Music. — It is well known that church music admits of four distinct species : the style d cape/Ja, the accomponied style, the concertante style, and lastly, the oratorio. Of these kinds, that which most decidedly be- longs to the church is the style d cnp,lln. lliis is a kind of composition generally written on the tones of the plain chant, in the time of two, and for voices, without any accompaniment. This s{>e- 63 4 cies Ls subdivided into four sorts : the plain chant, the faux brunlon, the counterpoint on the plain chant, and the ecclesiastical fugucd counterpoint. One of these sorts (the plain chant) we have alreadv sufficiently mcntionec.l, that the 17 am ENCYCLOPEDIA OF MUSIC. Hia Council of Trent deliberated on the means of .m]/l)re**in5 music in cliurches, and tlic decree »'ould certainly have passed, had not some par- '.icular and local considerations prevented it. In ■.he time of I'ope Marcelliis XL, who reigned in 1.1.52, the im])iety of this style of church music Had reached its utmost height, and he had re- •olved to reduce it to the simple Gregorian chant, when a youni,' composer, till then hardly known, named I'nleslrina, presented to the pontiff a mass, in a style entirely new. It was arranged in the same manner n.s that of which we have been speaking ; but instead of tumult and noise, this composition ottered a religious and noble style, pure harmony, and sweet and majestic expression, 'lliese are the distinguishing features that charac- terize the etyle of Palestrina, and by which he dittbrs from the fugue style of his predecessors ; add to this that he points in a more distinct man- ner to the principles of the modern tones, without discarding those of the ancients. This author mny therefore be justly considered as the inventor of these united proiiertics, though in fact he only improved them, and by that means fixed them, which, in reality, is a much greater advantage. I'alcstrina was considered by his successors as a model thi'.t could not be equalled ; and this con- viction, joined to the continual changes in the foundation of the system, soon induced all com- posers to renounce a style in which they could acquire but little glory or advantage. Thus, although it is much admired, this style is now so little in use, that it would be difficult, perhaps, to find throughout Europe tliree composers who would agree in the manner of using it. The decline of tlie style d capeUa, all the va- rieties of which, in the course of the sixteenth century, had risen to a degree of perfection since unparalleled, was useful to the other kinds of ecclesiastical music, and particularly to the ac- companied and concerted styles. I mean by accompanied style, that in which the voices are accompanied by tlie or^an alone, or, at most, with some other low instruments to sustain the basses ; and by the concerted style, I mean that in which the voices aie accompanied by all sorts of instru- ments, as well those of a high as of a low pitch. It is not easy to determine the precise origin of these styles, nor to trace their progress, there being nothing very decided with regard to them. It appears, however, that the organ or other instruments, or both together, have at all times been emj)loyed to accorajiany the voice in church bingijig ; but this has varied considerably, accord- ing to the time or place ; neither of them having liad any peculiarity of progress or devolopraeut. The first has been much influenced by the pro- gress of the i-jadrigal style, and the second by that of the theatre, of wl-.ich we shall presently B]'eak ; simply observing for the present, that inasmuch as we consider the first of these styles, that Ls to say, the one accom])anied by the organ or any other bass instrument, to be [iroperly adapted to tbn church, in so much do we consider the second style, or that accompanied with vari- ous instruments, as misplaced in a church, and only adai)ted to produce confusion and impiety, OS well from its connection with the dramatic Btyle of composition, as from the circumstances necessarily attendant on its execution. The jireceding refiections are entirely applica- ble to that kind of compoution style>l oratorio. I'his is a sort of drama, the subject of which is an action selected from the Scriptures, frequently a pious allegorical piece, meant to be performed in a church by singers rej)resenting the different persons of the drama. \Ve may observe from this in what respect the oratorio differs from the sacred drama ; the subject of both may be the same, but the sacred drama is intended for the theatre, the oratorio for a church. The inven- tion of the oratorio is commonly ascribed to St. Philip of Neri, bom in l.ilo, and who founded in 1.540, at Rome, the Congregation of the Oratory. This pious ecclesiastic, wishing to turu towards religion the mania which the inhabitants of Rome displayed for the theatre, (a mania that Irequently caused them to absent themselves from church, particularly in the time of the carnival,) formed the idea of having these sacred interludes written by good poets, set to music by the first composers, and performed by the most celebrated singers. The experiment succeeded to the utmost extent of his wishes. Crowds were attracted to these concerts, which took the name of oratorios, from the Church of the Oratory, where they were per- formed. The first oratorios were very simple and short poems ; after a time the words acquired more importance, and finally they have become genu- ine dramas, the pomp of scenic effect being alona wanting, from its being inapplicable to the place in which they are meant to be performed, at least in Catholic countries. The most celebrated poets and composers have exercised tholr talentj^ on the oratorio. Giov. Animuccia, one of the com- panions of St. Philip of Neri, was the first com- poser of them. The style of tlie oratorio was at first a melange of the mailrigal style, and of the cantata ; but since the modern diamatic style hss usurped the place of all others, the oratorio music differs little, or not at all, from that of the theatre ; anJ this ought not to surprise, when we consider that the modern masses and other regu- lar music for the Catholic church vary only from dramatic compositions, by being, if possible, still more affected and maniire. Chamber Music. — Didactic authors, such as Berardi and Padre Martini, commonly distinguish three styles of chamber music, namely, simple madrigals, accomjinuied madrigals, and cantatas. To these three I have ventured to add a fourth, which, under the title of fugitive pieces, contains au immense number of different sorts and varieties. The madrigal is a species of composition much resembling the fugue, but the style of which, be- ing less dry than tluit of the latter, is susceptible of every kind of expression. It \\as so called because it was usually set to a jieculiar kind of little poem, known also by that name. Two kinds of madrigals may be distinguished : simple madrigals, i. e., those executed by voices alone, without the assLstiince of any instruments ; and accompanied madrigals, i. e., those in which the voices are supported by the organ or jiiano-forte ; for in this kind of composition no other instru- ments are used with the voices. Simple madrigals appear to have been the first invented, but it is impossible to say by. whom. Many authors have considered James Arcadelt, chapel-master to the Cardinal cf Lorraine, wh« fiourlshed towards the close of the sixteenth cen- tury, as the first who composed this species of music ; but on reading P. Aaron, and other didao 18 U'S ENCYCLOP.'EDI.V OF MUSIC. HIS til authors of that time, and subsequent to it, it wn 1 be seen that this assertion b evidently erro- neous, other madriffals of more ancient masters being there cited, and even some by the eompo- eers of the ancient Flemish school. We may thence conclude that simple madrigals are an in- vention of the commencement of the sixteenth century. This style was sinjjularly cultivated during the whole of that and the followiuj cen- tury; but it has been completely abandoned since the early part of the ei^-hteenth century, as much on account of the reroi;ni/.ed impossibility of equalling the early composers in this kind of mu- sic, as on account of the attention given exclu- sively to dramatic and instrumental mu-.ic, which are in some respects comidctely the antipodes to iiiis system. This style has likewise been greatly varied. If, as llerardi says, we examine tl.e raad- ripnls of the earliest composers of tliem, the style will be found to ditTer little from that of their sacred works ; but, as we advance, we see this kind of comi)osition assume a style and constmc- ^!■'n peculiar to it-^elf : this improvement may be rem-irkcd more particularly in the madrigals of L. Marenzio, a composer a little posterior to Pal- e^trina, and who acquired great celebrity in this kind of music ; the same advancement may also be traced successively in the works of (>. Gesu- aldo. Prince of Veniosa, in Montevcrde, in Mar.- zochi ; and lastly, it seems to have attained its utmost limit in the celebrated Alcssandro Scar- latti, the last great compo--er cited for his compo- sitions in the madrigal style. Accompanied madrigals are, necessarilv, a more modern invention ; they can only have existed since the time when the custom was introduced of putting an instrumental bass, differing from the vocal one, below the voices, lids plan, as we have seen, may be dated from the commence- ment of the seventeenth century. A great num- ber of composers of this species of madrigal are known, but the most celebrated flourished be- tween the middle of the seventeenth and of the eighteenth centuries. Tlie^e are Fre-icobaldi, Carissimi, I-otti, {Scarlatti, Clan, Marcello, and Durante ; the three last of whom, in particular, have lett some chifn-d'rrwre.i in this style of com- position, which are known to most musicians. Since these great madrigalists, no one has at- tempted to excel in this kind of mus-ic, not only because the ta'-te and direction of musical ideas have changed, but, we must not fear to add, because the studies in composition are, at the ]:rescnt period, generally defective or nlto'^cther l)ad ; in fart, no sooner has a pu])il learned to put harmony to a bass, often systematic and incorrect, and to place a badly-contrived bass under a vul- gar, commonplace air, than he considers himself a composer, and ha'^tens to push himself forward, especially in the theatrical line of composition, followiiiij the footsteps of his master, who per- haps knew no more about the matter than him- self. The ancients were persuaded that to form a composer, and to merit the title of master, it was absolutely requisite that a p>ii.il should de- vote many years to the study of the science, and exercise himself laboriously on each separate rule, meditatin:; attentively on the character of different models, and thus -irulunlly capacilatiiiij hirahclf to treat with equal facility all kinds of causic. The musician of the present time limits all his glory to the compo>ition of an air or a song, and even does not blush to jdace nt th« head of such trifles the pompous titles of pupil, and even iirofessor, of some schocd in rejiutation. A cantata is a little poem, which, considered in a literary sense, hits no very determinate chan.c- ter, though it is usually the recital of a simj It and interesting fact, interspersed with reflect ioi s, or the expression of some particular sentiment. It may be in lUl styles and all characters, sacred, profane, heroic, comic, and even ludicrous, rep- resenting the action or feeling of either a single or several persons ; it even sometimes assumes the character of the oratorio, as, for instance, in " The Passion " of Ilamlcr, " The Creation " of Ilrtvdn, and others. The cantata takes its origin from the h-ric bs.- ma. The time of its invention is considered to be about the beginning of the seventeenth cen- tury, Cabout 16'20.) Poliaschi, of Rome, Loteri Vittorii, of .'spolcto, and B. Ferrari, of Keggio, (called Ferrari of the Theorbo.) are the lirst com- posers cited as having acquired any degree of celehrity in this style. After them are mentioned T. Morula, (Jraziani, IJassani, and es])ecially Ca- rissimi ; about the middle of the s;ime century, M. A. Cesti, a pupil of Carissimi, who perfected recitative; L. Rossi; Ixsgrcn/.i ; and lastly, the celebrated A. Scarlatti, who surpassed all his pred- ecessors as well by thefecundity as the brilliancy of his talent. At the commencement of the eighteenth century, we may mention Fr. Gaspa- rini ; (jiov. and Ant. Ihiononcini ; the celebrated R. Marcello, who composed many much admired cantatas; Pcrgolcse, whose " Orpheus" is cited as n rhrf-d'irucre ; Vivaldi, known by his works for the violin; and lastly, the Rai'on d'.\stnrga, and the celebrated N. Porpora, both of whom have left collections considered perfectly classical in this style. I'nhappily we are under the necessity of making the same remark with regard to the cantata as we made respecting madrigals : it is a style of composition which has been generally abandoned and neglected for nearly two genera- tions; so much so, that learned amateurs alone now deign to study the masterpieces in this style left us by jireceiling Kcnerations. Fugitive pieces consist, as we have before said, of an immense number of styles, and an amazing variety of gubjects. Every nation has its own peculiar style of music. Italy has the canzonette, the rillanelU; the flttol/-, the estramhottt; S:c. ; Spain, the bolrro, ,tc. ; France, the mmnju-r, the vaiuie- rille, Ike. Tl;e history of this branch, though a])pnrently of slight importance, is, however, as respects the art in general, of much greater inter- est than would be at first imai;ined ; first, because the musical character of every nation is expressed in its songs ; and secondly, because it is in this kind of music that is to be found, as wo have already noticed, the foundation of the ideal style, and the elements of the modern system. 'Hiis makes us n-gret that our limits in this essay will not jiermit us to enter into any details on nanonal music. Laborde, in his voluminoui essay, has made a collection of the vocal music of ditfercnt nait it is very incoi- rect ; first, because many of the airs are altered, often, even, rcpl.u-ed by modem ones ; and sec- ondly, because they arc overcharce«l with a har- mony both ill ima:;ined and incorrect. In short that collection merits no consideration whstever Dramatic Mutic. — The invention of the lyrvi 19 HIS EXCYCLOP.^DIA OF MUSIC. Hia Irnraa of the raodenis is considered by many per- »ons to bo of very distant date ; that is to say, if by tlie lyric drnraa we are to understand every representation accompanied by music. And, in fact, altlioush these older reprchentations dif- fer widely Irom the lyric drama of our time, (as rauerformed in private since the year 1590, and " // (lioco del/a Cieca," represented in 1595. If we may credit J. B. Doni, the invention or re- vival of recitative belonged neither to one noi the other, but to Vincent Galileo, father of th« celebrated Galileo, the astronomer, who, feeling, as well as Bardi and the other amateurs of Flor- ence, the de.'ccts in the music of that age, and tilled with the ardor of research, occupied him- self in recovering the musical declamation of the Greeks, and having imagined the recitative, ap- plied it to the episode of the Count Ugolino, of Dante. He composed also, in the same stylo, "The Lamentations of Jeremiah," and sang them himself, with a viol accompaniment, before a nu- merous assembly. Julius Caccini, of Rome, a young singer, who frequented, with many other musicians, the house of Bardi, was enthusia.stic in his admiration of this new style, and himself composed several pieces, with recitative of a very improved description. J. Pen soon became hi rival in improvements, and both, according to Doni, cooperated in setting to music the " Daph- ne " of Rinuccini. Peri afterwards composed " Eitridice," and Caccini •' Ccphalus." These pieces were follo\\ed by " Ariana," wliich was put into recitative by CI. Monteverde, of whom we have already spoken. However the above inquiry may be decided, it Ls certain that, of all the above-named works, the " Euridicc " of Peri was the first which was per- formed in public. This representation took place in 1600, at Florence, on the occasion of the mar- riage of Henry IV. of France with Mary de Medicis. In the preface to the poem, which was printed the same year, Rinuccini states that the music composed by Peri to his " Daphne" had made him cease fearing that he should never witness the revival of the musical declamation of the (Jreeks. In fact, nearly the whole of this work Ls in recitative ; and it is ditficult to dis- cover any difference from the rest of the music, in those jias.sages at the head of which is jilaced the word aria. The same observation applies tc all the works composed up to the middle of the same century. It is only in the opera of " Jason," written by Cicognini, and set to music in 1649 by Cavalli, that we begin to perceive airs ha\'ing a melody differing from that of the recitative; yet still these airs are usually insipid, and generally (to give some idea of them) a kind of minuet, written in the time of two-three, and varying re- peatedly. A greater degree of progress is per- ceptible in the operas of Cesti, who, in his " Do- rin," composed in 1663, began to introdiice airs in which the talent of the singer might be dis- ])layed to advantage. Ihit what is particularly remarkable at this epoch is, that tlie opera began to degenerate into a sjyectacle calculated to please the sight alone ; Insomuch that, in the worka represented about the end of the seventeenth century, no mention whatever Ls made either of the poet, the composer, or the singers, but only of the machinist and the decorator. This, how- I ever, did not discoura:;e an immense number of composers from devoting themselves to this style. So groit indeed is their number, that it woulcl , be impossible to enter ir.to any details with re« gard to them, without the risk of being carrier' I too far. 20 ms ENCYCLOPAEDIA OF MUSIC. UIS A monp; the-;reat im- provement was, however, left to be completed by the tinst generations of the eighteenth century"; and it is to the illustrious ])upils of Scarlatti, namely, to Leo, Vinci, Sarro, Hasse, I'orpora, Feo, Abos, and especially Pergoleso, tltat this a;)- proacli to i)erlcction is attributable. Tliey were well seconded by the poets of their time, and particularly by Apostolo Zeno, and his pui)il Metastasio, who presented them with poems, writ- ten with purity and cle^jance, and full of inter- esting situations. Three generations may bo considered as having followed this same system, jirotiting by the successive embellishments of melody and of the orchestra. In the first gen- eration are comprehended the men wc have just named ; the second presents to our notice names not less celebrated, such as Jomelli, Piccini, Sac- cbiui, Guglielmi, Traetta, Anfossi, Terradellas, and others ; and the third, fonned from the pu- pils of these last, has been rendered famous by Paisiello and Ciraarosa. ITiis period, however brilliant, a.s it eertfiinly was, was not exempt from faults ; for instance, though their poems present some interesting and dramatic situations, essential errors may be found in the general construction of them, and even in the form of the detailed parts, where dramatic consistency is frequently sacrificed to the music ; added to which, the singers, who then began to display abilities before unknown, exacted gener- ally e the poet and composer such situations as woulc jest suit their talents ; the result of which was, that though dramatic music wa-s indeed invented, the true lyric drama did not as yet exist. The.se abuses, deeply felt, and exposed bv the best lyric poets, (by B. Marcello and by ^IctlVstasio himself,) induced men of the greatest talent to make some efforts to create, at length, a perfect lyric drama, that is to say, a drama composed accoriling to all the dramatic rules, and in which the mu:dc should be entirely Bubser>-icnt to the action. Tlie first essays to- wards this were made by H. Marcello, who soon, however, disgusted with the vexations he met with at the theatre on this account, contented himself with laying open his principles in his writiiigs, and giving examples ol them in his sub- lime collection of psalms, an incomparable mas- terpiece of melody, harmony, and truth. The apiilication of these principles to the stage, with all the fulness of truth, was left to the celebrated liluck, who, without possessing, as a composer, either the profound science or elegance of the great Italian and (ierman masters, had sufficient tident and genius to complete, about tlie middle of the last century, (in 17iU,l this important rev- olution. He was considerably aided by the poet C;alzabi;;i, who was the first that wrote an essen- tially dramatic lyric jOTcm, his " OitIwiis." (iluck thus became a model to his contemporaries, sev- eral of whom, such as Piccini, Sacchini, and others, followed in the same track. After such successful endeavors, the art seemed to be forever fixed on a firm basis, with the ex- ce;)tion of the changes that the variations of melody would probably occasion in it; and, in- deed, up to the present time, revolutions hav« taken place in this respect, of which it appcam impossible to foresee the term. However, towardi tlie close of the last century, the advancement of instrumental music caused a sensible movement in that of t!'.e dranm ; some composers having endeavored to introduce into operatic accompani- ment the richness of the symi)hony. It is on this iilan that Haydn, Mozart, Chcrubini, and all of their school worked. This very brilliant sys- tem has great advantages, but a difficulty natu- rally results from it not easily to be overcome, which is, that the most c.s.sential part, the vokU, supposing it even to have all its reiry : of this kind are cited the " Sicrificio " of Heecari, st't to music in lo.i.5 by Alphonso della Viola ; " / I'azzi Anianfi," in 1.5<>0 ; " La y'or.wi ropprv- tfiitatita," in 1574; " Im Triujfdiadi FraityijHini," the music by CI. Merula; " /» J'ocsin rrpieim tola," &c., 1678 ; " Jl Re S,iiomniif" l.i79 ; " lUuk e I'Uioria," 16«0 ; " PallntU" 1.581; •' LAnJi- Pamauo" of O. *'ecchi. 1597; all of whifl 421 HIS ENCYCLOPEDIA OF MUSIC. HIS were rcpicsciifed nt Venice. Tlie music of these I works was completely in the madri<;al style ; p.iicl if it had its beauties, it had also its absurdities, which were still more apparent on the stage, where every thin;; should a])pear true. Amongst these inconvenieiu-es, wc shall name, as one of the most remarkable, the use of m/nui/oi/tifs, bxing by seceral voices, on account of the want of instru- ments for accompaniment. It is not precisely ascertained when the recitative was introduced into lyric comedy. Several comic operas are known, written in the course of the seventeenth century ; but without resting on objects, of the details of which we are ignorant, let us hasten to reach the period when IScarlatti and his pupils introdiiccd expression in dramatic music. Among the;.e masters we Knd Porgolese, who distinguished lumself by Iiis talent in introducing declamatory modulation into dram.itic music. Logroscino is likewise remarkable, as having, by the invention of finales, given to dramatic melody a new kind of development ; and although, in the two generations which we have indicated as succeed- ing this, the greater part of tlie composers and poets, who rendered themselves illustrious, culti- vated lyric comedy equally with tragedy, still many peculiarly distinguished themselves in comedy ; such as N. I'iccini, for uistance, whose " Buona Fiyliola," a masterpiece of grace and truth, announced the composer who was to sur- pass his model. In this same generation flour- ished the illustrious G retry, who made Pergolese his especial model, also the composers who, following his steps, have given to France the true IjTic comedy. In tine, comic music, after having been embellished by the genius of GugUelmi, Paisiello, Cimarosa, and other pupils of I'iccini and their contemporaries, could not escape fiom the inroads of symphony : it supported the yoke under the reigns of Mozart and his imitators. Let us :iot, however, exclaim against an innova- tion which has jiroduced masterpieces of an entirely new character, but rather let us endeavor to con\'ince all those who would be tempted to take Mozart as a model, that, to give effect to such a school of writing, the genius of a Mozart is indispensable. Instrumental Music. — The subject of musical instruments should be considered under two heads : tirst, as to the sojiorous principle which tonus the basis of each one separately ; secondly, as to the mechanism of execution. First, in resjiect to the sonorous princii)le, instruments are divided into sti-inged, wind, and vocal instruments, (11 timbre,) iVc. ; as relates to their mechanism, iliey may be divided into six classes, namely, lirst, •- iwed instruments ; secondly, wind instruments ; ihiidly, keyed instruiuents ; fourthly, stringed irs'ruraents, {pincis .) tittlily, iitstruments of per- mission; sixthly and lastly, mechanical instru- ments, (i!islrumen.'i-miu-/iini's.) At .the head of tlie.>e six divisions must be placed the human voice, the tirst, the most beautiful of all instru- ments, and which serves as a tyjie to nil, others. All instrumejits have not always been in use, even among>t dirfcrent nations, and less amongst first, amongst bowed iiLstruments, the violin, tht viola or tenor, the violoncello or bass, and th« double bass ; secondly, amongst wuid instru- ments, the German flute, the clarinet, the haut- boy, the bassoon, tht horn, the trumpet, th« trombone, tlie serpent, i he fife, and the flageolet; thirdly, amongst keyed instruments, the harjjsi- chord, the spinet, the piano-forte, and the organ ; fourthly, amongst stringed instruments, {pincis,) the harp, the guitar, the lyre, and the maudoliu ; fifthly, amongst instruments of percussion, drums of diflercnt kinds, and cymbals ; sixthly and lastly, amongst mechanical instruments, the bird- organ, and the bulafo or organ of Barbary. To abridge this article, already too long, we shall not here speak of the history of instruments, but proceed to consider instrumental music, wliich is nothing more than a melody, or a system of melodies, appropriated either to a single instru- ment or to several together. Tliis leads us to consider it in two points of view ; tirst, as single music ; secondly, as concerted music. Smgle music is that which is composed or adapted peculiarly for a single instrument, whether it be in fact produced by that one instru- ment, or, in order to inerea>e the cfiect, be accoan- panied by one or more additional instruments they being entirely subservient to the principal This music is the solo, properly so called, and the accompanied solo, of which the concerto is the most brilliant style. Tliere are as many styles of solos as there are of instruments ; but as it is impossible that we should enter into all the details which this variety presents, we shall confine our notice to the solo of the violin, which is regarded, and justly, as the first of all instruments. Solos, whether simple or accompanied, com- prehend, under the names of studies, fantasias, capricci, sonatas, concertos, &c., &,c., an infinite number of pieces in various forms and styles. We cannot here trace their histories, but shall simply point out some historical marks, relative to their construction, pcrfonuance, and style of composition. The construction of solos, whether simple or accompanied, comprehends their melodic form, and the choice of instruments, both wliich objects have varied repeatedly, prc^^ously to attaining their present degree of perfection. Tlic melodic form, indeed, is still constantly changing, so much so that there appears to be no fixetl rule on this head. With regard to the selection of instru- ments, a subject that concerns the whole series of accompanied solos, from the sonata (which is the simplest of all) to the concerto, there have also been a great number of changes. The sonata, tirst iiuagined in the course of the seventeenth century, has been fixed, in many resjjccts, by Corelli; the concerto, invented by Torelli, his coutcmi)orary, under the name of coiwerto grosso, employed at first only five instruments, namely, the quartet (gwttunr) and the lending part. Fr. IJcntla and J. Stainitz made the addition of wind instruments, fonuing it, thus, into a kind of STiTuphony. In every thing relating to the execu- tion of instrumental music, it is of the utmost the same peoi)le ; every nation and every age liave importance to dispel a very common error, which " ■ ■ consists in believing that music was fornerly very simple, and easily pertormed. This erroi arises from the circumstance of the old w •iteiii liaving made use of notes of very great value and its not being rememl cred, at the same time had their own. Witl-.out entering here into details which would lead me too far, I shall con- fine myseh to remarking wliich are the instruments now most in u^e amongst the nnlions whose musical system resembles our own. These are. 422 flIS ENCYCLOP-EDIA OF MUSIC. HIH that these notes were executed with great rapidity, to that they had, iu lact, no grcatiT value than those in use with us at the pi-esont time. lU'sidcs which, if we cast our eyes u;ion tlie collections of pieces rem-.iiniu!; to us from the preceding cen- turies, for example, upon the " Vir<;inal IJook " of IJuecu Elizahctli, puhlishcd iu lo"S, ditHculties will be found which w.iuld puzzle the most able of our modern performers. There l:nve been the same revolutions, as to taste and style, in instrumental music as in siu!?- iug; it has, indeed, lUways been iiiHuenced by the existing style of vociU composition. Without referring to the periods anterior to the seventeenth century, concerning which we have little or no information, we know that, during the first two generations of that century, music was entirely in the madrigal style. \Vlien dramatic music began to proviul under Corclli, the contemporary of I'erti, Colonna, and Scarlatti, it was scicutitic, and rather dry ; Geminiani first enricheil it by expn-ssinn ; but it wan under Tartini, contem- ]>orary of Leo and of Jomelli, that it attained the highest degree of expression, both as to composi- tion and execution. Soon after this period, tl>e concerto, in particular, was greatly improved iu the hands of the elegant Jainowick and of the graceful Me-^trino ; both of whom were still sur- passed by Viotti, who gave to this style the character which seems so peculiarly its own, and brought it to a degree of perfection which it seems incapable of exceeding. All we have said concerning solos applies ee each one may be said to have a ])articulat school of music, wc still, as regards the art in general, can only consider those nations as having a school, which have contributed, in a sensible manner, to the progress of the art, either by the suggestion of universally adopted ])rinci])les or methods, or by the production ol works uidver- sally regarded as classical. In tliLs sense, there are, in fact, in Europ.e, but three schools, the Italian, the (ierman, and the French, with those springing from them ; and we would here have it understood, that we circumscribe tlie limits of each school to those counlrics where the language is sjioken from which each one derives its name. This being premised, I purpose, in tliis last division of my summary, to examine briefly the rights of each school, and to ])oiut out, in a sum- mary manner, the jiart that each has had in the common fund of musical knowledge during the period, with the sketch of which we are about to conclude. In order to proceed regularlv, I shall confine all I have to observe on tliis ^;ubjcct to a few princiiial jioints, namely, their general his- tory ; the most remarkable traits l)y which they are characterized ; and how far they have been serviceable relatively to the different branches of the art, reduced to four heads, namely : first, the svstem itself, and its general ])rincii)les ; secondly, tiie four styles of composition already devel- ope.e the f;reat men which it has since pro- iluced were most ot' tlicm pupils of the schools of Itome and Uolojjna. However tliis may be, all these schools are com- monly considered as helonging to three regions, namely, Ujijier, Middle, and Lower Italy. The iLrst comprehends tlic schools of Venice and Lom- bardy ; the second, those of Rome and Bologna; the third, that of Nai)les. The trait.s which i)rincipally characterize all the schooLs of Italy, arc a nice feeling, and profound knowledge of the essential and constitutive prin- ciples of the art, united to grace and expression. Hut indejjcndently of these general traits, each of the schools has teaturcs peculiar to itself: that «jf Lower Italy ha.-, more particularly, vivacity and truth of expression ; those of Middle Italy, sci- ence, purity of de-ign and grandeur ; and those of Upper Italy, energy and force of coloring. There have always been schools in Italy, but they have not always been equally celebrated. In this respect, they have, indeed, frequently varied. We have seen that, from the time of St. Gregory and (iuy d' Arez/.o, Italy was the source of music ; but it appears tliat the horrible wars of which that country was the theatre during the middle age, extinguished the arts there, and par- ticularly music. We have likewise seen that, from the thirteenth up to the sixteenth century, the most important imiu'ovcments in the art were due either to the French or to the Flemish. These last pco"])le merit peculiar consideration, as having lormed, during the last hall of the hlteenth and early part of the sixteenth century, a school which was destroyed during tlie wars, towards the close of the latter century, but which was the source of iill those now subsisting iu Europe. The French \vere the Kr>t who, by reason of their proximity to, and habitual intercourse with, the Flemish, particijjated in the impulse they liad given. At this period, the chajiels of tlie pope and princes of It^ly were filled with singers from Flanders and Picardy, and throughout Italy, even at Home it-elf, the music of French and Flemish com])oscrs was sung ; some of the pro- fessors of those countries were invited to Naples and Milan, and so great a uniformity then existed between all the nations of Europe, that they seemed to form but one school. The Italians followed the same doctrine, but it must have been with little success, since not one of their com])ositions of that period are cited, whilst a considerable number of those of the Flemish, French, and Gemian composei-s are on record. Hut, towards the middle of the sixteenth xcntury, the schools of Italy began to appear fin tne scene. The most ancient is that of Itome, oi whii h Palestrina is considered to be {he head ; he was pui)il of Gonilimel, under whose care he went to France to study composition. Adrian Willaert, pupil of Josfiuin and of J. Mouton, was the lounder of that of Venice ; C. Porta, his ])upil, founded that of Lombardy ; and tliat of Naples, equally an- cient with the preceding, was celebrated in the *ixteenth century under Gesualdo; but it-s prin- cijial fame is due to Scarlatti The school of Hologna is only an emanation from that of Kome. What Ls, however, particidarly remarkable, is, that «nce their origin or revival, these schools have attained a superiority iu abnost every kind of music, and which they will probably always re- tain. This opinion Ls the result of a close exam- ination and study of all their works, in every branch of the art. In the first place, with regard to the foundation of the system, and its general principles, the Italians have ever excelled other nations. Having received the old ecclesiastical counterpoint from tlie Flemish and French, they were the first who gave to it the sentiment of modern sounds. They have, in short, determined and fixed these sounds ; they have made phrase-i and melodic periods, and have created tonal harmony ; indeed, so superior have they always been coiLsiderea to all other nations iu this respect, that the chord formed by the second and the sviisihlc or leading note of the mixed mode, has long been called the Italian sixth, it being genei-illy allowed that they were the inventors of it. The Itahans have like- wise perfected counterpoint or musical design ; fugue and intricate couuterjxiint also owe to them their greatest beauties. All the schools of Italy have concurred simultaneously in these improve- ments ; but, in this latter point, those of Kome and Naples appear entitled to particular merit. With regard to the various branches of sacred ' music, from the plain chant to the most highly ornamented styles, it is in Italy that they have been successively developed. In fact, on taking a survey of them ui succession, we shall find that, in the style d capella, plain chant itself comes to us from the Italians, and that the best/«i(j: bour- (loiis known are those which, from time immemo- rial, have been chanted in the iSixtiue Chapel. The finest counterijoint now extant ou the plain chant is that of P. Constanzo Porta, of the school of Lombardy. The fugued style, by preserving the name ot Palestruia, announces, at the same time, the master and the school which perfected it. The accompanied style is indebted to the Roman school for its finest models : and, with regard to the concerted style, although very beau- tiful works of that kind have been produced by all the schools of Italy, yet, as it approaches nearer than any other kind of music to the dra- matic style, models of it must be sought for more particulaily in the school of Naples. Chamber music, in its principal kinds, is so peculiar to Italy, that it may be considered as be- longing exclusively to that country. Madrigals, whetlier simple or accompanied, are to be found in Italy alone. In the former, or simple madri- gals, it is the Roman school that bears away the palm ; those of Venice and Lombardy may claim the best works amongst the latter. Thical execution, the schools of Italy have ever retained a marked superiority over the rest of Europe : and lirst in singing ; the multitude of excellent jjcrformei-s of both sexes that they have produced can hardly be numbered : their superiority in this respect arises from three causes, the tii-st two of which belong to them exclu- Bively, and the third is a natural conscsichord, and we may add, of that of the Besozzi with reganl to the hautboy. The Italians wen; indeed the in- ventors of the harpsichord, the bassoon, and the trombone, as well a.s many other mstrumentX, and taught the use of them. We shall conclude this article by a few obser- vations on the literature and culture of the art in Italy. The preceding centuries had produced some much esteemed works in the dilferent branches of the art, and which were, in fact, very estima- ble in many respo.'ti; although, as I have before said, they were constantly behindhand in the practical parts. I have already made known the test of those works, 'Hie eighteenth century has been less productive, and tor the following rea- son : that, in these latter times, the improvements in the art have bc«'n much more rapid than they were formerly, and of a nature infinitely less sus- reptible of being ainily zed and rcdued toriiles. In- deed, most of the treatises and other com]xwitions which nave c\i>fcd in Italy are obsolete. But the lonscrvatories of that country possess excellent lollectioiis of models, and the principla-i of music arc there taught by oral iusU'uctioii, the ma>>t«n having found, that it is not by books, but by personal lessons, tliat able artists are formeil. As to the culture of the art in Italy, it has ahvays tended to the same end : first, in what concerns execution, the Italians devote themselves much to singing, which is, in fact, the essential object. The number of their amateurs and i)ri)fessors in this style is very gieat ; instrumental executiou is much k-ss cultivated by them, and notwith- standing the excellence of their rules, they are iu this resjjcct little above mediocrity. In Italy, in- struments arc regarded only as the means of accompaniment, and the scores being always verj clear, it Ls not rejuLsite that the iierfonaen should be ])articularly expert ; indeed, so tar is this from being the ease, that probably consider- able difficulty would be found iu having a sym- phony well performed in It;ily ; nor do I even think that such an attempt has ever been made either in Middle or Lower Italy. The number of their com])o>ci>i in every style of music is im- mense; the most indifferent of them have at least the merit of possi^vsing a style, but the greater part arc very well instructed in all the principlea of composition. Musicid theory is little culti- vated by them ; erudition rather more ; but still only by a few learned amateurs, the generality of professional men being very ignorant. It must also be coniassed that, since the latter years of the last century, miLsic ha.s experienced a sensible decay in Italy, and that it Ls no longer what it was during the greater part of that and of the two preceding centuries, if not as to the number, at least as to the excellence, of its j^ro- fessors. Formerly, there were always twelve singers of the first order to be found in Italy, such as Farinelli, Pacchierotti, Guadagni, and Marchesi, and from sixty to eighty of the second order, such as Mandini, \c. Several masters, likewise, of the first order were always to bo found, such as Scarlatti. Durante, and I.ci; and a great number of the second rate, together ^\-ith innumerable inferior composers ; and so of the rest. But now, it would be difficult to rind two singers of the first order, or five or six of the second; and the same with regard to composition and the other branches of the art. AMiat is the cause of this decay ? It arises, we imagine, from the prefercmc universally given to dramatic mu- sic, to accjuire considerable success in which a very superficial knowledge of the art is rciiui-ite. At this time, however, we must remark, notwith- standing this very sensible decay, Italy, in our opinion, still preserves her superiority in m>Lsic over all the nations of Europe, which, we think, may be easily proved, both by the i)rin(ipks and by the number of professors whose talents ili her honor at the present time. The Italian school, too, is still excellent ; and, although public in- struction is generally feeble, yet many scientifto masters are still to be found, as well as all the models le.t by jirei-eiling generations : in a w>rd, it is still in Italy that the best musical inntruc- tion may lie obtained by those who know how to study. 7Vk' (Irrman Schnnl. — In Tlermany, as well »•» in Italy, numerous schools are recognized ; in fad, properly speaking, there are an many •.cho.-il« .n capitals. In a detaile-l account of music, it w.ui'l be proper to give tJie history of each of tiieM schools, but in this sketch we air obliged xc 6i 426 nis ENCYCLOPAEDIA OF MUSIC. UI8 wmfiiie our.-.clvcj to a general mention of them. Tlie (iprrnans are in many respects in music, what the Flemish arc in ])nintin;j, less scrupulous in the (le-ij;n than in the effect of the coloring ; that is to say, they pret'er those chords the crtects of wliich are the most brilliant, and those instru- ments which arc tJic most sonorous, such as wind instrumeiit-i ; and this makes them pass lor ex- cellent harmonists amongst those who confound the tumult of complicated sounds with harmony. This science, which consists in the simultaneous emiiloymcut of sounds, in the same throughout Europe ; it is perhaps that part of the art on the founrlations of which all nations best agree, not- withstanding the diversity of language ; but the choice of instruments, and consequently the effects :liffer in every nation. Thus the Italians ])refer j/ure harmony, the Germans brilliant har- mony, and the French, who erroneously suppose they follow the example of the latter, are gen- erally accused of being rather fond of noise. The origin of the Gennan schools Ls considered to be as ancient as that of the Flemish ; several German masters arc cited as having flourished at the same period with the French and Flemish ; and under this point of view the German schools should claim priority to those of Italy. But the wars wliich devastated Germany during the latter part of the sixteenth and beginning of the seven- teenth century, and particularly the terrible t/iirti/ years' war, diu-ing whicli five great anuies over- ran that unliapi)y country, carrying desolation and havoc in every ])art of it — all these wars de- stroyed the arts, which can only flourish in the bosom of peace and happiness. It is certain that at this period the school of Germany was greatly inferior to that of Italy ; it even appears that the French school, then much degenerated, began before the other to emerge from obscurity. It seems not to have been till about the end of the seventeenth century that Germany received a marked impulse from the works of Keysei, the first German composer who, after the renovation, evinced an original and superior talent. What follows will point out the progress that music has since made in that country ; and, in order to render it more complete and more capable of comparison, we shall observe exactly the same order here as in the preceding article. In all that relates to the foundation of the system, the Germans, like all other nations, have only followed the Italians : they have never equalled them in melody, and especially vocal melody ; but with regard to instrumental music, the (icrmans can boast some ma.sterpieces of the first class. In fugues, canons, and every kind of mu<."al design, they have also been imitators; besides which, they have always chiefly considered counterpoint as it relates to instruments ; from which it frc(iuently results, that the voice parts ht\rmoni/.e badly in their compositions, because they affect jjassages and intervals contrary to the nature and character of the human voice. As to tlic different kinds of style, and first with regard to that of the church, the Germans received the Gregorian chant from Italy, and they have com])osed some peculiar jneces, in several parts, for th^ chiu'ch, which they call r/iorah : the-e are sung :y all the congregation, and have an ex- tremel"' fine effect. This kind of music Is (piite pcculinr to themselves, and it is to be regretted that other nations do not imitate it. They have 426 counterpoint, it is true, in the plain chant, als fugues, but they are not equal to those of Italy Lj the other kinds of church music, that Is to say, in the accompanied and concerted style, they hav« long possessed very fine works by their best masters, which are not inferior to "the Italians; such, for instance, are tlie masses of Graun, Haydn, and Mozart ; only, we should remark that these partake of the style of the sjTuphonio drama. They ])ossess also oratorios of the greatest beauty, such as " The Ascension " and " The IsracUtes " by liach, " The Death of Jesus " by Graun, "The Messiah" by Handel, with many others. With respect to the chamber or concert sty it : in madrigals they have nothing very remarkable ; in the cantata, they have some extremely beautiful works, at the head of which we may name the cantatas of " The Creation" and ".Seasons" by Haydn, which arc by some erroneously c&Ued oratorios. They do not appear to excel in fugitive pieces, that style requiring a simplicity and i)urity of melody Uttle known amongst them. .Such of their compositions in this style as we are acquaint- ed with are for the most part uninteresting. The German theatre Is of very ancient origin, although not so early as that of Italy ; but it had not attained any celebrity until about the close of the seventeenth century, when Keyser under- took to compose for the theatre at Hamburg, which was then very flourishing. As, however, few traces of the works of this master remain, we cannot speak of his style; but since the com- mencement and during the course of the eigh- teentli centui-y, the composers of the school of Naples, or rather the German com])osers formed in that school, such as Hasse, &c., conveyed that style, into Germany : it became predominant, and served as a model to all others. The German style, thus improved, became that of Graun, Naumann, Gluck, and even of Haydn and Mozart, with the addition only of a few modifications, according to the impulse of their genius, And the latest improvements in instrumental music. I have just named Gluck, by which it would appear that I class his works among those of Germany ; but it will be seen that tliey belong rather to France ; and although this m ister was much admired by a few Genuans of merit in his time, yet his talent was not by any means duly a45preciated by the nation in general. Indeed, it Is only lately that his French works, translated into German, have been performed in their theatres, and have there operated the same revo- lution that they effected in France thirty years ago, to the great scandal of the partisans of the symphonic drama, who were indignant at seeing their countrjnueu abandon the brilliant Mozart for the dramatic Gluck. The Gennan school derives its greatest lustre from its instrumental music. With regard to music for single instruments, and first, as to that for the violin, although the composers for that instrument which Germany has produced have only followed the steps of Corelli. yet they liave done so with so much success, that they merit par- ticular notice. Thus, from the time of Corelli, whilst Locatelli and Geminiani, his two best pupils, spread lii>" school, the one in Holland and the other in England, we remark in Germanj Fr. Benda and J. Staiaitz, formed on the sam* I HIS EXCYCLOP/EDIA OF MUSIC. HIS model. Tlieir successors, still iiui>roviiiIozart, Frnen/.l, and t'nimer, wlio nearly approai lied Tartini, his contemporary. In harp- sichord music they have produced, since Kerler and Froberger, who were formed in the Italian and French schools, a number of excellent com- posers, who require only to be named to make known the titles of the German school ; these are J. S. Bach and his children, Haydn, Ko/.eluch, Mozart, I)us.sek, Cramer, and otliers w)iom I cannot name. It is the same with re'^ard to their music for wind instruments, a species of com- position which belongs almost exclusively to Germany, and in which she possesses an ama/ing uuniljcr of good composers. In instrumental roil' cried music, the claim of the Germans is not inleiiur. AVe liave already cited the quartets of Haydn, and the trios and quii\tcts of Mozart ; but Ilayiln, by bringing the grand symphony to a degree of perlection which it seems impossible should be surpas.-ed, has raised his own glory and that of his nation to the greatest height. Musical execution, in Gennany, is a mixture of good and bad ; »inging is generally but moderate : we do not know one German singer enjoying high repute out of his own country. Execution upon stringed instruments, and particularly on the violin, Ls solid, but is generally thought wanting in grace and expression. That on wind instruments appears to be very superior. There are a great number of excellent German organists ; iudccil, with regard to that instrument, no nation can compare with Germany. The orclicstras are good, but not so much so as they might be, especially as to tlieir proportions. Tlie Germans are rich in musical literature, possessing a prodigious number of excellent works ou all the branches of the art, most of whicli were published in the course of the eighteenth century ; such are the writings of Fux, Matthe- son, Miirpurg, Kirnberger, E. IJach, Knecht, Vogler, Albrechtsbcrger, Forkel, M. Gerbert, Nickclmaii, Koch, and many more whom 1 can- not ut the moment cite. In tliis respect, Germany a, without exception or comparison, tlie richest jouniry in Europe. The culture ol music in Germany is astonishing ; even down to the most iusigniticaiit charity schools, the art is publicly taught ; no schoolmaster is allowed to exercise his profession unless ho is capable ol teaching at least the elcmcnUi of music and .-ome instruments. In the princii)al towns there are puMic and special schools, where any one is admitted unconditionally, and where all the parts of composition are taught, llesides this, the means of ordinary education being very numerous, and easily attained by every class, the artisan, and even a man of the lowest order in society, it he does not require the a.ssistaiicc of his son's industry to attain a liveliliood, may give lam a good education free of all expense. From these united causes it results, that in general the musicians of Germany are very numerous and well informed. Their methods of instruction are moreover the same as in Ilaly, witli some modilicalions ; they tend directly to the point. Such, in few words, is the history and present state of music in Germajiy, which country, as has been seen, possesses its full share of merit. Tho French ikhoot. — If the Italians wera the inventors of every part of the musical art, if thej have brought them nearly all to perfection, and if the Germans have brought tliosc paits to the same point, which the former had left imperfect, what then liave the French done, will be asked, and wliat nglit have they to figure a-t a schoo' witli those nations which seem to have completed every thing r We answer briefly, that the French ha ve been the in ventors of some part iculiir l)ranches, and have, so far, exercised a real intluenre ; in many otlicr instances they have successfully im- itated, and have introduced into their imilation(! a sentiment and style peculiarly their own, observ- ing at the same time an order and respect for consistency which has frefCYCLOP.EDIA OF MUSIC. HIS of good didactic works, those of Ilaraeau (ex- I cies of the Htyle a «i/>fWn. After hnviiic; received poundeil, simplified, niid coranientcd on by cele- brated authors) became much in vogue ; conse- quently there are, at the present time, a ({rent number of professors, who, accordiuf; to the method introduced by him, bci^in by settini? forth to their pupils pliysical and geometrical propo- sitions, of which they understand nothing, and which, besides, have not the slightest relation to tlie question. They, however, persist in it that all this nonsense is the foundation of the great, the sublime science of harmony. After having encumbered the mind with this useless trash, the pupil is instructed in the definition of hanuony, which is the knowledge of the chords. The chords are then defined and explained to him, and he is made to learn a catalogue of them so large, that the best memory cannot ])ossibly re- lain them all in less than a year. lie is shown all the different ways in which they succeed each other ; he is accustomed to see the whole of har- mony in common chords, to find which alone he has regular rules, consequently he Ls obliged con- tinuiilly to have recourse to the inconvenient cal- culation of inversions ; added to which, these rules are in themselves so vague, so imperfect, and so little capable of being applied in most cases, that if, after a year or two of study, the unhappy pupil is presented with the simplest bass, he is not able to place the same harmony to it that a pupil of Italy or Gennany would do, without hesitation, at the expiration of a few weeks. AMiat then is the result r The jiupil be- comes wearied and disgusted, renounces the study, and, if his profession or taste lead him again to attempt composition, he hastens to ac- quire, as he can, from bad principles, a certain traiiu'i knowledge of the art sufficient for his purpose, but ever remains ignorant of its funda- mental principles. Such Ls the certain result of the system of thorough bass, so cried up by people entirely ignorant of music, as facilitating the means of learning the art ; ire should rather say, of talking of it, without understanding any thing about it, as did Uoussier, 15ethisy, and so many more of Ra- meau"s commentators. We have already named the only advantage arising from this system, relatively to the classification of the chords ; we shall not say more here on this subject. Finally, there is no study of counterpoint, or, at most, that of the rcnceriny (placaffe) of chords ; no study of the styles ; no knowledge of the models, even the names of whom are unknown. Such is a sum- mary and unexaggerated account of the usual raode of studying musical composition through- out France. It must, however, be confessed, that the plan of instruction adopted by the Conservatory of Paris, a.nl that instituted by several i)rofessors, according to the Italian and (icrraan methods, arc exempt from some of these defects ; but it is easily to he perceived, that, withheld by local considerations, and by the fear of encountering prejudices, they have not yet done, in this re- spect, all that perhaps they would have wished to do. This, then, is the actual state of the sj^stcm in France, so far as regards its principU>s and foun- dation. I^t us now see what she has done in the 4ifferent; kinds of composition. Firs', as to inurch music, we shall begin by the various spo- from St. (Jregory the Uoman chant, that valua- ble remnant of the (ireek music, Bn Sueur, director of the Emperor Napoleon's chamber music, who haa produced some works in thus style fraught with beauties of the first order. As to chamber music, the French have no mad- rigals, excej)t a few by some masters who were contemporaries with the Flemish, all of whose works are now forgotten. This style of music flourished in Italy at the period of the troubles in France, during which music was not at all cul- tivated in that country. In the cnntnta, the works of f'lorerabaut and I)e llcrnicr, ])upil of Caldara, were formerly citea'iuin, there is now scarcely any master worthy of citation, if we except Sejan, who ha* followed their steps. Lastly, to conclude this article by a paneg\Tic as just as it is important : what cannot be too much admired in France is, the excellcivce of the orchestras in the execution of the sjTuphony ; in this respect they not only infinitely surpass, wc will not say those of Italy, ■which are beneath consideration in this respect, but rival those of (icnnany, where instriimcntal music has attained the highest reputation, lliis fact is acknowledged to be true even by the most prejudiced of other countries. Tlie musical literature of France is of little val- ue : among her works of this kind, some, com- piled by artists who neither knew how to think nor how to write, arc as vicious in their princi- ples as in tl'.eir plan ; others, edited by learned men, or by literati ignorant of the art, teach only systems and errors. From this condemnation, however, we must except, first, some methods which concern exe'.-ution, and particularly those published by the Conservatory of Paris ; secondly, concerning composition, the little treatise of har- mony by M. L'atel, which is a good introduction '.o the study ot accompaniment. We consider also I the principles of cwnpoiition of the schools of Italy, which wc have formed from the union of w hat w* have found best on the subject in the French and other languages, to be the only authentic and complete work for the student of this art, and, notwithstanding some jimt imputations, tlie least imperfect of any existing of the same kind. Of tlie three nations of which we have spoken, it is in France that music is tlie Iciust pcneraily cultivated ; it is aLso, of all the fine art.s, the cue least attended to in France, and the only one on which there are no public lectures, an advantage which it possesses in olnio.st every other country of Europe Ik fore the Froich revolution, music was principally taught in the inaitri-it-s ; but not- withstanding the number of four thousand impila, who ■were constantly suj)ported by these e-tablish- ments, they so much felt the corruption and de- cay of the art in France, during the seventeenth andeightet^nth centuries, that, in the whole course ot that time, tb'Cy produced at most but five or six singers, and as many composers worthy of mention. Their reostablishmeiit was on a still worse footing. Tlie ancie:it chapel-masters -were at all events composers ; but lately, for want of better, it has been found necessary, with few ox- ceiitions, to employ any musicians that could be had. Here the chapel-mivster is a parLsh chanter; there a violinist ; elsewhere even a trumpeter, or some such person ; and these men are intrust- ed to form singers. It will readily be imagined that the maitrises thus organized would be even less productive than they were formerly ; and up to the present time, it would be dilficult to (iud, out of two or three hundred pupils wlucli they contain, one who could sing the seven notes of the scale in tunc. ITie Coiiser\-atory, establLshcel, 1780. IIOBOE, or OBOE. (I.) in French IIAUT- BOIS. See H.mthot. IIOBRECHT. JACOB, a Fleminj, was the precept^r in music to Erasmus, and has the credit of having been an excellent musician. He is naid to have had so great a celerity of invention, that he composed in one night a whole nia^is, to the admir.ntim and a.tonishment of all who knew him. Glareanus nsscrts that the composi- tiins of Hobrecht are grand and majestic. (G.) A nuptiai HOCHBRUCKEU, an inhabitant of Dona- wert in 1700, was an exiellciit perfonncr on his father's newly-invented pedal harp. He played before the imperial court at Vienna in 1729. IIOCHBRUCKER. probably a descendant of the above-mentioned family, was a celebrated harpist at Paris, in the latter part of the seven- teenth century. He published much music for hLs instrument. HOCHREITER, JOS. BALTHASAR, organist at Larabach, in Austria, published " Veapera DumiiiicalfS ct Festictf," for four voices, Augsburg, 170fi, and " I'esperee de D. V. Maria," for four voices, two tenors, and bass, Augsburg, 1710. HOCHZEITMARSCIL march. HOCKET. The name formerly given to a rest, or the cutting a note short, without accelerating the time. A manner of execution corresponding with that of our staccato passages. HODERMAXX, G. C, a pianist and excellent instrumental composer, resided at Amsterdam, where he published fourteen works for various insti-ument-s, between the years 1789 and 179o. IIOECKE, C, a celebrated violoncellist, resi- dent in Russia, published a concerto for his in- strument, with accompaniment for a full orches- tra, at Moscow, iu 1799. HOECKII, CHARLES, was born at Ebersdorf, near Vienna, in 1707. His father began to teach him the violin at a very early age, and sent him at fifteen to Pruck, to learn his art thoroughly. At the termination of his apprenticeship, he en- tered the band of a regiment as a hautboy player. He remained two years in Hungary, and two more in Transylvania, llie time of his ser\-ice having expired, he returned to Vienna, and there meeting with Francis Benda, who was just going into Poland, he accompanied him through Breslau to Wan-.aw, where tlie Starosto Sukas- cheffsky received them both into his service. In 17.32, Hocckh went to Zerbst, as concert master. He died in 1772, with the renowii of having been one of the greatest violinists of hi* time. HOEFFELMAYER, MARIA JOSEPH AN- TOX, born at Rastadt, was considered a good violoncellist and performer on the kettle drums. He was for some time in England, and afterwards at Hamburg, and finally, we believe, settled in Paris. He is the younger brother of Thaddeus. HOEFFEL^IAYER, THADDEUS, bom at Rastadt in 1750, was violinist to the Elector of Mentz. HOFFER, MADAME, a celebrated female singer at Vienna, was the sister-in-law of the re- nowned Mozart, who composed, among other music for her, two airs, sung by the Queen of Xight, in the /.a'lhcrflotp. HOFFMAXX, ERXST THEODOR AMADE- US, composer, painter, poet, and romancer, was born at Konigsberg, in 177(>. Ills " Fantasy Pieces," and his " Sufferings of the chapel-master Kreissler," contain some of the most genial, ro- mantic, and appreciative things ever written about music. Among them may be noticed, as especially jiopular and influential, his papers on 4»a HOf ENCYCLOP.KDIA OF MUSIC. HOB Mozart's "Don Juan," on the " Hitter Ohick," ] the posiihility of constructing such a machine ; and on Beethoven's symphony in C minor. He also wrote several novels and composed some operas, the prineijial one of whjch wus called " Undine." He died in 1822. HOFFMANN, HEINRICH ANTON, in the year 1810 violinist at Frankfort, was born at Mentz in 1770. He studied composition under the celebrated Kreutzer. The following are among his published works ; " Sechi Enylische unci Deutsche Tdnze," Op. 1, Mentz ; " Coiu-erlo pour deux Viohn.1 princip." Op. 2, OfTenbach, 179.5; " Trois Violin quartettes," Op. 3, Offenbach, 179-5 ; " SVj; 1)iu>s Concert, pour deux Motons," Op. 4, Mentz and Paris ; " Ges/tnt/e beim KUicier," Of- fenbach, 1799 ; " Seeks Deutsche Lieder mil Ouitarre und Klacicr," 1802. HOFFMANN, 11. R., a singer at the German theatre in Hamburg, in 1797, published there, about the same year, several pieces of vocal music. HOFFMANN, GEORG, composed some in- strumental music at Vienna previously to the year 1799. HOFFMANN, JOHANN GEORG, organist at Brcslau, was born in the year 1700. He published much sacred music, which was held in high estimation. HOFFMANN, JOSEPH. Composer of a "Xot- turno d deux ]'iolons et Bass," published at Vien- na before the year 1799, also of a " Grarui Trio pour le I'iolon, Tenor, et Violoncelio, Xo. 1," Vien- na, 1803. HOFFMANN, LEOPOLD, a celebrated com- poser at Vienna, died there in 1782, and was succeeded in several public situations by Al- brechtsbcrger. He composed much sacred and instrumental music. HOFF>L\NN, PHILIP CARL, musician to the court at Mentz, and afterwards chapel-master at Offenbach, was born in the former town in 1709. He published much piano-forte music at Mentz and Offenbach, between the years 1795 and 1805. HOFFMEISTER, FRANZ ANTON, chapel- master at Vienna, and very celebrated as a com- poser, was the proprietor of a music warehouse in that city. He commenced publishing, in the year 1785, a monthly collection of instrumental music, which contains several of the compositions of Haydn, Mozart, and other celebrated masters, as well as of his own. He died in 1812. HOFIIAIMER, JOHN, organist to the Empe- ror Maximilian I., in the tifteenth century, is stated, by the musical historians of Germany, to have been a very skilful performer. IIOHI,FELD, a mechanic of Berlin, in the middle of the eighteenth century, is worthy of mention in this work as the ])rojector of two curious musical inventions. The first is a ma- chine which writes down the notes as the per- former plays them on the harpsichord. It is true that the Rev. Mr. Creed, an Englishman, had written a paper on the same subject in the Philo- sophical Transactions for the year 1747, and that Ungel, a German, had, in 1751, also ^Titten on still Hohlleld has the credit of being the first who put the idea in execution. The celebrated Euler having accurately explained to him the proposed mechanical problem, he succeeded ifuickly in manufacturing thg machinCj and soon l)re-ented it to the academy at Berlin. It con- sisted of two cylinders, applied to the jjiano-forio in such a manner tluit the one received iho music paper, wliich was given out again by the other, the notes played during the time having been marked in small dots on the paj)er in such a way that they could subsequently bo written in regular notes. This jirocess, however, being still attended with ditKcultics, the academy gave its simple approbation of the ingenuity of the ma- chine, and awarded a small sum to the construct- or, who, a few years atterwurds, took it to a country house near Berlin, where it was con- sumed by fire. The second invention of Hohl- feld was an instrument in the form of a piano- forte, presented to the King of Prussia in 1754. It is mounted with catgut strings, under which is a horse- hair bow, jiut in motion by a small wheel, small hooks being attached to tlie keys of the instrument to draw the strings towards this bow. This last invention has been since very much improved upon, as may be seen from one of the Gazette di Milano of the year 1823, where is announced a new instrument called the cio/i- cemhalo., professedly invented by Abbate Grego- rio Trentin, of Venice. It is described as a piano- forte, and played by a bow. It hius been reward- ed by the gold-prize medal, and is patronized by various amateurs and musicians, at the head of whom is Perotti, chapel-master of Santo Marco. The exterior form of the violicemba/o of the Abbate Trentin is the same as that of a piuno-forto of six octaves. The strings are of catgut of various di- mensions, of which the lowest arc covered with metal wire, and each string is appropriated to a single tone. At the extremity of each key is a horizontal lever, by racaits of which the string Ls raised upwards to meet the action of the bow. This bow consists of a piece of woollen stuff, in- wrought with sdk threads instead of hairs, which is drawn backwards and forwards by means of two cylinders affixed to the sides, and set in mo- tion by means of a tly-wheel, worked by the right foot. ^^^lat Bi)pears new in this instrument is as fol- lows : 1. That in the down pressure of the key, the string is compressed between a little piece of thick leatner, and retained in the same manner as the violin string between the fingerboard and the finger of the performer. 2. That in the pressure upwards of the strings, by means of a quill athxcd to the lever, the greater extension of the string which without this would take place, is avoided as well as the impurity of the after sound. ITiat the formation of this instrumci\t ma* have been attended with great difhculties, ol which an account is given in the de-icription of it, and that in overcoming them, much perseverance was necessary, cannot be doubted ; particularly as the arrangement itself, as describe.! by the in- ventor, api>ears sufhciently complicate*!. The editor of the JLirmnnienn considers the riolicemba- lo to be only a revival (W the CrUttina stop, in- vented and performed on, sixty or seventy yean ago, by Mr. Adam Walker, the well-knoMm lac turer on experimental philosophy. 65 433 HOL fiXCYCLOP^DIA OF MUSIC. HOL HOLCOMHE, IIEXIIY, was a singer in the i opcnv, nt its first iiitro.luotioii into Knj;lnml, in \ tlie be;iinniiis of the citjlitccnth century. He dill not, howover, continue long upon the Rta};e, but left it, nnd obtained a livehhood by teacliing the liarp^ichord. " Happy hours all hours excell- int;," is n sonn of his composition, in the " Musi- c.il Miscellany." A few years before hLs death he published a collection of twelve son<;s, yet in ])rint, set to music by himself; amoii'i which is that of " Arno's Vale," written by Charles, Earl of Middlesex. Ilolcombc died about the year 17.50. HOLDEN, JOHN. An English musician, and author of "An Essay towards a lational System of Music," Glasgow, 1770. HOLDER, WILLIAM, doctor of divinity. Besides his eminence as a divine, and deep knowledge in music, he distinguished liimself as a philosopher, mathematician, and philologist. He composed some anthems, of which three or four are preserved in Ur. Tudway's collection, in the British Museum. From the regularity and unembarrassed arrangement of the several parts in these sj)ecimens of his composition, it is easy to discover that he had not ?itudied and practised counterpoint in the superficial manner of an idle dilet'.anta, but with the application of a diligent professor. He publishe.l also " A Treatise on the natural Grounds of Harmony." Dr. Holder died in 1693, aged eighty-two. HOLDER, JOSEPH WILLIAM, bachelor of music at Oxford, was born in the year 1765, in the parish of St. John's, Clerkcnwcll, London, of respectable parents, and was, by his father's side, a real descendant of Cardinal Wolser. Having shown an early disposition for music, ho was, at the age of seven year<, and through the interest of a particular friend, (Mr. George Courtup), ad- mitted as one of the singing boys at the Chapel Royal, St. James's, under the much-respected Dr. James Xarcs, with whom he remained seven years ; his conduct and assiduity during that time rendcrin,' him a great favourite with his master, who did every thing in his power to pro- mote his pupil's profound knowledge in music. Indeed, the i)ains that were taken by that worthy man to instil the principles of the science were very e%ndent ; for, on leaving the Chapel Royal, Dr. Xares would not, on any account, permit Holder to study under any other ma;-ter, so great was his conviction of his pupil's knowledge of the theory of music. During the last two years ne was in the Chapel Royal he was of considerable use to his master, both in the care of the junior boys, and in a.svisting him in playing the organ at the Chapel Royal. It was at this period that he experienced much kindness from Major John Lemon, of the Royal Horse thiards, who was well mown as an amateur : this gentleman was ex- tremely desirous of having Holder a.s a musical tompanion, Init Dr. Narcs strongly opposed it, And it was \iltiinately given uj). On leaving the Chapel Royal, he remained with his father between two and three years, studying nnd practising reg- ularly tw-he /niirs a day, which his father com- ])clleoint under the celebrated Fux, and afterwards made two journeys to Italy ; in the Rccmd of which he resided nearly two years at Milan. On his second return to Vienna, in 174.i, he was norain'iteil chef-d'onhestre at the court theatre. He had, at the same time, the oi)portuiiity afforded h.im of applying his great talents to the composition of a great number ol works for the church, as well as theatre. In 17.51, he was invite, amounting, according to (jcrher, to no less a number than two hundred and five. IIOLYOKE, S.VMUEL, son of the venerable Dr. Ilolyoke, of Salem, Mass., was bom at Uox- ford, in 1771, soon after which his father and family moved to Salem. In 1700, Mr. Ilolyoke prei)ared the copy of his first collection of .Sacred Music, at Salem, and it made its appearance in January, 1701. lliis book is entitled " Ilarmonia Americana. Containing a concise Introduction to the Grounds of Music. With a variety of Airs, suitable for Divine Worship and the use of Musical Societies. Consisting of three and four parts. I5y Samtel IIolvoke, A. B." It was " I'rinted at Boston, Tijiyoiiraphicatly. By Isaiah Tliomas and Ebenczer T. Andrews, at Faust's Statue, No. 45, Newbury street. — MDCCXCI. Soli at their Bookstore, by said Thomas at his Bookstore in Worcester, and by the Booksellers in Town and Country." This book was pub- lished by subscription ; and at the time of its pulilication, the author had received subscribers for it'O copies. Ilolyoke was only about twenty when the ILxrmonin Americana was published, and must have commenced the studv of music at a very early age. lie was one of ti>e reformers who undertook to do away with fugue in sacred mu-ic, and says in his preface, " Perhaps some nay be disappointed that fugning pieces are in gei\eral omitted. But the principal reason why *Vw were uiserted was the trifling effect produced by that sort of music ; for the jiarts, falling in, one after another, each conveying a different idea, confound the sense, and render the perform- ance a more jargon of words. The numerous pieces of this kind, extant, mu;t be a sufficient apology for omitting them here." In this collec- tion we find Arnhcim, written by Ilolyoke at the age of fourteen, the first piece of music he ever com- ; pose.l and the last piece he ever sang. This was at a social gathering of his musical friends, at the ' Uoiisc of Jacob B. Moore, Esq., ia the spring of , 181G. Mr. Ilolyoke had been teaching at Con- cord, N. II., during the winter, and died of an it- tack ol lung fever, at Lang's Tavern, Eiust Concord, after a short illness of lour days, aged forty-five. Five days previous to his death, at tlie gatliering above spoken ot', at the close of the musical exer- ci.ses, lie reciuested the choir present to sing " .Vrn- heim," remarking that perhaps lie would never meet with a choir on earth so well calculated to do justice to his first cimiposition. It was sung twice, and Mr. Ilolyoke was afiocted to tears. He never sang again. .Mr. Ilolyoke was extensively and favorably known as a teacher and composer of both vocal and instrumental music. In 18fn), he pubhshcd, at Exeter, N. II. , vol. i. of the " Instrumental -Vssi.tant," a (juarto of SO pages, and in 1M07, was j)ublishcd, at tlie same place, vol. ii. of the As.u.stiin/, containing 101 pages quarto. In these two volumes were given " rules for learning music, and com|)lete scales for all the instruments used," and about L'OO ])ieces of music for instruments arranged in parts from two to eight. Ill ISOO, aii|)eaied "The Columbian Ke- poiiitory of Sacred Harmony." By Samuel Ilol- yoke, A. M. This was the most e.vtensive collec- tion of sacred music ever published in this coun- try; it contained 472 quarto pages, and about 750 jiieces of music, including the whole of Dr. Watts's Psalms and Hymns, to each of which a tune Ls adapted, and some additional tunes suited to the particular metres in Tate and Brady's, and Dr. Belknap's collection of Psalms and IIjTnns. 'Hie hook was " Published according to Act of Congress." " From the Music Press of Henry Kaiilct, Exeter, New IIami)shire." It is a very good specimen of printing, and from it have been selected a large number of tunes which help to make up the various collections of church music which have since appeared. 'l"his work was pub- lished by subscription, the price per co])y being three dollars. Holyoke was concerned in the jnibli- catiou of the " Massachusetts Compiler," with Oli- ver llolden, of Charlestown, Mass., and at the time of his death was engaged in preparing for publica- tion a third collection of instrumental music. He died poor, though highly resjiected and esteemed by those who knew him. In early life he possessed a remarkably good voice ; but in latter years it had became so harsh that he was obliged to use a clarinet in his vocal schools. HOMATI, TOM.\SO, an Italian composer, probably of the sixteenth or seventeenth cent'iry, published a collection of masses and psalms for eight voices. HO.ME, GEORGE, was a doctor of divinit7 at Canterbury, and published, in 178 J, a work entitled " 'Hie .\ntiquity. Use, and E.\cellence of Church Music." HOMILirS, GO'n'FRIED AUGUST, chapel- master of the three jirincipal churches, and singer at the school of the Holy Cross, at Dresden, was born at Rosenthal, on the frontiers of Bohemia, in 1714. He was one of the greatest organists of his time, and also highly celebrated for his sacred compositions. Among his numerous excellent works for the church, t'^cre have only been print- ed his cantata on tlie passion of our Savior, in 1775 ; the rejoicing of the shepherds on the birth of Jesu.s, in 1777 ; and some motets, in the collec- tion pubhshcd in sLx volumes by chapel- Hiller. 435 UC»M EXCYCLOP^DIA OF MUSIC. HOR IIOM.MKUT, n nni'^icinn in the private Imiid of his miijesty tJcorye III., j)ul)lislied, niiiong other works, " Three Concertos tor the I'iano-forte," dedicated to the Duke of York, Op. 1, London, 17!tO, and " Six Sonatas for the Piano-forte," ded- icated to the queen. Op. 2, Loudon, 1790. IIOMOI.or.dt'S. An rpilhrt opplird by the ancient! to certain corT»*«i»'»n!«)rll(»NV. The worti Ituiiiophiinr wu applied by the an- ciiMitt t.1 lliut kind of niuiic which was i>er1'ornicpuiitiim to tuttijjioiiy^ or miiiic pertunned in octavti. IIOXICKE, JOnANN FRIEnUICII, a mu- 8ician, and chcf-d'orchestre for twcnty-Hve years of the theatre at HiimburR, composed, in 1784, the music of an ojjcra entitled " Le Mariaije par Aiiwiir," and some other vocal pieces, lie also published a musical journal, consisting of a col- lection from the German and French oi)era8, ar- ranged for the piano-forte, lie died in 1809. IIONORIO, ROMUALDO, a monk, and com- poser of raa.sses, psalms, litanies, &c., about the year 1612. IIOOGII, DIRK VAN DER, a Dutch mu- (iiciau, and author of a didactic work entitled " De Gronden van het Vocaal Miizi/k." Amster- dam, 1769. HOOK, JAMES, was bom at Norwich, in the year 1746, and was instructed in the first princi- ples of music by Garland, an organist in that city. His early attachment to the art, by which he ren- dered himself so popular in England, was not more remarkable than the immense number of his musical productions. Tltese, which amount to more than a hundred and forty comjjlete works, consist chiefty of musical entertainments for the theatres, concertos, sonatas, and duets for tlie piano-forte, an excellent instruction book for that instrument, entitled " Giiida di Mitsica," an orato- rio entitled "The Ascension," written in 1776, and more tlian two thousand songs. Shortly af- ter Hook first went to London, he ap];oars to nave been engaged as organist to Mary-le-bone Gardens, and he was subsequently invited to ac- cept of a similar situation at Vauxhall, which he held between forty and fifty years. He was also, for several years, organist of St. John's Church, Horsleydown. The principal of hLs operatic pieces are, " Cupid's Revenge," Arcadian i)a.s- toral, 1772 ; " Lady of the Manor," comic opera, 1778 ; "Too civil by half," farce, 178:i; "Double Disguise," musical entertainment, 1784; "Fair Peruvian," comic opera, 1786; "Jack of New- bury," opcnn, 179'); " Wilmore Castle," comic opera, 1800; "Soldier's Return," comic opera, 1805; "Catch him who can," musical farce, 180<> ; "Tekcli," melodrama, 1807 ; "Music Mad." dramatic sketch, 1807 ; " Seige of St. Quintin," drama, 1808. Hook was still living in 1829. HOOPER, EDMUND, organist of Westrain- •ter .Vbbey, and gentleman of the cha])cl royal, (where he also acted as organist,) was one of the composers of the psalms, in four parts, j)ublishcd in 1.594, and some of the anthems in Rarnard's collection. He died in 1621. HOPKINS. Tlie person engaged with Stern- hold in introducing metrical psalmody. HOPSWALZER, (O.) Quick waltzes. IIORM.VNN, J., a musician at Vienna, pub« lished there some music for the piano-forte ui th< year 1800. HORN. A wind instrument chiefly used in hunting, to animate the chase, and call the dog* together. The hunting horn was formerly com- passed, whence the old phrase to icind a horn. HORN, CHARLES FREDERIC, a native of Germany, went to London in the year 1782, where he was kindly received by tlie .Saxon am- bassador. Count Brnhl, and recommended by him to the Marquis of Stafford, to instruct in mu- sic the ladies Leveson Gower. He then dedicated his first work, " Six Sonatas for the Piano-forte," to Lady Charlotte. In the year 1789 he had tho distinguished honor of being recommended by Lady Caroline Waldegrave, and his friend Mr. Clementi, to her majesty Queen Charlotte, to in- struct the princesses in mu.sic, which he did til] the year 1811 ; he was hLso commanded to attend twice a week on her majesty, from 17>"^9 to 1793. Horn was very eminent as a teacher of the piano- forte and thorough ba.ss, and composed for his instrument various 80uata.s, and also " Twelve Themes, with variations, with an Accompaniment for Flute or Violin." HORN, CHARLES EDWARD, son of the preceding, was born in the year 1786, in the par- ish of St. Martin's, London. He was educated for the musical profession by his father, but, at the age of twenty-two, finding his voice much improved, lie resolved to take singing lessons of the celebrated Rauzzini, then residing at Bath, to whom he accordingly went for that pur])0se ; but, vmfortunately, owing to Rauzzini's ill health, of wliich he soon after died, Horn had not more than five or six lessons. ITiey, however, were of essential service to him, and he still purposed cultivating concert singing, but soon found it neither met his wishes, nor answered his expec- tations in a pecuniary point of view ; upon which he at length resolved to appear before the public as a theatrical vocalist, on the opening of the Eng- lish ojxjra house, and to make his dlbut in the oi)era of " Up all Night." Mr. JVmold (the pro- prietor) knowing Horn's talent for composition, jiresented him at the same time with a melodra- ma, opera, M:c. &c., which latter was not so suc- cessful as his hopes had anticipated ; soon after, however, he produced another piece, called " The Ijee-hive," which amply repaid him for pa.st dis- appointments by the flattering reception it met with. At the close of that season he quitted the stage, and did not return to it till 1814. He then appeared at the English opera house as the .Se- raskier, in the " Siege of Belgrade," in wliich part lie was eiuinently successful, having greatly im- proved his voice by long practice, and the assist- ance of T. Welch. From that time he was ranked among the principal singers of the metropolis. Besides the before-mentioned works, Horn com- posed the whole or the greatest part of the music in the following operas: "Persian Hunters," "The Magic Bride," "Tricks upon Travellers," " Boarding House," " Godolphin, the Lion of the North," " Rich and Poor," " The Statue," "Charles the Bold," "The Woodma:i'8 Hut,' " Diroe," " .Vnnetto," " Devil's Bridge," witl Mr. Braham, " P^lections," " Nourjahad," "M P.," ananged for Mr. T. Moore, " Lalla liookh,' 436 HOR EXCYCLOPiEDIA OF MUSIC. 11 OS brought out in Dublin, '" The Wizard," and " Philandering." lie has also published many Bougs and canzonets. HORN, FRENCH. The French horn, or Corne lie Chassv, is a wind instrument, consisting of n long tube twisted into several circular folds, and gradually increasing in diameter from the end at which it is blown, to that at which the sound issues. The intervals of the natural scale of the FrciK'h horn are conformable to those of the trumpet, but its jiitch is an octave lower. The under part of its scale only includes the third, lifth, and eighth of the key, but in the upper oc- tave it takes all the natural notes, and even com- mands the sharp fourth. It.s natural fourth is, however, seldom in tune, and therefore scrupu- lously avoided by those comixjsers who are ac- quainted with the constitution of the instrument. The horn may have only the extent of the trum- pet. There were various lessons anciently for the Horn ; as the recheat, double recheat, royal re- cheat, running or farewell recheat — all having reference to hunting, and lessons which the huntsman winds on the horn, when the hounds have lost thcLr game, to call them back from pursuing a counter-scent, N:c. The Hebrews made use of horns formed of rams' horns, to pro- claim the jubilee ; whence the name jubilee. On the Mouthpiece. — The mouthpiece is com- monly made of brass, but silver is preferable. Mouthpieces of ditl'erent diameters are used for the first and second horn, because the compass of the instrument is extensive. A person who practises on the first horn should not attempt to blow the secoiul horn, neither should the per- son who blows the second blow the first horn, becau.se it will iii either case injure the embou- chure. On the maniter of holding the [lorn. — The com- mon method of holding the horn is with the right hand nearly in the middle of the hoop, the bell hanging over the same arm ; but it may some- times be held in the left hand, the bell hanging over the same arm ; and sometimes the bell per- pendicular. \Vlien two horns are blown with cjual strength, the two bells of the horns should bo in one direction, that the tones may more •'lually unite. To make the chromatic tones, let the bell bear against your side, and let one hand be within the edge of the boll, ready to i)ut into the pavihou or bell of the horn, as occasion may require. Practice in thia case will give the best diiectiou. On _fixing the Mouthpiece. — The most approved method for fixing the mouthpiece is to take the centre, but convenience will be found perhaps in ditl'crei t methods. In blowing the first horn, it may be best for the major part of the mouthpiece to re-t upon the upper lip, though some perform- ers find it answers the same purpose that the mouthpiece re.^t upon the lower lip in the same manner. In blowing the second horn, the mouth- jiieco should rather bear ccjually agniitst both lips, the distance of the notes of the second horn being so great that a confined embouchure cannot rxecute them. A first horn generally makes use »f two octaves, and sometimes more notes. A fecond horn must use three octaves, and some- times more. Of Uhiting. — ^\^len you blow the horn let not vour cheeks be putted out, as that will deprive you of a just execution, ^\^len you attempt th« scales, let the first notes be blown smooth and even. It will rcijuire a little more force of breath and contraction of the lips to moke the notes in tune as they rise higher. Horns, as if ordained by nature, generally go in piiirs. Certain it is, that the tone, whether in thirds or fifths, prod\iced from two French horns, by exi)ericnced performers, Ls truly mellifluous, Iiarticularly in the open air or on the water. Very rai)id and ditlicult pas.sages may be exe- cuted on the horn with the assistance of th» hand, which is pushed forward or drawn back ward a.s the artificial notes are required ; we say artificial, for the natural scale of tlie horn is very limited. When we compare the ])arts by Van- hall, I'leyel, nay, even Ilaydn and Mozart, with i what Weber, Spohr, Rossini, iVc, have written lot the horns, we are ready to exclaim, •' What a march of horn iilaying I" not that we approve of the rapid fliglit.s which are too often given ; fot the beauty of the horns lies in sosteniUo move- ments, which sustain the harmony, while othei instruments are roving about ad lib. The French horn can be tuned by means of crooks and shanks, into the following keys : J-?- tf rtr: J*^ *=^S ■J, HjMx -ff — m V But the music is always written in the kev of C; that is, suppo.se the horn parts to bo in E flat, it will be noticed at the commencement of the piece thus: Horns in Eb ; or Eb Corni ; and the tonic, or key note, wiU be written C ; for exam- ple : — G--^ ±^ «= The natural scale of the horn is as follows : — m ^^^^ 3^ 5=?c: But, by introducing the hand into the bell of the instrument, the following scale can be performed tolerably perfect : — And even this scale ha-t been improved by m''\nt of two valves or tubes, which Pace of Westt lu- ster, and Percival of St. James .Street, I/ondon, have added to the horn, wl crcby the tollow iuji 437 HOK ENCYCLOPEDIA OF MUSIC. HOB noteo can bo ])roduced with case, m addition to i the above : — ^^^^^^ The valves arc pressed by the first and second fingers of either the ri;;ht or loit hand, as the per- former fcehi disposed ; one valve by being |)resRed, will make a semitone, and the other a whole tone, bcloir the natural one ; for instance, thiii pas- Bage : — 1^^ The G is an open or natural note, the F*f is produced by pressing the semitone valve, and the F= by pressing the whole tone valve. Before this invention the hand within the bell of the horn was employed, but it never could be done with that certainty wth wliich it may now be perfonned. Both the valves are occasionally used together, thus: — ^i=^- The 'E^ is an open note; Eb is made by press- ing the semitone valve ; D =? the whole tone ; C*f by pressing both valves at once; A^i below is pro- duced in the same waj*. There Ls a peculiarity attending the following passage : — P —0- The C is an open note, B is made by pressing the semitone valve, and A also, by the aid of the hand within the bcU, and semitone valve, togeth- er with the assistance of the lip. The part of the French horn best for quality of tone is from U on the second line to G above : the notes above are not good, and those below resem- ble the trombone. Comjiosers should .seldom write A above the lines, for it is always a bad note ; and the etfect produced by it after tlie fine tone of G, is not unlike a violent siiuecze given by a Cal- edonian to his bagpipes when Ixis bellows are nearly exhausted. The horn and the trumpet, both introduced in- to the orchestra within less than a hundred years, liave since our boyhood altered their simple ap- ])enrance by a variety of added valves, tubes, or crooks ; and their species have become so nu- merous under the names of i)o_-it horn, .Sax horn, valve trumpet, cornopeon, tul)u, opliicleidc, &c., tliat of the dilferences between them few have a distinct idea Ix'vond the dealers and virtuosos tliemselves. The extensive addition of keys to all this class of wind in.struments, — a peculiar leaturc of the last lialf century, — while it has enlarged greatly their eajjaeity, has to a consider- able extent modified, aneare'8 " Seven Ages." He had also lectured be- fore the Polytechnic Institution, on the history and use of music, and the condition of the art in all the principal nations of the globe. His wiie wat also known favorablv as a vocalist in this coun- try. HORN', FRAXZ, a doctor of philosophy at Brunswick, has written several musical papers in the Lcipz. Mus. Zcit., since the year ISOl. IIORX, HEXRY, an eminent perfonner on the harp, was born at Paris in the year 1789, of German jmrents. He received the rudiments of- his education in tliat metropolis, and went to England at ten years of age, when he was placed under the tuition of Jean BaptLste Mayer, with whom he remained seven years. In the year 180.5 he made hLs first appearance at the orato- rios, and continuetl his public performances till the year 1808, after which period he received further instructions trom Jean Elouis, (a harpLst of the first celebrity,) during the space ot four years. With Elouis, he also made a professional journey through Scotland and Ireland with great success. Horn returned to London in 1812, and was im- mediately engaged for the Bath concerts, where he had tlie honor of first introducing to the pub- lic Erard's double movement harp, the mechan- ism of which was the admiration of all the artLsts and amateurs. On his return to the metrop.ilis, he had an opportunity of introducing this beauti- ful instrument before a London audience at the King's theatre, and was received with the most flattering applau>e; since wliich time he has con- tinued his professional ciuoer, patronizctl by a numerous connection. Henry Horn's principal publications for the haq) are, " Rudiments for the Single and Double Movement lliu:p ; " " Oucer- tiire d' Albert ct d' Adilaide ;" " 'l"he Stonn Ron- do;" "La Chassc, lioiido;" " Le Prince Trouba- dour ; " " La Surprise de Diaiu:," and " Fifteen .fVirs and Preludes." HORX, JOIIANX CASPER. A doctor of laws, and scientific musical amateur, in the latter part of tlie seventeenth century. He wrote a work in four parts, called " J'arcrr/rm Mii.ucuin," consisting chiefly of music in the popular style of his time, also several other works, which beat date from the year 1664 to 1681- HORNPIPE. An animated dance tunc, sup* po>ed to have received its name irom the insiru ment anciently jilnyed dvu-ing its perforuiancc. That it was not unusual to give to certain air.- tlm names of the instruments on which they wer« commonly played, ap]>ears from the word Ucii/, which, witli a little variation, is made to signify both ^jiddlc and the air called a gij. The instru- 438 HOR ENCYCLOP.EDIA OF MUSIC. HOU ment called tVie horn-pipe is common in Wales. 1 he had held for some years, lie now heijnn to Its name in Wclwh is t\\c pib-corn (horn-pipe.) It employ hiinseli" in vociil compositions with iustrii- consists of a wooden jiipc, with holes at stated distances, and a horn at each end. IIoni;)ipc music is supposed to he of Eiif^lish invention. Its measure is compound triple time of nine crotchets in a bar, six down and three up. IIORSLEY, WILLIAM, was bom in London, in 1774. In his youth, he was remarkably un- healthy, and, owin^j to this circumstance, to fam- ily misfortunes, and to other causes, his "general education was nofjlectcd, and lie arrived at the age of sixteen before it was finally resolved that he should j)ursue music for a profe-ision. .Vt that period, he was articled for five years to 'Hieodore Smith, who was esteemed to be a -^ood piano-forte player, and who claimed. to be the first who in- troduced duets for tl'.at instrument into England. Smith's theoretical knowledge was very limited. lie was, besides, passionate and indolent to an extreme degree, and entirely neglected the in- struction of his pupil, who was, at all times, most happy to escape from his violence. However, while with Smith, the subject of our present article made several valuable acqviaint- ances, who had a vast intluonce on liis future pursuits. In particular, he became very intimate ■with the three brothers, Jacob, Joseph, and Isaac Pring, and from them he first imbibed that love for vocal music which he ever after cherished. Joseph I'ring having obtained the situation of or- ganist in the cathedral at Bangor, removed thither, and his brother Isaac soon afterwanls went to Oxford, where he died, after having been organist at the new college for sometime. Ilors- ley's great intimacy, therefore, was chiefly con- fined to Jacob I'ring, from whose kindness and frieudshij) he derived advantages which he has never failed to acknowledge. In 17i)9 he had the misfortune to lose his estimable friend ; but pre- ■viously he had procured an introduction to Dr. Callcott ; and the example of those two excellent musicians, and his constant intercourse with them, had determined him more particularly to the practice of glee writing. At this time his ardor for composition was very great, and every moment which he could sjiare irom his occupa- tion, as a teacher, was devoted to it. Besides glees, he wrote services in five, six, seven, and Mght parts, " Two Anthems," in twelve real parts, and a " Siinctus," for four choirs. He also employed himself much in the construction of can.ins, and found considerable improvement in the exercise of that difficult species of writing. Id 179S he suggested to his friends. Dr. Callcott and Pring, a plan for the formation of a society, the object of which should be the cultivation of English vocal music. The members met for the fir»t time in that year, ami, on the suggestion of Mr. Webbc, took the name of Cnnrentores Soilales. The establi.shraent of this society was a great ad- vantage to Ilorslcy. It introduced him to an acquaintance with several eminent professors ; and, as each member was to preside in turn, and furnish music for the day, it gave a new •.timulus to his exertions. About the same period, he was introduced by Dr. t'allcott to the committee of the asylum for female orphans, and was ac- ceptetl by them as assistant organist of the insti- tution. On this occasion, he resigned his situa- tion of orgauibt of Ely Chapel, llolboni, which mental accomjianiments, and t-et, among othei things, "Smollet's Ode to Mirth," "'Hie ('(intatt Domino," and an anthem to words beginning. " When Israel came out of Egypt," with which he took his bachelor's degree in ISOO, at Oxford. His time was now much occupied by his ])Upils ; neverthele-.s, when the vocal concerts were re- vived, in 1801, he ajjiilied himself with fresh diligence to composition, ami furnished the man- agers of those concerts with Tuuuy new works. This he was particularly induced to do, not only from his love to th.e art, but from his great inti- macy with Harrison and Bartleman ; and, till the death of the former, he was the most copious and the most successful among the native contribu- tors to their undertaking. In IS02 Di Callcott resigned his ».ituation at tlie .\sylura, and Horsley, having been recommended by the committee to the guardians at large, was chosen to succeed the doctor, without any opposition. He continued to perform the whole duty at the Asylum till 1812; when Bclgrave chapel, in llalkin Street, Grosvenor Place, being finished, he accepted the otHce of organist in it. For many years, a very largo portion of his time was occupied in giving instruction ; but the remainder he devoted, with unabated assiduity, to the study of his art, and to the pnv'tice of composition. Ills published works consist of the services, odes aud anthems already mentioned ; " Three Symphonies for a full Orchestra," which were several times performed at the vocal concerts ; several trios for violin and violoncello : and a great collection of single ])ieces, consisting of glees, canons, songs, duets, vS:c. Of these have been published : " 'Hiree Collec- tions of Glees, Canons, and Madrigals, for three, four, five, and si.x Voices;" ".Six Glees for two Trebles and a Bass ; " " A Collection of forty Canons, of various species." This work the author has in.scribetl to his friend Cleraenti, in language which shows his respect and admiration for that great master. He w;us likewise a great contributor to tlie " Vocal Harmony," published by Clementi & Co. That splendid work contains fifteen or sixteen glees, which were purpo.sely composed for it by him. To thi-sc publications may be added single glees, .songs, Jlc. Horsley occasionally emjiloyed himseb' in writing for the piano-foite, chicfiy, however, with a view to *he improvement of the younger da.ss of students. His works for that instrument consist of " A Set of Easy Lessons, containing Familiar Airs." " Six Sonatinas for the I'sc of his Pupils, with the leading fingering carefully marked." "Tlirce Waltzes for Two Performers." " Three Sonatas, composed for the Hon. Miss Ponsonby." "Son- atas, Nos. 1 aiul '!." 'ITjese were intended as jwrt of a series, to he pulilished from time to time. He has also printeil " An Explanation of the Ma- jor and Minor Scali>s," accompanied with exer- cises calculated to improve the hand. HOUSTK;. caul (;01TL0B, a (Jerman Lutheran clergyman at Hucheburg, is celebrated as a scientific amateur of sacred music, and hai written many works ou that subject since thl year 170J. Sec Ijripz. Miu. Xrit. Irom 179S t« 1802. IKJUZIZKY. Private secretM-rto I'rincc Hen- ry of Prussia, at Uheiiisberg, Irom the year 17H# 439 HOS EXCYCLOP-EDIA OF MUSIC. HOY io 170o. lie coiujiosccl fourteen French operas md otlier vocal music, a'l of which liavc remained in miinuscri|it, except some of hLs airs which were publislied by J. A. Niclas, in a collection entitled " Choix d' Airs de pltuieurs Opdras, arrangis pour le CUtc." 1790. HOSANXA. (L.) Part of the Sanctus, iu the mass. IIOSl'INIAX, RUDOLPH, a Swiss theolo- gian, (lieu at Zurich in 162'). lie wrote a work entitled " Oe templis, i. e. de orir/ine, prngressu, usii et ttbitsu tcmplvrum rcrumque omnium ad Umpla pcr- tinetUiam." HOSTIE, a clarinetist in the band of the Duke of Montmorency in Paris, in 17SS, ))ublished six duo-s and a concerto for his instrument, with ac- companiments. IIOITETEURE, called "n^e Roman," from bein^ born in that city, was chamber musician to the Kin!5 of France, at Paris, iu 1710, and considered the best flutist of his time, and a good comiwser for his instrument. Among his works are, " Princip'-.s df li Flute /ranersiire, de la Flute d Bee, ctdu llautbois." This bo.k was published at Paris, about the year 1707, and republished at Amsterdam in 1708-1710, and in the Dutch lan- gua<;e in 1728. 2. " L'Art de priluder," Paris, 1722. HOWARD, SAMUEL, doctor of music, wa.s educated in the Chapel Royal, London, and was not more esteemed for his musical talents than beloved for his private virtues, being ever ready to relieve distress, to anticipate the demands of friendship, and to prevent the nece ;sities of his acquaintance. He was organist of the churches of St. Clement Danes and St. liride. Ills ballads were long the delight of natural and inexperi- enced lovers of music, and had at least the merit of neatne -s and facility to recommend them. He prefeiTcd so much the style of music of his own country to that of any other, that nothing could persuade him out of a belief that it had not, up to his time, been excelled. He died iu 1782, and was succeeded in his situations of organist of St. Clement's by Thomas Smart, and of St. Rride's by Tliomas Potter, the son of the flute maker of that name. HOWELI,, TIIOM.VS, was horn at Bristol in 1783. His father was a celebrated periormcr on the flute, and was the first pei-son who opened a regular establishment for the sale of instruments and music at liristol. At the age of fourteen, young Howell was apprenticed to his father, and being naturally fond of music, practised it for its own sake, when liis othei various occupations Mould permit. He had some mitsters, such as t? ey were; but in reality received more sohd in- formation on the science from a few casual inter- views with Dr. Pushy than from all the regular lessons he took from others. E irly in life he was emplove I as a teacher, and remarking what he considered the desultory manner in which the various books of instruction were written, and •jeing also desirous of rendering himself useful in nis profession, he frequently took occasion to wTite down deiinitions and examples calculated to elucidate and remove dilliculties as they arose Bi the miudj of his pupils. Iu many cases he [ had the mortification to be questioned by tht I ])arent8 of his scholars, who, unfortunately foi I the teacher, were, in these iiLstances, ignorant of the science of music. " Is there nothing printed, Mr. Howell, that would supply the information you are taking so much pains to write f if so, ■would it not be better to let my daughter have it, a.s writing down occupies a considerable portion of the time allotted for your lesson r " His feel- ings were not a httle wounded on such occasions, till at length he determined on publishing what he considered an improved mode of instruction. He first applied the work to his eldest daiighter's instruction, whose comprehensive mind indicated itself at so early a period of life, that he was in- duced to commence teaching her the rudiments of music at the age of four years ; which he so conducted as to cause it to be amusing to her rather than an irksome task. One of the plans he invented for this purpose was the " Musical Game," since published, for teaching the degrees in the treble and bass clefs, and this he found to answer his most sanguine expectations. As the child's astonishing abilities expanded, and called for new matter for study, he continued writing and composing for her, which caused his work to proceed with regularity, and was a strong excite- ' ment for him to persevere in his undertaking. His instructions were repaid by a most extraordi- nary progress : at the age of eight years, the child could play almost any thing that was put before her. When she was between fourteen and fif- teen, she was at a party, where being requested to play, and not having provided any music for the occasion, a concerto was presented to her with which she was totally unacc^uainted ; there being several amateurs jiresent, the accompaniments were played, and the piano part executed by the child to the astonishment of the auditors. Her extemporary performances also exhibited a rich- ness of fancy combined with a refined taste and judgment that seemed far beyond the powers of one so young. In addition to her musical abili- ties, lier mind was higlily cultivated and her manners unobtrusive; she was fond of philo sophicrtl pursuits, and possessed of the highest sense of honor and integrity. In the course of one fatal week's illness, from typhas fever, the unhapi)y father was bereaved of this inestimable treasure. She was born in 1807, and died in 1822. HOYLAN, JOHX, the son of a respectable manufacturer of cutlery, in the town of Sheffield, in Yorkshire, was born in 1783, and early in life evincing a taste for music, he was placed under the tuition of William Mather, the organist there, whom he succeeded, in 1808, as organist of St. James's (Uiurch, which situation he held till 1819, when he was induced, from pressing solicitations, to lemove to Louth, in Lincohishire, a teacher of music being much wanted in the schools of that neighborhood. A short time after hi* settling there, the organist's situation became vacant by the death of Hill, when, after a comjctinon with three other candidates, it was decided in lloylan's favor, and he was accordingly chosen to fill the situation. He is the author of several anthems and pieces of sacred music, amongst which is th« very popular tune to " Merrick's Version of thi Hundred and Fiftieth Psalm, with api)ropriata Interludes." Amongst his piano-forte works are, "TheHighknd Fhng Rondo," " Tluee Waluet 440 HOY ENCYCLOPAEDIA OF MUSIC. HUM *nd Polonaise," " Les F.nfans de linniswick. Quadrilles," "Andante and Polncca," "Think not Ilcscntracnt Lingers," sons, " If thou hadi^t e'er Strayed," "Tlie Land o' the Leal," kc. IIOYLE, JOIIX, professor of music in I,on- don, died in 17!)". lie was author of a work entitled "A Complete Dictionary of Music, con- tainin<; a full and clear Exjjlanntion, divcstetl of Technical Phrases, of all the AVords and 'I'emis, English, Italian, &c., made use of in that science, speculative, practical, and historical." IIUBATSCIIEK. A German composer of op- erettas, at Uotha, about the year 17'Jl. IIUBEU. PAN'CUAC'E, a violinist and ballet- master to the Court at Vienna in 1772, published at Paris "Six Duos for Vn., and T." Op. 1, and 8ubse tl H U M EXCYCLOPyEDIA OF MUSIC. 11 r M «tre, when tlic little Hummel, scarcely seven years old, attracted the attention of Mozart and the other distinpiiislied artists. Mozart, in spite of his reii\i;;nanc'c to f^ivin;; lessons, offered to take charj,'e of tlic boy's musical education, pro- vided he would live with him, and be always near him. Of cour-ic the i)roposition was fjratefully accepted. With such a master, the boy made prodi-iious ])roj;ress in two years. At nine, he excited the admiration of all who heard him. His father then thought to turn his precocious tal- ent to account, and tliey travelled together through Germany, Denmark, and Scotland. His first pub- lic appearance was in a concert at Dresden, 1787 ; next he played before the court at Cassel. At Edinburgh the child jnanist created great enthu- siasm ; there he published his first work, a theme with variations, dedicated to the Queen of Eng- land. After spending the years 1791 and 1792 in London, he visited Holland, and returned to Vienna after six years' absence. He was then fifteoi yc;irs old, and his execution could alreadv be considered the most con-cct and brilliant of the German school ; meanwhile his studies be- came more serious than before. His father, who •was excessively severe, exacted incessant labor from him ; and when he had become a man and famous artist, he was still subject to his will. At Vienna he studied harmony, accompaniment, and counterpoint, with Albrechtsberger, and formed a friendship with Salieri, who gave him useful hints about singing and the dramatic style. In 180.3 he entered the service of Prince Esterhazy, and composed his first mass, which won the ap- probation of Haydn. About the same time, he wrote ballets and operas for the theatres of A'ienna, which were favorablj- received. Hummel was now twenty-eight years old : his works, especially his instrumental music, and his fine talent for execution, had rendered him famous in Germany ; but liis name was absolutely unknown in France, ■until the year 180(), when Cherubini carried home from Vienna his grand fantasia in E flat, (Op. 18,) which was executed at the conciitrs of the Con- servatory that same year, and, although only un- derstood by artists, it so raised his reputation m Pans that all the pianists sought his works. In 1811 Hummel left the service of Prince Ester- hazy, and until ISIG had no other emploj-ment than that of professor of the piano, at Vienna. Then for four years he held the place of chapel- master to the King of Wurtemburg, and then en- tered the service of the (Jrand Duke of Weimar, in the same capacity. Two years afterwards he ob- tained leave of absence to make a pedestrian tour performance. After a journey to PoLmd, ha jjassed the remainder of his days jieacefuUv at Weimar. He died on the 17th of October, 1837, at the ape of fifty-nine. Hummel was ecjually distinguished as a performer, (on the piano,) an improvisator, and a comjjoser. In execution, continuing the mixed school of Mo- zart, improved by the regular principles ol mechanism which he learned of Clementi during his two years in London, he became himself the founder of a new German school, in which manv celebrated artists have been fonned. The epoch of Hummel among the German pianists was a real epoch of progress and of transformation. Greater difficulties have been conquered, greater power and severity of tone have been produced in piano plaj-ing since his time; but no one has gone beyond liim in purity, regularity, and cor- rectness of execution, in raciness of touch, in coloring and expression. HLs execution was less the result of a desire to display prodigious skill, than the attempt to express a thought continu- ally musical. This tho\ight, always complete, manifested itself under his hands with all the advantages of grace, delicacy, depth, and expres- sion. In his improvisations, Hummel had such power of fixing and giving regular form to his fugitive ideas and inspirations, that he seemed to be exe- cuting premeditated compositions. And yet there was nothing cold or mechanical about it ; the ideas were so felicitous, the manner so charming, the details so elegant, that his audience were lost in admiration. Humrael's very remarkable productions, esi)e- cially in the s|)here of instrumental composition, have placed him in the first rank of distinguished composers of the nineteenth century ; doubtless, his fame would have been still "jreater, had he not been the contemporary of Beethoven. The gen- eral opinion has hardly estimated his be.".t works highly enough, liis great scptuor in D minor, (Op. 74 ;) his quintet for piano, (Op. 87 ;) his con- certs in A minor, (Op. 8), ) in 11 minor, (Op. 89,) in E major, (Op. 110,) and in A Hat, (Op. 113 ;) some of his trios for jjiano, violin, and violoncello ; and the grand sonata for piano with lour hands, (Op. 9'i,) are works o! a finished beauty, where all the quaUties of the art of writing are united with noble or ■with elegant and graceful thought^s. But these qualities, beautiful and estimable aa they are, cannot compe;e against those outbursts of genius, those original and overpowering con- ceptions of Beethoven. A fine composition oi Hummel leaves in the mind the idea of perfec- in Russia. St. Petersburg and Moscow gave him I tion ; but the pleasure which it causes never amounts to frenzy. Had Beethoven come a quar- ter of a century later, he would have left to Hum- mel the undisputed glory of being the first instru- mental composer of his age. In tie dramatic stvle and in church music. Hummel also holds a high rank, though his works in these dcpartmcnta arc not marked by any very distinctive quality. The works of this celebrated artist may be classed as follows : — I. Dramafic Music. — 1. " Le Viccn-de d'Amore," opera buffa in two acts. 2. " MalhiUlc de Guise," opera in three acts. 3. *' Das Haits ist zu verkau- fell," in one act. 4. " Die RUckfahrt dcs Kaisers," in one act. 6. " Eloge de I'Ainitii," cantata witb choruses. (5. " Diana cd Eiidimione," an Italiat cantata with orchestra. 7. Uiline et Paris," bal tlic most brilliant reception. In 1823 he went through Holland and Belgium, and finally to Paris, where his success was worthy of his talent. His improvisations on the piano excited the live- liest admiration. Returning to Weimar, he did not leave that place until 1827, when he heard of the approaching end of Beethoven, between •whom and himself there had been some un])leas- BUt ditlercnces. He hastened to the bedside of the dying artist, and co\ild not repress his tears; Beethoven reached out his hand to him, they embraced, and all M'as forgotten. Two years afterwards Hummel again visited Paris and Lon- don ; but his playing did not produce the same eensntion as before ; pianists noticed the approach of a';e and a certain timiditv of execution in his 442 HUM ENCYCLOPAEDIA OF MUSIC. nui let. 8. " Sappho de Mytiliiie" ditto. 9. " Le Ta- bleau par/ant," ditto. 10. "L'Aiiiwatt Maiji/jue," pantomime, with singing and dances. 11. " Le Combat Miiiji'/tu," ditto. II. Church Music. — 1. Mass for 4 voices, with orchestra and or^an, in IJ flat, (Op. 77.) 2. Second Ma,ss, in 1) fiat, (Oj). 80.) 3. Third Mass, in I), (Op. 111.) 4. Gradual, {Quod/uod in orbc,) for 4 voices, orchestra and organ, (Op. 88.) 5. Offer- tory, (Alma Viryo,) for soprano solo, chorus, or- chestra, and organ, (Ojiera 89.) III. luslrumeiUal Music. — 1. Overture for grand orcliestra, in U fiat, (Op. 101.) 2. Tliree string quartets, (Op. 30.) 3 aud 4. Grand .Serenade, for piano, violin, guitar, clarinet, and bassoon, Nos. I. and II. (Op. 63 and fi(i.) 5. Grand Sep- tuor, ill I) minor, for piano, dute, oboe, honi, alto, %'iolomollo, and double bass, (Op. 74.) G. Grand (iuintet, iu E flat minor, for piano, violin, alto, violoncello, and double bass, (Op. 87.) 7. Grand Military .Septuor, in C, for piano, flute, violin, clarinet, trumpet, and double ba.ss, (Op. 114.) 8. Symphony Concertante, for piano aud violin, (Op. 17.) !). Concerto for piano, iu C, (Op. 34.) 10. Easy Concerto for piano, in G, (Op. 73.) 11. 'Iliird Concerto in A minor, (Op. 85.) 12. Fourth Con- certo, in B minor, (Op. 89.) 13. " Les Adieux," Filth Concerto in E major, (Op. 110.) 14. Si-xth Concerto in A Hat, (Op. 113.) 1.5. Ihilliant kon- dos for piano and orchestra, (Op. .56, 9S, and 117.) 1<). Tht/m-3 Variia for piano and orchestra, (Op. 97, 11.3.) 17. " Le Cor enchanti d' Ob^.ron" ^xwnA fantik-ia for piano and orchestra, in E major, (Op. llf>.) 18. Trios for piano, violin, and vio- loncello, (Op. 12, 22, 3.5, C.5, 8.3, 9.3, 96.) 19. So- nata.s for piano and violin, (Op. 5, 19, 23, 28, 37, .50, 64, 104.) 20. Sonata.s for piano with 4 hands, (Op. 43, 92, 99.) 21. Sonatas for piano alone, (Op. 1.3, 20, 36, 81, 106.) 22. Detached pieces for piano solo, \\z.: 3 Fugues, (Op. 7;) Ilondos, (Op. 11, 19, 107, 109;) fantasias, (Op. 18, 123, 124 ;) Etudes and Caprices, (Op. 49, 67, 10-5, 12.5;) Variation.s, (Op. 1, 2, 8, 9, 40, 57, 118, 119, &c.) 23. Complete Method, theoretic and practical, for the piauo. (TTie above is taken from Fctis's " Bi-jpraphie Unicerselle de* Mitaicietu.") IirXOARIAX MUSIC. About the ninth century, the Hungarians left Asia to settle in Europe, when they conquered the country that hears their name. Like all the Asiatics,' they were attached to mu.iic, and at first, doubtless, used only Asiatic instruments ; these were nearlv all wind instruments, and con.«isted of the trum- pet, the flute, the cymbal, and several others. Till the time of Mathias Corvin it was in a state of mediocrity ; he incited the Hungarians to vie with other nations in sciences and arts, of which he himself was particularly fond. I'lider I,adislas and Louis II., music was cultivated with great care ; their national songs, however, were the only vocal music they po.s.sessed till the time of Ste- phen, King of Hungary, when the ecilesinntical chant appears to have been introduccl. In a diploma of Hela III., A. 1). 1192, it api)enrs that prince sent an envoy to Paris to be instructed in melody ; perhaps induced to do so by his second wife, Slargaret, who was daughter of Iy>uis VII. of France. HUNT, KARL, chamber musician and vio- linist to the court of Saxony, wa« bom at Dresden iu 1766. Among other works, ho has publisheil the following : " Si.xteen Variations for the piano- forte, on the pastoral air Come la liosa ; " " T« elv« Variations on J'ace, mio caro sposo," 1792; " Andante con 12 I'arial." 1793 ; and " Grande^ Sonates tirics (fun Quintetto de Mozart." HUNTEX, FRANZ, the celebraterom- Lseap- pointed, and in consetjuence, shortly afterwards, returned to his native country, whore, after rt?- fusing several similar offers of a]>pointment, he at length dcterminetl on .Vmsterdam, in which city he residetl till his death. He published me called epUhalamium. HYMN. Anciently, a song in honor of th« gods, or of heroes. Orpheus and Linus have been considered as the first authors of this species of composition ; a ])rovin(C in which Pindar is supposed to have made the earliest trials of his genius. The hymns, or divine odes, of the ancient Greeks, generally consisted of three couplets ; the strophe, antistroph.e, and epode. But Mcniinder, the rhetorician, enumerates no less than eight dif- ferent species of hJ^nns. The hymn appears to be amongst the most ancient of all poetical com- positions, and was originally thought to be dic- tated by the gods themselves, or, at least, by men truly inspired. St. Hilary is said to have first composed hj-mns for the service of the church, in which he was followed bj' St. Ambrose and Prudcntiiis, the latter of whom is the sup- posed author of those contained in the Romish breviary. A hymn, at present, taking the word in its general acceptation, is a short, religious, lyric poem, written either for the regular use of a chapel or conventicle, or for the temporary aid of some parochial charity school ; in which latter case, it is sung at church, before, or after, an oc- casional sermon, by the children for whose bene- fit it is intended. H VMXOLOGY. The art of composinc hvtnnt. HYMN OF BATTLE. A tnwf nf supplication consUntlr uanl hv the ancients previous t<> eii«iu:eraent. Tims Xenopliuii, in Ilia Hccount of tlie first Iraltlc fouglit 1)V the GncVs in favor of Cyras, tells UR that the (ifecian and Tcrsian onnies were not more than four or five hundred paces distant from each other, when the former be- gan t.i sini: the Ilvnni of Battle. UYMNOLOGfST. A writer or composer of hymns. HYPATE. or PRIXCIPAL. The epithet ap- j)lied by the ancient Greeks to the lowest tetra- chord, and also to the lowest sound of the two lowest tetrachords. HYPATE BAREIA GRAVIS. (Gr ) Tlie name (riven to that tone in the ancient music which wiut pnxluceU by tight ninlh? of the whole strin;r. It was one note higher thaii />rt>jtfa#/*/*«HO»nt-»io<, and equivalent to our B natural on the second line in the baj»». liYPATE DiA TONUS. (Gr.) One of the naniea bv which the ancients distini^'uisliefl the third nound of the first tetracnurd. which answered to our D natural uu the thinl line va the boss. See LicilA- KOS HVPATOV. HYPATE-IIYPATON. or PRINCIPAL OF PRINCIPALS. (Gr.) The lowest chonl of the lowest tctrachord ol the Greeks. This chi>nl, or Mfund, answered to our B natural on tlie second line in the hiiii*<. 11 YPATE-MESOX. or the PRINCIPAL OF THE MEAN TET- RACHOI^D. (Gr.) The name givt-n hv the Gri^^cks to that sound which was I art. or hichest. of the ttrrt letrachonl. and the flr»t,or hiw* est, of tiie second tetrachord. It was l)ecau«e tht-se tetraehords had one sound eorntnon to lK>th. that they wt-re called conynntf; 4s, In- deed, were other* under the same circumstances. This hypnte-ine- lon was equivalent to our E natural on the third space in the bass. HYPATOtDES. (Gr.) The ccneral name given by the Gneki to their fleep or bass iniunds. to di*tincuish them from the mooiVfri^ or miildle Sounds, and the fwrfoiV/c*. or hich sounds. Bacchius calls them j«/.ij*ni qravisfimi. The nie/os, or melody of llie ancient tragedy, was also called by this name. IIYPER. (Gr.) Above, lliis word, in cou- jnnotion with the name of any mode, or interval, signifies that it is higher than w^hen ^^•ithout it; a*i, Hijper-Lydian, above the Lydian. HYPER- -EOLIAN. (Gr.) The name given by the ancients to their penultimn uhkIp upward, the fundamental, or tonic, of which wus a fourth alwive that of the .Eolian. This mode had il» lowest note c<»rrespondent to our B flat ab«»ve the fifth line in the basL Like the Hupcr-Lt/tfian, it was less ancient than the other modes. HYPERUOL.tAN,or SUPREME. (Gr.) The epithet pivcn by the anrients to iheir tlfth tetmrhonl. because its sounds were more acute than those of the other four. This tetrachord wai added to the scale lontr nft*-r Its original formation. HYPER-DlAZEIXlS. (Gr.) The name given bv the andenl Greeks to that .Injunction of two tetrachords in which t;»cy wereacp- anit<-d l»v the in(«*rval of an octave. IIYPflR-DOUlAN. or MIXO-LYDIAN. (Gr.) That mrvle of th« ancient*, the fundanuntal of which was a fourth ulw.vi' the Dorian, ■ind which was thr mne with our (J natural nii tlie Loirth "pace In (he bass The invention of tliis mode is, by lumc writers, attribut4.-d to Pythuclydca. HYP EXCYCLOP-^DIA OF MUSIC. RYf HYPKRIASTIAN. or !IYI»EU-IOMAN. (Gr.) The gcnpral name oi on aticU-nt nio»liiu». it wni km ancient than tht nihrr iin««le«. The lowi'st iound woj equivalent to our li natural above the tlfth line ill tin* \m»». IIYrKK-MIXO-LYDIAN. (Gr.) One of the ancient Greek nvxh-^.t'ille*! bv Knclld the/iv/>^r./'Art/»^'(m. See HTrKR-I*niEr- Uc vi>cal porfnrmance*. Iiyi'i>-UIAZti:XIS. (Or.) The appellaUon glren br the an- dentii ti' the interral of a flfth, found between two tetrmchord* i«p- anited di«junctiTflv. or bv the inttrpoeiUon of a thinl trtnichonl. lIYri>-I)ORIAS'. TKo low.it o^thc aiici.nl Gn-vk in™li.. Thil motle. which waj aometini.-f enlletl tiie l^xman nioiU, had Ita fun- lUiiieatal a fourth balow that of Um iMctan, and ii iaki to hmrt bwn 44^ \XS. (Gr.) One uf Utc ancient modca. S«e llrpo* rth tinet ■^» tha -.tlie i olo- iocrml astha iile added inrcnted br rtillnzenea. Ita loweat note cnnfMiponded with our A natural In the flnl »\nct in the baai: and thrrffdre wa« the Mnie with thv vnt*t4tit^iitnftmrnt»0. The hvp<>-l>«riau and llie hyp(*-rhr>fiau niixfe* were ai-lASTI.O" IIYPO-ION'IAN. (Gr.> The terond of the ancient mode*,and which had it« lowtntor fundamental suuml a fourth tM-|itw that <«f the Imiian. Furlid ralti thltm«Nte ihc ft fft'0-litMhtn,%tf\ flat hyp<>-Phry- f'ian. Iti lowest note curc«|»unded with our U flat on the ircund Unt u the bast. II Vro-LYDIAN. (Gr.) The name girm by the anrienti to th« fifth of their UKMiet. The fundamental of tliif mliiin. The hyt Invention of which wos'iiitnbtitfd by som«' u) I' phon, and t>y others ti> Danmu the Athenimn. u \- siincs, and to aubhme and sacn'd [WKtr}'. Its l.>\».,t« ■anie w ith our C sha''p en the st-conil spare In the hass. IIYrO-MIXO-I.VDlA.V. (Gr.) fhe nnme nf the by (iuido to the tnodes of the ancient Greek*. This lOfxIc fomis. In n*aliiy, the plntral of the mix'^Lydian : and ita fuudmnental, or tonic. corrrsiMtiiil- » ith that of the l>t>rian. IIYPOrilRVGlAN*. (Gr.) A mode in the ancient mu«lc who»« fundumental was a fuurth lower than tliat of th*- Hirvfrlan, from which it wuB dtrivrd. It is said b* have been invculed by Damon, the pupil of S^KTates. HYIHV-PKOSLAMBANOMENOS. (Gr.) The name pven to ft choni said to have been added by Guidu to thr onrir lowest sound cif the Gn-eks. The author of this choni adontnt t!ir ffaniiii'i. f>r third letter of the Greek alphatnrt, for its sign ; whence it is now called O (wamut. ;*<•* GavI'T. IIYFOKCIIKMKS. (From the Greek.) A certain canticle, or •onir. used by the ancienu in their miliUry dances and feasts of tha fods. It was sun jT during the dance, to the sound of tlutesand citha- rma, Tlie first song of the kind la said to have been composed by Thalates i»f Crete. HYP(>-SYNAPIIE. (Or.) A term applied by the ancients to the disjunction of two tetrachords, by the interposition of a third. con« Joint wiih both. The hmnob^oui or corresponding aountfi of tht two tetrachords, thus diajninei-l, hare flT« wboto lociM or A minoi aerantli ot iDtnTttl b«twe«D them. ENCYCLOPEDIA OF MUSIC. IMP I. IAMBICS. Certain songs, or satires, which arc supposed to have given birth to the ancient comedy. In the ancient music there were two kinds of Iambic verses, one of which was simply recited to the sound of instruments, and the other )ung. IKEX, COXRAD, doctor of theology at Bre- CDCn, died in 17.5.3. lie i)ul)lished, in 1745, a dis- iertation " De TubU Uebixorum ar'jenleis." IL. (I.) The article the. ILGEN, KARL DAVID, a German professor of theology, was bom in Thuringia in 17G8. He published at Leipsic, in 1788, " Chants Gnecoriim tragicus qualis fuerit, et quare Vsus ejus hodie revo- cari nequeat." IL PASSO TEMPO. (I.) The appellation, or title, sometimes given to a collection of light, familiar, and amusing pieces. IL PONTICELLO. (I.) The Utile bridge. An appellation given by the Italians to that pre- cise part of the voice where the natural tone forms a juncture with the fahctfo, i. e., where one runs into the other. The close and imperceptible union of the natural with the feigned voice is one of the principal rcquLsites in good singing, and the acquirement of which cannot be too sedulously attejided to by the vocal practitioner. IMBAULT, J. J., a violinist at Paris, was bom in 17.53. He was a pupU of Gavinies from the age of ten, and at seventeen years old made his dibiit, as a pubUc pcrlormer, in the Paris concerts. Imbault is celebrated as the editor of excellent editions of many classical works in m\isic ; among which are the treatise on fugue and counterpoint of Marpurg, the instructions for the organ by Joseph Martini, the methods for the violoncello of Tillicre, Breval, and L. Duport, a superb edi- tion ol the quartets of Haydn, &c. DIITATIOX. The technical term for a stud- ied rescml)lanco of melody between the several passages of the harmonical parts of a composi- tion ; a likeness in wliich only the motion, or the general ligure formed by the notes, Is imitated, ■withoxit )ircscr\'ing tlie exactness in the corre- sponding intervals, by the rigorous rules of fugue and canon. IMITATR'E. A term applicable to that mu- sic wliich is composed in imitation of the effects of some of the operations of nature, art, or hu- nan passion ; as the rolling of thunder, swift- ness o; lightning, agitation of the sea, gurgling of streams, roaring of beasts, warbling of birds, clashing of swords, explosion of cannon ; and the tones of the passions : as sorrow, love, jeal- ousy, hatred, revenge, gayety, joy, exultation. Music, when thus employed, exerts some of its Bublimest energies ; transports us to the very iceues it describes, or kindles the feeling whose expressioiLs it copies. By the truth of its resem- blance, it paints to our imagination whatever th« genius of the composer conceives ; and wliile it submits to its imitation the most striking and in- teresting circumstances of nature, touches the heart, and assert* its empire over our sensations. IMMLER, a violoncellist and singer at Co- bourg, in the latter half ot tlie last century. He composed several sonatas, and some church mu- sic, amongst which is a " 7e Dctim," the words by Klopstock. IMMYNS. JOHX, the founder of the Madri- gal Society in London, in 1741, was a celebrated musical amateur. He died in 1764. BIPERFECT. A term applied to those chords which are incomplete, or which do not include all their accessory sounds; also to those com- pound intervals which do not contain theii' com- plement of simple sounds ; as the false or imper- fect aith. I>frERFECT. Ix"** than perfect in respect tnintenraliandchordj. IMPERFECT CADEXCE. Thii, which ia tenned. Iiv Himcau, the i>T€'jttiar rn./cnc^, consists of the tonic, followed by thedoniiDUlt witiiout itfl added seventh, and ia the perfect cadence reversed. InC msjor. In A minor. \J 1 r /J 1 9, 1 ■* -•^ ■ ^ ^9l *J <-' ^ \^'' IMPERFECT close:. Butler terms theaacient thick single bar the i'H]tert'fct rln^. IMPERFECT CONCORDS. Third* and sixths are called tm/«r^ ftrt, tiecaiiso they ore liable to clianee frcmi major to minor, or th« Contrary', stilt remaining consonant. IMPETUOSO, or CON IMPETO. impetuosity. IMPOXEXTE. (I.) Imposingly, haughtily. (I.) AVith (F.) An extemporaneous IMPROMPTU, production. IMPRESSIXG MUSICI.\XS. In 14.54, in the reign of Henry VI., it was so difficult to pro- ciuc musicians, that the government found it necessary to impress thom, as in later times they impressed seamen. Henry VIII. gave j^ower to officers to impress children who had goo^l voices, for the choirs of several caU.edrals. In l.JoO, Edward VI. commissioned Philip Van Wilder to t!ike, in any places within England, to the king's use, such and as many singing clnldrcii, or chor- isters, as he or his deputy shall think good. The (lueen Elizabeth, authorized Thoraa.^ Gyles, tc take up such apt and meet children as are most fit to be instructed and framed in the ait and sci- ence of music and singing, as may be had ani found out within any place of England or Wales to be by him educated and trained for service ix the cathedral church of St Paul. 4G IMP ENCYCLOPEDIA OF MUSIC. INF IMPRESARIO. A tcnn applied by the Ital- ^ns to the mannger, or conductor, of operas or concerts. IMPROVISARE. (I.) To compose and sing extempore, a practice once very common with the poet musicians of Italy. IM]'ROVIS.\TORI. The name given by the Italians to those poets, or poet musicians, who are f^iftcd with the power of reciting or singing extempore verses, a jjractice at one time very penerail in Italy ; anil to his abilities in which, Metastasio owed his education and good fortune. In 1S24, three i>rofessors of this extraordinary power were exhibiting at the same time, viz., Pistrasio, in London ; f>. (Jracci, at Paris ; and Signora Taddi, at Naples. The latter of these, it is said, could not only adopt as subjects what- ever stories or incidents were suggested bv her auditors, but would declare her ideas in antj metre that they prescribed, and apply to her language a melody, the time or measure of which should be dictated at the moment. A Mr. (Charles Slow- man, brother to the comedian, in October, 1814, announced himself in possession of this extra- ordinary gift. IN ALT. (I.) A passage, or note, is said to be in alt when situated above F on the tifth line in the treble ; as that passage is in alt, or it begins on A, B, or C, in aJt. IN ALTISSIMO, or IN ALTISS. (I.) A term apjdicd to any i)assage, or note, situated above F in alt, or the F above the third ledger line in the treble. INCIDENTAL. An epithet applied to those airs, ducts, trios, choruses, &c., the subjects of which rise out of, or have some relation to, the business of the drama in which they are intro- duced. INCLEDON, CHARLES. This eminent vo- cal performer was a native of Cornwall, in which county his father is said to have been a re8j)ect- able physician. At the age of eight years, he was article, as a sailor, on board the Fonnidable. He sailed to the West Indies, and continued in the navy for four years, during which time ho was in several engagcmcnf.s. His vocal abilities gaineeginnings, and the performance of which may be incessantly rej)cateose of percussion were tl>e tympanum, cymba- lum, itc, similar in ettect to our drums, cymbals, &c. The diti'erence between the musical instru- ments of our time and those of a former ajje is an interesting subject of inquiry. The Uible men- tions the timbrel, the ram's horn, the reed, the haqi, silver trumpets, aiul other cpuiUy rude in- ventions. From later clav;ical writers we learn the existence of tlie i)ipo and tabor, the lyre, the lute, and others. In tlie records of a much more advanced period, we find mention of the harpsi- chord, whence we have obtained our j>rcsent tol- erably jierfect piano-forte. 'Vhe gradations from the instrumental knowlixlge mentioned in the Hible down to the astonishing state of improve- ment to which the art of manufacturing musi- cal instruments lias arrived, has been slow, but steady. It is possible that our posterity will look back upon our piano-fortes, our violins, violon- cellos, double basses, cornets, sax horns, trom- bones, bassoons, oboes, clarinets, Hageolets, flutes, harps.Frcnch bonis, serpents, ophideides, guitars, tenors and kettle drums, with as much contempt as that with wliich we now view the instruments of antiiinity. Perhaps even our organ, which is an ancient invention, will not escajie the critical censure of a coming age. We believe that much remains yet to be known in the manufacture of m\isical instruments. The lyre, in the time of Plato, must have t)een an instrument of surpass- ins; sweetness. He mentions it as dangerous, its tendency was so powerful to relax the mind from tlu> ])\irsuit.s of study or business. In the time of Anacreon, it had reached forty strings, and con- BelnimrntJi of • »ort ar» nnploTnl in the oirhrMra. a« l.« Ibo cajw wItt Ibc riolln*, the note* for the m^^m.! In«trampiit nre alwajri writirn lower lh«n tho^ for the nr"t. uiilew ttmm (wirtirular mwon obllg** til lo leeUt* froB ttik rul.- 57 449 INS EXCYCLOPyEDlA OF MUSIC. INS The mm pas." of ttic Tenor or Alio •itsnds from Incladin^ all the interme- I diate semilonea. In Hilos nnJ coDcertos for J this instrument, the pit«- fage» KOnirtinu'S run a» high •*• to — ^^\ — The compass of the Tiolonrello, ^, — II In tutti pnsnages for the orchestra, zJr J extends from _ri3ZI3" ^^ but, In the occasional solos given to this instrument, passages niav ascend three or four notes higher. All the intcnncdl;ite semitones are of course included. In writing for an orches- tra, when the Woloncellos arc to play without the double basses, we must indicate this circumstance by the words VtoloncftU Soli, or VintnnrfUi. When the double basses are again to join the violoncellos, we must insert the terms Tutti or Baisi. The Double-B.i«s is mounted with three strings, which are tuned as follows : — ThiH Strinf;. Srcood String. Firet StrioE. §i===^^: to Its com pass ^I ^^ extends from ^ ._-. S_ with all the intermediate semi- tones ; but it must be obscrrcd, that the notes which this instru- ment produces are in reality an octave lower in pitch than the notation here represents them. The double-b.i.»s is a very important instrument In the orchestra. It generally plays out of the same book or part as the violoncello. This may always be done when the violoncello part is simple, and does not cont.iin rapid pas.a.«soon ascends very high, the notes are generally written in the tenor clef . This instrument serves as a bass lo the wind — i__ Instmnients, and frequentlj doubles the bass »•* "^ ■' ol the orchestra. i^ \&. "^ The notes which lie be- tween The compass of the Octave Flute extends from fortes of the full orchestra ; they can therefore only be em- ployed in soln passages. The octave flute always plays the notes an octave higher than they are written. The following arc the notes used in orchestral mosic for the Horn. m -^»—^ 7SZ Horn parts are always written in C ; but by means ot crooks they may be suited to any key. The above notes are executed by the instrument : 1. An octave lower than written when the horns are In C 2. A seventh lower D 3. A major sixth lower E flat 4 A minor sixth lower Enat. a. A perfect 6fth lower F 6. A fourth lower O 7. A minor third lower A 8. A major second lower the Acute B flat 9. A major ninth Grave B flat The first should scend below rst horn Q "i not de- /L H3 ;low ff^ 1 nor the second asceiid higher than m ^^'hen the following notes, ^^^gj^re^preceded "yfe^j^ they may be u^d with effect larly, the notes though weak, may (vcasionally be used as notes of passage. In solos, many other notes are given to the horn ; but, as they are produced artificially, their sound is dull and imper- fect, and therefore unfit for the orchestra. As the horn Ls an instrument of a deep pitch, it may sometimes execute the ba-ss of the harmony. Frequently, the first horn plays in one key and the second in another. This is done in order to obtain the pri'ater number of optn or natural notes. For ex- ample, in D minor, we may use one horn in P and the other in F. Four horns are sometimes used in large oirhestnis, two in the original key, and two in that of its dominant, &c. The following are the notes used in writing for the orches. tra for the Trumpet : ^ g g- i -^»- 'J' - ^ ^ The trumpets frequently double the horn? in the octave above, when 'hey are useil to strcngrnen the mass of the orchestra. Trumpet parts are always written in <;, and, like the horns, adapted to other keys by means of crooks. The trumpets in P execute the above scale of notes a major second higher than they are written : those in E^ a minor third higher, &c. Trumpets are piercing instruments and must be used but seldom. Mke the tromlKines and drunus. they are uswl only in the farlis of the entire orrbi stra. to enhance the ellect and vary the mn-s.«s. The Kettle-Krums have only two notes of the key in wliiot 4An INS ENCYCLOPAEDIA OF MUSIC. INS they »re tunerts of Trombones are used in the orchestra — the bass, the tenor, and the alto trombone Their compass I.'* as tjllows : Tvoor Tramboa^ AJto TromboD*. f^^ ^^^ W- ^!5^ This instrument produces a prent effect when properly Introiluced It is particularly useful in slrenEthening the biL«s*'S in the Kteat masses. The trombones play In every key without transposition ; hence they are written «ith .sharps or Hats at the siicnature, like the violoncellos, bLssoous, and tenor". Trombones are .seldom treated a-s solo In5fniment.« ; yet, when they are joined to the horns and trump^'ts, they are adapted to convey ideas of a mournful character— an eifect peculLar to bra.ss instruments. The BiMct H.im, (Corno dl Bassetto, Ilnlinii — Cor Anglais, F'fnr>i,) is but seldnni used in the Knplish orchestra It* tone is very sweet, and, in s*ilo pa.s.'tnpes, ic Is capable of pro- ducing very striking etTects ; It n's*-T!ibles a hautl»oy of a larce size, a little bent at the tap. Its real couip,iss comprires the Dotes contained between "t^^-z: Kscept the note ^^ which is deficient. As the person who plays the hautboy generally takes this Instnunent, the p,vt for it is usually written a iinh higher than its real pitch, thus : ?tatM M wTlu«B. ITolM MIB«]l7 pro4n«d. mmmmm^mm Two basset horns are sometimes used instea.l of two clari- nets or two haut)>oys ; but this Is only iu compositions of a tranquil ami religious cbankcter. IX.^TRCMENT? PECUU.\R TO MILITAKY MUSIC. Military mn«ic, very unlike chamber or orchestral ma«lc, receives a particular character from the u.«e of snnie instru- ments peculiar to itself Some of these have only a single no^e, others a compass with which It is nertssary that a com- poser shoitld lie ac'iuainte>l. The.«e instruments may lie di- vided inro two rl;i.sws : the first class compn-henls such as in this species of music are ad>le.| to iho*e already descritieil as belonging to the orchestra. These are the str^nll _flut^% in E flat and F, ,<:c., sm.iU clarine's in E Hat or K, and l\>t $tr- li*nt. The second cla.'=s comprehends those nnUy Irsiniments whos,» pitch does not enter into harmonic cnmbinafions, and which are employed to lncre.a.«e the effect and mark with energy the bar and its rhythmical sul"liTi«lons. These in- struments are the ihan^tf^ the cywVi/j, the ^fat tfruw^ the Inm'ifit/rin^, and the ftcnt. aTurki-h Insimment with bells or jingles. The notation of these latter instrument* is u IbUnwa : 1. Grtat or Douhle Drum. 2. Turkith nt$rent. \^[^m 4. Drum. CjfmbaU. i^^i *'^fH These and the other Instruments peculiar to military inuslo are only suffentble In the open air ; they ought to l>c Ijanlshed frt)m every enclosed |diice consecnitcil to music. finall Flulf in K ftiil. The pilch (^f this instrument la ■ semitone higher than that of the o<-tA\e llute. The compaM of this species of flute is as follows : — \f >gi --| but the part ^I^IUlJ iu I), a nintli ^'— •^|-^ — -^ are actually j b >g[ [ but the part for this instrument is writtco '~- ■ ' • '•■ " - ninth lower than the notes which played. Smnlt Ftutt in F. The compass of this instrument ex tends from 10 .2L Sn, >1>4. ^m I but like the preceding species of flute, >J) music for it is written in D, a minor tenth lower than the notes indicated. In English military music, other flutes, a minor third, or a pcrfi-ci fiiurtli above the pilch of the concert fl'Jfe, are also usi'd ; in all cases however the parts for these instruments are written in D, or at least such as if they were to t>e pUyed on the concert flute. Small Clarinrt in F. The pitch is a ptrfeet fourth abovs the ordinary clarinet in C. Its compass extends from i Parts for this instniment are written in 0 when the composition is in F ; It therefor* transposes the notes indicated a fourth high- er than they are written. ■*■ Smail Clarinet in E flnl Its pitch Is a minor third abova that of the ordinary C clarinet. Its compa>s extends from It plays In C when the piece Is in E flat, and H therefore transposes the notes indicated a minor third higher than they are wrii:«D. K^ \J- — — Sfrprnt. In the hands of a good player its compass ex- tends from _ i In. I e the bassoon, no tninsposltif>n Is used ; lat is, the notes are placed such as '.bey indicated. yrr The stringed Instnimenis or orchestral quartet often playi without being associated with the wind Instruments. But, by adding one or more of them lo the quartet, there tesullsa numlter of combinations which deserve to be iinllcated, In order lo show the gn-af n-sources which an orchestra offer* to a composer. Any single wind instrument, as a Flute, Bas- soon, Ac may lii- ad'leil to the orchestral quartet. Then, U It be lntrotrunipntji may ije couibinej lis solo iu.itrumuutH. In this ciise tlicy ulintild ^wtvys form correct hannony ttinont^tlieniw.'lvi-s, iiuiependent of the lu'couipjinyinj^ tiuartef. This reninrk is* initHirttint, as It equally applies to two or three i«olo voices, or even several stringed iiistrumenCii : each claM should at all limen form correct boruioDy independent of the others. No. 1. EXAHPLU. Two Wind Instrument*. \^F,-i^mm^ Three parta of the oreheatral quartet. Ko.2, I li ' ' J-^* J I I ^^^r^:^ r^^ Or, as la often prefeniblf, by dnubUog the duo lo the octmTe. ^^I^E iL^-'-^^A r^^ ^Y ^e^m^^^^ 3i Oonseeutive octaves U'tw«.n a prinelpal melolfe. The melody Is sonierimes douhled in the octave by one of the iiccniiipanyifiK parts, alN>Te or Ndnw, acconllni; a* the wind instrument Is grave or acute. The vlnlonrello is often treated as a solo in- mruiiient, in whii h caMi the other violnnerllon and duubl* baiwes execute the urchestnil l>as« ; or, as is niofe fr<-<|uently done, nil the violoncellos concur In pla> inir the >nnie part A single voice may be accompnnii.,! in tju- same ninniier as a solo instrument. Ilanuooy in four parts should lie treateal wind instruments in the onhestrn are the two flutes, two hautboys, two clariiteTs. tw»» hortis, and two bsi-ssoons ; in all, ten wind instrumentji, which, when plaUnK together, hive sufflcieut power to eoun'erlmlunce thirty stritiged instru- lueut/i or mure. These ten wind instruments extend from ~ hence the positions of the harmony n* f\ —-executed by wind instruments are ex- (^*— -C treuiely various. For, while the stringed Z:^' fi^ Instninients generally play but four dif- ferent notes at once, the wind inslru- mentji may execute as many as ten. ::r-if (^ KX.^MPLE. Some harmonic phrases will not adndt of the parts being inverted at plea.«ure, bec,TU-e there would result succe^sifins of hidden wuives and fifths. In this i ase, in doubling or tripling the parts, we must not place the upper part tielow the under one The following phrase will serve to exemplify the manner in which we mu>t proceed in such a case. In the alKive plinise the two nppi-r par's will not admit of inversion with resjXM*i lo one another; we must rherefr>redou. ble the parts, as shown in the following example : ^ -^z- -*—«>- ±-x J^^^^T^^ 4.S.1 (MS ENCYCLOPEDIA OF MUSIC. INT IN'STIU'MENTAL MUSIC. An expression I tion, introduced between the acts of any drama, used in opi^sition to that of vocni music, and ap- or between the play and afterpiece. Litcrludcs ..i:-j A- :_ .1 c ■ .. ^. HM.. were fonnerly of more frequent use than at pros- plied to music composed for iintrumenta. Tlie term instmntnttal is particularly api)lied to the greater compositions, in which tlie human voice has no part. The first instrument invented was jirobably the pipe or straight flute. An idle phephcrd might very naturally, from accident, or in imitation of the effects of the wind, blow through a sim])le reed, and thus invent the pipe, from which the flute would readily originate. The pipe is, in fact, found among many savages. Tlie invention of stringed instruments, as they are mere artificial, is of later origin. The instru- mental mu-ic of the Urcoks was confined to a few instruments, among which the flute, the cith- ara, and the sackbut, though not precisely like those instruments among the moderns, were the most important. The violin was invented ui tlie middle ages, and soon became the principal in- Btrumeut, taking place above the flute, though the latter is of much more ancient origin, because the playing on a stringed instrument is les> fatiguing, and the tone of the violin is more distinct from the human voice, and therefore better fitted to be used with it ; besides, the instrument permits much more perfect execution. Until the middle of the last century, the Italian composers used no other instruments in their great pieces than violins and bass viols ; at that time, however, tliey began to use the hautboy and the horn ; but the flute has never been much esteemed in Italy, particularly in music e.\clusively instru- mental. These were the only wind instruments in Italy, used in instrumental music, until about the end of the last century ; and even to this day, the Italians use wind instruments much less than the Germans, and particularly the French. Since Mozart, every instrument has been used which appeared adapted to answer a particular purpose. Tnis is the cause of the fewness of the notes in the Italian, and of their great number in Genuan, and their excess in the modern French scores. In general, symphonies and over- tures, solos, duets, terzettos, quartettos, quin- tettos, &c., sonatas, fantasias, concerts for single instruments, dances, marches, &c., belong to iu- Btrumental music. IX.SrKUMENT.\TION. The art of distribut- ing the harmony among the difl'ercnt instru- ments of an orchestra or band. INSTRUMENTAL PERFORMER. A. pcr- f')mier on any musical instrument. INTAVOLARE, or INTAVOLATURA. These, in Italy, are general terms for the nota- •:'>n of music, whether by letters, figures, or any other signs. INTENTIO. (L.) The word intcntio was used in the ancient music to denote the passage of the voice from grave to acute. INTERRUPTED. A term api)lied by theo- rists to those closes, or cadences, in which the bass, instead of falling or rising from the fifth to the key note, passes to some other, and interrupts the full close, or final cadence. INTERLOai'IUM. (L.) The terra applied to Ihc introductory excess of words, or syllables, which, in chanting, precede the bar of the second {>art of the verse. INTERLUDE. A short musical represcnta- eiit. A song, or dance at least, by way of inter- lude, was generally given after every act of a tragedy or comedy. The interlude is not an invention of the moderns ; the ancients were acquainted with certain short pieces, loosely connected, which served to make an easy transition trom one play to another, and to occupy the interval between the two. At ])resent the term interlude, and inter- nuzx), is applied principally to small comic operas, written for one, or at most two jjcrsous, but not connected, in any way, either with the play which precedes or that which follows. According to Arteaga, modern interludes were at first madri- gals, which were sung between the acts by sever- al voices, and were connected with the play. One of the oldest and most beautiful Ls II cximbattimen- io d'AiwIline col Serpenie, by Bardi. But these madrigals soon lost their primitive form, and rep- resented some action. Interludes at this day are short sentences of organ music, of four, eight, or twelve or more measures' length, as the performer may fancy, played between two verses of a hymn. In thb performance of sacred music the interlude should express, as far as possible, the feelings excited by the last verse sung, and should be so given as to prepare the mind for the verse next to be per- formed. INTERMEDIATE. A term applied to those sharps and flats which do not form any part of the original key of a composition, and which are also called accidentals. See Accidental. INTERMEZZI. (I.) The name given by the Italians to interludes, or detached dances, intro- duced between the acts of an opera. INTERRUZIONE. (I.) An mterruption ; as, seiiza intcrnizio/ie, play ou ■without interruption. INTERVAL. 'ITie ditference, in point of grav- ity or acuteness, between any two sounds. Tak- ing tl'.e word in its more general sense, we must allow, that the possible iutrrvals of sound are infinite ; but we only speak of those iuteiTals which exist between the dift'crent tones of any established system. The ancients divided the in- tervals into simple, or incompositc, which they call diastems, and composite ijitervals, which they call systems. The least of all the intervals in the Greek music was, according to Bacchius, the enharmonic diesis, or fourth of a tone ; but our scale does not notice so small a division, since all o\ir tones concur in consonances, to which or- der only one of the three ancient genera, viz., the diatonic, was accommodated. Modem musicians consider the semi/one as a simi)le interval, and only caU those composite which consist of two or more semitones : thus, from B to C is a semitone, or simple interval, but trom C to I) is two half tones, or a compound internal. We usually name fourteen intervals in music, viz., — CabDa, MlDOI SmoiuI. S~£d4. MlTK« nirf. Major TUM. ... ^ P«rft<» Fcortb. Fuunb. rirm. riMi, Him SUth. Bitih. MtBor fttteotb. Sereoih, Ooun. r\' A -P *-|. — » •? ,^ ■->' m "fS ^ . a 454 INT ENCYCLOPAEDIA OF MUSlu IRI Strictly speaking, there are but 12 inton'nls; because tlie uuwou cannot properly be called an interval, tlion(;h it is considered as such when employed in harmony ; and the sharp I'oiirth and the flat tilth, though necessarily distinguished in harmony, are K^nerally struck on instruments with the same keys, and make but one interval. We might make intervals, thus : prime, or unison, minor second, major second, supertluous second, diminished third, minor third, major third, per- fect fourth, diminished fourth, supertluous fourth, perfect tilth, diminished tifth, superfluous Hfth, minor sLxth, major sixth, superfluous sixth, ma- 'or seventh, minor seventh, diminished seventh, I>ctave. In music written hy the best ma-sters, lounds seldom occur whicli bear any other rela- tions with each other than will form the-e inter- vals. The student who becomes acquainted with these intervals will be ready to comprehend with readiness, the relative distances of any given sounds. INTONATION'. A word relating both to the consonance and to the strength or weakness of sounds. Intonation not only includes the art of tuning, but the giving to the tones of the voice, or instrument, that occasional impulse, swell, and decrease, on which, in a gieat measure, all cxi)res- sion depen (hoar moviinrnU iiitro- Jucnl by co'n]v.«tr« mcn-Iv mphoiiy which il".« n..| forn, ■ ron-llturnl imrt of the oratorio, op, m. or •cn'nata, nK. or i., !•.• i.. -f .rmnl. but which it tcin. porallr xtoptnt, •■• Icinil It plccr. IXTRt)lVrs. Thtvo,Ml Mtofthc Roml«h». t.i.M.i iht •r<;>iri>liu. 8»c Uwt »opi. INVERSION. Inversion is n changefl posi- tion, eitlicr of a subject or of a chord, llie in- version of a subject is produced by giving it a higher or lower situation among the several parts of a score, sometimes making it the bass, at othcj times tlie tenor, counter tenor, or the treble. 'I'hf inversion of a chord is that changed jiosition of its component parts, with respect to its funda- mental bass, by which, though the harmony re- main the same, the order of the intervals is varied, and the compound assumes another name, 'lliid inversion is sometimes elfectod by simi)ly chan- ging the ba.HS ; as in the cliord of the seventh, If tlie fundamental bass be shifted to its third, the harmony is no longer called the chord of the Seventh, but that of thojifth and sixth. INVKHTKI). A trrni appHcahlu to certola ptMitioni of an} rub- Jcct or chunl. Sfi- Is vtkaio.x. lO BACCTIK. A burden u.sed in the lyric poetry of the Romans. IONIAN. (Or.) The appellation given to that ancient mode which, reckoning from gi-ave to acute, was the second of the five middle modes. Its lowest sound corresponds with our E flat, on the third space in the ba.ss. lO TRIUMPIIE. A burden used by the Ro- mans in their lyric poetry. Il'KKKN, JOSUA VAN. A Dutch clergyman, who died at liatavia in 1780. He wrote the fol- lowing works on musical subjects : " Von den Wivhstl'iaangpn der Iliidrn und Juden," 1774. " Kirkclyke Ilislorie van liet Psalm-Gczanyder Chris- ieiwn, van dc dagvu dcr AposttU-ii tot op oiucn/eyeni- voordiijen tyd, en inznndcrheid van oiize tele verbe- terde Nedi-rtuitsche Psatmbrryminge u>t echte stiik- ken samengibracht," first vol. Amsterdam, 1777. The second volume of the same work was pub- lished at -Vmstcrdara, in 1773. IR.VTE. (I.) Angrily. lUlSlI IIAIU". Thl« initniinrnlhail a|m'al part: nor liml itj primeval players any idea uf pluyin,< in ptirtu, or of countcriMiint. IRISH MUSIC. In its infant state poetry has been seldom separated from music, and it is jirob- able that most of the stanza.s cited by the annal- ists were meant originally to be associated with song. Of some of the juvenile works of .St. Co- lurabianus, we are told that they were " worthy of being sung," and a scene brought vividly, in a ft^ ■ words, before our eyes, by the Irish biog- rapher of Columbia, reiiresents the holy man sit- ting, along with his brethren, upon the banks of the beautii'ul Lake Kce, while among them was a poet skilled, we are told, in modulating song oi verse "after the manner of his art." ITiat it was to the accompaniment of a strange instru- ment, called the cruir, they performed tliese songs or chants, ajipears to be the most general opinion. In some distichs on the death of Columbia, j)re- scrved in the annals of the four masters, we find mention of this kind of harj), in lather a touch- ing imssage : " Like a song of the emit without joy, is the sound that follows our master to the tomb ; " and its common u.se in the eighth cen- tury, as an accompaniment to the voice, may be imjilied from Rede's account of the religious poet C'eadmon, who, in order to avoid taking a part in the light songs of society, always rose, a.H he tcUi us, from the table when the harp was sent round, and it came to his tvirn to sing and play. The Italians, who are known to have been in posses- sion of the harp iMjInro the time of Dante, arc, by a h-anied musician of their own country, Gal- 5i5 RI ENCYCLOPiEDIA OF MUSIC. ISC ilei, said to have dcrivcil it from Ireland ; the in- ' Ktruraont, accordiii;; to his account, being no other tlinn a cithara with iArtny»strin<;s, and hav- inj», at the time when he wrote, loiu' octaves and a tone in compass. IIow little music, though so powerful in its intlucnce on the IceliiigH, either springs ttom or is dependent upon intellect, appears from the fact that some of the most exquisite effusions of this art have had their origin among the simplest and most uncultivated people; nor can all that taste and science bring alierwards to the task do more, in general, than diversify, by new combinations, those first wild strains of gayety or passion into which nature had infused her original inspira- tion, lu Greece the sweetness of the ancient music had already been lost, when all the other arts were but on their way to jierfection. And from the account given by (jiraldus Cambricnsis of the Irish haq)ers of the twelltli century, it may be inferred that the melodies of the country, at the earlier i)eriod of which we are speaking, were, in some degree, like the first music of the infant age of Greece, and partook of the fresh- ness of that morning of mind and hope which was then awakening around them. With respect to the structure of the ancient Irish harp, there docs not appear to have been any thing accurately ascertained ; but, from that rctentiveness of all belonging to the past which we have shown to have characterized this peo- ple, it appears most probable that their favorite instrument was kept sacredly unaltered, and re- mained the same, perhaps, in later times, when it charmed the ears of English poets and phi- losophers, as when it had been modulated by the bard Cronan, in the sixth century, upon the banks of the Lake Kce. It would appear that the church music, likewise, of the Irish, enjoyed no inconsiderable repute in the seventh century, as we find Gertrude, the daughter of the potent Maire de Palais, Pepin, sending to Ireland for persons qualified to in- struct the nuns of the Abbey of Nivelle in psal- mody; and the great monastery of Bangor, or Ben- choir, near Carvickfergus, is supposed by Ware to have derived its name from the White Choir which belonged to it. A certain set of antiqua- riaas, whose favorite object is to prove that the Irish church was in no resj)ect connected with Home, have imagined some mode, through the medium of Asiatic missionaries, by which her chant or psalmody might have been derived from the Greeks. But their whole hypothesis is shown to be a train of mere gratuitous assumption ; and It is little doubted that before the introduction of the Latin or (Jregorian chant, by 8t. Malachy, which took i)lace in the twelfth century, the style of music followed t»y the Irish, in their church service, was that which had been intro- duced by St. I'atrick and his companions Irom Gaul. IRISH TT*NFS. Tunrf poniliftr to Ihr HihpmlBnd, and io far •imilar lo tlunf of ihc ScnUh n» to imrMko of Ihi'lr wildnini «nil ir- neularilr. Uitwcn the Scotch ami Irinh mil. «licl there i», hnw- •Ter, II «l'rikiii(( distinction. Tho dulcet nieUowne«f of the former Mldom chumct.rij.. (he latter. IKL.\M>.VIS. or lULANDAISE. (F.) An air or dance tune In the Irph ■tylc. IKKEL.VTIVE. A term assigned to any two chords which do not contain some sound com- mon to both. lUUE.SOLUTO. (I.) Irresolute, hesitating- y, dubiously. lUUIG, SEB.VSTIAN, a German musician, published at Paris, in 17.50, twelve sonatas for the harpsichord, in the style of Albertini. ISA.\C, IIEIXUICII, chapel-master to tht Emperor Maximilian I., was a jjupil of Josquin, and born in the year 1440. In 147.5, he held the situation of chajjcl-master at the church of San Giovanni at Florence, where lie set to music for three voices the songs of " L/trcnzn de' Medici" and also composed some sacred music. He prob- ably entered the emperor's service soon after his accession to the throne in 1493. ISHAM, JOHN', was the deputy of Dr Croft for several years. He died in 1726, having met with very little encouragement in his musical studies, though he wrote sundry valuable com- positions for the use of the church. The words of two anthems composed by him, namely, " Unto thee, O Lord," and " O sing unto the Lord a new song," are in the collection made by Dr. Croft, and published in 1712. Isham joined with William Morlcy in the publication of a col- lection of songs composed by them both. ISINARDL PAOLO, a celebrated poet and comjMser, born at Ferrara, flourished there in the second half of the sixteenth century. He was a pupil of Monara. He composed a great number of sonnets and madrigals, as also sacred music. ISMENIAS, a pupil of Antigenes, was a cel- ebrated musician of ITiebes, who, according to Lucian, gave three talents, or £.581 5 s. for a flute, at Corinth. The extravagance, however, of this popular musician, was even more conspic- uous than his professional abilities. He is re- corded, by Pliny, as a prodigal i)urchaser of jewels, which he displayed with great vanity ; and was once very angry that an emerald had been bought at Cyprus for less than he thought the value of it, though purchased by himself, and said to the person whom he had employed on this occasion, " You have done your business like a fool, and disgraced the gem." Plutarch also relates the fol- lowing story of him ; being sent for to accompa- ny a sacrifice, and having played some time without the apjiearance of any good omen in the victim, hLs employer became impatient, and, snatchmg the flute out of his hand, began play- ing in a very ridiculous manner himself, for which he was reprimanded by the company ; but the happy omen soon appearing, " There," said he, " to play acceptably to the gods, is their own gift." Ismenias answered, with a smile, " ^^^lile I jdayed, the gods were so delighted, that they deferred the omen, in order to hear me the longer ; but they were glad to get rid of your noise upon any terms." ISO, a French musician, brought out at the academy of music, in 1759, the two following operas, " J'hetuse," and " Zimide." ISOLA, GAETAXO, a Genoese composer, wrote in the year 1791, for the theatre at Turin, the serious opera " La Contjuista del I'ello tfOro." ISOU. llie name by which the fjrst note ot every chant was formerly designated, and which note was significative of the key, or tone of the melody. ISOUARD, NICOLO, was born at Malta ix 1775, where his family held an honorable rank. 4J6 ST ENCYCLOPEDIA OF MUSIC. 1Z4 His father did uot intend him for a musician, but he could not resist his natural inclination for the art. His leisure moments were devoted to tlie study of music ■ and, on his being placed at Na- ples, in a bank?r's bouse, he particularly applied himself to m isic, and finished his studies in counterpoint in that city under Sala. lie also obtained instruction from Uugliclmi in dramatic composition. He finally totally abandoned com- merce, and gave at Florence bis first opera, " L' Aviso ai maritati," the success of which still further confirmed him in his resolution, and thenceforward lie assumed the name of Nicolo, in consideration of his father. After having com- posed for the different theatres of Italy and Malta, he established himself at Paris, where, amongst seventeen operas, both comic and serious, which e.ictended his reputation, he composed " La C'cii- liriUon," in 1813, the success of which was un- rivalled. Nicolo played on the organ, harmonica, and several other instruments, with superior abil- ity. He died in the midst of his career, leaving " La Lampe Mercei/L-us'-," an unfinished opera, which was performed after his death at the Koyal Academy of Music. The following list comprises his principal works : " llibi," a cantata. Operas performed in Italy : " L'Aciso ai nuiritatt ;" "Ar- taserse ; " " Rinatdn d'Asli ; " " II Darbiere di Hici- gtia ; " " L' Improvisata in Campagna ; " " II Ton- neliere ;" " I due arari ;" " Giiu-vra di SfOzia ; " " II Barone d^ Albackiara." Operas performed in France: " Le Tonnelier," 1801; " L' Impromptu de Campagne ;" " La Femme avare," 1802; " Li'-i Conjidences," 1803; " Le Midtcin Turc;" L' In- trigue aux Fcii£tres ; " " La Ruse inutile," 1805 ; " Idala ; " " La Prise de I'assaii," 1806 ; " Les Reiuiezvout Bourgeois;" " Les Crianciera," 1807; " Un Jour d. Paris ; " " Cimnrosa," 1808 ; "L' In- trigue au Sirail," 1809 ; " Cendril/on," 1810; "La File au ViUage," 1811; also part of " Le Baiser et la Quittance ; " " Le petit Page ; " " Flaminius, la Victims des Arts." ISTESSO, or I/ISTE.SSO. (I.) The same; as, far t'istfsso, do the same thing ; cantar Vislesso, sing the same thing, or in the same manner; is- tesso talore ma un poco piu lento, the same time, but rather slower. ITALIAN MUSIC. Tl.e style of music now prevalent in Italy is characterized by the predom- inance of melody and song, to the neglect of har- mony, and is distinguished from the old Italian music. In Italy we first find the proper choral song, the foundation of modem church music, which was at first sung in uni.son, chiefly in mel- odies derived from tlie old Greco-Uoraan miLsic, and adapted to Christian hymns and psalms. It seems to have had it.s origin when Bishop Am- brosius, in the fourth century, introduced into the western church songs and hj-mns adapted to the four authentic modes of the tireeks. In the thirteenth century, the invention of music in measure was spread in Italy, dependent upon which was that of counterpoint and figured music. Instruments were multiplied and improved in the fourteenth and fifteenth centuries. In the sLi- teeuth ceuturj- we di.scover distinguished com- posers and musicians. In the seventeenth century we meet with the first profane music. Tlie first oj)era was performed at Venice, 1621, at first with unuccom|>anied recitatives and choruses in uni- son ; it spread so quickly, that the com])oscTs of spectacles were soon unable to supply the demands of the people, and from forty to fifty new operas appeared yearly in Italy. It is evident that Ital- ian music advancetl, by rajiid strides, far before that of the rc-st of Europe ; and this accounts for the predominance of Italian tenas in musical lan- guage, nie Italian school is yet uiieic of Germany ; but they are ever graceful and touch- ing, and easy to be understood. This Ls the general character of the airs of Jomelli, I'ergolesi, Cherubini, and especially of the modem Kossiui, who, though decidetUy inferior in science to many of his brethren, has perhaps enjoyed a gi'.ater amount of popularity than any other, and that mainly on account of his delightful melocies. Rossini is now au old man ; and the modern mu sic of Italy, with the exception of hLs composi- tions, has dwindled into nothing but airs, and those of a very shallow and trifling character. ri'ALIENNE. (F.; As, i rilalienne, in the Italian style. ITA MISS A EST. (L.) The termination of the mass, sung by the priest to Gregorian music. IVES, SIMON, was a lay vicar in the cathe- dral of St. Paul's, till driven from thence by the usurpation, when he became a singing master. He and Henry I^rfiws were made choice of to com- pose the airs, lessons, and songs of the mas. He was extremely well qualified for conversation, by extensive information, a turn for ])leasantry, and a communicative and social disposition. He enjoyed a very select acquaint- ance, and was greatly respected by the principal persons in his neighborhood. He died of an asthmatic complaint in 1803. JACKSON, WILLIAM, the gi.'"ted composer of "The DcUverance of Israel from Babylon," tnd other musical works of great merit, was, until leccnt period, a resident at Mashum, a small and secluded village in Y'orkshire. From earl^ youth Mr. Jackson has evinced an ardent dispo- sition for the study and practice ot music; and, unlike many of the groat contrajjuntists of the last century, has, aided with a moderate degree of what may be called musical science, produced compositions which rank high as specimens of true musical e.vpression. It was the custom of Mozart, when speaking of the difference of mere science as compared with a true feeling for the e.xpressive and imaginative in musical art, to refer to two of the greatest contrapuntists of a by-gono age, as never having produced, in all their lives, a single melody worth hearing. So much for mere science. Nature, however, has taught the composer, who is the subject of the present no- tice, •* To snatch a grace iMjyond the roach of art," which will assuredly be the most certain means of conveying down his name to posterity. Mr. Jackson, while residing in Masham, carried on a business there totally unconnected with music, being, in fact, rather an ardent amateur in than a professcrofes>ion ; he was alsi-) proposed by the doctor as a member of the Uoyal Society of Musicians, and was elected in 1799. It may hero lie noted, that so early as the age of eleven, Jacob was frehrnbsole, and about the same age. In the spring of 1800, Jacob conducted a series of oratorios, under the direction of Bartleman, in Cross Street, Hattou Garden For several years he presideil at the organ, at the annual concert for the Choral Fund, while Dr. Arnold conducted at tlie piano, and Bartheleraon led the band. In ll>e year ISOS he set on loo; an organ exhibition at Surrey Chapel, consisting of a selection of airs chonises, and fugues, from various authors, per- formed pnbUcly on the organ, without any vocal accompaniment. In 1809 he and .Samuel Wes- ley united in an organ performance, plaj-ing alter- gations to S. Wesley for his friendship, through which he became nc({uaintcd with the xvorks of the immortal Sebanfian Bach, and received some of the most useful hints and instructions in his profession. In 1811, 1S12, and ISlt, thc.e per- forinai\ces were rejieated, when Dr. Crotch played alternately with Jacob, and the intere-.t and at- tendance was as marked and nuniero\is lus on the preceding occasion. In 1809, Jacob opened the organ at St. Swithin's, London, built by (>ray. On Easter day, 1810, he opened an or^an at Cam- den Chapel, Camberwcll, built by Klliot. In 1814, he was chosen umpire in the selection of an organ- ist at .St. I'aul's, Dcptford. Thonnis .Vdams was then cho-icn, after hearing nineteen candidates. In 1815 he was joint umpire with Attwood and Williams lor the choice of an organist at Lambeth. From among thirteen candidates, Warren was chosen. In 181.5 he opened the organ at Christ- church, Birmingham, built by Elliot, and gave two organ performances there, for which he wa.4 specially engaged from London upon very liberal terms. In April, 1818, he was made umpire at Crijiplegate Church, where there were thirteen candidates for the place of organist. Miss M. Ilorth was chosen. In 1818, at the Lent orato- rios, at Covent Garden Theatre, Jacob conduct- ed at the organ and i)iano-forte. Ho iierformed a concerto on the organ nearly every niglit : the season was remarkably successful. In October, 1818, he was elected an a.ssociate of the Philhar- monic Society. In May, 1819, he recommended Mr. Murdie to the Philanthropic Chajiel : upon the death of Williams he was chosen by the ves- try. In 1819 he also recommended J. Turle to ChrLstchurch, Surrey, who was elected by the parish. In 18'21, he was a|)])lied to to nominate an organist to Clapham Church, when he recom- mended Blackburn, who was chosen unanimous- ly. In the same year he also conducted a con- cert at Hanover Sqiiare, for the bencllt of Mr. Hyde. He was likewise appointed umpire at St. Bride's, Fleet .Street, when there were twenty- four candidates for the organist's situation ; six were selected, and Mather chosen from them, by the committee of the vestry. In December, 182.3, Jacob was elected one of the court of assistants of the Uoyal Society of Musicians. He fur- ther conducted annually, for several years, a con- cert at Surrey Chapel, for the benefit of the alms- hou.ses belonging to that place, performing the parts of the band on the organ, c.\ce])ting the double tlrums of Mr. Jenkin.son, and trumjiet of Mr. Haq)ur : the produce of thLs concert was about £200 annually, the place being ahvayt crowded. His very extensive engagements as a t<ise of Thalberg, the lierjntta of Liszt, and a study of Dohler. At Milan, and afterwards at Vienna, (where the celebrated Czeniy expressed the great- est interest in him,) Alfred Jaell excited the same suqirise and admiration as at Venice, and created a perfect tiiror wherever he stopped in his tout through (iermany. In Januarv-, 1847, he went to Paris, strongly recommended by Liszt, and was found to possess talents far beyond his years, and to be lus extraordinary as Liszt himself at the same age. His playing was full of fire, elegance, expression, and genius. At the concert of the Gazette MtaioaJe for January, 1817, he performed 480 I J AE ENCYCLOPAEDIA OF MUSIC. JAM Thalberg's FantaLsie upon " Dan Juan ; " n study of diaries Mayer's ; the caprice of Willmcrs, " PoiH/Hi ili FfsUi," with the sell'-poHsession, the calm and lire, whicli distintcuish tlie true artL-it. The skill and genius shown in the liead, eye, car- riajie, and Knj;ers of tliLi hoy were truly extraor- dinary. In March of the same year, he gave thiee cone9rts with Kruger and Oshonie, in the rooms of Li-ard, where it was remarked hy the critics that he jwssessed the rare and ditficult power of singing upon his ])iano. At these con- certs he jdayed the Fantaisie of Thalberg upon themes from Massaniello, and gave, in a charming manner, the studies of Woltf and Doliler, " La Chas'els, he went to Antwerj), where he also gave concerts entirely without other assistance, and in the last ])erformance was greeted with houquet.s and wreaths from the en- thusiastic audience. Thence he returned to Hol- land, where, during the first period of the French revolution, he gave successful concerts. He then left for Frankfort on the Maine, and during the Reieh.itdifs period, also gave concerts both in the city and surrounding places. Thence he started for Antwerp, with the intention ot embarking for America ; but the sudden and serious illness of his father prevented this, and returning to Brus- sels, he gave a series of concerts there, and in other cities of Belgium, in which he was assisted by the celebrated violinist H Leonard. During the summer Jaell gave several concerts for the poor in Brussels, and the president of the Phil- harmonic Society unexpectedly presented him, at one of these concerts, with a very handsome medal. On the Ist of September, 1819, Jaell lost his father in Brussels ; he then passed some time in Ostend, to recover from this severe atHiction, but in December went thence to Brus,«cls, giving another concert, and thence to Paris. Here, on the .5th of May, he gave a grand con- cert in ^rard's Saloon, in which he was assist- ed by the principal singers of the Italian and Great Ojxra, as also by the violoncellist Demunck, anil by his friend (iottschalk, with whom he played a piece for two pianos. Jaell was recalled after every piece, and had to repeat several : it may be mentioned, that the pieces which met with the greatest success were Thalljerg's " !-tiim- me roil Poriiri," Jacll's " Caprice uber Ijomharilie " and his " Xnctiime," a " SUilifitni;" hy llavina, and also " Le Ihmanier," (a negro dance,) b)- Ciotts( halk. Jaell played attcrwards at a grand court concert at the Elysee, tor Louis Napoleon. After many subsetjuent performances in Paris, he went to London, ai\d thence to Brussels, where he performed several times in company with De- munck, with whom he also gave concerts in Os- tend, liand, Mons, and other cities of Belgium. Itence he went to Aix-la-Chapelle, xvhere he performed several times alone, and also in com- pany with Miska Hauser, the violinist, so well known in this country. He then lett for Vienna, in which city, as also in Oratz and Triwte, h« gave public pcrfonnances. A writer in a Vicmna journal (a city, by tlie way, of distinguinlied i)iaii- ists — in fact, the ])iano sr/iiiol of Kurojie) thus writes alwut one of Jaoll's performancet : " In the concerto by Mendelssohn, Jaell showed a truly towering talent. I have only a single wish — cither to hear this concerto again from Jaell, or never to hear it by another. I have twice heard Liszt, and am free to say that he did not car- ry me away, as did Jaell. What must we con- clude from this — what, at least, do / conclude ? As far as comparisons may avail, that Jaell is one of the greatest pianists now living." lliis is cer- tainly j)roof that Jaell is as much at homo in clas- sic as in modern music. 'Iliencc ne went to Presburg, and gave several concerts for liimself, and several for the jmor of the city ; he then left for Peith and Olen, in which cities he gave con- certs in the public theatres, 'llie Hungarian la- dies were so enthusiastic about Jaell, that on one occasion, when a string of his piano broke, they possessed themselves of the pieces, and had them wrought into brooches and bracelets, as sovivenirs of the artist ! llie following, however, ajiiiearcd in a Pesth journal : " In conseipsic, in 1783, "Six Sonatas for the Harj)sichord." J.VILT.VOE. This is the name of the onlj musical instrument of Tartary. It consists of a box of fir, about four feet long and three inches broad, the upper part of which is open, over which six wire strings are stretched. Ills played on %vith both hands, but chiefly with the left ; and produces both treble and bass. To tunc this instrument the Tartars place a bridge under each of the strings, and then shift its place till the necessary pitch is obtained. Their melodies are similar to those of the Kalmuclu; and eo m their dances. J.VLEME. Tlie song of lamentation ; so called by the ancient Greeks. J.VMES I. On the accession of Jame* I. to the throne of England, the polite arts did not make any very rapid progreaa, though Hiuio, in 461 fAM ENCYCLOPEDIA OF MUSIC. JAP the time of hb* iinfortunntc mother, no doubt in- troduced much improvement in the nntional mu- sic of Scotland ; yt-t wo lind Jiimes neither from birth nor cducntioii taking much pleasure in muhic. Enrly, however, in his rci;;n, the gentle- men belonging to the Chnpei lioyiil obtained un incrensc ot ten pounds to their annual stipend, 80 that the king showed himself desirous of en- couraging the sons of hanuony. Hut anthems, masques, madrigals, songs, and catches seemed to comprise the whole of the vocal music at that time, either for the church, the stage, or the private conceit, to which may be added instru- mental j)roductions styled fuitcies, corai)osed chiefly for lutes and viols ; they were very in- iii])id, and me lovers of good music can never feel J}eir loss. We are told by Kiccobini that James I., on his coming to the throne in 1603, granted a Ucense to a company of players, in which interludes ore included ; but an interlude then was only an- ither word for a Jilay. Masques were not men- tioned in the patent ; they were performed in the Louses of the nobility on very festive occasions, the machinery and decorations being too expen- sive for the theatres. Indeed, the characters were generaUj- represented by the first personages in the kingdom ; when at court, the king, the queen, and princesses of the blood often jierfonned in them. He gave an act of incorporation to the musicians of London. It appears, however, not to have had a good effect, as it has ever been lield in derision by the best musicians of that city. JAMES, JOIIX. An organist and composer for his instrument in London. He died about the year 1745. The style of his compositions was dignitied and scientific, but only three of his vo- cal pieces were published. JAX, M. DAVID. A Dutch composer at the beginning of the seventeenth century. He set the one hundred and fifty psalms of David to raiusic for 4, 5, 6, 7, and 8 voices, which he publLshed at Amsterdam in the year 1600. JAXI, JOHAXX, a composer and court- organist at Aurisch, in Germany, died in 1728. JAXIEVICS. See Yaxiewicz. JAXITSCH, AXTOX. A ^-iolinist and com- poser for his instrument belonging to the orches- tra of the theatre at Hanover, in the latter years of the seventeenth century. JAXITSCH, JOHAXX OOTTLIEB, chamber musician and ])erlorracr on thedouhle ba.ss to the court of l'ru,s.sia, was born at Schweidnitz, in Si- lesia, in 1703. He composed ten works, can- tatas, sercnatas, and funeral music, during tlie period of his residence at the University of Frank- fort on the Oder. He ^^TOfe also several qiui- tuors in the style of Graun, which were printed at Berlin about the year 1760. Among hLs other compositions are a " Te Deiini," and music (ui the occasion of the coronation of the King of Swe- den. JAXXEQUIN, CLEMENT, a celebrated Licre des Chatuona, conienant la Battaile A guatre d« Clenumt Jannequin, avec la cinquiesme I'nrtie (U I'liilippe I'erdelot, si placet, et deux C/iatses du Liccrc a quatre Parties et Ic ChaiU des Oi/seaux d trois," Antwerp, 1.545. One of Jannequin'8 pieces was a description of a battle which was fought between the French and Swiss armies in 15 1.), and la.sted two days. There are in it several movercentj<, in which the noise and confusion of a battle are described, together with the sound of puns, trumpets, fifes, and drums. He also wrote music in imitation of birds, which was ear- lier than it wa-s attempted in England. JAXSEX, HEXUY, born at the Hague in 1741, translated into French, from the English and German, numerous works on the arts, among which is one from the writings of Engel, entitled " Siir la I'einture en Musiyue," UerUn, 1780. JAXSOX, J. B. A. J., bom at Valenciennes in 1742, was a violoncello pupil of Berthaut. He fii-st perfonned at the concert spirituel in 1766. In the following year he accompanied the hereditary Prince of Brunswick to Italy, where his talents were highly e.iteemed. He returned to Paris in 1789, and was nominated a professor of the Con- servatory in 1795. He published several trios, quatuors, sonatas, and concertos for hLs instru- ment. He died in 1803. JAXSOX, L. A. J., brother of the preceding, was also a violoncellist of great eminence. He was admitted in the orchestra of the Academy of Music, at Paris, in 1789, which situation he still held in 1800. He also published much music for his instrument. JAX US, JOHAXX, published at Bremen, after the decease of Luder Knop, in \'W1, the " Swan Song " of this latter composer, together with some allemandes and courantes. JAXUS, MAllTIX, was considered one of the best composers of simple melodies of the age in which he lived. He died about the year 1660. JAPAXESE MUSIC. In Japan the people have a kind of music, which Is not very hannoni- ous. They have but few musical instruments ; and that most used among them, and which they are most taken with, is a kind of lute, the belly of which Is above a foot square, with a long and narrow neck, being made only for four strings, which are usually of silk, and struck with a i)eg of ivory about the size of a man's finger. They sing to it, but the Japanese voice is as unharmo- nious as the sound of the instrument. JAIUJOX, or JAll. A term apphed to the effect resulting from the union of two or more sounds mutually at variance. The sum of a con- fused multitude of different sounds, whose undu- lations being inconcinnous and contrary, discon- cert and distract the sense. JAUXOWICK, or GIORXOVICKI, GIO- VAXXI MAXE, born at Palermo in 1745, was the favorite violin pupil of the celebrated LuUi, and first performed in ptiblic at the Concert Sjiirituel^ in Paris, choosing for his dihul the sixth concerto French composer, flourished about the year 1510 j by his master. It is said that he was not at first Amongst his works arc " Vinrit-ijnalrc Chanxou.^ a fiiafre VnLr," Paris, 1533; "Chansons," Paris, 1637 ; " Canzoni Francrsi d 4 loci," Venice, lfi38; " Inrentiont Musicales pour qruUre et cinq Yoiz," Pari) and Lyons, L644 ; " Le dixiesnu successful, but nothing could disconcert him, and he soon al'tcrwards played his own first concerto in la major, in which he obtained the greatest applause. During ten years, the style of Jamo- wick was in fashion at Paris. Correctness, purity 462 JAS ENCVCLOPJEDIA OF MUSIC. JEN of tone, and elefjanoo chnrncterized this skilful violinist ; but he was deficient in vigor of tone and sensibility, his staccato had little brilliancy, and, above all, his graces wanted science and dexteri- ty. Thus the celebrated Lamotte, a (icrinan violinist, who possessed the qualities which Jar- nowick wanted, shared equally with him the ap- jilause of the jnihlic. Circumstances having obliged Jarnowick to (juit France about the year 17S0, his situation was filled by Viotti, whose eminent talonts soon caused his predecessor to be forgotten. Jarnowick next proceeded to I'russia, where, in 178J, he was engaged as first violin in the Royal Chapel of Potsdam. In 170'-', we find him in London, where he played at all the great concerts till the year 179G, when the well- knowni dispute took place between him and J. B. Cramer, which terminated in the loss of Jarno- wiek's popularity in that country. He next pro- ceeded to Hamburg, where he resided several years, and then returned to Berlin, which, after a short residence, he again quitted for St. Peters- burg. In that city he died of apoplexy, in the year 1804. The following anecdotes arc related of this singular character. On his journey to Lyons, he once announced a concert at six francs a ticket, when, no company arriving, he resolved to be revenged on the avarice of the Lyoncse, and postponed the performance to the following even- ing, changing the price of the tickets to three francs. A crowded audience was the conse- quence ; but at the moment the concert was about to commence, they were given to under- stand that Jarnowick had suddenly taken i)ost- horses and quitted the town. Another time, being in the music shop of Bailloux, Jarnowick accidentally broke a pane of glass. " Those who break windows must pay for them," said Bail- leux. " Bight," replied the other; " how much is it ■ " "'lliirty sous." "There's a three franc piece." " But I have no small change." " Never mind that," replied Jarnowick, " we are now quits," and immediately dashed his cane through B second square. He often (luarrdled with the Chevalier de St. (.ieorges, who was a good vio- linist, but more celebrated swordsman. One day, in the heat of their dispute, Jarnowick boxed the ears of St. tieorges, who contented himself with coolly obsen'ing to a third party who was pres- ent, " Saimc trop son talent pour me baUre avec lui ; " I admire his tnlents too much to fight him. JASPER. A composer of some sonata.s for the pip.no-forte and violin, published at Mentz between the years 1794 and 1797. JASSOU, JOA. AND. Author of a work en- titled " Dc Cantoribiis Ecclrs. Vet. et Novi Testa- nienti," published at Ilchustadt in 1708. JAST, F., a dramatic composer at Vienna, brought out several operettas and ballets in that city about the year 1790. JAY, DR. JOHN, was sent to the continent in eaily life, after having received the first rudi- ments of a musical education under John Hind- marsh, who at that time was one of the first vio- Un jilaycrs of the age ; and secondly, under Francis Phillip?, whose great talents as a per- former on several instruments, and as a composer, are well remembered. In the year 1800, Dr. Jay •cttled in London, and after the midsummer va- cation, in the samt year, was engaged by Mrs, Cannon, of Little Chelsea, as resident instructor in mu..ic of the young ladies at her seminary. In the year 1809, he received a bachelor's degree in music from the University of Oxford, and at the installation of his royal highness the Duke of Gloucester, he was honored with a doctor's de- gree from his royal highne.s's own hands. ^Ve should further observe, that Dr. Jay was an hon- orary member of the Uoyal Academy of Music, where his eldest daughter was a student, and a fine performer on the harp. She received a medal from the hands of Prince Leopold. Dr. Jay's second daughter was also a fine piano-fortfl performer. List of Dr. Jay's principal works : " Air by Fontaine, with Introduction and Variations;" " Hungarian Duet for two Performers on the I'iano-torte ; " " Di tanti palpiti," duct for two performers on the piano-forte ; " Portuguese Air;" " lluee Sonatas;" "Grand Overture," &c., &c. JEEP, JOIIANN, a composer in the early part of the seventeenth century, was born in the Duchy of Brunswick. He published " Gei.ftlicht l's(tlin<.'n nnd Kirchen Gcstlng D. M. Lut/urs und aitderer frommen Christen niit 4 Siinmcn de/n CKo' ral nach componirt (lurch," &c., Nuremberg, 1607; " ^tudenten GOrtleins, Krster Tlwil ; Instiijer Lied- leiii init 3, 4, und 5 Stimmen, zii sintjen und zu spielen," Nuremberg, 1(507, 1614, and 1617. JELICH, VINCENTIUS, a countrapuntist of the seventeenth century, published at Stras- burg the Jollowing three works : " I'armiisia mi- litia Concertuum \, '2, 3, et 4 coctim," IG'23 ; " Ari- on Primus," 1628. This work contains twenty-one liatin motets lor one, two, three, and four voices. And lastly, " Arion Sicandics," 1028, containing psalms for vespers, arranged for four voices. JELIOTTE, PIERRE, a celebrated counter- tenor singer, born at Beam. He performed at the Academy of Music in Paris, in 1752, and re- tired with a pension in 175.). He brought out at Versailles, on occasion of the marriage ot the daui)hin, father ot Louis XVI., in 174.i, a ballet entitled " Zelisea," which had great success. La Borde states, that Jeliotte composed a great num- ber of delightiul songs. He died in a state of great poverty, subseciuently to the year 1730. JENKINS, JOHN, a native of Maidstore, in Kent, and born in the year 1592, was a celcbrat*>l composer of music for viols in the reigns ol Chailes I. and U. His compositions are chiefly fanta.sias in five and six parts, several of which have been greatly admired. He was also the author of many single songs, of which there aie some specimens in Smiths " .Ui(.sia." This prediction was shortly re- alized. Joinelli was only twenty-three years of age when he comjioscd his ftrst opera, " I,' I'rmre Amoroso," which was performed in the now thea- tre at Naples. Vinci and Leo had alone, till this period, given, by their compositions, an idea of such melodious music. In 173S lie gave " Oilo- urtlo," at the Tlieatre Fiorcntini in Naples. The deliglit and enthusia-m excited by these operas were unexiimi)led. He was engaged at Rome in 1710, and it was here that he saw his growing reputation greatly increased by the apjirobation of the Romans. He composed, at Rome, " Rici- tnero " and " Astianalte," wliich operas were so esteemed by the public, that when their author talked ot Huitting Rome to proceed to the other cities of Italy, they would not allow him to de- part, and it was with difficulty that he was enabled to proceed to Bologna, where he arrived in 1741, and gave " F.zio." Jomelli was desirous of possessing the friendship of the Padre Mar- tini. A short time after his arrival in this city he visited thnt master, witho.ut making himself known to him, and begged to be admitted amongst the number of his pupils. Martini gave him the subject ol a fugue, and seeing that he filled it up excellently, he said to him, " Who are you? you are joking with me; it is I who must learn of you." " I am Jomelli ; I am the com- poser who is to write the opera for the theatre of this city; I implore your protection." The con- trapuntist replied, "It is very fortunate the theatre possesses so philosophical a musician ; out I compassionate your situation h\ the midst of a company of such ignorant corrupters of music." Jomelli afterwards avowed that ho had learned much from this illustrious master. He addetl, that if the Padre Marti)ii was defi- cient in genius, art had supplied him with that which was denied by nature. Jomelli remained at Bologna till XliCu when he returned to Rome, and composed " Didoiie," which had even greater success than " Ricimero." The Romans declared they had never heard more beautiful airs, accom- paniments better adapted to the words, richer or purer hiirmony, or a more correct and elegant style, which was majestic without inflation, grand without inequality, and always lull of sentiment and melody. These praises, which were in ever}' mouth, and repeated by all the journalists of the day, reached Naples, and the countrymen of Jo- melli signified their desire that he sliould retiim, and allow them, in their turn, the pleasure of applauding his works. He instantly acceded to their request, and composed his opera of " Ew mene," which l\ad prodigious success. Venice had not yet seen the new composer, whose fame was spreatl throughout Italy; and Jomelli felt thnt the suffrage of the Venetians was necessary to till the measure of his rci>utation. He therefore, in compliance with their wishes, proceeded to Ven- ice, where his opera of " Mmpe" caused such delight, that the government appointed him m.is- tcr of the Conservatory for Girls. Here he com- posed a " I.audafe" for two choirs of eight voices, vhich excited the greatest admiration. In 1718 69 4 Jomelli returiu'il to Naples, and gave " Ezio." Recalled to Rome in the following year, he com- j)osed " Artasri-sn," some iiitcniiczzi, and the orato- rio of " fAi I'nuaione," at the re(iuest of hLs patron. Cardinal York. Jomelli liad by this time obtained in Italy all the laurels she could bestow ; in 171!), therefore, he repaired to Vienna, to display his genius in a court wliero Mctastasio wius tlie poet. Jomelli imagined that il' he had plea.sed at Naples, whose school abounds in great masters, at Rome, where taste is so refined, and at Venice, where had ex- isted the greatest abilities which can honor har- mony, he should succeed in obtaining the same advantages at Vienna, and, above all, in meriting the friendshi]) of Metastasio, and becoming his composer. He was not deceived. On his arriv- ing in that capital, he gave " Achille iii Sciro," which was equally well rcceivetl by the court and the city. From this moment, the most sincere and lasting friendship was concluded between the greatest IjTic poet and the greatest musician of Italy. Metastasio felt at once, that Jomelli was the composer best adapted to set his verses. After remaining nearly two years at the court of Vienna, which was rendered particularly brilliant by the presence of Maria Theresa, equally cele- brated as a sovereign and for her love of the arts, and who presented Jomelli with a diamond ring, he returned to Rome, where, on the vacancy of the place of chapel-master of the church of St. Peter, he was elected to that office, and from the year 1750 until 1753 composed much sacred mu- sic for his choir. He, at the same time, com- posed the opera of " IJigmiia," in 1751, and " Tn- hsIrU " and " Attilio Rcf/olo," in 1752. In 1753, he was engaged to furnish several courts witli operas, in all ten in number ; amongst which are dis- tinguished " Semiramicic," " Bostx} poco iiianzi la sua morte ; " " Mis- erere a 4 voci ;" " Confirma d 4 voci ;" " Requiem ; " another " Miserere ; " " Magnificat ; " " Miserere, o Salnto 60 di Davidde ; " " Offertorio, In partitura et parti scpar ; " " V'eni Sancte Spiritus, 4 roc." For the theatre: "L'Errore Amoroso," 1737; " Odoardo," 1738; " Rccimero, 1740; "Astianatte," 1740 ; " Ezio," 1741 ; " La Didone," 174fi; " Ku- mene," 1746; " Artasersc," 1749; " Ac/iilk in Sci- -o," 1749; " Didone," 17 iO ;•• I firfenia," 1751; TaJestri," 1752; " Attllio Ke^/oh," '\7o2; " Semi- -amide," 1753; " Bajazctte," 1753; " Vohgcso," 1763 ; " Dimetrio," 1753 ; " Pclope ; " " Enea net Lazio ; " " // Itepastore ; " "Alessoudro nelV Indie ; " *Xlttetti .- " " La CUmenzadi Tito ,■ " " Demofonnte," 1772; "L'Olimpiade ;" " IlFitmte;" '' L' Isola iisabitata ; " " Endimione ; " " L'Asite di Amore ; " " La Pastorella iUustre;" "La Schiava liberata;" "II Cacciator dcliiso ;" " II Matrintunio per conoorso," tnd " Armida," 1768. JON.'VS, C.VHL, a celebrated compo.scr and young Jonas, and sent him to the University of Halle, from which town, in 1793, he published bis Op. 1, entitled " Ariette pour te P. F., avec quinze Variat. comp. et dediie a S. M. le R. de Prusse, pat Ch. Jonas," which compot^ition was highly spoken of by the German critics. JONES, EDWARD, published, about the yeai 1785, a work entitled " Musical and Poetical Rel- ics of the Welsh Bards, preserved by Tradition and authentic Manuscripts, never before published." (See Monthly Ueview, January, ns*!.) A second volume of this work appeared in 1789, and an im- proved edition of the second volume in 1802, un- der the title, "'Ilie Bardic Museum of primitive British Literature, and other admirable Rarities ; forming the second Volume of the Musical, Poet- ical, and Historical Relics of the Wel>-h Bards and Druids, drawn from authentic Documents of re- mote Antiquity." JONES, ROBERT, seems to have been a vo- luminous composer. Two of the works published by him are, " A Musical Dreame, or the Fourth Book of Ayres ; the first part for the Lute, two Voices, and the Viol da Gamba; the second part is for the Lute, the Viol, and four Voices to sing ; the third part is for one Voice alone to the Lute, the Basse Viol, or to both il you please, whereof two are Italian Ajtcs," printed in 1609; and "The Muses Gardin for DeUghts, or the Fifth Book of Ayres onely for the Lute, the Basse Viol, and the Voice." Two songs by this composer, " My love bound me with a kLss," and " Farewell, dear love," are to be found in Smith's Musica Antigua. JONES, REV. W., of Nayland, in Suffolk, an English musical amateur, who published, about the year 1784, "A Treatise on the Art of Music, as a Course of Lectures, preparatory to the Prac- tice of Thorough Bass and Musical Composition." (See Monthly Review for 1786.) It was con- sidered a work of some outhority. JONGLEURS. A general name assigned to those itinerant musicians, who, durins the twelfth and thirteenth centuries, wandered fiom province to province in France, singing and pcrfonning on the ^•iol, flute, and other instruments, at the coiuts of kings, princes, &c., who rewarded them with clothes, horses, anus, and money. One ol the earliest employments of the jonnleun was to attend and perform for those troubadours or bards, who, for want of voice or musical knowl- edge, were unable to sing their own works. JORTIN, DR. JOHN, vicar of Kensington, was born in London in lii'JS. He pubhshed " A Letter concerning the Music of the Ancients." He died in 1770. JOSEPH, GEORG, a musician in the service of the Bishop of Breslau in 1690, published some sacred compositions in that city. JOSQUIN DES PRES, or DEPRES, is enu- merated by Guicoiardini among the mu.sicians of the Flemish school. He may justly be called the lather of modern harmony, and the inventor of almost every ingenious contexture ol its compo- nent parts, neaily a hundred years before the pianist, born probably at Berlin in 17^0, was so j time of Palcstrina, Orlando di La»o, Tallis, oi fortunate as to be patronized in his youth by the ; Bird, the great musical luminaries o; thesLxtitnth Princess Amelia of I'russia, who procured him in- (tructions on t' e piano and in composition from the celebrated Fasch. -Vftcr the death of his pa- tronens, the King of Prussia interested lumsell lor century, whose names and works are still held in the highest reverence by all true judges of the genuine style of choral compositions. Adami, in his historical list of the singers in the popes chap 466 JOS ENCYCLOPEDIA OF MUSIC. 303 el, mentions Josquin as one of the greatest cul- tivators and supporters of church music. lie calls liim iiomo insigne per I' inventioiie. After quittinj^ Italy, he was appointed chapel-master to Louis XJI. of France, who reigned from 1498 to 1515, and it is scarcely probable that such an honor should have been confciTed upon hira till he had attained great eminence in his profession. lie must have acquired the public favor, cither by his ■« orks or performance, before he could be no- ticed by a sovereign ; and it has been well ob- served, that it is as difficult for a prince to get a man of merit, as it Ls for a man of merit to ap- proach a prince. It ajipears that Jos(i\iin was an ecclesiastic ; for it is related that when he was first admitted into the service of Louis, he had been I'tomLsod a benefice by his majesty ; but this t-.\cellent prince, contrary to his usual custom, (for he was in general both just and liberal,) forgot the promise he had made to his maestro di capella ; when Josquin, aiter suffering great inconvenience from the shortness of the king's memory, ven- tured, by a singular expedient, to remind him publicly of his promise, without giving oflence ; for being commanded to compose a motet for the Chapel Royal, lie chose part of the 119th jjsalm, " Memor esto verbi tut serco ttto ; " " O, think of thy servant as concerning thy word ; " which he set in so exquisite and supplicating a manner, that it was univereally admired, particularly by the king, who was not only channcd with the music, but felt the force of the words so effectu- ally, that he soon after grauted his petition by conferring on him the promised preferment ; for which act of justice and munificence, Josquin, with etjual felicity, composed, as a hymn of grat- itude, another part of the same psalm, " lioniti- tem fcristi cum servo tuo, Domine ;" "O Lord, thou hnst dealt graciously with thy servant." Josquin seems to have possessed a certain vein of wit and humor, in addition to a musical genius, of which Glaieanus has given his readers severiU instances, besides those just related. In consequence of the procrastination of the performance of Louis XII. 's promise relative to the benefice, Josquin applied to a nobleman in high favor at court, to use his interest in his he- half ; who, encouraging his hopes with protesta- tions of /eal for his serN-ice, constantly ended with saying, " I shall take care of this business : M me alone;" laiise faire moi, (laissez moi faire;) when at length Josquin, tired of this vain' and fruitless assurance, turned it into solmizalion, and com- posed an entire mass on these syllables of the hcxachords, la, sol, fa, re, mi ; which ma.ss is among Josquin's productions in the British Mu- seuii., and is an admirable corajiosition. The following circumstance, which likewise happened during Josquin's residence at the court of France, has been recorded both by (jlarcanus snd Mersennus. These WTiters inform us, that LouLs, though music afforded him great pleasure, had so weak and inflexible a voice, tliat he never was nblt to sing a tune, and defied his marstro di of these two parts, and, beginning with the fon-j note, after some jiractice his royal scholar was en- abled to continue it, as a drone to the cano)i, in sjiite of nature, who liad never intended him for a singer. Among musicians, Josquin was the giant of hia age, and seems to have acquired a universal do- minion over the attections and passions of the musical world. Indeed, his compositions were as well known and as much practised tlirough- out Lurope, at the beginning of the sixteenth century, as Handel's were in England. In the music book of I'rijice Henry, afterwards Henry VIII., which is preserved in the I'epys collection at Cambridge, there are severiU of his composi- tions ; and we are told that .'Vune Uoleyne, during her residence in France, had collected anil learned a great number of tliem. In a very beautiful manuscript in the Britisli Museum, consisting of French songs of the filleenth century, in three and four paits, there ai-c likewise many of Jos- quin's compositions. It is, perhaps, sufficient to observe, without enumerating the mere names of this great musician's professional contemporaries, either on tlie eontiuent or in England, that they were every way inferior to him in talent, and that Josquin's fame has chiefly been acquired by his masses, and still more excellent motets ; a large collection of which, perhaps the most valuable now extant, is preserved in the British Museum. JOST, a musician at Vienna, composed, about the year 1780, two operettas called the " Stealer of jipplcs," and the " Barber of Benzing," to- gether with several ballets. JOUBERT, organist of the cathedral at Nantes in 17S8, brought out in 1776, at the Concert Spiri- tuel in Paris, a French oratorio of hi^i composition, entitled " La liiii/icle Jerusalem, ou le Triomphe dit Chrisiianisme." He likewise composed for th6 theatre of Xantes, in 1778, the opera called " La Force de l" Habitude." JOUBERT, a violinist, and one of the best pu- pils of Lulli tiourished at Paris about the yeai 1690. JOUSSE, J., a musician resident ui London, born in France about 1760, published an introduction to the art oi aolj'ain;/ and simjimj, which wa.s con- sidered a useful work. He translated the princi- ples of accompaniment, or thorough bass, ol Albrechtsberger, and also published " Ilanuonic Cards," to teach the chords, and " Areana Mu- sica," being a eclectiou of curious aud iuterestiug musical problems. JOVANELLI. Sec Giovanelli. JOZZI, GIUSEPPE, an Italian sopranist, wai in London in 1710, and performed in (iluck'« opera Lt C'liduta dci tli'janti. He had little pow- ers of voice, and is more reraemlwred for his im- pudoncc in foisting on the London public eight Tapella to compose a piece of music in which it I sonatas of Alberti as his own compositions. He was possible for him to bear a ]>art. However, even went so far as to have them ongravo>l with the musician accepted the challenge, and com- | his name, and sold at the price of one g\iinen. posed a canon for two voices, to which he added . Very shortly atUnnent, and he soon found himself, in that populous city, without friends, and without a sou in his purse. Ago- nized to see his little son shivering with cold and ))iuched with hunger, he went, as alast resort, to the proprietor of a Uurge cafi near by, and ob- tained permission to bring tlie boy in the evenin ; to ]>lay to the company. The anxious father run back to his lodgings, and spent the re;it of the day in heiring Paul rehearse, over and over again, the ))ieces he was to perform at the cafi. In tlie evening they fouiid a large comjiany assembled, and among the rest several mu.sicians of emi- nence. The young artist took his position, and be^jan to play. Every eye was fi.xed upon hia ])ale, engaging countenance, and every ear wfj soon a.stonished and charmed at the power, cor- rectness, and sweetness of his playing. At the conclusion of the piece he was overwhelmed with applause. The musicians gathered round, and congratulated l)oth father and son with the enthu- siasm which is so natural to Frenchmen an J 463 JUL ENCYCLOPEDIA OF MUSIC. I L artists. Late in the evening the father and son returned to their humble resideuce with their pockets and their hearts overflowing. Paul now found instructors, and occasional op- portunities for the display of his talents in pub- lic. He played at grand concerts in many of the large towns in the south of France, and always •with marked success, llut his father, determined to give him every possible advantage for im- provement, was not satisfied till he had procured him admission to the Conservatoire yutional at Paris. He remained a memberof that uncfiuallcd establishment for some years, during which the father maintained an arduous struggle with cir- cumstances in procuring the means of subsist- ence ; until, in July, 1850, the boy gained the first prize against seventeen competitors. He had then attained the age of nine years and a half, and the instrument upon which he had played at the final examination was one of the commonest quality, having cost but twelve francs. Paid now appeared frequently at concerts in Paris and London, where his playing excited unbound- ed astonishment and applause. " We were sit- ting," wrote a noted musical critic of Paris, " be- side some artists who play the same instrument, and who play it with distinction. In their as- tonishment, in theii' stupor, in their gestures, in tlieir every attitude, we read but this one sen- tence : ' There remains for us only to break our vio- lins' " The career of Paul Julien in this country is sufficiently well known. 'ITiey who have heard him perform at the concerts of Madame Sontag will agree with us that he is tlic most remarkable of the juvenile wonders that has visited our shores. His playing is not merely wonderful as a display of juvenile talent, but possesses a;« intrinsic merit. If a man were to play as he does, it would make hLs reputation as an accomplished violinist. Paul Julien's devotion to his art and his instrument is as ardent to-day as it was when he received his early lessons in his father's cottage at Crest. He practises daily from tour to seven hours, and his improvement, from month to month, is distinctly observable. JULIEN, PIERRE, a musician of the sixteenth century, bom at Ciurpcntras, in France, publishetl, in 1750, " Le erai Chemin pour apprendre i ehanter toiite Sorie de Maaiqiie." JUIJEN, G., an organist at Chartres, in France, towards the end of the seventeenth century, pub- lished in Paris a book of organ music. J ULLIEN, M. There are few men in the mu- sical world who have been more constantly be- finj the English public the piust tiltecn years, in tne several capacities of composer, impresario, and directeur, than >L JuUien. While the works of writers of loftier pretensions and more sound- ing names are i)crmitteL JuUien have grown familiiu' to the popular car, and become what we may not inconsistently terra " household sounds." His father, Antonio JuUien, was band roa.ster of the Cent Saisses in the revolution of 17S!), and his regiment being massacred at the Ix»ivre, he emigrated to Ronve, where, attaching himself to the body guard of the pope, ho lormee fricndsliip of Uo:i.siiii, who bonetitod him ny various acts of i>rofe>Hioiial kindness, and in- deed gave him a course of lesions in countcr- ])oint. The reverence and di^;uity that Clicrubi- ni associated with his art i< well known ; and it is said tlmt M. JuUion's first publication of a raUr cost him tlie interest and friendship- of that dLstiuj^uished master. On retiring from the Conservatoire, M. Jullien received the imjwrtant a])pointment of dirccteur of the concerts at the Cluimps ICIi/sde.i, and the balls of the Academic Royak'. In this position he was brought prorainendy l)efore the public of the French capital, and a well-earned popularity induced him to lease the hotel of the Duke of I'adua, which he converted into a grand sulle for balls and concerts that long wore the rage of I'arLs. So successful was his initial introduction of the Italian Casino into France, that several managers of the loading theatres formed a clique to sul)vcrt the efforts of the devoted entrej>ie- twur, the end of which was, that the year 1839 drove him to England. lie commenced his ex- cellent promenade concerts at Drury Lane Tlica- tre at the same period, and from that time to the present his brilliant festivals have created, not only in London, but throughout the United Kingdom, the most enthusiastic feelings of in- terest among all classes. With a laudable desire to establish, in London, an English opera, M. Jullien organized in 1817 a troupe of artistes of celebrity, and produced a series of works in a style of splendor unprecedented in the annaLs of the English lyric stage. But this effort, like many others of a similar nature, was ill re- quited ; and at the end of the season the mana- ger found himself loser of an enormous sum, the lesults of at least ten years of active professional labor. It was during this time that M. Jullien intro- duced to the English public in opera Mr. Sims Kcevcs, whose fine tenor voice had attracted his attention in Italy. M. Jullien has distinguished himself as quite a musical cicerone, having from time to time brought forward Pcrsiani, Dorus Vivas Anna Tliillon, and Jetty Treffz^ To his taste and enterprise the lovers of music are also indebted for the pleasure they have experienced in hearing I'Lscheck, Vivier, Kwnig, Bottesini, Ciofh, Wuille, and the brothers Mollinhauer ; all of whom have appeared in England under hLs management. At various periods the names of Vicnxtcmps, Ernst, Sivori, Sainton, and artistes of similar position, have likewise graced his pro- grammes. M. JuUien's most ambitious work was the opera " I'ieiro II Grande," produced in IHo:!, at Covent (jardcn, in which Taniberlik so distinguished himself. Its introduction was characterized by a magnificence and splendor of ensemble rarely witnessed even at the first opera house of the metropolis. To enumerate hi.s smaller works — his " waif- lets and c-strays" of music — would be like counting the leaves of the forest They have been taken info c\i^tody by the world, and not to find a bind fHe " Ju'.licn " in any civilized coun- trj- would indeed be a species of musical mar- vel. It was a saying of Goethe, that we should do our utmost to encourage the beautiful, for the useful encouraged itself. ThLs sentiment M. Jul- lien seems to have incorporated in his professional policy, never losing sight, amid the vivacity of his ad captaiidum levities, of the sterling and beau- tiful compositions of the great masters. In thi* respect he may be said to liave educated the pub- lic at large, familiarizing, by degrees, the general car with a class of music that fonuerly was con- fined to the sympathies and appreciation of the select few. 'ITiis poi)ularLzation of the works of such authors as Bectlioven, Mozart, and Mendels- sohn is an achievement in itself' worthy of con- ferring honor on M. Jullien, who undeniably has had the public ta^te to a considerable extent un- der liis direction. He hxs been in a position to apjieal to the e:u-s of thousands of the masses, and a glance at his programmes from year to year will serve to show how admii"ably he has sus- tained that position. JUMILHAC, LE PERE DE, a Benedictine monk, published in Paris, in 167.3, " La Scieticc et la I'ralirjiic du Plainchant." JUXGE, JOACHIM, a doctor of philosophy at Hamburg, died in 16.57. Among his published « orks is one entitled " Harmonica Theoretica." • JUXGHAUTZ, J. A., organist at Amstadt, was bom in 174.5. He was known in Germany by some good compositions for the harpsichord. JUXIUS, ADRIAXUS, a doctor in medicine, born in Holland in 1.512, published a work, one of the chapters of which treats of " Musica Instru- tneiUa eojue spectantia." JUXKER, KARL LUDWnG, a celebrated amateur musician in the north of Germany, died in 1797. He published many works on music be- tween the years 1776 and 17S(). Two concertos for the harjjsichord, and some other small works for the s;»me instrument, composed by Junker, have also been publLshed. JUSDORF, J. C, a flutist at Gottingen, has published several operas of music for his instru- ment, at Offenbach, since the year 1799. JUST, J. A., a musician at the Hague, bom about the year 1750, was a pupil of Kemberger. He was considered one of the best performers of his time on the harpsichord. He published at Amsterdam, the Hague, and Berlin, much music for his instrument ; besides which he comjjosed the music of the operas, " Le Marchnnd de Smyr- tie." and " Le I'afle : " also " A Cantata for MTiit- suntide, for fifteen Voices." JL'ST. An epithet applied to all consonant in- tervals, and to those voices, strings and pipes, which give those uitervaLs with truth and exacti- tude. jrSTIX MARTYR was at first a philosopher of the sect of Plato. In the year 133 he embraced the Christian re'.ipion, and died a martiiT durini; the persecutions of Antoninus, in 163, or, accord- ing to other historians, in 166. HLs works, which were published at Paris in 1636 and 1742, con- tain many excellent remarks on the church mu8i\ used in his time. 470 ;us ENCYCLOPAEDIA OF MUSIC. JU& JUSTINIANUS, LEOXARDUS, a Venetian nobleman, lived about the year 1428. He was celebrated as a scholar, and also as a musical composer. He wrote a great number of amatory songs, which had such success, that, notwith standing every effort of the clergy, all Italy w pj inundated with them. In reparation for his li- centiousness, he subsequently wrote as great a <7 number of vocal pieces in honor of the holy virgin and saints. JUSTIXIAN, I., called " the Great," a Greek emperor in the sixth century, Ls celebrated for hi- body of laws. He was an excellent musician, and in the Greek church they still sing a troparias or hymn on the divinity of Jesus I 'hrist of hia com position. Ue died in 566. \ KAA EXCYCLOP.EDIA OF MUSIC. EAI K, K.\A, FRAXZ IGX. (.'hapel-master at the fathedrnl of Cologne, iii 17s:i. He i)ul)lL, was a pupil of Fasch in com- position, and of Kohu on the violin, lie pub- lished some instrumental music about the year 1790. llis compositions are chiefly for the piano and organ, on which instruments he was an ex- cellent performer. He died at Berlin, in 1808. KAUFMANN, JOIIANX. A violoncellist at Stuttgard, born in 17G0. KAUFMANN, MADAME, wife of the preced- ing, was a celebrated smger at Stuttgard, in the 8er>'ice of the court. KAUTH, MADAME. An amateur composer of music for the piano-forte. A concerto of her composition was played by Hiunmel at a concert in Berlin, in 1792. KAYSER, ELIZABETH. Not less celebrated for her beauty and fecundity than for her talents as a singer. At the age of fifteen, she sang with great success at the ojjcra in Dresden. She after- wards was married to a tenor singer of the same theatre, and became the mother of twenty-three children, having, four times, twins. From Dres- den she went to Stockholm, where her charms were still such as to captivate Frederic, King of Sweden, (from 1720 to 17-51,) whose mistress she became, and by whom she had her twenty-fourth child. It was to Madame Kayser that the king owed the preservation of his life, in the fire at the Opera House in Stockholm. Already the ma- chinery at the end of the stage was in flames, without the audience knowing of it, when Mad- ame Kayser, obser\ing the fire to spread, had Bufficient presence of mind to approach the royal box without interrupting her singing and action. At first she made signs to the king, who did not understnnd her ; she then, seizing a favorable moment, said to him in a low voice, " Leave the theatre, sire; it is on fire." The king instantly quitted the house ; when, after giving him time to escape the crowd, she vociferated fire '. and gaining her box, threw herself and royal son, who was then about four years old, out of a ^viIKlow, wliich not being very high from the ground, she escaped without injury. KEEBLE, JOHN, organist of St. George's. Hanover S(|URre, trom 17o9 to 1787, was a pupil of Dr. I'epusch. He published in 1781 a work entitled " The Theory of Harmonics." KEENEUS. Tlie name of the Irish singing mourners. The Irish have always l)ecn remark- able for their funeral lamentations, and once were celebrated for their musical art, as exercised in their last snd othces to their departed friends, f ormcrlv these duties were i)crformed by dressing the body of the deceased in grave clothes, orna- menting it whh flowers, and placing it on a bier; ■when, the relations and krmer.i ranging themselves in two ilivisioivs, one at the head and two at the feet of the corpse, the chief bard of the head chorus, softly accompanied by the harp, sung tin first stanza of the Caoiiiart, or funeral song ; thi.s being ended, the foot scmichorus began the lam- entation, or Ullaloo, in which they were answered by the head semichorus, and then both united in one general chorus. After thLs, tlie chief bard of the foot scmichorus began the second Gol. or lamentation, in which he was answered by that of the head ; and then, a,s before, both united in the general and full chorus. Thus, alternately, were the song and choruses solemnly performed during the night. But whatever merit or decorum there might formerly be in these vocal obsequies of the Irish, they have, at present, little to boast, either of melody, harmony, or dignity. The keeners now generally consist of a motley multi- tude of men, women, and children, and the Caoitian is degenerated into a wild and hideous howl. KEEPER, JOHN, of HarthaU, an English church composer, published, in 1.574, " Select Psalms, in four parts." KEHL, JOHANN B., a singer and organist, was born at Cobourg. He published several sonatas for the harpsichord, S:c., at Nuremberg, about the year 1770| and left two oratorios iA manuscript. KEIFERERUS, CHRISTI.VNUS, a monk and church composer, published some sacred music at Augsburg and Ingolstadt, in the year 1612 and 1618. REISER, REINHARD, was born at Leipsic in 1673. His first master in counterpoint was his father ; and early in life he was entered at the university of hLs native towni, where he much distinguished himself in his general studies, whilst at the same time he greatly improved in the science of music by a close attention to the best productions of Italy, ilia first attempt at com- position was the pastoral of " hmtne," which he wrote for the court at Wolfcnbdttel just after he quitted the university ; it was received with the greatest approbation. His second opera, " Basii- iiis," proved not less successful. Shortly after this he went to Hamburg, where the opera was in great perfection, the celebrated Hasse being a tenor singer on that stage at the time. Here he reproduced his " liasilius " and " Jsmfne," both of which were received with enthusiasm. He also brought out the opera of " Jmius," which was equally successful. Gifted with first-rate talents, Kciser now found himself obliged to oj)i)ose their whole force to misfortunes which threatened him. He had become director of the Opera House at Hamburg, and the specidation was just on the point of failing, when he saved the concern from ruin, by writing and bringing out no less than eight operas in one year. Every one of them suc- ceeded, and their receipts relea-'.ed tlie theatre from all pecuniary difhculties. .Soon after this time, Keiser married a woman of property, and commenced, in conjunction with the learned Mat- theson, giving public concerts at Copenhagen, where he was honored with the nomination of chapel-master to the kirg. On his return to Ham- burg, he brought out " C'lVrr," the hist and most beautiful of his operas. This was first performed in 1734, and was the one hundred and eighteenth 474 KEI ENCYCLOPAEDIA OF MUSIC. KEI whicli this indefatiijable artist hail produced. Keiscr is considered the father of Geriuau melo- dy. Exclusive of his dramatic works, he com- posed divertimenti, sereuate, and cantatas. Fancy and orii^inality were the cliaracterLstics of all his productions. In fact, the vigor of a fertile im- Bsrination, corrected by study and experience, is discernible in all the effusions of the inexhaus- tible Keiser. He died in 1739. It is to be re- gretted that hardly any of Keiser's works are now to be procured, thouijh a new edition of some few of them was talked of in Hamburg about the year IS 10. KEITH. ROBERT WILLIAM, wa.s bom in 1 787, at Stepney. He is the eldest sou of Cor- nelius Keith, organist of St. Peter's Church, Cornhill, and Danish Cliapel, Welldosc Square. R. W. Keith received the early part of his musical education from his grandfather, William Keith, organist of Westham Church, Essex, alter whose decease he was under several masters for the or- gan, piano-forte, and violin. His instructors on the latter instrument were Barthelemon and Diet- tenhoH'er, under whom, to complete his musical elaccd in theconservatorio of La Madonna della Loretto, where, tor some time, he reccivet tenor sinper. Tie then vi-iiled Venice, and several of the prin- cipal thciitre-* in Italy, in which he performed with distinnuishod success. He was next cn- jtaged at the court of Vienna, where he was much noticed by the Emperor Joseph II. He had like- wise tlie Rood fortune to be the most intimate friend of Mozart, and was one of the original per- formers in his " .\<>:;e
  • silio having been written for him. Having obtained a year's leave of absence from the emjjeror. for the puq)ose of visiting his fa- ther, (at the end of which time he was to go back to Vienna, where he was in such favor that he might have ended his days hajipily, ) he returned to England by the same opjjortunity as Signora Storace. In April, 1787, Kelly made his ftr^t apjjearance in Drury Lane Theatre, in the char- acter of Lionel, in the oi)era of " Lionel and Clarissa." Here he remained as first singer until he retired from the stage. He wa.s also for sev- eral ye u 8 musical director of th it theatre. Kelly Bang at the king's Ancient Concerts at Westmin- ster .Vbbey, and at all the principal music meet- ings and theatres in Great Britain. He was, be- sides, for several years, principal tenor singer at the Italian Ojiera in the Hajnnarket, where he was stage manager. ITio death of his dear and lamented friend, Stephen Storace, in the year 1797, first induced Kelly to become a composer, since which time he wTote and selected the following sbcty pieces for the different theatres, by which it will ajipear that no English composer has ever contributed more largely to the public stock of amusement. It may be necessary to add that, in addition to the following listj Kelly has composed a great number of Italian and English songs, duets, trios, &c., Kc, which retain their popularity: "A Friend in Need," 1797; " Chimnev Comer," 1797; "Castle Spectre," 1797; "Last of the Family," 1797; "Blue Be;u-d." 1798; "Captive of Sjiielbcrg," the comic music, the serious being bv Dus^ek, 1798; " Aurelio and Mirando," 1798; "Feudal Times," 1799; " Pizarro," 1799; "Of Age to-morrow," 1800; " De Montford," 1800; "Kcmorse," 1801; "Gypsy Prince," 1801; " Adclmorn," 1801 ; " .Vlgomah," 1802 ; "House tc be sold," 1802; " Uriania," 1302; " Hero of the North," 1803; "Marriage Promise," 180.3; " Love laughs at Locksmiths," 180-1 ; " Cinde- rella," 1801; "Counterfeit's," 1801; " Deaf and Dumb," 1801; "Hunter of the Alps," 1804; "Land we live in," 1801 ; "Honeymoon," ISOo ; " Youth, Love, and Folly," 180.5 ; " Prior Claim," 1805 ; " Fortv Thieves," 180G ; " We Hy by Night," ISOG; "KovalOak," 180(5; " Adrian'anil Orilla," 180G ; " Adelgitha," 1807 ; " Town and Country," 1807; "Times a telltale," 1807; "Young Hus- sar," 1807 ; " Wood Demon," 1807 ; " Something to do," 1808 ; " Jew of Mogador," 1808 ; " Afri- cans," 1808; " Venoni," 1S08 ; "Foundling of the Forest," 1809; "Fall of the Taranto," 1809; "Britain's Jubilee," 1809; " Gusfa- vuj Vasa," 1810; " Ilumpo," 1312; "Ab- sent Apothecary," 1813; "Polly," 1813; " Rua< sian," 1813; " Nourjahad," ' 1813 ; "Peas- ant Bov," 1814; "Unknown Guest," 1816; "Bride of Abvdos," 1818; " Abudah," 1819; "Grand Ballet,'" 1819. Kelly died in 182.5. H« has left a most entertaining account of his own musical career, in a book published in Ix>ndon in 1814, in two vols. 8 vo., called " Mu.sical Bi- ograjjhy of Michael Kelly." KELWAY, THOMAS. There are few church composers of who>e personal history so little ia known, and yet whose works are in such constant use in English cathedrals, as those of Thomas Kclway, organist of Chichester in the early part of the last century. Of Kelway's early lii'e noth- ing certain Ls known ; he was probably a native of Cliichester, and brought up in the choir of that cathedral. That he was a pupil of John Weldon, who also was bom and bred in that ancient city, is rendered highly probable, not only by tradition- ary evidence, but by the style of his comiwsitions, which bear traces of a mind schooled under that sweet and elegant composer. Thomas Kelway succeeded John Heading as organist of Chichester Cathedral in 17i<;, and held the situation twenty- three ye irs,till his death in 1749, which is supposed to have hajipened in the prime of life. He was suc- ceeded in his office by John Capel. Kelway's' grave stone, after having been lost sight of for nearly a century, was a lew years since accident- ally discovered ; it was found to be broken and much defaced, but has quite lately been restored, and set up in the south aisle of the cathedral, nie inscrijjtion is as follows : " In memory of Thomas Kelway, organist of this cathedral 23 years, who died May ye 21st, 1749. My hoix- is in my Saviour Jesus Christ." The inscription hav- ing become almost illegible, has iust been recut, which gave occiusion to the following pleasing sonnet, by Mr. Crocker, a well-known verger of the cathedral : — •• Kclwny ! thv nipmory. fre»h u Temal diT, In mnnv fl h<*art'ii ninut iccret. hnlic«t cvi], Whi-re l^vc ng delieliU to dwolL I.irrn — ind tliall livi> while Miiric hi>Kl« her •«••]?. Within thene hallowed walls, wliprr, day hy day. Vt-nr aftiT y€.ar, hf |ilii-d the wnndnm'* a'rt Which bid* the fpiril fruni it« pri*in alilrt. And fcMir a while to happier reahnt awav. IIi« Ktniina full oft utill fill ujxjn the e.ir Of tTioBe who trend yon ai«le : while at their feet IliA name and reconi of hi* how appear. Peace to hif a»het — he hiB gluinlwr* awt'et. Till tliat clail ni«>rTi when he shall wake to heir Th* angelic choir in nightlets Hcaren't bright spherQ.** Kelway's style of composition, though not per- haps the highest, is pleasing and original, and perfectly free from plagiarism. In the library of Chichester Cathednil is a MS. volume containing scores of nearly all his compositions, jirobably collected and arranged by himself. The follow- ing list of them may not be unacceptable : — SERVICES. 1. A Morning and P^vening Service, full, in F major; 2. A Morning Ser^nce in E** major; 3. A Morning Service in C ; 4. An Evening Service in A major ; .5. An Evening Service in A minor, printed in Dr. Marshall's volume of .Services ; Ci. An Evening Service in B minor ; jirinted in Dr. llimbault's volume of Services, and also hy Dr. Marshall ; 7. An Evening Seri-icc in O minor, for Sir F. Ouselcy's, Bart., volume >f Services. ANTHEMS. 1. O prai.se the Lord, all ye heathen. Full, 4 voices. 2. Not unto us, 0 Lord. Full. 3. Unt« 47G KEL EXCYCLOPiEDIA OF MUSIC. KEP Thee, O Lord. Full, with verse. Both these An- tlicms (Nos. 2 and 3) are printed in a vohinie of Anthems, edited by Sir W. II. Cojje, Hurt. 4. Sin^ we merrily. Full. 5. ^ins unto God. (i. l"hy way, O God. Verse. 7. Ine mighty God. Solo, bass, with chorus, 8. lUessed be the Lord God. Full. 9. Let the words of my mouth. Full, with verse. KEIAVAY. JOSEPH, younger brotlier of niomas, was a great musician and an excellent organ ]>layer. lie was music master to the then royal taraily, and succeeded John Weldon as organist of St. Martins-iu-the- Fields, in 1714. He vas a ])U])il of Gemininni, and so sujjcrior was his style of playing, that Handel is said to have often go)ie to the church where ho performed. Some harp-iichord sonatas of his composition were pub- lished. KELZ, MATl'H., a German musician in the Beventccnth century, published several sacred works, and wrote a treatise on composition, in the Latin language, between the vcars 1626 and U169. KEMP, DR. An English musician, of much talent as a theorist. He has also composed some very pleasing vocal music. Among his works are " Musical Illustrations of the Beauties of Shakspcare." Songs : " A lover's eyes will gaze," "Doubt thou the .stars are fire." "Fair ladies masked." " Lady, by yonder blessed moon," " Love, love," " Lover's eyes," " O for my beads," " When I beheld thy blue eye." (de- menti's Cat.) KEXD.\L, JOHN, an English organist, pub- lished, in 1780, some music for his instrument. KEXX, a perfonner on the horn, was engaged, in 1798, in the orchestra of the Grand Opera at Paris, where he also published some music for his instrument. KEXXIS, ^^^LLIAM GOMM.\R, director of the music at the Church of St. Peter, at Louvain, about the year 1768, was considered, in 1772, as the tirst of all violinists in the Austrian Nether- lands, principally in the execution of difficulties. About that time he published nine works, at Paris and elsewhere, of which only the fourth and ninth are known in Germany; they are both ducts. KENT, JAMES, was a native of the citv of Winchester, and born in 1700. At an early age he was admitted into the choir of that cathedral, under the superintendence and tuition of Mr. Vau-^'han Richard.son, the organist. After having been some time in this situation, he became one of the children of the Chapel Royal. Here, under the care of Dr. Croft, he laid the foundation of his luture excellence. He studiously observed the style, and happily caught the manner, of that justly celebrated composer. The tirst public sit- uation which Kent obtained in his profession was that of organist of the chapel of Trinity Col- lege, Cambridge; and, lastly, in 17:i7. (if the cathedinl church of the chapel of the college at Winchester, in which city he continued to reside Until the day of his death. Whilst he wa.s the organist of Trinity Chapel, he conducted him- •elf so much to the safisfaction, and was, in other respects, in such high esteem with the members of that college, that, when he was pro- moted to his situation at Wini-hc-Uer, they pre- sented him with an elegant piece of plate, in token of their great eily be dis- covered tliat Kent was a pupil of Dr. Croft. Indeed, he often, without hesitation or scruple, followed the ideas of this great master, in hLs compositions. He once said to that excellent singer, J. Xorris, who was attending the rehear- sal of a new anthem, " I know your thoughts ; there is the same passage in Dr. Croft ; hut could I have possibly done better than copy him in thi.s place ? " His talents M-ere too great, and his dis- position too ingenuous, to allow him to dispcmble that he occasionally availed himself of the excel- lences of his favorite master. Of his own origi- nality he has left ample proof. The subject of St. John's chapter is not much calculated for musi- cal expression ; yet, induced chietly by his .sin- cerely Christian principles, he set it to music ; and few composers could have executed the task so well as he has done. His anthems, " Ilearkeu unto this, O man," and " ^\'hen the Son of man," are truly sublime compositions in the solemn style. " Give the Lord the honor due unto his name," Ls equalled b}- few anthems in force and dignity. The fourth verse in "The Lord is my Shepherd," as a bass solo, and the sixth verse, in which the two voices unite, produce a striking and most pleasing effect, the one by its majestic simplicity, and the other by its pastoral, yet ele- gant harmony. Few anthems have obtained more celebrity than " O I>ord, our Governor," " My song shall be of mercy," and " Hear my prayer." So modest and una.ssuraing was this excellent man, that it was not until towards the decline of his life that he could be i)revailed with to give his works to the public; and he then printed and published a second volume, contain- ing a morning and evening service and eight an- thems. S'ime of these have since been printed sep- arately, and a few of them have been admitted into Page's " Ilirmonia S,icra." Kent was remarkably mild in his disposition, amiable in his manners, and exemplary in his conduct ; and, as an organ- ist, was conscientiously diligent in performing all the duties of hLs situation. His pcrfonnanco on the organ was solemn and expressive ; and he was reputed by some competent judges to have been one of the best players of Dr. Croft's music in the kingdom. Kent died at Winchester, deep- ly regretted by all who had the happiness of his acquaintance, in the year 1776, having rc-iidcd in that city, in the character of orgaimt and com- poser, for nearly forty yc.irs. KEPLER, JOH.VXX, a great astronomer and mathematician, was boni at Wicl, in the duchy of Wurtemburg, in the year 1.571, and died in 1630 477 KER ENCYCLOPAEDIA OF MUSIC. KEY We hlmll i)nss uiiiioticeil nil Kepler's mathemati- ral anil «stroiiomic;d works, and speak only of that entitled " Harmonica Muiuli." 'llic third book of this work treats of the subject of musical harmony. Several of the first chapters arc con- fined entirely to discussions relative to the music of the ancients. In the seventh chapter he treats of the projjortions throughout nil the eiijht usual Rounds of diapa.son. He also s]x;aks of the modern method of notation by linctj and letters of the al- jihabct, and pives his opinion respecting the origin of the clefs. It may, however, with truth be observed, that if Kepler had made no greater discoveries in mathematics than he did in music, it is probable that his conceits might hnve re- mained, but his discoveries would all long since have been forgotten. Kepler denies that the ancients had any idea of harmony ; he compares their accompaniments to their melodies to the droning of a bagpipe. All the int'onuation we have been able to collect shows them to have been ignorant of counterpoint, and we cannot think they had much variety in their performances. KEllAXA. The name of a wind instrument forming a kind of long trumpet, much used by the Persians. Every evening, at sunset, and two hours after midnight, they sound the kerana, to- gether with hautboys, timbrels, drums, and other instiuments. KERAXIM. The name given by the Hebrews to the sacerdotal trumpets. KERAS. ITie appellation applied by Hedylus, and other writers, to the hydraulica, or water or- gan of the ancients. KEREN. A horn. Ram's horns were the first used by the Hebrews. Afterwards they were imitated in metal, and stiU called horns. KERLE, JACOB DE, canon of the cathedral church of Cambray, was born at Ypres, in Flan- ders. His compositions, which are chiefiy for the church, were published in different parts of Europe, from 1.5i52 to 1573. His masses were printed at Venice in 1.562. Their style is dry and uninteresting ; the harmony, however, is good, and his answers to the fugues are warrant- able. KERL, JOIIAXN CASPAR, bom in 162.5, was a native of .Saxony. Having, during his youth, shown a great taste for music, he wa.s sent to Vienna, and, at the expense of the Archduke Leopold, placed under the tuition of Giovanni Valentine, chapel-master at the imperial court. His patron afterwards ordered him to be sent to Rome, in order to complete his musical studies under Carissimi. At his return he had a highly odvanfageous offer from the elector palatine, but he refused it, and settled in Ravaria, where he bee «me chaix;l-miustcr to the Elector Fcrdinando Marin. Kerl's princyinl work is his " Modulatio orijniiica super tno(jiiiJicai, octo tonii ecctesiasticis rexpnnilfiis," printed at Munich in 1686. He is justly esteemed one of the most celebrated organ- ists that tlte world ever produced. In a compe- tition that he had with some Italian musicians, at the court of the Elector of Rnvaria, he com- posed a i)iece for the organ so difficult that none but himself could execute it. KEROU-JEREL. JubUee horn. KERPEX, F. H. FREIHERR VOX, a .anon of the cnthcdmls of Mcntz and Wurtzburg, was an excellent amateur musician, and published much vocal and piano-forte music between the years 1780 and 1800. KERZEL, or KERZELLI, MICHAEL. A mu sician at Menna, where he published, uj) to the year 1783, much violin mu.sic. About the year 1787, he went to Moscow, where he WTOte bome Rassian operas. KESSEL, JOHAXX C. B., a singer at EL-leben, was born in 1706. In the year 1790, he published, at Leipsic, '* L'nterrwht >m Gctteralbaase zuin Gc- brauche fUr Lehrer uiut Lemende," an improved edition of which appeared in 1792. KESSLER, JOHAXX WILHELM, an organist at Heilbronn, published at Stuttgard, in 1793-94, " WurtembcrijUchM vierstimmiges Clioralbtich ," also, at Darmstadt, in 1796, " DiccrtUsemens Sociatur, ou six Antjlaises pour le Clacicin avec leur Chori- yraphie." KETTE, ALBRECHT, a celebrated organist of the court and cathedral at Wurtzburg, was born in 1726, and learned the elements of mu.sic from his father. He afterwards became a pupil of the. renowned organist Bayer, at whose death, in 1719, he succeeded to his public situations. He composed much church music r.ud music for the organ, and died in the year 1767. KETTLE DRUM. A drum, the vellum head of which is spread over a body of brass. KEYS. I'he names of the pieces of wood or ivory in an organ, piano-forte, or other in.stru- ment, which are struck by the fingers in playing the instrument. KEYED ^^OLIX. In 1848 there was exhib- ited in Xcw York a newly-invented instrument called the keyed violin. It is played like the parlor organ, by means of a key board. There are forty strings (five octaves) stretched upon a horizontal frame, and brought to the proper ten- sion by means of the same apparatus as that em- ployed in tuning the piano-forte. At right angles with these strings are four horse hair imple- ments, each resembling that part of an ordinary violin bow which comes in contact with the string ; these are nil attached to and stretched upon a frame, and by ingenious machinery are worked up and down with a steady motion, each bow passing within a minute distance of its cor- responding string. The motion of the peqien- dicular frame and bows is caused by the use of the pedal, and the mu-ic executed in the same manner as upon the organ or piano-forte. The pressure upon a key causes a simultaneous press- ure against one of the bows, bringing it in contact with its neighboring string, and thus pro- ducing a sound similar to that made by bowing and fiii;zering upon the violin. •■Vt the snnie time was exhibited an instrument which produced tunes by tuning forks. The sound of the tuning fork by itself is feeble ; but if, while vibrating, it be held over the mouth of a vessel, to give the vibration in unison with the note of the fork, the sound is very much increased. This fact has been Ion? known, but the inventof has availed himself of it i- 1 a peculiar manner, ir 47S KEY ENCYCLOP-aSDIA OF MUSIC. KEY the production of this instrument. By means of keys like those of a piano-forte, the forks are Btruck with a hammer of a peculiar kind — an essential difference bcini? made in the liardness of the hammer for the high tones. l"he resonance of sound is obtained by means of boxes of thin wood immediately behind the tuning forks. 'Die lower tones are produced by spiral wires, similar to those used as substitiites for bells in common clocks. Some of the cotes in this instrument are very sweet, and of considerable volume. There appear, however, some difficulties to be overcome, such as the want x>{ volume of tone in extremities of the scale — limited range — and the different character of sound from the wires ; but which the inventor believes to be surmountable. KEY, or KEY-NOTE. AVith thcorist-o, a cer- tain fundamental note, or tone, to which the whole of a movement has a certain relation or oearing, to which all its modulations arc referred and accommodated, and in which it both com- mences and concludes. There are but two species of kei/s ; one of the major, and one of the minor mode ; all tlic keys in which we employ sharps or flats being deduced from the natural keys of C major and A minor, of which, indeed, the other keys are only transpositions. See articles Majou and Minor. Every practitioner in the art must have noticed the various complexions, so to speak, by which different keys are characterized. Each of the twelve semitones in the scale is capable of further division abnost to infinity : it is possible to tune a hundred strings or more, in regular ascent of pitch, between C and C, so as to be perceptibly different to the ear. When all these gradations of sound arc mingled together, we hear only a confused noise ; when they are made to follow each other at harmonic distance, melody Ls pro- duced. In the tilteenth century, music was gen- erally written in the key of F and its relative, D minor. This order of sounds was first adopted, probably, on account of its being the most familiar to the ear, as (Jnrdiner, in his " Music of Nature." asserts that the blciulcd impression of the cries of animals, the buzzing of insects, the roar of storms, the murmurs of brook*, and some of the grand- est sounds of the natural world, is to be referred to this harmony, ajid may be denominated the key of nature. As Mcicncc improved, other notes were taken as the centres of systems, by which other keys were formed ; and we have now not le-ss than twenty-four keys, both major and minor. Some of thcin have been characterized by Gardi- ner, in his notes to the " Lives of Ilaydn and Mozart." " The major of C is bold, vigorous, and com- manding, suited to the expression of war and en- terprise ; aiul its relative, A minor, is plaintive, but not feeble. " The major of G is gay and sprightly : being the medium key, it is adapted to the greatest range of subject.s ; and its relative, E minor, is persuasive, soft, and tender. "The major of 1) is grand and noble : having life and animation, it is suited to the loftiest pur- poses ; and it.s relative, H minoj is bewailing, but in too high a tone to excite compassion. "The major of A is golden, warm, and sunny ; tnd its relative, F sharp minor, is moxirnfully grand. " The major of E natural is bright and pellucid, adapted to the most brilliant subjcctH : though higher than the major of I), it is less loud, a.s it stretelies the voice beyond its natural power ; and its relative, C sharp minor, is seldom used. In this key Ilaydn has written some of liLs mos> elegant thoughts. '• The major of F is rich, mild, and contempla- tive ; and its relative, D minor, posscsves similai qualities, more solemn and grand. " The major of 11 flat is the least interesting of the major keys ; it has not sufficient tire to ren- der it majestic or grand ; and its relative, G minor, b replete with melancholy. " The major of E flat is full, soft, and beautiful : it is a key in which all musicians delight : though less decided in its character than some others, the rcguliuity of its beauty renders it a universal fa- vorite ; and its relative, C minor, is complaining, and seldom used. " The major of A flat is unassuming, delicate, and tender ; and its relative, F minor, is jjenitcu- tial and gloomy. " The major of D flat is awfully dark. In this remote key Beethoven has written his sublimest thoughts. He never enters it but for tragic pur- poses." We have observed, in tuning the piano-forte, the notes F sharp, C sharp, and G sharp, which form the major thirds of the keys in sharjis, are tuned shaqjer than the major tliirds belonging to the flat keys. Hence the evident brilliancy of the one, and tender, melancholy expression of the other : and on stringed instruments it is obvious the character of the keys G, D, A, and E must be more brilliant than any other, from the cir- cumstance of the open strings forming the key note. ITie keys are removed from their nattiral sit- uation upon the staff by the aid of flats and Bhari)s, placed at the beginning of the staff. If there be one sharp, the keys are the major of Q and minor of E natural ; if two, the major of D and minor of B natural ; if three, the major of A natural and minor of F sharp ; if four, the major of E natural and minor of C sharp ; thus : — One fhnrp. Tvro sbnrps. Three i)bnrp«. Four shnrpii. s=^ If there be one flat, the keys are the major of P and minor ol I) natural ; if two, the major of B flat and minor of ly the modulation by which the passions j may be awakened ; and very much of tlie effect produced will depend upon the manner in which this modulation is given. And it should always be tlic object ot the vocal performer to copy the manner in which the instinctive tones are uttered ; and the power of oitlicr to move us will be in proportion to his just conception of the sentiment of his author, and his skill in giving to that sen- timent the tone which nature has assigned to it." And we are confident that effects still more nov- el and interesting may and will be produced, in pro))ortion as the principles of music and the science of harmony, in the variety of keys, are more closelv studied and more correctlv known. MAJOR (:gpczTib=Tt E^ Major Keys and their relatitb Minor. D A E B F ihnrp. F B Hat. E Ott. £ B F sharp. C sharp. Q sharp. D sharp. DO U F B fl; ^■-^^^^: In every octave, or regular succession of eight notes, cither ascending or de;«cending, there are tive whole tones and two semitones ; and, in their natural order, the semitones are fixed between three M\A fi>ur, and scrcn and eiiht of the scale ; or between E and F, and B and C. For the sake of variety, it becomes necessary to change the ke)*, or tonic, which is done by the aid of sharps and flats ; and these, placed at the beginning of a piece of music, serve to regulate the leading note, and remove the semitones trora letter to letter into any part of the scale. Tlie following example exhibits the seven ma- jor tonics in sharps, and the seven relative minor kev8 : — rrv"^ r^ — j-^-^ « i ^ ^' r K -^r4-* — f-^ a-l-^ *? -1 3.^ rag^^l '-i- ms' » -=> m In the above example, the lower notes show one of the major scale, and the upper notes one of the minor scale. Tlie following example exhibits the seven ma- jor tones in tiats, with the seven relative minor kevs : — In the above example, the upper notes show one of the major scale, and the lower notes one of the minor scale. In speaking of the signatures, the pupil should always name the altered letters, for each and ev- ery transposition. Tlie following table shows the situation of the tones and semitones in the sever- al major keys, as well as the effect which fiats and ehari)s have in changing the tonic : — Explanation. — First column, the Ictteri ; second column, natural scale ; third, Jimt transpoxilion in iharpa ; fourth, leconH Iransjxuition ,■ filth, t/iird transposition; sixth, /onrl/i transjmtil inn ; seventh, Ji/t/i transposition ; eighth, sixth transposition ; and the ninth, the seventh transposition. same order to be observed in flats. The ^r --^ Transposiixon by Sktvps. =r=Fs=F^ '■^ M V^p^h ^S=^Srrftrr-it" ^ r ^ -^ \ "^ t Transposition fry Flats. ^-^ UJ -k- \^ ^^ -^ When a partial transposition of the scale oc- curs, the melodious relations of the sounds art changed ; and it is necessary for the pupil to un- derstand this change, and be governed by it. In such changes as usually occur in psalmody, namely, sharping the fourth nnd fitittinp the seventh, and extending only for one or two measures, it Ls unnecessary to change the syllables ; but when the change is continued for several measures, the solmization of the new key should be adopted. The change, if pos.siblc, should be made before the note of modulation. KEY HO.VKD. An instrument for dividing the intervals of the octave. In order that the localities of all the notes on an instrument may be fully explained, we will here expose the 480 KEY EXCYCLOr.EDIA OF MUSIC. KEY KEY ENCYCLOPEDIA OF MUSIC. KIA It will be seen by thin, that the signR connected ' ))a8sion for music, consented eventually to bring by the cun-cd lines ( (, express the same keys, or notes : tlie upper notation being used when the richt liand descencLs so low into the ba^s, the jiuicr, when the left hand ascends so high into the treble. But sometimes each notation is in- dilfcrently used. Though there is generally a great deal of time lost in the outset in thLs art, owing to the diffi- culty of knowing the keys by their notes or signs, the following mnemonic rule.it is hoped, will great- ly facilitate the acquirement, and that too in a very short space of time. Observe, there are alternate groups of three white and two black keys. 'I'he xchite key between the two black ones is invariably D. Of course the two white keys immediately above D are E and Y. Again : the two white keys between the three black ones are invariably G and A ; and conseqiicntly the two wliite ones imme- diately above (i and A are U and C. Example : The Bars | I and III uepresent THE Black Keys. Jl ■i£ (I Pglil ■^ *■(. ♦-» D • f D • f t •»*- iiisisi] -♦■ 0 nl ( Ab> UAbeie. JiLti b c a Abo KEYS OF AN ORGAN. Those movable, projecting levers in the front of an organ, so placed as to conveniently receive the fingers of the performer, and which, by a connected move- ment with the valves, or pallets, admit, or ex- clude, the wind from the pipes. When a single key of an organ is pressed down, as many sountls are heard as all the stops which are tl;en out furnish to that key : t". e., all those pipes are heard wlvicli are permitted by those stops, and that key, tD receive the wind. KIIISEL. (JIOVANNI GIACOMO. a contra- puntist of the Kith century, and probably a Ger- man, resident in Italy, ])ublished at Venice, in 159 1, " Lihro I. rie Matln;iii/i el Moletti (i 4 c 5 fori." KIIYM, or KYIIX, CARL, an instrumental composer, published much music at Augsburg and Vienna since the year 1798. KI.VLLM.VUK, E., was born at LynnRet;is, in Norfolk, in the year 1781. His father was a native of Sweden, and an officer in the service of j that state. His mother was a descendant from ] Mr. Banks, of Yorkshire, a cousin of Sir Josejih j tions, him up to that i)rofession. His grandfather first placed him, at the age of fifteen, (giWng a con- siderable premium,) with a German musician of great pretension ; after two years' residence with whom (the only two disagreeable years of his life) he was removed, and from that i)eriod depended on hLs own exertions for a livelihood. Ha^-ing by the end of his apprenticeship gained a toler- able practical knowledge of tlie piano-forte, harp, and violin, he commenced professionally by teach- ing those instruments at a cheap rate, and, not caring about personal fatigue, succeeded in gain- ing several pu]>il6. He always, however, ap- propriated a portion of his receipts, to the ac- quirement of musical instruction, and became successively a pupil of Barthelemon, Cobham, Spagnnletti, &c., till at last he found himself, to his great delight, capable of playing in an orches- tra, and became a performer, either as deputv or principal, in the oratorios, concerts, music meet- ings, and theatres. At the early age of twenty- two, he married a young Scotch woman, and at that time, having succeeded in obtaining a very toler- able connection, gave up all hLs public engage- ments, and became a piano-forte master. Soon after that period he became intimately acquainted ■with Von Esch, and although he (as himseli would acknowledge) was but an indifferent theo- rist, yet to hLs taste and talents, and his friendly hints and instructions, Kiallmark confesses him- self deei)ly indebted. Soon after this, he ventxired to publish two or three pieces, although almost unacquainted with the earliest rules in compo- sition. This success induced the music sellers to mndon, in the 8ea.son of ISJl. He died, in a state bordering upon misery, in 1827. KIN. A Chinese instrument possessing a body of thin wood, car^'cd Hkc the top of a violin, to inarease resonance — with five strings of silk of (lilfercnt sizes. KINPERM.VNX, JOIIANX ERASMUS, a relebmted organist at Nuremberg, died in 1655. He composed many practical works, both vocal uid instr\iment;d, the latter being chiefly for the '>rgan. His writings boir date from the year 1640 to 1653. KINDERVATER, JOHANN HEINRiai. a ficnnan clergyman, died in 1726. He wrote several works on music ; among others one en- titled " I)e Mtisica UtteratU itecvuaiiria." KINDSCHER, L., a singer at the court church at Dessau, published there, in 1792, a collection of twenty-four songs, and at Leipsic, in 1801, a similar collection. KING. A Chinese instniment, consisting of a frame of wood, with pendent stone, graduated through sLxteen notes, and struck with a ham- mer. KING, WILUAM, organist of New College, Oxford, set to music Cowley's " Mi.stress," and I)ubli.shed it with the following title : " I'oems of Mr. Cowley and others, composed into Songs and Ayres. with a Thorough Itasse lor the ITieorbo, Harpsccor, or Base Violl," Oxiord, 1688. KING, ROBERT, bachelor in music of Cam- bridge, in 1696, was one of the band of William and Mary. He composed various airs, printed in the " Tiipla Concordia," and set to music many songs, printed in the " Theatre of Music." KING, CII.VRLES. educated in the choir of St. Paul's, under Dr. Blow, was at first a super- numerary singer in that cathedral for the small stipend of fourteen pounds a year. In the year 1701, he was admitted to the degree of bachelor in music, in the University of O.xford. King com- posed some anthems and services, and thereby gave occasion to Dr. Green to say, and indeed he was very fond of saying it, as he thought it was a very witty sentiment, that " Mr. King was a very serviceable man." As a musician, he wan but little esteemed. KING, M. P. An English composer, chiefly of vocal music, since the year 1790. Among his works are — Operas: "False Alarms," "Invis- ible Girl," "Matrimony," "One o'Clock," " Ti- mour the Tartar," " Eight songs and Cantata," Op. 2. Glees for three voices: "It was the nightingale," " Minstrels three, lady, are we," "O, could I flow like thee," " O, whiter than the swan," " When shall we three meet again ? " " Who rides on that meteor of fire r " Duets : " What virtue prompts," " Vows are but breath," " Do not call it sin," " Say, beauteous ty- rant," " By tlie roses of the spring'," " Eagle Wings," " Hush, softly." He also published "A general Trrati.se on Nlusic, particularly on Har- mony or Thorough Ba.«s, and its Application to Composition, written on a new Plan," &c. ; like- wise, several sonatas, rondos, &c., for the piano- forte. KINOR, or KINNOR. The appellation given to the harp usee carrierith the eighth book. In this is inserted tables of all the possible combi- nations of numbers, as they relate to musical inter- vals ; as also some minute investigations into the various kinds of metre used in poetry, and par- ticularly (rreck and Latin poetry, which are illus- trated by musical characters. In the ninth book there is a chapter " De Si/mpai/iid ct AntipaihiA Sonoriim Untionr," and an experiment here men- tioned is truly curious. Tlie author says, if five glasses of the same magnitude arc filled, one with aqua vit;e, the second with wine, the. third with acjua subtills, the fourth with a thickish fluid, such as sea water or oil, and the fifth or middle one with common water, and a finger wetted, the 484 SIK ENCYCLOPEDIA OF MUSIC. KIP following effects will be produced : the aqua vitic will be much ajjitated, the wine greatly Hhakcn, the aqua subtilLs less shaken, and the sea water or other fluid not moved at all. From this ex- periment we may probably date the invention of musical yUuiscs. lie then produces instiinces of the suqirisinj; effects wrou;;ht by music, t)C(^innin<; with thedisi)osition of Saul, as recorded in sacrctl writ, which he endeavors to account for mechan- ically ; and he concludes by relating the whole process for the rei)uted cure of the bite of a taran- tula. In treatinj; of echoes, he relates an inter- esting story from Cardan, wliich we sliall give in his own words. " A friend of mine, bavina; set out on a journey, liad a river to cross, and not knowing the word, cried O, to which an edio answered, O ; he, imagining it to be a man, called out in Italian, Oitde dero jxuiar t it answered Paasa ; and when he asked. Quit But as the waters formed a deep whirlpool there, and made a great noise, he was terrified, and again asked, Devo pasHcir quit the echo returned, I'asm '/m'. He repeated the same question often, and still had the same answer. Terrified witli the fear of be- ing obliged to swim, in case he attempted to pass, and it beijig a dark and tempestuous night, he concluded that his rcsi)ondent was some evil spir- it, that wanted to entice him into the torrent, lie therefore returned, and on relating his story to Cardan, was convinced by him that it was no demon, but only the sport of nature." The author next proceeds to the description of such instru- ments as produce music by the rotation of a cylinder; and mentions one, in the form of a star, in the church of a monastery of St. Fulda, so con- trived, as, by the motion of a cylinder round its a.\is, to i)roduce music from a number of small bells. He then describes an instrument tore.em- ble, in its sound, a concert of viols. This was. in fact, a harpsichord with a circular belly, under which was a wheel, one sixth part of which rose above the belly ; the strings, which were of the intestines of animals, like those of the harp, were strained into contact with the edge of this wheel, and being rubbed with powdered rosin, produced the tone he sjjcaks of. Kircher mentions, as a contrivance of his own, the .Er(/'Vj;i /iftrp, which he describes at considerable length. But although he might have been ignorant of tlie fact, St. Dunstan is said, by Fuller, to have had one which must have been of a nature very similar to Kir- cher"s. In tliis book it is that he gives an ac- count of the celebrated hydraulic organ of Vitru- vius, which no one lias hitherto been able to comprehend. The tenth book is on the subject of analogical music, as Kircher hits termed it, and the chief intention of it is to demonstrate the har- mony of the four elements and of the planct;\rv system. The author endeavors to prove that the principles of harmony are discoverable in the proportions of our bodies, in the jiassions of the mind, and even in the seven sacraments of the . hurch of Rome. From these he proceeds to -ho consideration of political aiul metaphysical narmony ; and, in conclusion, to that hnrrao'ny, if iny one can understand what lie means by it, which subsists in the several orders ol intellectual beings, and which is consummated in the union tjetween God and the univer-e. In the year 167:<, Kircher published his " Phnuurja Xora," a work in which he explains the nature, properties, knd effects of sound. In this work the author gives a very circum- stantial account of that useful instrument called by us the speaking trumpet, the invention of which he claims an hLs own. Of the jiower of this trumpet, he says, that with one of fifteen palms in length, he and some companions m»do tliciuselves heard from different stations, at the distance of two, tluec, four, and five Italian miles. To speak in general terras of the works of Kir- cher, they are chiefly either on subjects of the most remote antilied "Eight Ballad*," dedirateil tothe Marchioness of Salisbury, Op. 10; and in con- junction with Keeble, " Forty Interludes, to be played between the Verses of the I'snlms." KIRMAYER. WOLFGANG, chamDer n.um- cian to a nobleman at Munich, wa.s known hy his composition of serenatas, notturnos, and other violin music. He died in 17'.>o. KIRMAIR, FRIEDRICH JOSEPH. w,», in lSfl:i, Bppointeo«r le Clav." " I'nr. .lur ' Ein Mad- chem Oder Wcibchen, isc' No. 2," 1797. " Doui Var. pour le Clav. sur ' Chaste Fille de Latone, ^ 486 KLE EXCYCLOPyEDIA OF MUSIC. KLd de Ohick, Xo. 3." " Douze Var. pour le Clav.," Op. 4, 1799. " Gr. Sonaie pour le Clav.," Op. 5, 1800. "Srmate pour le Clav.," Op. 6, 1800. " Sonate jxjttr le Clav.," Op. 7, 1801. "Deux Sonates pour le Clav., avec F.," Op. 8. " Trio pour Clav., V., ou (!lar. et li.," Op. 13. " Sonate A qualre Mains pour le Clav.,^' Op. 12, 1803. " lieklors Abschied, der lland.ic/iufi, die Erwarlumj, alle drey mil lieijteitung der K/avirrs." " Der Kampf, filr Gesany mil Klavierbetjleituni),'' and " Trois gr. Sonatea j)our P. /■'.," Op. 17, Leipsic. KLEIXKNECIIT. JOHAXX WOLFGANG, concert mn.stcr to the Mar<;nive of Anspnch, wsis born at Uliu in 171.3. He commenced his studies of gjTnnnstics in that town, iind there acquired the extensive nttiiinmcnts wliicli ho afterwiu'iLs disphiyed. His latlior instructed him in music, and he made such wonderiul projjres.s, that at ei^ht years old he played the violin before the Duke of Wurtembur;;, and at ditt'ercnt courts, ■where he was generally adi lircd. Encouraged by his first success, he resoli-ed to devote him.self entirely to music. Chniicc favored his desii;n. The Duke of Wurtemburj; named him, in 1773, his chamber musician, and sent him in this capa- city to his chapel at Stutt^ard, where lirecianello, one of the first violinists of his time, was then chapel-master. He was the first model upon which young Kleinknecht attempted to fonn himself. After the death of the duke, he travelled to diHcrent courts, and obtained a situation as vio- linist at the chai)el of Eisenach. Here the con- sort of the Margrave of Hayreuth heard and en- gaged him for a fete, to be given on the birthday of the margrave. 'ITie comforts he obser\'cd at this court, and the favor showed him by the ]>rince, made hiiu forget Eisenach, and ho accepted the situation of concert master at Hayreuth. About this time lie became ac({uainted with liendn, and his style ])lea.sed him .so much that he adopted it. His first enthu.siasm beins evaporated, he remem- bered the Duke of Eisenach, who had treated him 80 kindly, and beu'an to reproach himself with ingratitude for having left his patron with- out permission. With the design of atoning for his fault, he feigned a desire to visit again the dificrent musical academies, and demanded his dismissal. As Hoon a-s he obtained it, he went to Ei.senach to offer his services to his old master, wlio received them with undiminished kindness. He employed the time he remained there (till the death of the duke) in cultivating his talents. Jle was thou made leader ol the excellent orches- tra of the tlieatre of I)resLration of this term he returned to Dresden, and was soon afterwards appointed mas- ter of the electoral chapel, and organist to the elector. The works of Klcmme are thirty-six for the organ, composed after the manner of voluntaries, and published at Dresden in the year 1031. He was likewise the author of a set of s])iritual mad- rigals, in the German language, for four, five, and six voices, and he assisted in the publication of the second part of the Si/mp/ioni/r .^icrkriKf» or AskriKg. The family is ancient, and fan be traced to William the Conqueror. Charles Kuyvett received tlxe vocal department of his musical education under .Sir William Parsons, and studied the orj^an and piano under S. Webbe. lie was appointed organist to the parish church of St. Geor-je, Hanover hkiuare, in 1802. Ho was also a director of the Vocal Concerts in Hanover Square, conjointly with his brother, W. Kuj-vett, and Messrs. Greatorcx and Bartleman. He after- wards cn^afjed as a teacher of thorough bass and the piano-forte, in Loudon, in which capacity he was very cmiuent. KNYYE'rr, WILLL'VM, younger brother of the preceding, was an eminent counter tenor sing- er, equally admired for the sweetness of his voice and the high tinish and delicacy of his style in part singing. This gentleman and his brother are among the very few English singers remark- able for correctness in the musical enunciation of the words of the English language. He first com- menced orchestral singing at the Concert of An- cient Music about the year 179.5, since which jjeriod he has assisted in all the most important concerts and music meetings in London and the provincial towns. As a WTiter of glees, his pro- ductions arc airy and elegant. KOBELIUS, JOHANN AUGUSTIN, a Ger- man chapel-master at a town near IIoUc, was bom in l(i7-t. He wrote several operas for the German theatres between 1716 and 1729. He died at Weissenfels in 1731. KOBRICIIT, JOHAXN AXTOX. Organist at Landsbcrg, in ISavoria, between the years 174S and 17t)7. He published at Nuremberg and Augsburg thirteen works, consisting chieHy of harpsichord and organ music. ITie last of his pub- lications that we have heard of was dated in the year 1788. KOCH, AXTOX ALBRECHT, chapel-master to the Prince of Bernstadt, resided chiefly at Bres- lau, and published many operas and other music. He died at Ocls in 1715. KOCH, HEIXRICH CHRISTOPH, chamber musician to the Prince of Schwartzburg Rudol- stadt, was born, 1710, at Rudolstadt ; and in the year 1772 he was sent by his prince to Weimar, to complete his studies on the violin under the celebrated (ioepfert, then principal chamber mu- sician at that court. Koch published, in 1782, at Rudolstadt, " IVrsuch ciiier Aiileiliintf :ur Miu. CompnsUion" (Krst volume,) which is considered a work of great merit and perspicuity. Tlie second volume appeared in 1787, and the third in 1793. "Journal dt-r Tonhtiist," first and second parts, 1795. " Tram-rkanlali;" 1790. " Hanlale bey der glitcklicheii ZitrHckkUitft der bei/ilen Priiuen," 1790. " Die Stimme der Freiule in lli/i;ceiu llaine," 1790. And lastly, his most celebrated work, " Mu-iikaiUc/ies Lexicon, ireU'he% die theoretische und practische Tonkun.tl, cncijcloptldisch bearbcitrt, aile aiten und ttetien KUiulirOrtcr crki/Irt, und die alien und lu'iwn Iiulrunu-nle be^chriebeii enthalt" Frank- fort, 1802. KOCH. JOHAXX A. C. director of the opera huifit at Potsdam, in 1774. He was a good violin- ist and performer or. the double bjiss. He com- posed some dramatic music, and translated into Genuan the French opera, " Le liiiclteron," music by Philidor. KOEHLER, GOTTLIEB HEIXRICH, a mu- sician at Leipsic, published, since the year 1789, at the above town and at Dresden, various light instrumental pieces for the piano-forte, violini flute, &c. ; also, sereral collections of songs. KOELLXER, BERXHARD ^VILHELM. author of " Specim. Acad, de Principiis llarmonia Muaicee," I/sndini Gothorum, 1777. KOELLXER, W. M. L. A German composer of vocal and instrumental music subsequently to the year 1791. KOEXIG. JOHAXX M., of EUrich, in Prus- sia, publLslied, in 1782, 1783, and 1784, somo vocal and dramatic music. KOEXIGSPERGER, R. S. M.UIIANUS, a Benedictine monk, published at Augsburg, be- tween the years 1740 and 17G0, twenty-two works of vocal and instrumental music. Some of these contain six masses, others six litanies. KOEXIGSLOW, JOHAXX -WTLHELM VOX, organist at Lubec, was bom in Lubec in 1745. He composed and arranged much sacred music. KOERBER, IGXAZ, chamber musician and performer on the horn to the Duke of Saxe-Gotha, was bom at Mentz about the year 1744, and was very celebrated on his instrument. He resided during many years at Paris, where he rivalled the celebrated Punto. In 1785 he established a ir.usic warehouse at Gotha. It is said that late in life he changed his instrument for the bas.soon, on which he attained an equal degree of emi- nence. KOHAITI, GERSHOM, and MERARI. ITiese three families, in the time of David, fur- nished those who took the lead of the clioral services ; and those of Heman, a descendant of Kohath, Asaph of Gershom, and Ethan, some- times called Jeduthun, of Merari, were the chief musicians. Four thousand Levites were divided into twenty- four clas.'ies, who chanted the in- spired songs employed in their magnificent and impressive worship, accompanying their voices with various kiniLs of instruments. Each of these classes was under the superintendence of a lead- er, and performed their duties by turns — each class a week at a time. The whole were under the direction of Heman, Asaph, and Ethan, and probably, on certain occasions, were brought to- gether and united in the performance. 'ITieir knowledge of harmony was very small : perhaps they knew nothing of the science as at present understood. KOLB, JOH.VXX BAPTIST, a musician at Forth, near Xuremberg, was born in 174-1. He was a p>ipil of Haydn ai.d publLshed nt Paris, about 1782, six Woiii quartets. Many of his manu.script publicaucnf are to bo found nt Ham- burg. KOLBERER, C \ JET AX. A BcnetUctine monk 489 KOL excyclop-t;dia of music. K( Z iu Baviiriii, and composer of sacred music in the early part oi the last century. KOLLMAN, AUGUST FRIEDRICH CARL, organist of his majesty's German Chapel, St. James's, was born in the year 1750 at Engelbos- tel, a village near Hanover, where his father was organist and schoolmaster. Though the son was intended for a similar station in lifc, he improved the opportunity of learning Latin with the son of the pastor of his village ; and from the age of fourteen he frequented, during two years, the gj-mnasium at Hanover, in the second chuss. llie succeeding five years he passed partly with his parents and i)artly at Hanover, where he learned music of J. C. Boettncr, an able organist in J. S. Barb's style. In 1779 he was admitted into the academy (impro])erly called seminary) for intend- ed Kclioolmasters to the electorate, now kingdom, of Hanover. Here he learned that methodical and systematical manner of te;iching, which was very advantageous to him, not only in school in- struction, but also in teaching music, and par- ticularly in \mting his musical treatises : he, at the same time, constantly heard or assisted Boett- ner on the organ of the princii)al church, {markt- kirchc, ") also entirely officiated for him during six weeks that he was ill. At the end of 1781 he went to Lune, a Protestant establishment for noble ladies, stiU called a convent, near Lune- burg, whore he had been appointed organist and 6choohna.stcr, and had the encouragement of meeting with much approbation. But his majesty commanding that a person should be sent by the Hanoverian government to fill the jdace of organ- ist and schoolmaster at the Royal Gennan Chapel, St. James's, Kollman was fixed on, and, in con- sequence of his new appointment, went to Lon- don in the autumn of 1782. Here, though the school took him up part of four days every week, it left him sufficient time for attending to musical pursuif.s, as his pubUca- tions will evince. Since the demise of Queen Charlotte, the school has been altogether discon- tinued. With respect to music, though Koll- man, in England, applied himself principally to its theoretical department, he still found some time for practical composition and giving instruc- tions in the science. His works divide them- selves into three cla.sses, namely, first, theoretical works, and other musical writings; secondly, theoretico-practical works, being compositions with theoretical explanations ; and thirdly, prac- tical works only. A distinct analysis of the con- tents of the first class of his works is given ia the " Quarterly Musical RegLster," Xo. 1 and 2. Tlie following is a list of the books : 1. " An Essay on Musical Harmony," folio, liOndon, 17'I6. 2. "A new Theory of Musical Harmo- ny," folio, Loudon, 180f>; and a second im- proved edition of it in 1812. 3. " An Essay on Practical Composition," folio, London. 1799 ; and a second improved edition of it in 1812. 4. *' A. Second Practical Guide to Thorough Bass," folio, London, 1N07. N. B. Tliis supersedes the fii-st guide, and is not a second part of it. .5. "The Quarterly Musical Regi.ster," Nos. 1 and 2, oc- tavo. 1812. 6. "Remarks on what Mr. J. B. Logier calls his new System of Musical Educa- tion," in the Miuicalische Zcitiinqai I.eipsic, 1821 ; and a secjuel to the same, March, 1822. The second class, or theoretico-practical works, are, 1. " Twelve Analyzed Fugues for two Perfon i- ers, with double Countei-points in all Interva Is, and Introductory Explanations," 0|). 10, second edition, London, 182:5. 2. " The Melody of the Hundredth Psalm, with Examples and Directions for a hundred different Hannonies, in four Parts," Op. 9, London, 1809. .'{. " An Introduction to extemporary Modulation," Op. 11, London, 1820 4. " The First Beginning on the I'iano-forte, ac- cording to an improved Method of teaching Be- ginners," Op. 5, London, 179'j. 5. "An Ana- lyzed Symphony for the Piano-forte, Viohn, and Bas.s," Op. 8, London, 1789. 6. "A Rondo on the Chord of the diminished Seventh," one sheet, 1810. Of the third cla.ss, the principal work is, " Concerto for the Piano-forte and an Orchestra, with the Cadences, as jjerformed in public by Master Kollman," Op. 8, 1804. He died in 1829'. KONINCK, SERVAAS DE, a Dutch com- poser, died at Amsterdam about 1720. He pub- lished several collections of songs and some mo- tets. KOXIZEK, a celebrated violinist at Prague, flourished about the year 1722. He was the master of the renowned A. F. Bcnda. KOPPRASCH. A German performer on the bassoon, and composer lor liis instrument, to- wards the latter end of the last century. KOSPOTH, OTTO CARL ERDMANN FREYHERR VOX, chamberlain to the Prussian court, and canon at Magdeburg, was one of the most distinguished musical amateurs of Berlin. He published several vocal works for the church and theatre, also some instrumental music. His comnositions bear date from the year 1787 to 1798. KOSSLOWSKY, J. Chnpel-master to the last King of Poland at Warsaw. He followed his royal master into Prus:«ia, and on his decease, shortly afterwards, wTote the music for his fune- ral. He subsequently was appointed inspector of the Imperial Chapel at St. Petersburg, and in 1804 the funeral music which he wrote for the king was performed by the whole band of the Im- perial Chapel on the death of Giornovichi. Ma- dame Mara taking the principal solo part. Koss- lowsky also published some songs, and collec- tions of Poloiioises. KOTZWARA, FRAXZ. This musician Mas born ui Prag\ie, and went to liOndon about the year 1791, after which he published some songs and instrumental music. KOZELUCH, LEOPOLD, was born in Bo- hemia in 175.3, and resided during the greater part of his life at Vienna. He wrote a great number of concertos, sonatas, and other pieces for the piano-forte ; and his works first became celebrated in England in the year 17S5, by the neat and accurate execution of them by MUe. Paradies, the blind jierfonuor on the harpsichord. They are in general very cxceOent, possessing solidity, good taste, and correct harmony. Those of his' sonatas, with obligate accompaniments for a viohn and violoncello, are eminent for their taste, elegance, and propriety, lor the adagios, and the art with which the passages are varied to suit the characters of the several mstrumeuts. Th« 490 KOZ ENCYCLOPAEDIA OF MUSIC. KRB following list contains Kozcluch'g principal works. | KRAUSS, BENEDICT, a good German com. Vocal : " Mazel," a French comic opera ; " Di- | poser for the church and theatre, was chapel- done Abandowiata," a serious Italian opera ; "Musi in Ei/iUo," an oratorio, 1787; this was performed at Vienna, for the benefit of the widows of musicians, by an orchestra of five hundred performers ; many aricttcs for Italian operas ; many choruses and ariettes for (ierman operas ; many cantatas, among which latter are, " ComplaiiUe sur la Mort de Marit-Thirf.se, ootir le Clavicin," 1781. "Joseph ie Dienfaileur de I' lltimaiiiti, tin Ext rail j)oiir le Clav." "Fine Uirtin, die die Hebe," recitative and air, 1785. " CaiUate pour uii Soprano, en Italien, acec IV. et le Clav., et avec Ace. de deitx Violons, deux HatU- bois, deux Cora, deux Violes et Basse." Besides these, there are several collections of songs, with an accompaniment lor the piano-forte; the last opera of which, entitled " Douze Ariettes Ital., Fran., et AUemandes, tiries de Metastase," was pub- lished in 1799. For the piano-forte: "About fitty Concertos, with Accompaniments ; " Tro's Concertos, d tjualre mains;" "A Concerto for two Piano-fortes;" eight or nine only of these concertos have been printed ; above " Sixty Sonata-*," of which more than forty have been printed, and among them three & r/uatre mains. For other instruments : " Serenades for Wind In- struments and others ; " Trios and (Juatuors for Violin ; " " 'Iliirty Sj-mphonies," some of which have been printed at Vienna ; " Two Concertos for the Clarinet, and sLx Concertos for the Vio- loncello." KOZELUCII, JOILVNN ANTON, chapel- master at the metropolitan church at PraLtuc, was born in Bohemia, in 1738. He is considered as havinix Souo. Quatuors pour deux V., A., et B., dtdiia a M. PUyei," Op. 2, 1801. " Troia Qual. jHiur I'.," 1801. " Deuxiime l'ot}K>urri, ou Air tar. pour J'iohn, avec Ace. de Violon et B." " Sjnate pour le J'. F., avec W Obtig.," 1802. " Methode de Vioion, par Us Citoyens Ballot, Rode, It Kreutzer, Membres au Coiuervaioire de Musigue, redigie par Baillot, adoptic par le conservatoire pour tervir, a r Etitde da»3 cci Etablis.iement," 1803. " Gr. Cone. jMur Violon," 0\i. 12. " Six Airs, Variispour deux \'." " Trois Sonatas JaciJes pour V. acec B. Let. A." " Dix-huit nouv. Caprices ou Etudes du V." KRIEGEll, ADAM, chamber rau.sician to the Elector of .Saxony at Dresden, and a good poet, died in 1G60. lie composed many vocal pieces, Bome of wliich were published after his death. KRIEGER, JOIIAXN PHILIP, the Pon of a merchant at Nurember-;, was born in the year 1649, and very early in life began the practice of music. After being under the care of several masters, he went iiito Holland, and from thence into BajTCuth, where he became first chamber organist to the margrave, and afterwards chapcl- mastcr in that city. In 1672 he travelled into Italy ; ai.d at Rome he considerably improved himself by the instructions of Abbatini, and of Pasquini, the famous performer on the harj^si- chord. On his return homeward, he continued some time at Naples, and took lessons tronc Ro- vetta, the organist of the church of St. Muik, in that city. On his arrival at Vienna, he was im- mediately invited to play before the emperor, who presented him with a purse of ducats, a gold medal and chain. He continued in the service of the emperor for some years, retaining, during all this time, his place of chapel-master at Bay- reuth. Afterwards, being invited to Halle, he went thither, and at length became chapel-ma.ster to the Elector of Saxony at the court of Weissen- fels, which function he exercised for nearly forty years. He died in 1727. 'Die works of Kriegcr are of various kinds. Itey consist of sonatas for the violin and viol da gamba; of field music, or overtures for trumpets, and other military instruments ; of Latin and German psalms set to music ; and songs in the several dramatic entertainments, composed by him, entitled " Flora," " Cecrops," and " Procris." Several lessons for the hari)sichord, by Krieger, are also to be met with in manuscri])t, which ap- pear to be written in a masterly style ; but it is nowhere said that he published any compositions for that instrument. KRIEGER, JOIIANN GOITHILFF, son of the ])reccding, was also chapel master at Weis- Dcnfels, and born there in 1687. He was an excfllcut organist. KRIEGER, JOIIANN, younger brother to J. P. Krieger, was chapel-ma.ster and organist at Zittau. He was born at Nuremberg in l'..5J. He rnmposed some light harpsichord and organ mu- ■ic. He died suddenly in 1735. to the Duke of Saxe-Meiningen, waslwrn in 1750. He published several works for hLs instrument at Offenbach, between the years 1795 and 1798. KROIIN, CASPAR DANIEL, organist of tw. churches at Hamburg, about the year 1790, pub- lished there several easy pieces for the piauo- forte. KROMMER, FRANZ, chamber musician to a nobleman at Vienna, is considered not only an excellent violinist, but a very ingenious composer for his instrument. His works, both printed and manuscript, are numerous, and consist of sj-m- phonies, quintets, quartets, trios, &c. ITiey bear date between the years 1793 and 1805. KRONER, JOIIANN VON, chapel master to the Elector of Bavaria, at Munich, died there about the year 1792. KROUSTA. (Gr.) A general name applied by the ancients to all pulsatile instruments. KRUMBHORN, CASPAR, was a native of Lignitz, in Silesia, and horn in the year 1542. Ir the third year of his age, he lost his sight by the small pox, and became totally blind. He wa.s placed by his brother, who was many years older" than himself, under the care of a famous musician, of the name of Knobeln, by whom he was taught first to play on the flute, then on the violin, and lastly on the harpsichord. On each of these in- struments he became so excellent, that he excited the admiration of all who heard him. His fame procured him, from Augustus, the Elector of .Sax- ony, an invitation to Dresden. This prince was greatly astonished that a young man, dejirived of the faculty of sight, should not only be an excellent perlormer on various instrument.*, but likewise be deeply skilled in the art of practical composition. He endeavored, in vain, to retain Krumbhorn in his service; for, preferring his own country to all others, he returned to Lignitz, and was appointed organist of the church of St. Peter and St. Paul there. This station he occupied for fitty-sLx years, during which time he had fre- quently the direction of the musical college. He died in 1621, and was interred in the church which he so long had served. Although Krurabhoru is said to have been the author of many musical compositions, it does not appear that any of them were ever printed. KRUMMIIORN. (G.) The name of a porta- ble wind instrument formerly much in use, the formation and tone of which resembled that of a small cornet. Some writers suppose it to have been the same with the cromome and not unlike the bassoon. Organ builders corrupt this word into Cremona, and ajjply it to one of their cornet stops, erroneously sujiposing that stop to have originally derived the name from its imitation of the tone of the Cremona Wolin. KRUMPHOLZ, J. B., a celebrated harjjist, also improver of and composer for his instrument, was born in Bohemia, and quitted Germany foi Paris about the year 1775. Though a sound mu- sician, as his works testify, he had the Gcrmar manner of playing the harp. About the yeal 1793, he raarrietl, for his second vile. Mile. Sleek- ier, (^afterwards the celebrated Madame Krump 492 KRU ENCYCLOPEDIA OF MUSIC. KUN holz,) who went to London without her husband in 1795 or 1796. A few years Huhseijueiitly, Krumpholz followed her to Enf^land, endeavor- ing to prevail on her to return with liiiu to I'uris : on her refusing to do so, he quitted England alone, for the latter capital, in an extremely un- happy state of mind, and in a short time ])Ut a period to his existence, by leaping into the River Seine. Krumpholz improved the liarj), with tlie assL-tance of Naderman, senior, by extending it.i compass, and adding a swell i)edal, for wliich he received the apjjrobation of the committee of arts and sciences at I'aris. He pubUshed eighteen operas for the harp ; the first four of whicii con- sist of sonatas, the fifth is a duo, the sixth a con- certo, and, among the rest, the tenth consists of airs with variations, and the rest are sonatas. He also ])ublished harp variations on an andante, by Haydn. KIUIMPIIOLZ, MADAME, wa.s bom at Metz, where her father, a (ierinan, was teacher of music. She was very celebrated in that country as a hiu-p- ist, and her style of playing wa.s totally diHcrent from that of her husband, owing, as is supposed, to her having adopted P. Meyer's principles, which were jniblished a few years before the period of her celebrity. KrCIIARZ, JOHANN. in the year 1800 chef- tfoir/ifsiie at the Italian opera at Prague, and organist there, was a pupil of Sager. He has composed several dramatic pieces for his theatre, also some organ music. Kl'dlLER, JOHANX, a celebrated performer on the bassoon, resident at Bonn, about the year 1780. He published at Purls eighteen quatuors for ditt'erent instruments, two symphonies, a con- certo, and sLx duos for the violin. He also WTOte the music to an operetta called " A:akid." KUCKEX. FRIEDRICH WILHELM, one of the best tferman song composers of this cen- tury, was boni in Loneburg in 1810. He has written many popular songs and duets for the voice, sonata.s, &c , for the piano, and some operas. KUFFNER, JOHAXN JACOB PAUL, organ- ist at Nuremberg, was bom there in 1713. He published some harpsichord music. He died in 1736. KUFFNER, son of the preceding, was a good pianLst. He resided several years at Paris, and was also in England. He publLshcd some music, for his inctrument. KUHL, LORENZ, chapel-master at Ham- burg about the year 1770, composed, among other works, an oratorio entitled " Aa I'aaaionc di Gesu Ckristi)," the words by Metastosio. KUHLAU, FRIEDRICH. a good German composer and flutist, was born in 1786. He un- derstood his instrument well, and evinced much taste in composition, and but for his untimely death would have attained high celebrity. KUHNAU, JOHANN, was the son of a fisher- man of Geysinghen, a town near .\ltenburg, on the borders of Bohemia. In the yeir 1684, he was appointed organist of the church of St. Thomas, at Leipsic. During his residence at this place, he wrote and jjublished n dis.oiiited director of music in the Uni- versity of I,ci])sic. In this station he died, in the year 177:.', in the sixty-third year of his age. Kuhuau left behind )iim two musical manu- scripts in Latin, which have never been pub- lished— "Tracius de Moiioc/iordo, sen Muaica AiUi- giia ac hodierna," and " DUputcUio de Tria1, a cnntnta on- titled •• Pygmalion ; " since which time he hnj published several collections of songs. Kun/. it likewise the inventor of a sort of orunnizer.» raised by his early talents. He pub- lished in 1 ludon a book of lessons, which. Dr. Burney says, required genius to compose and hand to execute. He finally succeeded his father as organist at Lubec. l"he whole of his works, which were numerous, have remained in manuscript, with the exception of the sonatas above men- tioned, and a few pieces published in 1787 by Cramer, in his " Flora." KUXZEX, FRIEDWICH LUDWIG EMIL, chapel-master to the King of Denmark in the year 181.3, was bom at Lubec in 1763. He studied at Kiel, in Holstein, and lived much in his youth with Professor Cramer. He was in early life re- markable for his ability as a pianist, his readiness in reading music, and his brilliant extempora- neous performance. His first composition of importance was an opera, produced at Copen- hagen in 1790, and entitled " Holi/er Danske." After wliich he composed many other operas in the Danish language, also several oratorios, with other sacred music, besides many instrumental pieces. His works are very highly considered in the north of Germany. KURTZWEIL. An instrumental composer, who probably resided at Vienna. He died before the year 1806. KURZ. (G.) Short. KURZIXGER, IGX. FRAXZ XAV., a court musician at Mergentlieim, in Franconia, published at Augsburg, about the year 1758, a work enti- tled " David et Apollo, Ute profanus Paniassi, « saeer cccH utprque rex etjubilaris archiphonascus chori, sice 8 symphonia solemniores sed breves o 6, tarn pro ccclesiA quam auld composite," Op. 1 ; also, " Ge- traiier uiUerricht zum Sinrjen mit maniercn, u/id die Violin zu spielen," Augsburg, 1763. KURZIXGER, PAUL, son of the preceding, was, in 1807, resident as a musician at Vienna. He has written several short dramatic pieces, and has also published several collections of songs, and some light music for the piano-forte. Kur- zinger was born at Wurtzburg in 1760. KUSSIR. An instrument in use among the Arabians, resembling the ancient lyre. KUTTXOHOHSKY, JOHAXX XEPOMUK, chapcl-ma.ster and singer at Prague, died in 1781. Among his works arc two masses and eight sjtu- phonies. KUZZI, AXTOX JOSEPH, a musician, resi- dent at St. Petersburg in 1796, was a pupil of Dittersdorf. He has pubhshed sjnnphonies and concertos for ahnost all instruments, likewise sev- eral operas, among which we can name " BelmonI und Komtanze," and many German and Italian .songs. KYRIE. The vocative of a Greek word sig- nifying Lord. Ma.sses and services frequently begin with this word. It is sometimes used aa the designation of a sacred composition ; as when we call a mass, or service, opening with it, a fim Kyrie. 4M ENCYCLOPEDIA OF MUSIC. LAB L. L. Left hand. Notes to be struck by the left nand, or foot, are sometimes written with an L. over them. LA. ITie monosyllable by which Guido de- nominated tlie last sound of each of his hexa- chords. In the natural hexachord, it answers to the note A, and is applied to that note in sol- faing. LABADENS, a French muKsician, published in 1797, " Nouvclle MitJiade pour apprendre h jotter du Violon et a. lire la Musiqiie." LABARRE, MICHEL DE, a celebrated flu- tist, died at Paris in 1744. He composed two operas, " Le Triomphe des Arts," and " La Vini- tiemie." LABARRE, LOUIS JULIAN CASTELS DE. Born at Paris in 1771, of a noble family of Picar- dy. Viotti was his master for the violin. In 1791 he went to Naples, where he studied com- position under Sala, at the Conservatory of La Piet,'i. In 1793, he returned to France, and per- fected himself in the science of music, under Me- hul. Alter having remained during two years as first violin at the Theatre Fran(;aLs, he entered the orchestra of the Grand Opera. He has pub- lished several works for his instrument, and some romances ; has also composed the music of a petit opera, entitled " Les Epotix de seize Afis." LABARRE, TRILLE, a guitarist at Paris, towards the close of the last century, published several practical works, and a method for his in- strument. L'ABBE, FILS, a French violinist, published, in 1772, " Principes de Violon." He is also known by eight other works for his instrument. LABLVL. (From /rtJiHm, the ;i>,L.) Uttered chiefly by the aid of the lips. The letters B, P, M, are called hiliiaU, because they can only be pronounced by closing the hps ; and, when these occur at the beginning of a word, no sound can, of course, be emitted tUl the Ups are again opened, which must, therefore, be done as quickly as pos- sible. LABIUM. (L.) The lip of an organ pipe. LABLACHE, LUIGI. Luigi Lablache, the famous singer, who may safely be called, from the universal admiration which he excites, the first bass singer of our times, was born at Naples, on the 6th December, 1791. lie is the son of the merchant Nicola Lablache, from Marseilles, who left his native country in 1791, and opened a mercantile estalilishment in Naples. He married there an Irish lady, by the name of Franziska Bictak, by whom he had the son who is the subject of this memoir. The father fell, in 1799, a victim of the revolution in Naples. Joseph Na- poleon took an interest in this early orphaned coimtr\-man of his, and procured him a place as Jjupil in the Conservatorio delta pieta de' Tiirchini, in Naples, since he showed much talent and inclination for music. Here Lablache, then twelve years old, studied vocal and instrumental music. At first, he was rather negligent and idle ; and only on being threatened with dismis- sion, he took up his studies more seriously. His musical talent was extraordinary and hii;hly di- versified. Thus he offered once, when a fellow- pupil, who was to play the double bass, suddenly fell sick, to take his part, although he had never once touched the instrument. After practising for three days, he played the part vnth. complete success. Although he was yet very young, he wished to devote himself in particular to the stage, and not solely to music, especially not to instrumental music. Five times he secretly es- caped from the Conservatory, trying to find an engagement in one of the theatres of the capital. His repeated attempts caused a royal law to be is- sued, that any theatre director in the whole king- dom, who shoiild engage, without the express per- mission of the government, a pupil of the Conserva- tory, should pay a fine of 2000 ducats, and besides close his theatre for a fortnight. This prevented all further attempts of Lablache, and he quietly finished his course of instruction. On leaving the Conservatory, he was immediately engaged as "Buffo Napolitano" (comic) for the theatre San Carlinn. He was only eighteen years old : yet five months after, he married the daughter of the cel- brated actor Pinotti. She procured him the en- gagement of Buffo Napolitano at Messina, and soon after as bass singer at the theatre of Palermo, where he made his dibut in Pavesi's " Marc Anto- nio." After a stay of five j'ears he went to MUan on an engagement at the Scala, where he first ap- peared as Dandini in Rossini's " Cenerentola," and where Mercadante wrote his opera " Elisa c Clau- dia " for him. His success was extraordinary ; his voice, his style of performance, his action, in short his whole ensemble, was generally and highly admired. Thus he lived very happily for seven seasons in !Milan, and might be there stUI, if the desire of a more general reputation had not led him to travel throxigh nearly all Europe. He went first to Turin, and sang in the difficult part of Uberto in Paer's "A'/uese " with great applause, and from there he went in a short time, as in a triumphal tour, over all the theatres from Naples to Venice. In 1824 he appeared in Vienna, and eiuraptured the audiences in four successive even- ii.gs in the different parts of Figaro, Assur, Gero- nimo and Uberto so much, that a medal ws* coined for him, which bore the inscription by th« Marchese of Gargallo : " Actione Roscio, I ope can- tu compnrandu'!, utraqvc laurii conserta ambobvs ma- jor." Even Madame Fodor and Rubini, these fa- vorites of the Vienna public, had to stand back. After the congress of Laybach, Lablache had an audience at Vienna with Ferdinand I., King of Naples. He was received by this monai'ch in th« 495 LAB EXCYCLOP.IiDIA OF MUSIC. LAC most flfittering mnnner, norainateil singer of the KovaI Chapel, and dismissed with the ])roraiKe of a pension for life for his father-in-law. After an ab- sence of ten years, he returned to Naplc-s, but now not to the little theatre of San Cnrlino, but to the vast one of San Carlo. He made his dibiit there in the part of As:-ur, in Rossini's " S<))iiraini(lf." From tliere he went to I'arma, where he san;^ on the occasion of th" opening of the theatre in Itcllini's "Zaira;" from 1830 to 1832, he sang in Paris and London. His formerly high, noble, truly beautiful, and therefore, Irora its first appearance, impo-ing figure, has in later years lost much by a rajjidly acquired and increasing stoutness ; but his voice and wonderful art are unimpaired ; and if, on his first entrance, the audience can hardly help laughing at his extraordinary, stout figure on the stage, this lasts only until his charming voice is heard, and until he enters into action, when their feelings immediately are changed to high rapture, which regularly breaks out in en- thusiastic applause. He is as excellent an actor as he is a beautiful singer, and as wonderful in comic as in serious parts. His voice, among the most sonorous ever heard on the stage, is pure, full, powerful, and flexible ; his style of perform- ance truly artistic, and what we prize not less highly, his behavior always that of a refined gen- tleman. Not only his qualities as an artist are excellent, but also his private virtues. He is mod- est, frank, generous, benevolent, an amiable hus- band and father, and thus a celebrated artist on the stage, and a pleasant, virtuous man in society. LABORDE, JEAN BENJAMIN, born at Paris in 1734, was of an opulent family, and received a distinguished education, both in the classical sciences and arts. He received lessons on the violin from the celebrated Dauvergne, and in com- position from Rameau. Ilestined by his finends for the department of public finance, he soon got access to the court, where, from first valet de chambre to Louis XV., he became in a short time the confidant and favorite of that prince, whose liberality placed at his disjiosal large sums of money, which he soon dissipated. Still he did not neglect music, and m the year 1758 produced the comic ojera " Gilks Gar<;on Pcintre," which •was well received, and which he followed up by several successful dramatic works. At the death of Louis XV., in 1774, Laborde quitted the court, married, and commenced leading a more steady life. He reentered the company oi fcrmicrs-ye- niraux to which he had belonged several years preceding, and devoted himself to various stud- ies. In 1780 he published his " Easai sur la Mu- lique Ancienne et Modenie," 4 volumes in 4to., with plates — a book, which, in a literary point of view, did him little credit, as it wa.s got up in haste, and abounds in errors and contradictions. He afterwards published otlier works of no greater merit. At length the French revolution brought with it ruin to Laborde, who, as a fvrmier-gin^.rat, ■was particularly obnoxious to the revolutionists. Ho was soon imprisoned, and, in 1794, suffered death bv the guillotine. As a vocal composer, La- borde was celebrated by several peculiiurly pleasing romances, among others, " Voui-tu ecs cdteaux si noircirf" "V amour me fait, belle brunette," and •* Jupiter unjour enfurcur." LA CHASSE. ^F.) An expression applied to a composition written in the hunting style. LACHNER, FRANZ, Maitrc de Chapelle of the King of Bavaria, was t)orn in 1804, at Krain, a little towii of that kingdom, where his father was organist. From his earliest infancy he was instructed in music, and so rapid was his progress that it was soon necessary to think of giving him more skilful teachers. He was sent first to Nu- remberg, and then to Munich, where Winter be- came his master in composition. Winter dying before Lachner had completed his gtudir*., he was placed under the direction of Eisenhofer, with whom he completed his musical education. Al- ready his learning was extensive in the theory and practice of his art ; nevertheless, believing that much yet remained for him to learn, he went to Vienna, where he hoped to find favorable op- portunities for the de%'elopment of his talent : he was not deceived in his expectations, for he soon formed friendship with the most distinguished artists of the Austrian capital, and especially with the Abbe Stadler, whose counsels were of much service to him. At this time he read with a\-idity all the best works extant on the theory, practice, and aesthetics of his art; his taste and' judgment were formed from the best models ; and, finally, to the talent of a skilful executant on tlie organ, piano, and violin, he added the merits of a great erudition. Xt a trial for the place of organist of the evangelical church of Vier.na, he bore away the palm among thirty competitors ; but he did not long retain the position, abandoning it in the following year for that of director of music at the theatre of the Porte de Carinthie. In 1834 he resigned the latter post for that of Maitre de Chapelle of the ducal cc irt at Manheim. He received the most brilliant reception in this city, where he celebrated his arrival by the execution of his tliird grand symphony. In 1835, a prize being offered at Vienna for the best symphony, Lachner composed one with the title " >s»;j/b«io Passiouata, and handed it in to the jury who were to decide on the merits of the competitors. The first prize was awarded to him ; M. Strauss, Maitre de Chapelle at Carlsruhe, obtained the second. Lachner had no sooner completed his symphony than he received his appointment as Maitre de Chapelle to the King of Bavaria, and he departed to Munich, lea\-ing to his brother his place of director of music at the court of Manheim. Previous to Lachner's establishment at Munich, the larger part of his great compositions had only been heard in Vienna, where they enjoyed the highest consideration. Among his principal works are, 1. "The Four Ages of 5lan," oratorio. 2. "Motse," idem. 3. " First Symphony for Grand Orchestra, in wii bemol." 4. " Second do. in /o." 5. "Third do." 6. " Fourth do.," (*«'m/on/a i^oj- sionala,) which recei\ed the prize at Vienna. Among his lesser works are, 1. " SonaU pour piano et viohiicelle," Op. 14, Vienne, Mechette. 2. " Grande Sonate, pour piano a 4 »nii;i.j," Op. 2C, Vienne, Leidesdorf. 3. " Premier nocturne d 4 maint sur des thimea fran^aii," Op. 12, Vienne, Peunauer. 4. " DcuxUme idem sur des thimei d" Oberon," Op. 2.2. 5. " I)e3 caprices et des marches A quatre mains," ibid. 6. " Deux grander Senates detachies pour piano seui," Op. 25 et 27, Vienne, Pennauer et Machetti. 7. " Hondcaux brillanspour le piano " Op. 8 et 17, ibid. 8. "Introduction et variations brillantes sur un thtme original," Op. 16| ibid. 9. Des rcceuib de chansons aUemandes, 496 LAC ENCYCLCr-EDIA OF MUSIC. 1.AC I.ACHNITH WTON. Thin industrious com- ' was the celebrated Kreutzer, for many years lead- poser, horn in 17;)i!, was a native of Prague, and er of tlie Grand Opera in tliat city. About th» probably chRn;^cd his iirst residence, which was ' in Zweyt)ruck, about the year 1780. for I'aris, where, i" 181-2, he enjoyed, and justly, a very nigh reputUion as an artist. In his youth he was an extraordinary performer on the clarinet. He wa.s also considered a good player on the violin and piano-forte. In I'aris he seems to have de- voted himself entirely to the latter instrument ; and has published in that city, in conjunction with Adam, a didactic work on the piano-forte, which the Conservatory has given the preference to, and ordereour le Forte-piano, suitie (Cane \ the far-famed ^'iotti. 'l"hey proccciled on their collection compUtle tie tota lea trails possibles, avec le jouniey by way of Holland, at the principal doir/ti en commenQant par Us plus aisis, jusqu'aux cities of which country Ijicy had numerous in plus dijfrriles, terininie par un dictionnairc de pas- sages aus.ii doiijtis et tiris (Us nuteurs Us plus cilibres, par L. Aitamel Lac/inith," I'aiin, 1798. His prac- tical works had, towards that year, already reachetl their tiftecnth number, of which we can only mention here, " .SV j; i'iolin Quartets," Op. 7 ; •'&' Cone, pour h P. F.," Ops. 9 and 10 ; "6 Gr. Symph.," Opa. U and 12; "12 Trios Cone, oour P. F. et I'.," Ops, U and 1.5. There is, nowever, a ranch greater number of sjinphonics, overtures, and operas, originally composed by others, which have been arranged for the piano- forte and published by Lachnith. LACHRIMjE. (From the Latin.) The name formerly given in England to the dolorous strains of the Calviuists. LACIIUIMOSO. (I.) Tearful. A word im- ph-ing that the movement to which it is prefixed is to be performed in a mournful, pathetic style. LACY, ROPIIIXO. This eminent violinist troductions to the higher cla.sscs, and was for- tunate enough to obtain some rei)utj.'.i;T. He performed, likewise, at the then court of Scfiim- nulpcnninck, at the Hague, with great success. Having obtained passports at that ditticult peri- od, he was carried to England, and arrived in Lon- don at the end of October, 180.5, being then ten years and three months old. There he woi introduced into the first circles, his reception in which was greatly improved by the fortunate facility with which he spoke the French, Italian, Spanish, and English languages. For more than a year and a half after going to England, hLs name was not publicly known, his general appel- lation being that of the younf/ Sjmniard. At the musical parties of the Duke of Su«sex at Kensington, and of the .Vustrian ambassador Count .Starhreml)erg, Lacy's performances were honored by the approbation of George IV., then Prince of Wales, and other members of the royal family, and his first concert at the Hanover Square rooms was under the patronage of their was by birth a Sjmniard ; but his parents, though royal highnesses the Prince of Wales, the Duch many years established in Spain, were British. His father was in the commercial line, and had, at one period, acquired a very considerable fortune. Kophino, his youngest son, among other branches of education, being in.structed in music from the early age of five years, was fortunate enough to make so rapid an advancement, that, when only six years old, on the arrival of a celebrated violin- ist from Madrid, named Andreossi, the child per- formed (as a young amateur) for the first time in public, at his concert, one of Giomovichi's con- rertos, and was flattered with a general encore. In order to be seen by the audience, he was obliged, during his performance, to stand upon a table. He was at this time considered as a little prodiytj in music, and shortly afterwards his father, being called by business to Madrid, took Uophino with him. During a short residence in that city, he performed at court with many en- comiums, and received the most flattering notice from the principal grandees. About the begin- ning of the year 1802, he was sent to college ot Bourdeaux, in France, where he remained eighteen months, and then went to Paris to com- plete his education at one of the principal sem- inaries in that city, where he made a very cret married Francesco Bianehi, the composer, who lived but a short time after- wards. She accompanied her second husband to Calcutta. Mrs. 13. Lacy was celebrated for her pure and chaste style of singing, fine in- tonation, and, above all, her beautiful articula- ti-m. LADORNER, S., a musician in Paris, living IT 1812, seems, with the exce;'tion of the initial c- his Christian name, to be identical with the following. Gerber finds, however, the name fipelt as above in the .loiirn. de In Littir. dc Fr. An. 6, p. 127, and be/ore the following work, rom])Oscd by him, " VVom (iratuUs Sonatcs, arvc la Charge dc CavaU-rie, pour Clac," Op. 4, Paris, 1798. LADURNER, N., a Parisian composer, has written for the theatres there, •• l^s vieiur Foiuc," tnd " Sctizel, oil le Slngislrnt du PrupU" 1794. lie has also publisheg Lahoussaye attended to their performance. Fer- rari then gave the boy a violin, when he not only preluded in a brilliant style, but repeated from memory several j)assa{;es in a sonata of Tartini, that Pagin had just before played, which plea'^ed the latter so much, that he took the boy for his pupil ; he also immediately procured him the place of chamber musician to the prince Count of Clermont. The good fortune which Lahous- Bayc was now enjoying, did not, however, prevent his contmuing to cherish a strong desire to see Tartini. He therefore attached himself to tlie suite of the Prince of Monaco, and went with liira to Italy, proceeding immediately to Padua, to pay his respects to his favorite master. Ho found him in the church, just about to commence a concerto ; and it would be impossible to express the surprise and admiration of the young Frenchman, at the purity, accuracy, quality of tone, and expre ision of the great Tartini. He felt so humbled as scarcely to wish to ha:^ard an introduction. He did so, however, when Tartini received him with kindness, and observing in his performance the manner of his own school, took him as a reg- ular pupil. Lahoiissaye was however, to his great regret, soon recalled from Padua, by the Prince of Monaco, with whom he next went to Parma, where he much delighted the court. In *his town he received instructions in composition from the celebrated Traetta, and corajwsed many tJT» for ballets, which had the greatest success at Parma and Venice. After this he found means to return to Tartini at Padua, and continued for a long time under his tuition, remaining in Italy altogether during fifteen years. He then, in 17G9, went with P. Guglielmi to I^ondon, where he re- mained three years, and from thence returned to Paris. He wius now nominated to tlie situation of chff-trino as tiff d orche»tre of the theatre of Monsieur, and afterwards of the Feydeau. At the first establidi- mcnt of the Paris Conservatory he was appointed professor of the first class. Lahoussave died at Vuris. LAIOI.LE, FRAXC DE. We meet with some of this composer's melodies in a collection of songi of various languages, printed in the N'etherlauda between the years 1530 and 1510. LA IRE, M. DE, or DELAIRE, a French art- ist, wrote " Trniti d' Arcoiiipttf/iwuu'iit," Paris, 1700. He was the first, after llousseau in his dictionary, who made the French acquainted with the ri//U de I'octave, or the harmony upon the ascending and descending scale. LAIS, or LAY.S, FRANCOIS. First tenor of the Grand Opera in Paris in 1708. He attracted the universal applause of French amateurs by his clear and agreeable voice and tasteful delivery. Chapel-master Reichardt says, that in expression he excelled even the celebrated David. Lais was born in 1758, and was equally celebrated as a church and theatrical singer. LAL.VNDE, MICHAEL RICHARD DE,bom at Paris in the year 1()57, was the fifteenth child of liis parents, and discovering in his infancy a strong propensity to music, he was entered as a chorister of the ch\irch of St. Germain I'Auxer- rois, and was there distinguished for the fineness of his voice. At the age of about sixteen his voice left him, but before that time, by diligent ai)plica- tion, and frequently spending whole nights in practice, ho had attained to great perfection on various instruments ; on the violin in particular he played with great facility and judgment. He enjoyed in succession the two offices of music master of the king's chamber, and that of super- intendent of music in the Royal Chapel. His motets, which were always performed before Louis XIV. and Louis XV. with great applause, h,ivc been collected and published in two vol- umes in folio. The " Vnntate," the " Dixit," and the " Miserere " are principally admired. He died at Versailles in 1726. LALOUETTE, JEAN FRANCOIS, a pupU of Lvilly, successively conducted the music in the churches of St. (Jennain I'Auxerrois and Notre Dame. He composed many motets for a full choir, which arc much admired ; but none of hi.s compositions have been published, except some motct.s for the principal anniversan,- festivals for one, two, and three voices, with a thorough ba.SA. He died at Paris in 1728, at the age of seventy- ftve. L AM ARRE, N. DE. a French violoncellist, wax a pupil of Henri Levas.seur ; ho also took soine lessons of the celebrated Duport. Lamarre waa much admired in Paris about the year 1800. L'A.ME. (F. ) Tlie sound post of a violin, tenor, &c. L.V M.VUPIN. I-a Maupin, the successor of La Rochois, may be noticed on account of her wild and lawless character, and the strangeness of her adventures. She was born in l'>73, and married at a very early age, but soon ran away with a fencing master, from wliora she learned the I u.se of the small sword. After remaining for soma time at Marseilles, where she narrowly escaped the punishment of being b\irned alive for setting fire to a convent, she went to Paris, appeareil on the opera stage at the age of two an-Sorte^ -viofin, and rinlnnfribs and a ao^tta ftrtfepaano-fiirte; dke latter, in compliance with iBe wishes ok bis useBd^ be puiiDSned. Ijiuuig bis nrtdifw nndw Dr. Ckoteii, be composed tciual fiignes, otettmiea, te. In 1818 be bad die mis- to lose bis &tber, whes, his triatiims J him to reaade with tbfn, be applied Sae the ergaaafs aitnataon at Bereder. and obtained it. He has atimpoatd and pmblidied •• A Dae* for few PCtCaraMsa npon die Rano-ferte," abo " Three lUos for die Kano-forte;, \lalin, and TiobmceOo,*' - A Septet fior tike Fiaao-fiarte, Violia. Viola, Tio. kmerikt, two Horns and Doable Baak' LAMBERT, MICHAEL, was bom in die year 1610 at ViTosne. a email riHa^ of Poitoo. He is eappuaed to be the first who gare his eountxr- m^ a jast notion of the graces of Tocal maae;. itis composttiom^ bovercr, are aot vei^ namer- oas, 'Mmii^imm only of some little motets mtuie for letmm dc a^a^Arn. and a eoDeetiaa. watainiag tarioaa ana .of oae, two. three, and f>ar parts, with a Ibiaiia^b bass. He died at FUm in 1690. T-*^***^*^', 1l a eoa^ioser in Pans, from whose works Plrrel has pabGdied, in 1799, a - BmJtmm. SUHit Plmatmde." It is for the roace mai paaao-Sorte. HisOp. 3. dedkatedtoMadame de 'jcnliB, speared in 1803. LAMBEBT. JOHAXX HEXRT. AFiencbar- *»^«t«— Hia treatise, which he read befiore the Academy af Bcrfin in 1774, entitled " ffniarfti Mr if Temfirmmt^ m Mmifme," waa iaafitrd in the Meaaotcs of the Academy of Betlin of dki same year. The fidlowing exodknt treatiam oa aeoasties of this niathematidan deserre also to be named here : •* Otaerrmtimt nw fet Tfaa* dka Artes." It is a rery interesting safaject, and weO treated in the Mimotra dr F Atmiifmit ie Ber- lim, 177*. " Sta- le Sam de$ Corf* EimtUfmt," ia the Sj€, Act. HeUel. torn. L p. 4i. - SmrU Vi- «Bsar du So*," in the Mimoirtt de F Inadfiii dt BerU*, I76S: and <^ fwrijaia JajQaanai Aeom»- tifmt," in the Mimoirtt de tAeadimtie de BeriU, 17t3. LAMBERTDO, GIOVAN'XI TOMASO. a compcHer. who flonzished in Venice about the middle of the sixteenth century. He printed there, in 1-569, the seven penitential psabns. fbi four Toiees. In the elector's library, at Monirh. are also to be found " ilMdriyaii m 4 rocs,** by him, Venice, 1-560. LAMBO, C organist of St. Nicholas Church, Hamborgh. published, in I754'17o-5, a collection of odes, set to music, which are mach adicired. LAMENT ABILE. LAMENTOSO, LAMEN- TANTX). (L) PlaiatiTely. LAMETATIONE. (L) A tenn denoting diat the moTcment before which it is placed i to be snng. or plared, in a doleful, mdaneholT ftvle. LAMENTATIONS. The funeral mosic of the ancient Jews was called by this name. At the death of any one, it was not only usual to em- ploy tifaicines, or flute players, to petfonn orer the body of the deceased, bo: to hire at least one Toeal fomale mourner; or lamentatzix. From the nbfai Majmnaides, we leazn that the husband was ob^ed to provide moainer5*to we^ over the eorpiseof his dewased wife, and at her funeral; or; at kaat. that this was the establisbed enstom of die eoontry. The pootest perscms amoaig the Tsiaflitrs be tdls as, engaged two flutes and one female moamer ; and if the husband were neb, die "f "■ aad pomp of the ceremony were pro- pertkmed to bis wealth and dignity. LAMENTATRICESw The name given by the anfient Hdvews to certain female ro^ perform- ers, who were hired to chant over the dead, and to sng dirges at funerals ; to kn« bea dw fm «h0 fDed tihe • LAMPADirS. * fatbirofdte gnvB tD I ttyit* viiA uke Tol sad oBBdsge di htf pnMBS- ■r*. is fMMtwl m the Eae of FnaeeTe eoOee- ■eiMnts of ber beuttr. A» wkt was • S**" tisvdkr. her KKMt hrt Hint iwj cxtSiBv^ Her fint frjMAthem, the piece of her birth, wm Sjgjpt, whiiliw die wm dnwa bjr the fii^w of die ftnte plercB of Aat eowttiT-. Her pecsoM MM* f^rtimmtmrnt^ w— » »«* lllMg — i^ijMl at the comt of AlfTCTuu*; howevo^iB the fwllin. be- \ .« . ^ -!*• ^r -« tw«a Ptolemy SotereadPeMetiiMfcrthebfaMd «■«»«»««•««»• of Crproa. ■bovttfaiee biiinlied md ladiejuu h^&MM tjigja^^ PtiilfiHj bcngQefiBeten lo o ^agOMBi^ his Biicfl^ oooMttm^ s Cjors feD into die haads of DfUii PfaOHfcfa, ill his fifie of Anspnaeew "thetelehrrted I— iawas— iwgthr trres *»^^ in this Tietoty. She hod Tersally edmiied et fiat oa miiwI of her tol- \Jtjmiwtifi entSk ior dw wos • iwderiol |mi«ii- oo &e flote: bat efleiwMds her fat— e beesae i»ote ■iJfMBii by AerheiMnof her peew, which pw>- coed her many admiien of gieet taok." The prioee vhose esptire die beeaae; aad who^ thoog^ * iiioiiwfel auiMK, vassnd to hax« ■y bents as dties. uieiied so I tma," Beo^ li39. Walihcr ivLaaua.that,frimaaoTangB | of Am umiie. Ikiaa. UK. is rtiD ia the SSectonl LOnry «t Maaich. LAMPASELLL Aa deat at Pfens ia 1S13. The I dtWi rii.awr A pamr k Pimm fmtB.' Puis. I79iL ( ~ to whiick beh»s afao an Ae I hoe: -Lg JUUt tm^ittt fj FM^inO: amk'LeOimJtki IvH^ 1799. aad a eoaqaooi^he iBto a dove; daia^t h deciiae. aad iMHetziBSto die I tii time, wi - ^r ia tli^sliiM. be wfciiwl each estraor- •<-'fiu mpom the llhiaiaai. that Aer { ■.'yt jaflarwrr whidi ^e had exs- ^ r. ther dfdiraMd a teHpla to :jeofTea« " I '-•i ccidxated iai mreof Tfaiae& Hie ' is said, aot ody ia- awasOofot ^bo — ? — .:_ :he haipu LA30IERHIRT. G, land, ia 1797. K!to«aid I b^nd aboatthe ...... ^ Eraach. fro^ whcace he gavv :iQo«ias riaa|ia!irinas; -Gr. :-\ mme r^'Op. h Ofcahath. f»>>» "a— <._^M>h« a f—ar»— I'at/iww - :;»8. : . FRAXCOIS;. fzst noEa at dhe ^p«l at Waaa, was boea ihtu ia ^ hna aaa- LAMPE. JOEDf FREDEKIC. ww; a* he al- to d?ie hiMselCaaMe time a atadeac af 17:^ < ia«fae< he was cag^eei br Bich. of Oowcat Gaidea The- MtieaHaskL ia 1ZS7. votaMC-A aliM mmk . thrHaiirallfiari \t tbe age of twelve, hefdayed hay, ia dx i olata. paMfefced by Wa beiove the died ia Tnadna. ia dw resr 17«r. '~ LAMPUGXANI. GIOV. BATTISTA. «f Hi- Ua. w«^ ia 17m aad 1744. ia sa^«o< hi» operas ware pccftnaed aotwiiueaiaapaadttTl^caaasMadoB^aM**" T'^lr ■Bili-r» ■iliiiiini" sail iiwii Hw pages of ma- b 1<7S. he pal wHxk* wen - A^mm,' 17*4. 174S. beades aoa ~ ~ ~ 4o ;r^Tv*- l)r.Bi "that he wc ia Earope." sie wixkoat weak to Lk: iefat.adce' 3f LoidG*: Holk^wL Hii pablishe- . ^- -le^ - Ttm» Cmanitm riatmT'Ptni, i::0: "SUSoim^im-k f, IjamStm I mmd- Ain tmriiapam-k rithm," Lamooe was a iisisililih dgbt player, wUch i at naakfoet c« dK Janowi^ was owe dedia«s to pat to the toM. > - .. ne -aea ted to LANCE. LE CHEVALIER DB LA. :.ia 17&l.aeedo^thaRT. ia 1S«2, at Vcrdaa. He ww. pmisaa yaar 17»a. aa odker ia tihr tmrU ItaMh , r bat, dariag the lalisa. ^a'imid both t^o ~ laddid far saaai Ve WW bri Ml KAN EXCYCLOP^DIA OF MUSIC. LA> to SUasin, where Iw lived on the estate of a no- oliMunii, to whom he gave instruction on the piiino-tortc. lie publisheir the following corapo- (iitious: " Uomaiici'3 et aiitrea ('/laiitcs de Zilla," I'liriii. " Trois Sim ilea pour le Clavicin, avcc I'io- loH," Op. 2, Paris. '• Six Airs i-ariis pour le Cla- cc^iii," Op. 3, Paris. Op. 4 is not known. " So- vate briUatUe pour le Ctaricin," Op. .5, Paris. " Troia Soiiates pour le Clacecin et Violon," Op. 6, Piiris. Op. 7 is not known. " Troit Sonnies jmur le Clavicin, avcc Violon et Ihiss," Op. 8, OHcnhach, 1793. " Grand Co)'certo jx),ir le Cltnictn," Op. 9, Frankfort, 1794. " Trois Trios pour le Clavicin, Vmhn, ct liass," Op. 10, Offenbach, 179-5. " / lainte de Vdnus sur la Mort d' Adonis, Cantate, ni re Accompagnemmt de Pianoforte, deux Violoiis, A., ct liass," Mentz, 1795. " Hecueil dcs AUeman- dcs, Atigloises, Ixc, pour le Clavicin," Vienna, 1798. " 7V J»ie, avcc douze Variationa pour le Clavicin," 1801 "Air liusxe, avcc sept Vuriations jK>ur le i'lavt nn." " Quartet pour le Clavecin, avcc deux yiol«. tille di Music-a, che mostrano a Icjgcre il canto fernu. c figurnto, gli accidenli delle note misurate, le propor- tioni, i tuoni, il contrapunlo e la divi-sioiie del monochordo, con la accordatura da varii i?istruntenii, delta quale nasce un modo, ande ciascun per se stcssc imparare potra le voci di la, sol, fa, mi, re, ut," Brescia, 1533. This work is so rare, that neither Hawkins nor Burney, indeed not even Padre ^Lirtini, appear to have seen a copy of it. It is only now to be found in Germany, in the ducal library at (jotha, where Dr. Forkel saw it, and has consequently been enabled to give us not only the complete title of the work, but also much other interesting information respecting its author. LAXG, E. G. B., a harpist and painter at Xu- remberg, died there in 1780, aged thii-ty-sLx. He compo.sed much music for his instrument. LAXGDOX, RICHARD. An English com- poser, in the middle of the last century. Among his works are " Songs, two Books ; " " Canzonets," Op. 7 ; " DiWne Harmony, Book I." This con- tains about sixty psalms in score, with a part for the bassoon or violoncello. The second book of the same collection contains " Anthems, &c.," and "Twelve Glees." LAXGE, or LAXGIUS, IHEROXIMUS GEOKGIUS, was born in Havelburg, in the duchy of Brandenburg, and published " Cantiones Sacra; 4, 5, 6, et 8 \'oc.. Pars I.," Xuremberg, 1580, and a second volume of the same, Xxxrem- berg, 1584. Both volumes are inscribed to the council of Bretdau, on which occasion the author mentions that an unforeseen misfortune had com- pelled him to resign his emplo\-meuts. The mis- fortune he here alludes tc wa-s a paralj-tic affec- tion of the hands and feet, wliich put an end to his life in 1587. LAXGE, JOHAXX, flourished as a composer, in Gennany, about the year 1651. He set several melodies in "Zcsen's Dichterischen Liebes fiam- nuni," L e., poetical love flames. LAXGE. JOH. CASPAR, a vocalist at HUdes- heim, in the latter half of the ^eventeenth cen- tury, published " Methodus nova et perspiciia in Artein Mnsicam," i. e., " Rudimental instructions for act^uiring the noble art of music, with every thing belonging to it, in the easiest and surest way, and within a short time, according to the present manner. To which is added an appendix of the musical terms most in use at present ; also, forms for practice illustrative of the text," Ilildcs- heim, 1683. The work is in question and an- swer. LAXGE, JOSEPH, a performer in the Nation- al Theatre at Vienna, and dramatic composer, not without talents and science, was born in AVurtz- burg in 1752. He appeared on the stage lor the first time in 1770, and afterwards married the celebrated vocalist, Maria Antonia Weber. He wrote, about the year 1796, the music for the opera " AdelAcit von Pouihicu." L.A.XGE, LOUISE. wL''e of the preceding, and sister to Madame Morart, was born in Mauheim. She made her d but on the stage in 1779, went afterwards to Vieiuia, and was engaged there at 602 LAX ENCYCLOPAEDIA DT MUSIC. LAN the Grand Opera. She afterwards sanR at Schro- der's theatre, in Hamburg, from whence slic went to Amsterdam in 1798. The German critics greatly admired her. L.\NGE, C.VTIIARINE, court singer and per- former at Munich, born in Manhcim in 1774, was a pupil of Miulnme WendliuK, of Mauhoim, and appeared for the first time on the .stiif^o in 17D'2. (>reat praise wn.s bestowed on her in Gcrmairj'for her musical kno\vled;^c, her powerful and jiuro voice and tasteful execution. In the year 17i)3, she weut to Italy with her father. LANGLE, IIOXORE FRAXQOIS MAUIE, o.Tu at Monaco in 1741, was sent to Xaples, when 6- ttcen years of a2,e, by the Prince of Monaco, that he miijht be instructed in music. lie en- tered theC'onscrvatory of La Pieti, that he mij^ht study under Catfaro, who was considered the most learned pujjil of the renowned Leo. Here Lanj^lc remained ci;;ht years, till he became prin- cipal chai>cl-ma'-ter of the institution. During; this period, he composed several mivsses and mo- tets, which were applauded by the tirst masters in Italy. In 17()8, he went to Paris, and soon distinguished himself there, at the spiritual and other concerts, for which he composed several lyric sceniis. In the year 1791, his opera of " Corisaiithe " was first represented at the Royal Academy of Music : the success of this piece led him to compose others of the same description, which, however, were not performed. Lanijlc also wrote sevehd didactic musical works namely, " Trait: J' Iliinnnnie et (te Mtdulntioii," 1793 ; " TraiU. de la lin.is stits Ic Chant," 1797 ; " Traiti de la Fiirjui;" ISOO; and " Xoiirellt; Mithode /mar chiffrer la Acor.h," 1801. Langlc was master to the celebrated Dalayrac, who is called, in France, the second Gretry of the comic o;icra. He was also a proi'essor and librarian at the Conservatory. He died at Paris in 1807. LAXGMAFIUS, GOITFRIED, a composer, and lastly, chamberlain and bass singer at the court of Eisenach, was born in Guben, in 1684. He remained six years at the academy at Leipsic, and in 1710 was called to Eisenach, and appointed to the above situati in, wliich he held in 1732. He composed some music for both the church and chamber. LAXGSHAW, Sen. This insenions organ- ist and mecl\Bnic was engaged by the Earl of Bute to set the barrels for his celebrated organ, and continued in his lordsliip's sole employ for r.bove twelve years. The setting of these barrels Ls mentioned in the following very flattering terms, in the lives of Handel and Smith : '• He [Smith" wius engaged at this time in arranging music for some barrels belonging to a large or- gan, the property of the Earl of llute. The bar- rels were set by an ingenious artLst, of the name of Langshaw, in so masterly a manner, that the effect was equal to that produced by the most finished player." Langshaw, wishing to reside in the country for the benefit of his health, accepted the situation of organLst at Lancaster in V'l. LANGSHAW, JOHN, son of the preceding, was born in London in 17013. He received his age. In liis sixteenth year he weiit to London, and there studied under Charles Wesley, from whom, as also from his brother, Samuel Wetley, ho ex])ericnced the most unremitting kindness. To these instriictions, and to the tre'iuent oppor- tunities he lia I of hearing the Wedeys" ])ortorm- ances in jirivate, he attributes all hLs subsec^ueut improvement. After visiting London three times, he com- menced his career a^t a teacher of music, and in 1798 succeeded his father, as organist, at Lau caster. His publications, which are not numerous, con- sist chiefly of " The Farewell," an anonymous ballad, much sung by Mr. Meredith ; " Can joy that wretclied bosom cheer," which is thought to convey much of the spirit and pathos of the words ; with several other songs, some choruses from the works of Handel, and the "Creation" of Haydn, arranged lus duets ; also " A Theme, with Variations for the Piano-forte or Harp," originally composed for the Countess of Dun- more. LAXCiUEMKNTE, or LAX(}UEXDO. A word implying that the movement before which it is placed is to be sung, or played, in a soft and dolorous style. The term L\.NOfE.vrE and L.vx- ociDo,'havea similar meaning — languishingly, or with languor. LAXIERE, L.VXIER, or LAXEARE, NI- COLA.S, was boiu in Italy in the year 1.568. Li the early part of his life, however, he went into England, where he continued to reside until the time of his death. He was the composer of a masque, performed at Lord Hay's, mentioned in Ben Jonson's works, and also joint composer with Cojierario o/ another, performed on the marriage of the Earl of Somerset with Lady Francis Howard. Many of his soi\gs are to be found in different collec- tions published during the reign of King Charles I., but they have, in general, very little merit. .Smith, in his MmUa Aitti'jiui, has inserted one of them, taken from the mascjue called " Luminalia, or the Festival of Light," perfonncd at court, on the evening of Shrove Tuesday, 1G37, in which the queen and her ladies were the masquers. Laniere, as well as musician.was a painter and engraver. There is an excellent portrait of him, painted bv himself, iu the music school at Ox- ford. LAXXOY, LE COMTESSE DE, was a good musical amateur, and resided some years in Ger- many. She pubU.shed " Deux Hix/naiicfs Fraiii;. aoec Ace. de I'iuno-forti;" Berlin, 1798 ; " TVom .Sj- tuitea ]>our If Clar., avec Ace. d'un 1'i'ihn et J'iolan- cello," Berlin, 1798 ; •' Ilomaiicis Arc. de Piano-forte ou de la Uiir/ff," Part II. ; *' liomances Ace. de Piano-forte ou de la llurpe," Part III., 1801. L.VXUSSE, (fiLs. ) Under this name have been printed in Pari.s, in 1800, " Quatre liomaticei arec Ace. de Pitino-fnrte," LAXZ, J. M., a German composer, Lh known by several works for the piano and for the voice, naxacXy, " Liigenlieder," Dresden, 1788; " Quatrt Soiiates pour le Clar. (Tune Exicul. facUe" Op. 3 Brunswick, 179.5; " Twenty-one Variations upon education chiefly at Lane.ister, but did not devote I '(rod save the King,' for the Piano," Op. 4; much time to music till he wa^j thirteen years of , "Twenty-one Variations upon -God sare tbi £03 LAN ENCYCLOPAEDIA OF MUSIC. LAS K ng,' for the Piano," 1795; •' Sonate d qualre in ii'/w," C)|). .i ; " Sonate h qualre mains," 1796 ; " Ei);lit Variations for the Piano-forte, upon ' Frcut ettcli ties Lebeiu,' " Hanover, 179G. LANZA, (ilUSEI'PE, an It^ilian composer, published at Naples, in 1792, "6 Arie Xoliunie con Accomp. ili Chitarra Francese e f. a pUicer." Lan/.a re:-ided during many years in England, and, for a considerable time, was resident in the family of the Marcjuis of Aberconi. He published in London several s^cts of very pleasing and tastc- lul canzonets, for one and two voices. The fol- lowing of his works were j)rinted by Birchall : "Six Trios," Op. 13, and "Six Canzonets, with Uecitatives," Op. 14. LANZA. GESUALDO, son of the prececUng, resided in England from an early age. He was considered an excellent singing master, and has published one of the best works on that art, tw- titlcd " The Elements of Singing familiarly exem- plified," &c. (See Quarterly Musical Review, vol. i. p. 351.) LA POULE. ITie second figure in a qua- driUe. LAPPI, PIETRO, an ecclesiastic and composer, of Florence, flourished about the beginning of the seventeenth century, as chapel-master in the church of St. Maria Gratiarum of Brescia. He published much church music, of which we can only mention the following pieces : " Litanie delta Madoitiia a 4, 5, 6, 7, et 8 voci ; " " Salmi Concer- tali a 5 voci ; " " Mi-sse a 3, 4, c 5 Chori," Venet. 1616 ; these were burned in 1794, in the castle of Copenhagen. " ivwrte Meiodite, 1. 2, 3 — 6 voci de- cantaiidte, una cum Symphoniia et B. ad Organum," Frankfort, 1621 ; " Compieta A 3 e 4 Clutri," Op. 16, Venice, 1626 ; " Rosarium Musicak," Venice, 1629: this la.st work contains a mass, psalms. Magnificats, litanies, and Te Deums, for two and three choirs. LA PRIMA INTENZIONE. An expression applied by the Italians to the form of any compo- sition, as originally designed by the composer, and distinguished from the improved or altered copy. LARBA, GIOV. LEONARDO, a composer of the sixteenth century, published " Canzonette Na- politaiie d 3," Venice, 1565. LARGAMENTE, LARGAMENTO. (I.) In a full, free, broad style of performance. LARGE. A character, or note, formerly in use, of the greatest value or duration ; equal in length to two longs, four breves, eight semibreves, sixteen minims, thirty-two crotchets, sixty-lour quavers, and so on in duple proportion. L-VRGHETrO. A word spccifj-ing a time not quite so slow as that denoted by largo, of which word it is the diminutive. LARGHISSniO. (I.) Extremely slow. I>AROO. (I.) A word by which is to be understood a movement one degree quicker than (rave, and two degrees quicker than adagio. LAIUGOT. The former name of a flageolet. LAROCIIE. A French composer of many songs wliich were popular at the court of Louia XIV. LAROON, MARCELLUS, an amateur musi- cian at 0.xford, was a skilful performer on the violoncello, and wrote several solos for his instru- ment. He died at Oxford in 1772. LARIVEE, M. One of the greatest, if not the greatest, of French musical artists. From the humble station of a barber's boy, he attained the nearest approach to the perfect standard of ex- cellence, as established by the French critics. It was his peculiar good fortune to attract the no- tice, and soon after to receive the invaluable in- structions, of the celebrated Gluck, under whose anxious care he accjuired " a more impressive manner of delivering reciiative " than liad been known to the French before, and which ap- proached nearer than had been conceived possi- ble to the genuine style of French declamation. He is said to have united in a surprising degree all the qualities of a singer and actor ; hLs voice was full and melodious ; his taL^te and judgment pure and sound. It is said that the best per- formances of Garcia, father of Malibran, might, perhaps, in their force, variety, and truth, give some idea of Larivee's excellence. LARRH'EE, HENRI, bom at Lyons in li }i, entered as a singer at the Grand Opera at Paris in 1755. He was much admired, but sang with rather a nas10, was the contemporary of Ciprinno Rorc, and much resembled him in genius, abilities, and reputation. Orlando not only spent many years of his life in Italy, but had bis musical education there, having been carried thither, surreptitiously, when a child, on account of his fine voice. The historian Thuanus, who has given Orlando a place among the illustrious men of his time, tell.s us that it was a common practice for young singers to be forced away from their parents, and detained in the serN-icc of princes ; and that Orlando was carried to Milan, Naples, and Sicily, by Ferdinand (ion/ago. After- wards, when he was grown up, and had probably lost his voice, he went to Rome, where he taught music during two years ; at the expiration of which he travelled through different parts of Italy and France with Julius Ca?sar Brancaccio, and at length, returning to Flanders, resided many years at Antwerp, tUl, being invited by the Duke of Bavaria to Munich, he settled at that court, and married. lie had afterwards an invitation, ac- companied with the promise of great emoluments, firom Charles IX., King of France, to take ujion him the office of ma.ster and director of his band, an honor which he accepted, but was stopjjed on the road to Paris by the news of that monarch's death. After this event, he returned to Munich, whither he was called by William, the son and successor of his patron Albert, to the same office which he had held under his father. Orlando con- tinued at this court until his death.in the year 1.59.3, at upwards of s^eventy years of age. His reputation ■was so great that it was said of him, " llic ille Orlandus Lassum qui rccreat orhem." As he lived to a considerable age, and never seems to have checked the fertility of his genius by indolence, his compositions exceed, in number, even Ihose of Palestrina. There is a complete catalogue of them in Drauilius, amounting to up- wards of fifty different works, consisting of mass- es. Magnificats, passiones, motets, and psalms, with Latin, Italian, (jennan, and French songs, printed in Italy, Germany, France, and the Neth- erlands. To form a comparative idea of the style of the two composers, Orlando and Cipriano, with that of Palestrina, the specific difference seems to be this : that the two Nctherlandcrs, by having spent the chief part of their time in the courts of princes, had acqiiired a lighter and more sec- ular cast of melody than Palestrina, who, resid- ing constantly at Rome, and writing chiefly for the church, had a natural and characteristic p'avity in all his productions. Indeed, the com- positions fi capetla of Cipriano Rore and Orlando di Lasso arc much inferior to those of Palestrina, in this particular ; for by striving to be grave I and solemn they only become heavy and dull, and what is unaffected dignity in the Roman Is little better than the strut of a dwarf upon stilts in the Nctherlandcrs. They were, liowcver, great masters of harmony, and out of the church, pre- pared the colors, and furnished the musician's l)allette with many new tints of hannony and modidation, which were of great use to sul)se- quent composers, particularly in dramatic paint- ing. In the same collection of songs, ])rinted in 15.5.5, we have a I>atin ])oem set by Orlando di Lasso in the manner of a matlrigal, in which the modulation is curious; but, though elaborate and recherchf,, it is pleasing, and has had many imita- tors. Cipriano and Orlando were the first who hazarded what are now called chromatic passages. A statue has been erected to the famous old cora- l)0>er, Orlando di Lasso, at Mons, his birth- ])lace. Judging from the accounts, the ceremo- nies on the occasion were not very imposing. At 1 1 o'clock. Lasso's Mass : Or — hy d ct/up, which he had set, after the manner of his time, to a well-known theme, was perfonued — not in the cathedral, nor in the church of St. Nicholas, where Lassus used to sing, as choir boy — but in a little obscure church of the society which has assumed the name of Roland de lAittre : and per- formed, too, with many modem embellishments, and with an organ accom])animent. After the mass, there was a procession to the public garden, where the statue was consecrated, and the vari- ous musical bodies of the place were put in re- quLsition. ITie statue was uncovered amid the thunder of artillery, several speeches were made, &c., &c. In the expression of the statue there is something very noble. With one hand Lasso touches the keys of a portable organ ; the other is niiscd to heaven, as if he had just discovered a new chord, 'llie house where Orlando was bom is no longer identified. LASSO, RUDOLPH VON, eldest son of the precc-hed by the two brothers, under the title of •' Mag- num Opus Musicum Ortandi de Ltuso, Capeiltr Ba- raric/r r/uotuiam Magistri compledrns omnes cant to- »«•.», quas Molelas rulyo vocant tam antea eHitat. quair hacUnus nondum pubticatas h 2-12 vac. a Ferdi- naiuto, Serenistimi Barariir Ducit Masimiliani Mu- sicnrum Prtrfecto et HiuMpho, eidrm Vrincipi ah or- ganit ; AtUhoris Jiliit, summo utiuiio » Giardiniera CoiUessa." Afterwards, devoting himself exclu- sively to the comic opera, for which he probably felt a predilection, ho composed " La Cimmedia in Comntedia," " Don Catascione," and " La Buo- tm Figliuola," a subject frequently employed by other composers. These operas, performed io the difTerent theatres of Italy, were esteemed like those of the greatest masters. On tlie whole, it would even ai)pear that the comic style .was that in which Latilla was most distinguished. LATOUR, T. This elegant wiiter for the 606 LAT ENCYCLOPEDIA OF MUSIC. LAI. piano-forte, was born in Pnrw iu 17GG, and in the early part of the French revolution went to Loudon, wliere he earned a substantial reputation by the composition ot' very numerous works, throu;;hout which a refined taste and lively mind are always distinguishable. He received tlio appointment' of pianist to the Prince of Wales, afterwards George IV. In 1810 he established himself in business as a music dealer, under the name of Chai)pell ^t Co. In 18.30 he abandoned business, and returned to Paris, llaviui; become, in some sort the GuHutck of England, by his composftions and easy arrangements for the piano, he multiplied varieties, potpourris, and fantasias, whicli obtained considerable vogue, and from wliich he realized considerable sums of money. LA THE, JEAN DE, commonly called PETIT JEAX, a composer of the I'ith century, published " Motctli d 5, C, e 7 Voc," Dusseldorf,' 1566. LA TUENISE. The fourth figure in a qua- drille, also called pastorale. LA TRORE, REV. CIIRISTIAX IGNATIUS, eldest son of the Rev. Benjamin La Trobe, for many years superintendent of the congregations of the United Rrethrcn in England, was born, in 1758, at Fulneo, near Leeds, in Yorkshire. He receivetl his early education at the place of his nativity, and went to (icrraany in 1771, to prose- cute hi.s studies at the college of the United Brethren at Xiesky, in Upper Lusatia. Returning iu 17s 1, he entered into holy orders in the same church, and remained in London. He was use- fully and honorably employed for nearly forty years, in the sersnce of the church in general, and of its missions among the heathen in particular, and was enabled, by his public and private con- nections, in various ways, to promote their wel- fare. He never cultivated music as a profession, though, as a science, from his eiu'liot years it engaged his attention. In all his compositions he has endeavored to bear in mind the great and important use to which mu>ic should be applied ; and, agreeably to his convictions upon thLs sub- ject, not less than to the received ideas concern- ing the clerical character, he has confined himself, in vocal music, to sacred or devotional words. To encourage the sjime application of this divine art in others has also been one great object of his publications. Among his earlier compositions were several for instruments alone. Besides concertos for sin- gle instruments, accompanied by a full band, he occasionally wrote sonatas for the pi.ano-forte. A set of three sonatas, having met with the ap- probation of the great Haydn, was published about the time of that master's second visit to England : the circumstance of their dedication to him is mentioned by Haydn in a short memoir of himself. Mr. La Trobe's compositions for the church, or for private devotion, are by no means few in num- ber; particularly when it is considered that they are the production of very irregular intervals be- tween othcial engagements, which demand Jio ordinary share of time and labor. Tl\ey consist »f solos, anthems for several voices, and oratorios, only part of which have been as yet given to the public. It would be ditUcult to say on what model these compositions have been formed. Mr. La Trobo is certainly no copyist, but in general displays a character of his own. lILs taste waa originally grounded upon the simple yet majestic modulations, and the rich harmonies, which char- acterize the psalmody of the Lutheran and Moravi- an churches. From these tlie transition was easy to the works of the great masters of the (jennan school, at the head of whom may be placed Hasst and Graun : the compositions of their mighty suc- cessors, Haydn and Mo/.art, who seemed to hav* carried that peculiar combination of natural and scientific beauty to its height, led him still further into the knowledge and i)ractico of the ti uc ec- clesiastical style of music. He has been heard fref|uently to observe that the '• Tod Jcsii " ( Death of Jesus) of Graun, and the " Stabiti Malur " of Haydn, first gave him tlic idea of the powers of vocal music, in the expression of every feeling of which a devotional mind is capable. His ac- quaintance with the foreign masters, which in- creased with the gradual acquisition of an exten- sive musical library, at length suggested the idea of a publication, by which Mr. La Trobe's name has become better known than by his original compositions, and which has, according to the testimony of impartial judges, contributed more, perhaps, than any other work, to the introduction into England of a taste for tlie church muiic of Germany and Italy. "The Selection of Sacred Music," commenced in the year ISOG, extended to five volumes ; and the approbation it almost universally met with, wherever it became known, may be considered as no unfair test of its merits. An idea has been entertained by some persons that tliifl work was published in a spirit unfavor- able to the reputation of Handel ; a.s if admiration of the compositions which have a.isistcd to form the taste of the most musical nations of Europe were inconsistent with the full enjoyment of the works of that sublime composer. So far from this being correct, it may be alhrmed, without hazard, that few Englishmen, even of the most rigid Handelians, have viewed with more regret and surprise tlie incraising neglect which seeuu to be the lot of some of the finest monuments of Handel's genius. I'he following is a list of Mr. La Trobe's pub- lished compositions : " Tliree Sonatas for the Piano-forte," dedicated to Iladyn. 'ITie " Dies Ira;" a hjTnn on the last judgment. " The Dawn of Glory," a hjTun on the bliss of the redeemeur le Clavicin," Ops. 9 and 10, Hambxirg. " Deux Petits Romleaux pour Piano-forte," Berlin. The following of his works have been pubhshcd by Kuhnel, of Leipsic : " .Six Variations pour Piano-forte." " Sonate pour Piano-forte," Op. 20. " Trois Petits Rondeaux pour Piano-forte," Op. 23. " Grande Somite pour Piano-forte," Op. 24. " Po- lonaise pour Piano-forte," Op. 25. " Dix-neuf Grandes Sonates pour Piano-forte," Op. 26. " Ca- priccia pour Piano-forte," Op. 32. " Angenehme und nicht schwere To/istUcke mit applikatur f. d. Piano-forte," i. e., " Pleasant and not difficult Exercises, with Applications, for the Piano-forte," Op. 33. About the year 1804 he went to Vi- enna, to study counterpoint under the celebrated Albrechtsberger. LAUTE. (G.) The lute. LAUS PERENNIS.- (L.) The name given by pa|)istical writers to the Perpetual Psnlnody preserved at Antioch by an order of monks es- tJiblished there in the early ages of Christianity, and whose discipline obliged them to render it perennial, like the vestal fire or perpetual lamps of antiquity. LAUXMIN, SIGISMUND, a Polish Jesuit, from Samogitia, was rector of several colleges, and, lastly, vice provincial of Lithuania, in which situation he died in 1670, in the seventy- first year of his age, or, according to others, in his seventy- fourth. He wrote, amongst other works, " Art et Praxis Musica;," Wihia, 1664. LAVIGN.V, VINCENZO. A Neapolitan mu- sician, recommended by Pacsicllo, in 1802, to the directors of the theatre there, as a composer. H« wrote in the same year, for the Theatre della Sea- la, the opera buffa " i^ Muta per Amorcosiia L Mcdie > per Forza," ■which, obtained distinguLshed success. 608 LAV ENl-YCLOPiEDIA OF MUSIC. LAW LAVINETTA, BERXIIAKDUS DE. or LA- \lNIIE'rrE, a lenrued monk, about the year 1.523, wrote " CompeniUoaa Explicatio Art it Ltilli- aiuf," in which he treats, in nine chapters, on mu- Bical subjects. LAVIT, J. B. O., formerly a pupil of the Ecole Polytechnirnte at Paris, pubUshed there, in 1808, " Tableau comparatif du Syst^me Ilarmoniqtie tie Pythagore, et dii Systimedea Modernea." LAVOCAT, PIEUUE, a French composer, flourished about 1700, in Burgundy, and U known by the following work : " Concert des Uienx piur le Mariage de S. A. S. Mgr." Of this work, the text only, by Dereawes continued in the service of the king no longer than the breaking out of the rebellion. From that time he employed himself in teaching ladies to sing. He, however, retained his [ilace in the Chapel Royal, and composed the coronation anthem for King Charles II. He died in 1662, and was interreel in Westminster Abbey. Were we to judge of the merits of Jjiwen, as a musician, from the numerous testimonies of con- temporary writers, we should be comiielled tc rank him amongst the first which England haf ever produced ; but if we examine his works, hit title to fame will not appear quite so well grounded^ He was engaged in the service of the church, but contributed nothing towards the increase of 609 LAY ENCYCLOPAEDIA OF MUSIC. LEB its store**. His talent lay chiefly in the compo- sition of songs lor a single voice, and in the^e his greatest excellence consihted in the cor- respondence which he kept up between the accent of the music and the quantity of the verse. Dr. Hurney says, tlint the greater part of his productions arc " languid and insipid, and equally devoid of learning and genius." L.\Y. (From the Anglo-Saxon word /«y.) The name of an ancient elegiac kind of French lyric poetry, formerly much imitated by the English. The lay is said to have been formed on the model of the trochaic verses of the Greek and Latin tragedies. There were two sorts of lays ; tlie ijreater, which consisted of twelve couplets of Yerses in different measures, and the hsser, com- prising sixteen or twenty verses. 'ITie word lay is now generally applied to any little melancholy bong or air, and is, for the most part, used in that sense by Chaucer, Spenser, Milton, Waller, Dry- den, and other classical English poets. LAY CLERK. A vocal officiate in a cathe- dral, who takes a part in the services and an- thems, but is not of the priesthood. LAYMEN. Those vocal officiates in a cathe- dral who are not of the priesthood. LAYOLLE. ALEMAN, organist at Lyons, about the middle of the sixteenth century, pub- lished " Chatisoiis et Voix-dc-ville a quatrc voix," Lyons, 1561. L.\YS, FRANCOIS, a singer of the opera at ParLs, who had a brilliant reputation, was born in 1758, and was destined for the ecclesiastical pro- fession, but, induced by the rare beauty of his voice, abandoned the church for the stage. He took an active part in the revolution of 1789, and travelled through the provinces as an ardent missionary of the system of terror. He was pro- fessor of singing in the Conservatoire from 1795 to 1799, and subsequently first singer in the chapel of Napoleon I. from 1801 to 1815. He died in 1831, aged 73. LAZZARI, ALBERTO, published at Venice, in 1637, " Gloria di Venetia, e alire Miisiche d, Voce sola," &c. Op. 3. I^EADER. A performer, who, in a concert, takes the principal violin, receives the time and style of the several movements from the conduct- or, and communicates them to the rest of the band. The leader, after the conductor, holds the most imi)ortant station in the orchestra. It is to him that the other performers look for direction in the execution of the music ; and it is on his Btewliness, skill, and judgment, and the atten- tion of the band to his motion, manner, and ex- pre(«sion, that the concinnity, truth, and effect in a great measure depend. I^ADING NOTE. The seventh note of the Kca.'' of any key, when at the distance of a sem- itone below the key note. A leading note is the sound by which the scale is known and its tonic or key note ascertained. For instance, the lead- ing notes in two flats are, As or Ft*. A natural leads to B b ; F sharp leads to G natural. In minor keys the i*7 is the leading note. In major keys tlie mi in the leading note. 'IT.e key note »t two tlats is cither Bb or G natural. 5 LEAL, MIGUEL, a friar of the Cistercian or- der, and a good composer, was born in Lisbon, and entered into the order at Alcobaca hi 1646. Among the works which he has left behind, there is one particularly distinguished, namely, *' Miisa a nore coros." Leal became, at last, prior of a convent in Lisbon. LE.VNDER, two brothers, performers on the French honi, resided many years in Ix)ndon, up to about 1805. They were excellent virtuosi on their instrument, and were engaged in the orches- tra of the King's Theatre, and at mo;;t of the public concerts. One of the brothers composed a very pleasing duet for two voices, " By thoM eyes whose sweet e.xpression." I-EAPS. This word is properly applicable to any disjunct degree ; but it is generally used to signify a distance compounded of several inter- mediate intervals. LEBHAFT. (G.) Lively. LEBRUN, LOUIS SEBASTIAN, a French dramatic composer and singer, was born at Paris about the year 1765. He was, in childhood, ad- mitted as a chorister at the cathedral of Notre Dame, in which situation he remained twelve years. He was there taught composition, and the practice of music, by the Abbe Dugue, chapel- master of the cathedral. Lebrun was next ap- pointed chapel-master to the church of !?t. Ger- main I'Auxenois; after two years, however, he resolved to make his dihut, as a singer, at the Royal Academy of Music, where he first appeared in 1787, in the part of Poh-nice in "CEdipe." He next came before the public at the Concert Spiri- titel, in the double capacity of composer and sing- er. His compositions for this concert consisted in several seenas and grand choruses from ora- torios. In 1790 he produced his first dramatic work at the ThtAtre Montansier ; it was entitled " L'Arl d'aimer au Village." He next gave, at the Theatre Louvois, " Emilif. et Mclcour," " I'n Mo- ment d' Ilunwur," and "La Vrtire .Am/ricaiiie ;" at the Thciitre des Varii'tes, "Los petits Aneu- yks," and " La Suite de la Ciivjuantaine ; " at the ThcAtre Feydeau, " Le ban Fih," " Plus de Peur tjue de Mai," " L'Astronome," " Le Ma^on," and " Marcelline." After being engaged at the Th6atre Feydeau during several years, Lebrun reentered at the Grand Opera, as one of the prin- cipal singers. He was afterwards first tenor singer at the Chapel Royal of Napoleon I. and also chamber singer to the emperor. In 1809 a grand " Te Dcum" of his composition was ex- ecuted at the cathedral of Notre Dame, in honor of the victories of Wagram and Enzerdoff. LEBSDEFF, a Russian composer, went to Ixm- don in 1798, with a squailron from India. He was engaged, at that time, in writing a collection of airs in the style of the music of Hindostan and Bengal. As he was fully master of the Eastern languages, as well as of their musical expression, he was much looked to at the time for the ex- planation of modern Oriental music, which, even I yet, has not been fully made known. The airs are, in the opinion of connoisseurs, very melodious i and pathetic, and are a medium between Scottish and Italian music. We have not been able Jo obtain any further information respecting thia I musician or his works. 10 LEB ENCYCLOPAEDIA OF MUBIC. I. EC LEBUGLK, ABBE, published much music of his composition tor t}ic harpsichord, at I'aris, lubsequcntly to the year 1783. LKBEUF, THE ABB^ JEAN, was canon and flub-clianter of the cathedral of Auxerre, where he was born, March 6, 1G87. The Academy of Inscriptions and Belles Lettres chose him, in 17 10, to fill the place of Lancelot. lie was the author of many treatises and works relating to music, and died in 17U0. LECCIO, SCOZZESE AGOSTINO DI. A composer of the sixteenth century, of whose ■works there is yet preser\'ed, in the Munich li- brary, ' Canzonette Xeapolitane A 3, 4 e 6 I'oci," Veuice, 1.570. LECI.EIU", J. B., deputy for the department of the Maine ct Loire, in the Lct;Lslative Assembly at Paris, in 17i)(). lie had been a member of the Convention, and was obliged to leave Paris to escape persecution and imprisonment. During his retirement from public business, he laid the plan of a fcrent musical work, and submitteti it to the committee for public mstruction in France. As, however, this body took no notice of it, the author published it in 1796, (improved and en- larged,") imdcr the title of '• Essai sur la Propaga- tion de la Miisiqiie en France, sa Conservation, et $e3 liapports avec le Gourernement." This treatise be- gins with a brief history of music among the t^hinesc, E^jT>tians, Greeks, and other ancient nations, amongst whom it was considered as a foundation of religion and morality. Then he proceeds to the influence which it has had upon modem nations ; on wlvich subject he says that (iluck's mu.-iic in Paris laid the foundation of the revolution, a< the want of church music gave rise to the civil war in La Vendoe. He endeavors to jTove the necessity of music to the French nation, amongst other arguments, by the conduct of cer- tain peasants in Lower Poitou, whose only busi- ness is to sing incessantly whilst the oxen are drawing the plough. From this, he proceeds tunhcr, and endeavors to prove that the cultiva- tion of the science of music leads us to the prac- tice of every public and private ^•i^tue, by means of the snti^^tactiou and calmness which it imparts to the mind ; and that, for this reason, all govern- ments ought particularly to take it under their observation, and to R.x its use and abuse by I>ropcr laws. He examines, further, how far the then existing openis, and other i)ublic musical performances in France, either may tend to pro- «no;c or to dimiuiah human perfectibility. LEQON. (F.) A lesson or instructive com- nosition for some instruments. LE CHANT ROYAL. Certain verses sung in chorus to the virgins and saints, by troops or companies of pUgrims returning from the holy sepulchre, 'lliis practice was first introduced by the French in the fourteenth century. LEDEUER, JOSEPH, an Augustine monk, in St. Michael's convent at Ulra, and professor of divinity there, was born in Sunhia in 173.3, and published the following musical works, practical as we-l as theoretical : " AVwe und erl-ichterte art tu Solmisircn," Ulm, 1756. Second edition under the title, " Xcue und erleic/Uerte art zul Solmitirtn, nebat andern Vortheilen, die Sinr/liunst in kiirzer ceit zu erlerrifii," Ulm, 17'J6. A i^ong : " Aiis den froAen Liebeihiind." " 6 Mensen, kur:, Itir/it und lant/btir, hnujUiUchlich ziim (jchrnuch dtr (7iore nut dem l.ande und dtr Frau<-nkln.itcr aufienetst," .\ugsburg, 1776. " Eltrat aiu China," "operetta, Ulm, 1777. "o Veaprrn, sammt ^andern Psalmen, wele/ie dat Jahr hindurch vorkommeu, cincn beaon- dem Mo'inifiatt, und eitun Stnhat Muter, ktirz, leicht, tinybar," Ulm, 1780. " Miisikaliiirhi-r I'omUli, beatehend nus 18 Versen, 17 PrcambnUn, Mrnuet- ten. Trio, 3 Sonaten und eiiw Arie in Pnrtitur," Augsburg, 1781. " Oie junyen Rekruten, tint Rumiache operetta," Ulm. 1781. This worthy di- vine and excellent artist died in 1793. LEDEKZ, IWULUS, a bookseller at Strwi burg, publishe, pastor at Buch- farth, where he died in Ifi.'t?. His ])ractical work( are, according to Walthcr, " lirantlied aua dem 2fi ('up. Sirarh'.i," Jena, 100!). " Cymhnlum iJnrid- icum 4, 5, 6, et 8 rocimi," Jena, 10 11. " Tirda Nuptiales, in 16 latein und dru/sc/ien Iloc'izeilgesan- gen ton 4, !>, und 8 Slimmen," Erfurt, 1624. " Strenophnniip, in 21 lutein und deutschen Stt\jahrt GesOngen," Erfurt, 162S. LEM, PETER, first violin at the Royal Chapei in Copenhagen, was born there about the year 1753. He had first a pension of one hundred rix doUarsi, and was dispensed with playing in the orchestra. After the death of the chamber musician Hnrtmann, his pension was increased to twenty dollars, and the title of professor was given to him. From tliat time he played only solos at concerts, and instructed tlie pui)ils, who from time to time were appointed to the Royal Chapel. Trneg mentions a " Rondo pour le Clav." in manuscript, written by this musician. LE MAIRE. ThLs French musician was sing- big master in Paris in the year 1660, and contrib- uted much to the propagation and general adop- tion of the seventh note of the octave, (si.) His son Charles was a vocal composer, as appoari from the following of his printed works : " Lts fjtuitre Saisotus ou CaiUatcs, Lib. 1," Paris. " 1, 2. 3, 4, 5, 6 Recucil cfAirsa chanter," Paris. LEMIERE, JE.\X FREDERIC AUGUSTE, was born in 1770. He became a director of the Conser\-atory of Music in Paris, and was a pupil of Berton. He brought out at the Thcfttre des Amis des .Vrts, " Les deux Orphelins," " Les deux Crispins," with the poetry, " La Paix el C Amour," all three printed in Paris in 1798 ; "La Reprist de Toulon," the overture of which, d grand orch., was printed at Paris in 1797, " Andros et Almone," 1794, and " Le Tombeau de Mirabeau." Most of the above little pieces were 8ucces.sful. He also published " Se/rf Romanc. avec Ace. de Clac," Op. 14, and "Deitxii'me Duo Cone, pour Harp et Piano," Paris, 1803. He died in 1832. LEMLIX, L.\UREXTIXUS. A contrapuntist about the middle of the sixteenth century. Of his works are still to be found some melodies, m a collection of songs for tour voices, made in I54S. and yet prcseired in the Zwickau library. LEMO\'XF, or MOINE, JEAX-BAPTLSTE, a French musician, was born at Ej-met Lii 17.il. In his youth he went to Germany, and studied composition under the celebrated masters Graun and Kirnbcrger. Whilst .nt Berlin he composed a storm chorus for an old opera, " Toinon and Toinette," which had the greatest success, so much so, that the Prince Royal of Prussia gave him, as a reward for its compo-.ition, a superb gold snuff box filled with ducats. He was then nominated director of the music at the theatre of this prince, and had the honor of giving sevenil lessons to Frederic the Great, by whom he was much es- teemed. After thus he produced, at Warwwr •' Ia" linuijuet He Colette" an opera in one act, in which Madame St. Huherty performed, who af. terwards, by Ii«moync's instructiona, brraute && 613 I, EM ENCYCLOPAEDIA OF MUSIC. LEO celebrate;! nctrcss niid singer at Taris. On his ! lowing: " Trois Concertos pour le Ciav." Nos. 1, return to France, ho composed for the Royal Acad eniy of Muttic. " ICU-cIn;" an oj.cra in three acts, '783 ; " I'hidrc," in three acts, 1786 ; " Nephti," in three acts, and " I^s PritcndM," in two acts, 1789 i " Louis IX. ," in three acts, and " Les I'oin- miert et h Moulin," in one act, 1790. Subsequent- ly to this, he gave, at the Bamc theatre, " MiUiade (i Marathon." Tlie above works were all success- ful, especially " J'Iddrr," " Srphl^.," and " Les I'ritendus" ' Lemoyne was the first composer who had the honor of being called on the stage by the public at the Grand Opera. This took place ou the first representation of his " Scphli." I.eraoyne also composed several operas for the ThtAtre Fcydcau, namely, " FJfrida," "/-e petit liatelirr," and " Le Mi-risonffe ojficieuj:.'^ He was the only French composer of his time whose works succeeded by the side of those of Gluck, I'iccini, Sacchini, &c. lie died at Paris in 1796. LEMOYNE, G., son of the preceding, was born at Berlin in 1772. He was an excellent pianist, and composed much miLsic for his instru- ment, as also a great number of romances, amongst which is the admired one " Le Tombeau de Mijrthe." LENAIN published at ParLs, in 1766, a work entitled " Dcs Eldmens de Miuuquc." LENCLOS, DE, chamber musician to Louis XIV., was a guitarLst and theorbLst. He died in 1630. He was the father of the celebrated Ninon de Lenclos. LENE. An old term applied to a note sustained in one of the harmonic pirts of a composition, whilst the other parts are in motion. LENTANDO. (I.) A word indicating that the notes over which it is written are to be played, from the first to the last, with increasing slowness. LEXTEMENT. (F.) A word signifying that the movement to which it is prefixed Ls to be per- formed in a slow time. LENTEMENTE. (I.) Somewhat alow. LENTO, or LENT. A term implying slowness of time. LENTEUR, or LENTEZZA. (I.) With a ficdatc and lingering movement. LENTON, JOHN, one of the band of King AVilliara and Queen Mary, was a professor of the flute. He composed and iniblishcd, in conjunc- tion with Mr. ToUit, a work entitled •' A Concert of Masic, in three parts." Some catches of his composition are printed in the" Pleasant Musical Companion." LENTZ, H. fi., a German composer and pro- fessor of the piano-forte, seems to have resided eome time in London, between the years 1784 and 1794. He then went to Hamburg, where he styled hinisilf a member of the Society of Arts and Sciences at Paris, and played two new con- certos for the piimo-forte, and symphonies, which compositions were distinguished for so much genius, art, and ta.ste, that tliey obtained the ap- probation of all connoisseurs. He publLshed va- rious pieces, of which w e may mention the tol- 2, 3 ; " Neuf Trias pour le Piano, awe V.," Op. 5 ; " Neuf Trios pour le Piano, avec V. et B.," Op. 8 ; " Neuf Trios pour le Piano, arec I'.," Op. 9, Paris ; the last also at Offenbach, 1793 and 1794 ; " Airs varlispourlcClac," No. 70, Paris, 1792; " Thre« Trios for Piano-forte," London, 1795 : " 6 Deutsche lieder" Hamburg, 179G ; •' Preludes for the Piano- forte," London, about 1794; "Air varii, ' O ma tendre Musette,' pour Piano-forte," Leipsic. LENZI, r.\.RLO. Formerly chef d" orchestre at Bergamo. It Ls said that he obtained no small degree of fame as an artist in Italy. He retired, probably on account of his old age, in 1802. LEO, LEON.VRDO, born at Naples in 1694, was, after Durante, one of the most laborious, brilliant, and sublime composers of Italy. Like" Durante, a jnipil of Alessandro Scarlatti, he did not adopt all the severity of the style of the lat- ter in the opera, nor of the former in church music ; he preserved all their dignity, which he blended with pathos, his peculiar excellence. Flexibility was the source of the talent of this composer; he ada;.tcd his style with equal suc- cess to the serious and to the comic opera. He was alike brilliant in each, and his first opera, " dot," in the latter species, was received by the Neapolitans with such applause, that it was rep- resented in several of the other Italian theatres. The subject of this piece is a man who has the habit of adding " that is to say " to every thing he savs, and who, in endeavoring to be explicit, is only the more obscure. His serious operas were approved as much as the " Ciit," for their expression, grace, truth, and melody. Emulous of \ inci and Porjjora in dramatic composition, Leo was equally desirous of rival- ling Durante in sacred music ; and as in the one he had been by turns pathetic and gay, scientific and natural, so in the other he was imposmg and elevated, grand, and at times subhme. Among -t his compositions for the churcTi, his " Miserere " is particularly celebrated for its jirofound knowl- edge of eounter|)oint, its grandeur and purity of style, and its natural and ingenious emplo)-ment of modulation and imitation ; it has even been judged equal to that of Jomelli. Leo invented that species of air called, by the Italians, arixi d'os'inazione, or obligate airs; his compositions in tliis style are highly classical, particularly that beginning " Omhra diletta e cara." Leo was the founder of a school of singing in Naples, which tended to increase the fame ol his country as a nursery for those celebrated singers which have filled tlie Italian theatres of the dif- ferent European courts. The solfeggi he com- posed for his scholars are still eagerly sought and studied. Leo was in every resi)ect eminently -ser- viceable to the progress of his art. That which Alessandro Scarlatti began, he continued ; that which Porpora and Sarra had only indicated, he completed. Bv his a.ssistance, melody was great- ly released from those elements wliieh destroyed its power ; it was purified on leaving his hand ; witho\it anv injury to expression, he gave it its delightful lilliaiice" with grace and truth ; his style was ahvavs elevated without afi'ectation, expres- sive without extravagance, and grand -without Leo died at Naples in 174o, aged fifty inflation, one. 514 LEO ENCYCLOP.^DIA OF MUSIC. LES Tlie following list comprises his principal works. Sacred music : "Santa Elena," oratorio; " La Morte d'Ahele," oratorio ; " Ave Maria stel/a," " Miserere alia Capella," for eight voices ; " Ilea uos misifTOs, Motetta alia Cipella h 5 voci , " " Missa i 2 Sopr., A., T., e B. ; " " 3 Misse d 5 voci ; " " 3 Dixie ; " " Te Deum H 4 voci ; " " Credo A 4 voci ; " " Ma(jnijical h 6 foci ; " " Miujuijical d 4 vac. con 2 I', e 11. ; " " Cantata per il ghrioso S. Vincenso Fcr- reri, ossia Molitto fi o vnc. con Strom.;" "Cantata per il Miracolo del ijlorinso S. (Jennaro tl a voc. e grande orch. ; " " Motetta Jam nirrexit die.' r/Uirio.m, d 5 voc. ; " " Miserere nui A 4 toe. soli col Basso." Operas : " Caio Gracro," 1720 ; " Tamerlano," 1722; " Timocrate," 1723; " Catone in i'tira," 172*); " Arffmie," 1728; "/-a Clemmza di Tito" 173.5 ; " Siface" 1737 ; " ('iro ricono.iciuto," 1739 ; "Achille in .Sc/ro," 1710 ; " Volo'ieso" 1744 ; " So- fonisba" 1718; this, according to Dr. llurupy, WHS Leo's first opera ; " Artaserse ;" Dr. liunioy could only rtnd in Italy one air from tliis opera ; " Arianne e Teseo," " Olimpiatle," " De»iof)onle," " Andromacha" " Le Nozze di Psiche con Amore," " Festo Teatrale," \7:i9; "La Ziaijarelln" inter- mezzo, 1731 ; and " // Cio6," opera bulla. Other vocal works : " Serenata }>er S/m^/na, 2 parte," and " Componimento paitorafe, 2 parte," LEOXACCIXI, bom at Modena, was reckoned by I'iccini among the principal Italian ma.sters in music. lie nourished Irom the year 1600 till lu.50. LEONARDL GIOVANNI. A composer in the beginning of the sixteenth century, some of who>c works are yet to be found in a collection of songs for four voices, printed in l.)4S. A copy of this work may be been in the Zwickau library. LEONE, ERASIO, a Carmelite monk, proba- bly at Turin, published "The Lamentations of Jeremiah set to Music," Turin, 1798. LEONETTI. GIOV. BATTISTA, an Italian composer of the last century, published " Litanie a 4, 5, 6, 7, et 8 voci." LEONI, LEO, chapel-master of the cathedral at Viccnza, publLshed " Sa'mi a 8 rod " Venice, IC>2">, also some works of motets and other mu- sic, early in the seventeenth century. LEONI, a Jew, was considered, in 1777, as one of the best singers in England. He wa* engaged both at concerts and at the opera. In 1778 he went to Dublin. Bi-fore tliis period he had sung at spiagogues in Loudon, where people of the first rank went to hejir him. The Jews, however, afterwards dismissed him from their church ser- vice, because he had s»ing in " The Messiah " of Handel, and at the theatres. The Jews of Berlin did not evince the same intolerance in 1781!, when thirteen persons of their persuasion sang in " The Messiah," at the church oi' St. Nicholas in that town. LEONINE. An epitaph applied to certain hymns, or verses, of which the middle line rhymes with the l.ist. Tliey are supposenh\i.t\icd " (iedanUti and Con- Jectiiren :ur (Jesc/iic/ite dar Miiaik," Stendal, 1780. LEPIN. Under this name was published in Paris, in 1794, " Concerto jHjar k Clav. acec a*WJ v.. A., et U." LKPINFl. A musician not much kno^^^., who corajx)sed the music of " Aci/s et dalathic," an op- eretta which was rci)rcsented in 1787. LEPKINCE, a French violinUt, died in 1781. On his voyage from Holland to St. Petersburg, the vessel lie was in was taken by an English pri- vateer, when he continued to play so cheerfully on his violin, that the English made him pluy to their dancing, and gave iiim back all his prop- erty. LEPSIS. A term used in the ancient music for one of the three branches of inehpwia, and by whiclj the comix)ser discerned whether he ought to place the notes of his melody in the low- er part of the octave, called hijpatoidj-s, the upper jiart, called nctoid<'.i. or among the middle sounds, called mesoidcs. Sec Mescolments, and Usus. LE PANTALON. The first figure of a qua- driUe. LEROY, ADRIEN, an excellent lutist and composer, was the first establisher of musical printing in France, and published, in 1583, a treatise on music. LEROY, EUGENE, a composer at Paris, pub- lished there, previously to the year 1798, four works of sonatas for the piano-forte. He died in 1816. LESCOT, singer at the Th6i\trc Italien in Par is, in 1788, was the composer of thfe printed oper- etta " La S^.greise," 1789. LESGU, a French composer, lived in the veai 1678. LESSEE, V. F., a musician at Vienna, one of the three pupils of Haydn, published there " Art- etie jMiir le Clac. arec I'ar.," 1797, and some other compositions. LESSING. GOTHOLD EPIIRAIM, counscUor at Brxinswick-Wolfenbuttel, and lilirarian, was bom at I'ascwalk, in I'omcrnnia, in 1729. Tho\igh he never understood the science of music, he, by his genius and learning, acquired s>ich deep in- sight into what is really beautiful, that, even to profes-sional musicians, he could give hints r.nd excellent rules for the u.se and application of the art. The proofs of this are to bo found in the following ol his writings : " I'rher die lietfeln der Wissenschnftenziim l'cri/n1l;/rn brsnndrrs der I'ceni' iinri .Mii-iil: .■ " this is a small instructive poem, Berlin, 17.)3-17.i6. " (\h am, donl le tour de niise arrive your la troisiiinefou au TheAtri des Artt, et sur plusictirs points d'uti- iiti rclatifs aux Arts et aux Lettres," 1802. The subject of this pamphlet is the differences which had arLsen between Lesueur and the then direct- or, or rather despot, of the Paris Conser\'atory, Sarette. In this controversy, another work ap- jieared, entitled " Miinoire pour J. F. Lesueur, con- teitaiil guc/^ues vues d' amelioration el (fajfermis- sement donl le Conservatoire parait susceptible, pat C. P. Ducauccl, difcnseur ojficieux et ami de Le- sueur," 1803. In con.sequence of this last pam- phlet. Napoleon interfered, and .Sarette waa de- prived of his situation in the Conservatory, whilst Lesueur obtained much favor and reappointment to his situation in the National Institute, of which he had been before deprived. It was about this period tliat he was appointed chapel-master to the emperor, as before stated. LESSUS. A word in the twelve tables of the Romans, supposed by some to mean a funeral song ; but of the real signification of this word, even Cicero was doubtful. LETENDART, N., a piani-st, born at Paris in 1770, was considered in France as the best pupil of Balbiitre. He composed some music for 1^ instrument. LETTERIO, MARINO, an instrumentalist, probably from Italy, acquired notoriety in Paris, by his " Six duos faciles et progress, pour deua Haitthois," Op. 2, Paris, 1801. LETTERS. The first seven letters of the al- phabet, A, B, C, D, E, F, and G, are used to form the letters of the scale, and are repeated in every octave. These letters serve to distinguish the notes ; they have been used since the time of Gregory to determine the pitch of the sounds, and are stationary upon the lines and spaces. LEUT'HARD, JOIIANX DANIEL, chamber- lain to the Crown Prince of Rudolstadt, born at Kerlsberg, near Rudolstadt, in 1706, was taught the piano-forte by the celebrated Vogler, and, in 1727, the violin by chapel-master Graff. After this he entered, in 17:50, as musician in the ser- vice of the Duke of Weimar. Here ho composed several instrumental works for the court band, till, at length, he obtained the above-mentioned sit- uation at Rudolstadt, in 173.5. The following of his works have been printed : " 6 Klaciersoiuiten,' Op. 1 ; " 6 Aricn itnd 6 Meniietten fllrs klavier." LEV.VRE ANTIPHONAM. An expression used in the old church music, and signiij-ing to begin, or open the leading part of an anthem. LEVASSEUR, PIERRE FRANQOIS, called Levasseur the elder, was born at Abbeville in 1753. He was a celebrated violoncellLst, and, at the be^iinning of the present century, was still a performer in the orchestra of the Grand t)pera at Paris, where he died in 1815. LEV.VSSEUR. JEAN HENRI, caUed Levas- seur the younger, was chamber musician to Na- poleon, and first violoncellist at the Grand Opera. He was professor of his instrument at the con- servatory in Paris, and composed much music foi the violoncello and piano-forte. lie died in 1823 16 LEX EXCYCLOl'.EDIA OF MUSIC. 1 lU L-^VEQUE. JOIIANX WILIIELM, royal chapel-master at llaiiovtr, was born at Cologne in 1759. lie left his native town when he was only three yeiir-t old, and was taken by hLs ])arcnts to Paris, where he was iutendcd tor the learned pro- foiision, in order to obtain afterwards the preb- endary stall of his uncle, who lived there. -\t Paris he first learned to play the violin for his amusement. Hut the great progress he made so increased his passion for music, that at liust he resolved to devote himself entirely to this science, and quitted his father's house in consetiucnce. rfis first engagement wius with the reigning prince of Nassau- Wcilburg. This prince, how- ever, was soon obliged, in consequence of the French revolution, Jo dismiss the mu-ic in his chapel, when L'Eveque went to Switzerland, where he remained two years. Afterwards, he travelled tlirough Austria and Hungary, and re- turned from thence to Passau, where the reigning bishop ap[)oiiited him his chapel-master. After having tilled this st^itiou for three years, the sit- uation of chapel-master in Hanover was otferetl him, which he accepted immediately, and re- mained there till his death in 1816. His com- positions consist of solos, duets, trios, concertos, and quartets, for the violin, &c. LEVEHIDGE. RICHARD, was a bass singer at the theatre in Lincoln's Inn Fields, where he made himself nselul in jierforming such charac- ters as Pluto, Faustus, and Merlin, in the panto- mimical exhibitions contrived by Mr. Rich. He had a taste both for poeticid and musical com- position. The first appears from several jovial songs written by him, and adajUed to well- known airs ; the latter by the songs in the play of " 'Ilic Indian Princess," altered by Molteaux, which have considerable merit, and some others. Ilis singing consisted chiefly in strength and comjjass of voice, without much grace or ele- gance. In 1730, he thought his voice so good, that he offered, for a wager of a hundred guineas, to sing a bass song with any man in England. About the year 172'), he opened a coflee house in Tavistock Street, Covent Ciarden, and pub- lished a collection of his songs in two pocket volumes, neatly engraved. In Rowe's eilition of Shakspeare, the music of the second act of Mac- beth is said to have been set by Leveridge ; but whether the editor has not mistiikeu the music of Matthew Lock for his, may deserve inqxiirj-. His manners were coarse, hut the humor of his songs and conversation obtained for liim a wel- come at all clubs and ivoemblics where the avowed purpose of meeting was an oblivion of care; and being ever leady to aid in the promo- tion of social mii-th, he acquire I many friends, from whose bounty he derived all the comforts that, in extreme old a;;e, he was capable of en- joying. A physician in the city procured from a number of persons an annual contribution, which Lcveridge continued to receive until the time of his death. This took place about the year 17J8, at the age of nearly ninety years. L^VESQUE, a musician in Paris about 1790, published, conjointly with Bf-che, " So'fi'ijra d" Ita- Ue, arec Ui UiUse chijfrie par L/^, Durante, Scar- latti, Hasse, I'orpora, *c.," Paris. LEVETT, an English composer, published the bUowing works : " Introductory Lossous on Sing- ing, particularly Psalmody, to which are annexed several Psulm Tunes, in four Parts, proper f< r practice." "New Year's Anthem," " II>-mn fcr Easter Day," " Hymn for Christmas Day," an . " Hymn for ^^'hitsunday.'' LEVI, STEFFANO, formerly organist in the church of St. Blasius, at Codogno, in the Milanese, published " Salmi," Milauo, 1G17. LEVIS, AXTOXIO. An artist, placed amonf; the composers of the first rank in the " Indice de H/iettac.," 1791. He was in 1788 at Xovi, in Italy, and the following of his compositions had then been produced on the stage : " La Cwitadina in Corte," opera butfa, and " Isabella e Kodrigo," opera buffa, 1788. LEXICOX, MUSICAL. A book teaching th« signification of miLsical terms ; a musical dic- tionary. John \V. Moore published the " Musi- cian's Lexicon, or Treasury of Musical Knowl- edge," at Bellows Falls, Vt., 1845. LIAISOX. ^F.) Smoothness of connection ; also a bind or tie. LIBRE'ITO. The name given by the Italians to the book containing the words of any opera. LICEXSE. A liberty taken in composition, or performance, by which the master, with some particular view, vitdatps, for the moment, those received rules ai\d regulations which form the established system of harmony and modulation. 'I1iis kind of freedom is, at best, a hazardous re- source ; and the composer, or performer, who ventures it, should possess as much genius as boldness, and always compensate his trespass by some felicitous and striking effect. L'HOVER, .VXTOIXE, formeriy a member of the French company of performers to Prince Henry at Rheinsberg, and afterwards, from the year 1800, a guitarist in Hamburg, pubUshed there " Sit Adagios pour la Guitare, avec Ace. d'un Violon oblig'l," 1797; '^ Grande Honate pour fa Guitare," 1799; "Six Romances pour la Gui- tare," Op. 14, 1799. LIBERATI, AXTOXIO, during his youth, was a singer of the imperial chapel of Ferdinand m., and afterwards in the pontifical chapeL When arrived at manhood, he wits appointed chapel-ma.ster and organist of the church Delia Santlssima Trinitii de' Pellegrini and also chapel- master aud organist of the church I)i Santa Maria dell' Anima at Rome. During the time he held the latter situation, the place of chapel ranstei of the metropolitan church of Milan became vacant, and Liberati was requested to give his opinion of the respective merits of five persons who were candidates for it. In consefjucnce of this retiucst, he wrote a letter, dated the loth of October, 1684, which he afterwards published under the title of '• Lettcra srrilta dal Sig. Anto- nio Liberati, in Ui/ftstj atl una del Sig. OruUa Persapegi." In this he discusses the merits of the compositions presented by the candidates in evidence of their abilities, and then trace* the rise and progress of music, from the time of I y- thagoras downwards, and gives his opinion re- specting most of the eminent musicians who } 1 1 lived both before aud during lis own time. Th.s 617 UlR ENCYCLOP-EDIA OF MUSIC. Lll letter contniiis raniiy curious particulars of musi- ?al history, but is written in such a vein of gen- eral ]iBne;,'yric, that it is much more likely to produce scei)ticisiu than conviction in the minds of modern readers. LIULEK, JOIIAXN. Under this name there were published in Hamburg, about 1796, "Two Songs for the I'iano-fortc." LK'IIXOWSKI, COUNT, an amateur at Vi- enna, printed there, in 179.S, " Scpl Variations jioiir !<■ I'iiiito-f'irlc fur I' Air ' Scl cor pi u non, Ac' " In tlie year ITOt! there was a prince of this name in Vienna, who was considered one of the first pianLsts of that city. LICHTENSTEIX, LOUIS, BAROX VOX, of J.ahm and Hciligersdorl, formerly intcndant of the court theatre, and chamberlain to the Prince of I)c>sau, obtained a hij;h rank among German amateurs, both as a dramatic poet, com])oser, and singer. When a student in the University of Gottingen, he first a|)peared as a performer on the violin, m Forkel's concerts, which wore held there. After this time, he became page to the Elector of Hanover, in which capacity he wrote the words of the following operas, in 17i)o, at Bamberg, composing the music for them, and appearing on the stage in the principal characters. About 1798, he entered upon hLs rtr»t-named sit- uation at Dessau, where he not only immediately enriched the orchestra with several able artists for almost every different instrument, but invited also a select number of the best vocal performers in (jermany, of both sexes. In the mean time he had composed the opera " Balhmendi," for the opennig of tlie theatre on the 2(ith December, 1798. In his following ojjcra, " Die Xciner/tc DraiU," i. e , " The Stone Bride," he and his wLi'e jjerlormed the two principal characters, with universal approbation. By his great activity. Von Eichteu.stein at length brought to such perfection the jmrso/uiU- of the Dessau theatre, and the singing even of the most difficult and intricate finales of grand operas, that the musical public of Leipsic were not a little surprised, when he brought his company to their town, in the beginning of the j-ear 1800. Notwithstanding this success, however, he re- signed his situation in August ol the same year, and after having, for the first time in Leipsic, in- troduced his own compositions, in the musical pieces '' MitgejUht," and the oi'cretta " JCmIe t/iit aJlei ffitt," i e, " All's well that ends well," he went to Vienna, wliere the Baron Von Braun gave him the direction of the court theatre and its orchestra, reserving only the financial part of the concern to himself. In 1831, Von Lichtenstein was still in this capacity at Vienna. His most known works are, " Knall und Fall" i. e., " Crash and Fall," an operetta in two acts, poetry and i music, Bamberg, 179,i. This was first performed | privately for the nobility, anil nficnvards ])ublicly I for the benefit of the hospital for sick servants. " Hat/iiiu'iifii," an opera, 1798. This opera was in the following year entirely rewritten, not only all the words, but also the subject and contents, | being entirely changed, and absolutely nothing ' but the name lelt. It gained greatly in ii\terest by the change. " Die S/iimrnf H.-aut," Dessau, 1799; ^' Mil'it'ftihl," a musical i)iecc, the words of the songs by favorite poets, Dessau, 1800 ; and " Elide gut aUen gut," au operetta, Dessau, 1800. 51 LICIITENTHAL, PETER, a pbjsician and comiX)ser at Vienna, published " Der MusiJuilischt Arzt odcr Ubhandlung ron dem Einfiusse der Musik auf den KOrper, ire," Vienna, 1807. LICINO, AGO.STINO. An Italian contra- puntist of the 1 nth century, of whose works the following are still preserved in the elector's library at Munich, " Dint Croniatici, Libri 2," Vcnet., 154.5 and 1546. LICKL, JEAN GEORGE, a musician at Vien- na, has composed much music, among which the following m-.iy be named: "Der Xaubi-r/ifiil," i. e., "The Magical Arrow," an operetta for the Schikandcr theatre at Vienna, 1792. This has been repeatedly represented. " Frois QtuUuors,a 2 r., .4., tl B.," Op. 1, Offenbach, 1797 ; " Train Soiiat. pour le Ctac. acec V. et Jc.," Xos. 1, 2, 3 ; " .Sir Var. pour le Clav. sur Gott erhalie, Franz, *c.," Vienna, 1798 ; " Cassatio pour Oboe, Clariaetto, Fug., e Corno," Vienna ; "12 Var. p. il cemh. sopra Mein Sleffcl ist ja em," Vienna ; " Trois Qtiat. pour Fi, v., A., et Vc.," Op. 5, Vienna, 1798; " 9 Var. p. il ccmb.," Vienna ; " Trois SoiuUes pour le Piiino-forie," Vienna, 1799; " Trois Duos }tour 2 FL," No. 4, Vienna, 1799 ; " 3 Tm-zeUi a C'lar., Corn., e Fag., 1 Mst. beg Traeg.," and " Trois Trios pour V.,A.,et B.," Op. 17, Augsburg, 1800. LIDL, .\NTOX. Dr. Burney states him to have been an able and tasteful \'iol da gamblst. He also made many improvements on an instru- ment called the baritono, which was invented about the year 1700, and much resembled tho viol da gamba. Lidl was a native of Vienna. He was still living in 1800, according to Choron. Dr. Bumev, however, states that he died before the year 1789. LIEBERT, chapel-master to the Prince of Tliurn and Ta.^is, at Regensburg, in 1796, was a pupil of the able Riepel. He was also a good composer. ' LIEBESKIND, GEORG GOTTHILF, a cel- ebrated flutist, in the service of the Margrave of -\nspach, was born ill 1732. He was the favorite pupil of Quartz. LIEBESKIND, JOIIANN HEINRICH, a .son of the above, lived, in 1807, at Bamberg, being a doctor of laws and chief justice to the King of Bavaria. He is one of those amateurs, says Ger- bcr, of whom it is to be wished there were many in our science, who not only seek for entertain- ment in music because it gratifies their senses, but because they can employ their abilities ibr the benefit of the science. He is equally familiar with musical literature, and with the nature and powers of the flute. Of this he gave a convincing proof in 1807 and 1308, in the Leipsic Mus. Zct.. in which he published a learned, ingenious, and instructive treatise on the notes of the flute, under the title of " Brucbstuke aus einem noch uiigedriick- ten pliih>sophisch-praktisclien Versiiche uber die Salur und das Toiispiel der deutschen FlOte." LIEBICH, GOTFIUED SIEGMUND, chapel- master and private secrct.iry to the Count of Reiiss-Planischen, was born at Frankeiiberg, ii Meis-cn, in 1672. He received a good loundatif a in musical education from his lather, who was a singer in the same f l.apel, atd went afterwar a 8 LIG EXCYCLOP.EDIA OP MUSIC. LIN to the school iit liautzen, anil from thence to Jena, to study mcilicinc. Here, however, he did not remain more tlian a year, when he procieeded to Dresden, whore he devoted hirascli' entirely to music, in which prot'ession his beautiful tenor voice afforded him a {jreat advantage. About the year lii!»;), he obtained the otKco of notary in Sohluetz, in Voi^tland, and afterwards the chapel- master's situation above mentioned, in which he died in 1727. Araon«; various other works, there are manuscripts of his entitled " Einen Jtilinjainj itber die Eranijeiien, fur 1 Siiir/atiiiinie, 2 f'ioliiien, 2 r., et B.," and " Einen dcrgkiehen Jahryang, fUr 4 Sini/atimmtii mil verschiedeneii Iiisirumeiiten." LIOATURE. A ligature is a band, or link, by which notes are connected or tied together. At present we only tie tlie tails of quavers and notes of shorter duration ; but the old masters tied, or linked, together the heads of their square notes. LIGHT. A word adjectively applied to any thin, airy composition ; also to the keys of an orj!;an, harpsichord, or piauo-forte, when they make very little resistance to the pressure of the fingers. Instruments with such keys are said to be of a light touch. LIGNE, PIIINZ KAllT, DE. published at Vienna, of his own composition, " Ricueil 1, 2, .3, de Six Airs Franqois pour le Claeiciii," ^'ieuna, 1791. LIGOU, PIERRE, an abb.-, born at Avignon in 1749, was appointed organist at Alais, in I7u9. He composed several operettas, also some church music, which had much success. LILIEX, liARONESS ANTOIXETrE DE. An amateur at Vienna, whose compositions are praised for their power;uI style. She published, in 1799, "Unit Wiriitioiu pour le Piano-forUi sur Lf Thdme du Trio ' I'riu ch' io f inipe/no," Vienna ; " Sept I'ariation-s sur un Thrnte dam le Ballet dC Al- titie," Op. 2, Vienna; and " S,uf \'ariatioiis pour le Piano-forte," Vienim. LILIEX. HAROXESS JOSEPIIIXE DE. probably sister to the preceding, has publi.shed " l)ix Variations pour le (.'lac. aur une li nuance," Vienna, 1800, and " I)ix Variations pour le Clav. tur I' Air La Iia.ht.lina," Op. 2, Vienna, 1800. LIMMA, or llEMXAXT. An interval used in the ancient Greek music, which is less by a comma than a major semitone. When taken from a major tone, it leaves the apotoine for a rnmainder. LINES. Those members of a stave on and uetween which the notes are placed ; also those horizontal parallels which are placed above or bei-.eath the stave. The invention of liiiea Ls generally attributed to (Juido. At their first in- troduction the spaces between them were not used. 1 IXC, or LIXK, WEXZEI-, a coo perator with Luther in the refonuation, \mis l>orn at Colditz ai the year 1 KS:t. He was first a monk of the arder of St. Augustine, in the convent at Mcis- nisch, uei\r Waldheim ; became, in his twenty- eighth year, a preacher ; and, lastly, in con.se- queuce of his thorough acquaintance with the Holy .Scriptures, profeartnients. At length her voice returned to her, but it was no longer the voice wl.ich she once had. nor had it yet acquireus tt'arez plua df voix." And very frcjuently has he said, " If I jnd had more voice at her dis- posal, nothing could prevent her IxK-oming the greatest of modern singers ; but a.s it Lo, fihc must be content with singing second to many who will not have one halt her nonius." Her voice, neverthelc».s (jradually ntnngth- enetl, and she was at hL Jules Benedict, the conductor of Jenny Lind's concerts in America, and an excellent writer and critic as well as musician, ascribes the secret of her triumphs to the fact " that the great singer iruikes a conscience of lier art." We traiLslate what follows. " The child, brought up and fashioned in the school of adversity, and finding in music all the consolations which a cruel destiny had refused to her ; the young girl who, thanks to the care of her excellent masters and friends, Berg and Lind- blfld, learned in good season to identify herself with the masterpieces of the great composers ; and finally Jenny Lind, at the apogee of her glory, shunning the world and society, and know- ing, loving, dieamiug nothing but her art, had certainly some powerful elements of success. " It would not be easy, in our time, to meet any caiUatrice whomsoever, who could play and sing to you from memory, from the first note to the last, the Annida of Gluck, the ChaUau de Montenero of Dalayrac, the Vestale of Spontini, the Deux Journivs ol Cherubini, the operas of Mozart, Weber, and Meyerbeer, the oratorios of Handel and Haydn, all the melodies of Mendels- sohn, of Franz Schubert, of .Schumann, the Ma- zurkas and EtudiS of Chopin, without counting a very extensive dramatic repertoire, comprising the scores of Rossini, Donizetti, Bellini, Verdi. " It would, perhaps, be yet more difficult to name an artist who could appreciate and com- prehend these great schools, become penetrated with their genius, preserve their local colors, and appropriate to herself their styles. It would be almost impossible to find a iminciennc who could at sight decipher the most difficult pieces, retain melodies of an irregular and unusual rhythm, and repeat them, after several days, as if she had created them herself. Mile. Lind unites these precious qualities. But this Ls not all. The grand tiling — I repeat it — is, that she makes a conscience of her art ; that in the smallest city of Germany or of America, she will put the same zeal, the same verve into the execution of the airs she may have selected, or the rdUa she may have undertaken, that she would it' she were making her dibut in the StiUe ]'eiitad nir, in her majesty's theatre, or in Tripler Hall ; that she never concerns herself about what is said by critics, friends, enemies, or the public in general, but thinks of her art, and of her art only. " Detached from what surrounds her, aban- doning hei-self entirely to her inspiration, she impresses on the music that she sings a stamp of originality that is irresistible. With an inexo- rable rigor towards herself, she punishes the slightest imperfection, which she thinks she has discovered in her execution, by a redoubled, tripled labor. But then, when by sufficient trials she has enriched her re/H-rtnirc with a new piece; when, in the ]ilcnitude of her means, she gives free scope to the re-.ources of her genius so rich and various, who can remain cold and insensible ? The sacred tlame communicates itself to her audi- ence ; a thrill runs through the seats ; a i)rofound emotion Ls engraved upon all countenances ; and wlun at last the solemn silence is replaced by LIN ENCYCLOPAEDIA OF MUSIC. LI» universal acclamations, when we try to accoxmt for the impression we have experienced, and ask why we have been seized with admiration and •atonishmeut, the answer is, that we have heard an artUt who makes a conscience of heu ART ! " LIXDLEY, ROBERT, bom at Rothcram, in Yorkshire, in the year 1777, was from early in- fancy extremely fond of music, so that even at the age of four years his father could not please him 80 much as by plaj-ing to him on the violon- cello. Shortly afterwards his father, who was an amateur performer, commenced teaching his son the violin, and, as soon as he attained the age of nine, also the violoncello, which instruction he continued for the space of seven years, when the celebrated C'crvctto heard the youth play, and undertook, in the most friendly manner, and gratuitously, to give him lessons. He went to England, and was en<;aged at the Brighton the^ qtusdam veto nuperrime concirmating. In 1794, he succeeded Sperati as first violoncello at the King's Theatre. Liudley was almost universally considered as second to no violoncellist in Europe. He com- posed several concertos and other works for his instrument. LIXDLEY, "WILLIAM, son of the preceding, was born in the year 1802, and commenced the study of music under the instruction of his father, and lirst jjcrformed on the violoncello in public, at the age of fifteen, on which occasion he was pre- senteil with very flattering testimonials from Sir George Smart and other professors. The per- formance was at the King's Theatre, for the bene- fit of the Musical Fund, in the year 1817 ; since which time W. Lindley has regularly played at the Philharmonic, Ancient, and other concerts, and been engaged in the orchestra of the King's Theatre since the year 1819. LIXDXER, FRIEDRICH, singer at Xurem- berg, was born in Silesia, and was entered in his youth as chorister in the chapel of the Elector Augustus, at Dresden. He was educated at the expense of the elector, and first went to school in Dresden, and aftcrvvards to the university at I^eipeic ; on leaving which, he entered the scr\'icc of Count George Frederic, at Anspach, in whose employ he remained ten years, when he received, in 1.571, his appointment at Xuremberg. He published several of his own compositions, as ap- I)ears from the following list^ " t'antiones !>acrtr," Nuremberg, 1.38."!; "2 Vara Cantionum Sacra- rum," Xuremberg, 1,388 ; "Mu.^rp, 5 vociim," Xu- remberg, 1.391; also works of various other compo- sers, under the title " Gemma Miuirali-t," vol. i., Nuremberg, 1.388. 'lliis work contains sixty-four Italian madrigals, by the following among other composci-s : Lelio Bcrtani, Jean de Macquc, Jaches Werth, Joan. Mar. Xanino, Joan. Bajitist Moscog, his son at the (iymnasium, to be educated for the medical profession. The early indications which the boy gave, however, of a strong i>red- ilection for music, altered the intention of his parents, and Lindjiaintner became a pupil of the celebrated composer Winter, who then resided at Munich. Some years later he studied counter- point with Joseph Gratz, who at that time was reputed one of the most learned masters in Ger- many. Under such favorable circumstances the progress of the young musician was very rapid, and he speedily acquired !i knowledge of all the secrets of his art. He was encouraged by several distinguished persons, and among others by the Elector of Treves, who promised to supply him with the means of making an artistic tour in Italy. The unexpected death of his friendly patron, in 1811, however, prevented the realization of his plan, and he accepted the post of music director at the opera, which had just been opened at Munich. Although only twenty years of age, Lindpaintner performed the duties of this oflice with such success that he rapidly obtaineohr — with the light, brilliant, " ad captanHum " man- Franc. Soriano, Annibal Zoilo, Ginnetto da Pal- | ner of the French. ThewKf/oflve is of iUw-lf hi^'hlT estrina, Alfonso Ferabosco, Cipriano do Rore, Baldassaro Donato, and Huberto Waclrent. "Gem- na Musicalii," vol. ii. 1.389. " Grmma Mu-ticalLi," rol. iii. 1.590. He has also published " Corolia- rium Cantionum Stcrnr. H, G, 7, 8,er plurium voc. de festis prtrripitis anni, quarum antca a prfrtfantissimit WMtne alaiit musicis Italia teparatim editte tunl. agreeable, more especially when combined with such clear and masterly orchestration a.« dUtin- guishes the overtures to "Her i'ampyr" and other operas. A list of the vocal ard instrumental composi- tions of Lindpaintner would occupy a larger •p«c« than can be afforded in this work. A speciAot- 66 621 LIN EX CYCLOPAEDIA OF MUSIC. LIN tion, by iinmc, of some of those wlik-h are tlic most hi;;hly ere " The Youu^ Man of Xacci," a short oratorio : " Abraham," an oratorio in three parts ; and " 'ITie Lord's Prayer," for solo voices and chorus; the operas of the " Vampi/r," •' Oenune- rinn," " Sui!ianisc/te," " Vesper" " Vie MOchi lUs Liedcs," and " Uiu/iti," thebaUetsof " Jokj," and " ZciUi," and several concert overtures. Lind- paintner has written, in all, fifteen oi)eras and operettas, fifty psalms, and four masses. His in- 6t:umental compositions are very numerous, in- cluding; solos for almost every instrument, two coucertantes for wind instrument, twenty con- cert overtures for the orchestra, besides entr'iutes and melodramatic miLsic. As a song writer he Lis been no less prolific, having composed no less than two hundred liedcr, some of which have ob- tained a wide popularity in (jcnnany. In England one of these UecUr (known under the titles " With Sword at re.it " and the " Standard Bearer ") was made famous by the singing of Ilerr Pischek, who first introduced it at one of the concerts of the Philhai-mouic Society, in ILmover Square. Lindpaintncr, besides being a member of near- ly all the musical societies of Germany, is Chev- alier of the Order of the Crown of Wurtemburg, and niember of the Koyal Academy of Berlin. Ills majesty the King of Prussia ])iesented him with the large gold medal of the Arts and Sci- ences, and H. K. II. the Duke of Coburg with that of the Ernestine Order of Merit. Her ma- jesty the Queen of England, tlirough Prince IIo- henlohe, also jjresented him with a golden medal, bearing her majesty's likeness, as an acknowledg- ment of her majesty's having received the score of the oratorio of " Abraham." LIXG, W., a musician in London, about the year 1 790, published " Three Sonatas for the Piano- forte, with a Flute Obligato to one and two, with a Violin Accompaniment," Op. 1, Lon- don ; " Duets for the German Flute," O-p. 2, Lon- don ; " The Rising of the Lark, with Variations lor the Piano-forte," London ; " Grand March," uiscribed to the gentlemen of the London Koyal Association, Loudon. LIXGKE, GEOUG FRIEDERICH. counsel- lor of the mines to the King of Poland and Elec- tor of Saxony, published at Leipsic, in 1779, " Kurze ilusikkhre, i\c." LIXIE. (G.) A line of the stave. LIXIKE, JOHAXX OEORG, a composer of Tocal music, violinist, and cxccWcnt chef d'orchvs- tre, lenrncd the art of composition of the celebrat- ed Johunn Theil, of Berlin, and became after- wards a member of the Chapel Royal in that city, and chamber musician, where, on tlie occasion of a public funeral, he was first obliged to take the place of the maxlre de chapillc, who happened to be absent. In the year 1713, he was called to the court of Wei.sscnfels, in the capacity of chapel-miLster, from whence he went to England, after having obtained leave from the duke. In England he remained three years, and went after- wards to llaiuburg, as chif d'onhf.itrf in the opera there. He wrote in that town small pieces for the theatre and .several concertos. We can men- tion the following of liis compositions : " CuiiMa, Lungi da me pensicr, 6;c. d Sopr., 2 V., Viola, « Ceinbal," manuscript, in Breitkopfs collection ; " Cantata, llo una pcna intorno al Core, d. Sipr., 2 r., Viola, e li.," manuscript, in Breitkopf s col- lection ; " Can/a/a, Crudo Ain-ire, d Sopr. e Cemb.," manuscript, in Breitkopf s collection. LIXLEY, THOMAS, a distinguished v6cal composer, received the rudiments of his musical education from Thomas Chillcott. organist to the abbey ch\u-ch at Bath ; and it was coiupleled af- terwards by the celebrated Venetian, Paradies, a composer, whose twelve admirable sonatas would have alone immortalized him, had he written nothing else. Linley was for many years the conductor of the oratorios and concerts, then regularly performed at Bath, and might with great truth be considered as having reitored the music of Handel, and the performance of it, to the notice and patronage of the public, as Garriok restored the plays of Shakspeare. Through his taste and ability as a manager, assisted greatly by the ex- quisite singing of his two eldest daughters, after- wards Mrs. Sheridan and Mrs. Tickell, music was cultivated generally at .Bath and its vicinity, and concerts and oratorios were successfully performed not only tlicre, but in the metropolis, beyond all former precedent since the death of the illus- trious Handel himself. As a singing master aud a composer, Linley possessed a taste and style peculiarly his own, but still modelled on the principles of that pure English school, which, however overshadowed at present by the foreign structure that has been opposed to it, can never be totally eclipsed while there are any feelings of nature and good .scn.se remaining. Linley left Bath to reside with his family in London, in consequence of becoming joint paten- tee with his son-in-hiw, Mr. Sheridan, of Drury Lane Theatre. Here he conducted, for many years, the musical department, and gratified the public, from time to time, with many beautiful operas. " The Duenna " had been previously brought out at Covcnt Garden Theatre, aud was the joint production of Linley and his eldest son. The operas and musical entertainments which Linley set for Drury Lane were " The t'arnivalof Venice," " Selima and the Royal Merchant," " The Camp," " The Spanish Maid," " The Stran- ger at Home," " Love in the East," and many minor pieces. They all, piuticularly " The Du- enna," " The Carnival of Venice," and " .SeUma and Azor," possess proofs of a rich and cultivated fancy, a sound judgment, and scientific construc- tion. Among those which may be considered the minor pieces, the music in the first act of the pantomime of " Robinson (."rusoe " must not be passed over in silence ; it is strikingly original and characteristic. But one of the most delight- ful efforts of this charming comi)oser'8 mind, whilst connected with the theatre, was the har- monies and accompaniments he added to the songs, Skc, of "The Beggar's Opera." Instead of the treble only, and a meagre and sometimes in- correct bass, the piece is now jierformed with the advantage of a full orchestra, wind instruments being introduced so as to give to many of the airs the most effective variety. It is impossible to listen to the songs of " O, ponder well," " When my hero in court," and the air^ " Would I might be hanged," and not be struck with th« effect produced by the horns aud clarinets, »c 522 LIN ENCYCLOPAEDIA OF MUSIC. LIN the pi/zicato accoinpauimcut of the striiif;cJ iii- etrumcnts. Linlev's six elegies were composed at Hath, in the meridian of his life, and it would be ditlicult to place any compositions of the Hame description in competition with them, for orij;!- nality of conception, elc;;ance, and tenderness. Hurnev, who, in liis " History of Music," has classed Enijlish masters rather too much in the lum]), (indeed, he was no very great admirer of his native school,) has yet particularly distinguLthed these, as well as the elegies of Jackson. Mr. Sheridan's monody o)i tlie death of Gar- rick was originally recited by Mrs. Yates, the actress, at Drury Lane 'Hieatre, in the month of March, 1779, parts of it having been previously set to music by Liiiley, and inti-oduced in songs, duets, and choruses at occasional p.auses of the recitation. The style of these, though necessa- rily funereal, is at the same time tenderly melo- dious, and pathetic in the highest degree. It is greatly to be regretted that this beautii'ul compo- Bition was never published. The twelve balhids were published not long after the untimely death of his eldest son, and the tirst sweetly-sorrowing etrain, " I sing of the days that are gone," decid- edly rei'ers to that melancholy event. These bal- lads are too purely, too entirely English to prom- ise, were they republished, any great attraction at the present time ; but it is impossible to name any comjjositions, on so simi)le a construction, which unite so much pathos, spirit, and original- ity. The posthumous works of Linley and T. Linley were presented to the public not many years after the father's death. The two volumes contain a rich vimety of songs, madrigals, elegies, and cantatas, which are unknown, and conse- quently neglected, because Eiiglisli music is no longer fashionable, nor compositions, indeed, of any kind sought alter, but Italian, or such as arc close imitations of the Italian and German schools. ITiere is, however, one production of the elder Linley, in this work, which no variation of taste, and no lapse of time, will ever consign to obliv- ion. This is his madrigal for five voices, to Cow- ley's beautiful words, - I.,'t mp. cairU'is «ni1 uii*llonf;htftil Ivinp, lli'iu' the soft winds BlM>Te nie flying." The ui)per part is for a soprano voice, and was evidently intended to display, in their fullest perfection, the taste and teeling of Mrs. Sheri- dan. Tliere is nothing superior, and very few of the old madrigals equal, to this charming speci- men of vocal harmony : the almost impercepti- ble change of the time, which introduces a new subject in the upi)er jiart, and which the other voices echo and reply to in accompaniment, is a thought not more strikingly beautiful than sin- gularly original. 'Hiis tine madrigal is still per- formed annually at the Ancient and other con- certs, as well as at the catch and glee clubs, ond seems to acquire strength by repetition. Linley died at his residence in Sotithnmpton Street, Covent (iarden, in 170.5, and was buried in \Vells Cnthedial, in the same vault with his be- loved daughters, Mrs. Sheridan and Mrs. Tickell. A monument was soon after erected to their memory, near the spot, by William Linley, Mr. Linley's youngest son. LINLEY. TIlt)M.\S, eldest son of the preced- ing, was a highly gitted man, and an accom- plished mufiiciun, botii practical and theoretical. If he was inferior to his fatl.cr in tlie j)urity and |)athos of his melodies, lie was perlitt|)H superior to him in his knowledge of orchestral ctrecf, and instrumental compositions generally. He wm bom at Hath, in the year IT.IH, and displayed, at a very early age, extraordinary powers on the violin. When he wits eight years old only, ha performed a concerto on that instrument in ])ub- lic, and at seventeen compo'-ed an anthem in fiiU score to the words, " Let God ari-ie," which wtt» sung in Worcester Cathcilral at the meeting of the three choirs, on the Hth of September, 177-'! Linley senior soon discovered the extraonli- nary genius and capacity of his son; and with the view of instructing him for the prolession. I sent him to London to com])leto his theoreticn, I knowledge, under the able tuition of Dr. Royce, thus laying the foundation, on which an elegant I structure was afterwards to be built, Iroin the studies of the Italian and German masters. lie was accordingly, in due time, sent to Florence, principally to make himself master of his favorite instrument, under the celebrated Xardini. ITiis distinguished instructor, who had been him- self a scholar of Tartini's, proud of his pupil, and desirous of his receiving every aid by his a.s.sociating with the rising genius of the age, in- troduced him to the great Mozart, then a youth himself, and a wanu frieniLship immediately commenced between them ; so attached, indeed, was Mozart to the young Thomasiiio, ( as youna Linley was called,) discovering in him, as he did, so much of his own tire and fancy, and so grate- fully was that attachment returned, that theii separation, when they i>artwl at Florence, was attended with tears on both sides. On Linley junior's return from the continent, h< repaired to liath, to lead his father's concerts and oratorios, which he did with such precision and animation as astonished and delighted every hearer. In the masterly manner of liis perform- ance of the concertos of Handel and (Jeminiani, no English violin player had ever excelled him, and in the neatness and delicacy of his execution he stood unrivalled. His own solos and concer- tos, which he occasionally iritrodacctl, also gave e\-ident tokens of his continental studies, being full of imagination and spirit, but re(|uiring in almost every bar the touch of the finished master to do justice to their merit. The comic opera of " The Duenna " was brought out at Covent Garden "ITieatre in the year 177''>, the mu.sic to which was composed and selected by Linley sen- ior chiefly, but 1'honias contributed some charm- ing picjces ; the spirited overture is his composi- tion, and the air in D, of the o;;ening serenade ; the following songs : " Could I each fault remere- ber," " Friendship is the bond of reason," and that very fine one, " Sharp is the wnc ; " the little duet, "Turn thee round, I pray thee," and \.i\e trio which concludes the first act. On the revival of " The Tempest," at Drury I jme 'nicatrc, he introduced the chorus of spirits that raise the storm, one of the most cfre<-tive, ns well as scientific, compositions : the brilliant and hiyhly fanciful airs, " O, bid your faithful Ariel fiy," and " Ere you can say come and go," are so completely in character, that they could suit no other being but the " dainty Ariel " himself, and are fairly entitled to stand W the side of Purcell and Ame. Hut the most delightful production of his gcnitu was an ** Ode on the A\ itches and 23 LIN ENCYCLOPAEDIA OF MUSIC. L] « Fairies of Shukspeare," written by Dr. Laurence. I rived junt in time to wee hLs venerable fatlier, ai d It was iierlbrraed at Drury Lane Theatre in 1776, , to close his eyes. William resumed his situatirn when he led the band himself, and hLs two sis- , at Madras in the year 1800, and during a residence ters, Mary (afterwards Mrs. Tickell) and Maria, I oi seven years longer in India, discharged, very sustained the principal soprano part«, for Mrs. | satisfactorily, the duties of two situations of etjual Sheridan never sang in public after her marriage. In imitation of his father, T. Linley added part.s for wind instruments to the ravjsic in " Mac- beth," Dr. Boyce having previously supplied the other orchestral accompaniments. The wind in- struments are made to produce a very fine char- acteristic effect, but the parts were unfortunately destroyed when Drury Lane Theatre was burned down. Besides the anthem previously mentioned, he some years after composed a sacred oratorio in one act, "The Song of Moses," which was also i)erformed at Drury I,ane Theatre. It is replete with admirable specimens of iugue and choral harmony, occasionally in the style of Ilaudcl, but interspersed with much of that grace and variety which he had gleaned from the Ital- ian masters. The greatest part of hLs miscella- neous music, consisting of songs, elegies, and can- tatas, will be found in the posthumous works, publislied by Preston. Among these, the can- tata of " Daughter of Heaven, fair art thou,"' from Ossian, and the beautiful madrigals, " Hark, the birds," and " Alinda's Form," are to be par- ticularly distinguished. He composed these foi Mrs. Sheridan, after her marriage. LINI-EY, WILLIAM, the youngest of Mr. Thomas Linley's children, was sent at an early age to Harrow school, from whence he was re- moved, to finish his classical education, to St. Paul's, in order that he might reap advantage at the same time from his father's instructions in his favorite art. Mr. Linley's time, as patentee and acting manager of Drury Lane Theatre, was, how- ever, too much occupied to allow of his bestowing any regular attention upon the youth, and he was, consequently, placed with the celebrated Abel, under whom he studied counterpoint for some time, receiving occasional lessons from hLs father in harpsichord playing and singing. It does not appear that Mr. Linley intended his son William for the profession, but he had always ex- pressed hLs determination that as many of his numerous family as evinced any musical talent should receive the benefit of a musical education ; and William had, from a child, been distinguished for the accuracy of his car, the sweetness of his voice, and the facility with which he remembered and i>layed favorite passages of songs and lessons. But though the young gentleman loved music, and dearly delighted to ramble over the organ or harpsichord keys, as fancy chose to guide him, he was no great admirer of the plodding part. The crude digest of double counterpoint, canon, and fugue, under a pepjiery instructor, (for Abel, like most other German masters, was very impa- tient, and not very clear in his exidanations,) was not so much to his taste as frering of 1700. His career in the East India Company's service •eceived a severe check in the year 1795, when ill health, and every tendency to consumj>tion, obliged him to retujii to England, where he ar- labor and responsibility ; viz., provincial paymas- ter at Vellore, and that of sub-treasurer at the presidency, Fort St. George. It was while abroad that his hours of leisure and relaxation were employed in retracing hLs musical studies under liLs old master Abel, and perfecting himself in the knowledge of the science. He had given specimens of his taste and fancy, during his visit to England in 1795, in the production of two comic operas, namely, " The Honey Moon " and " Pa- vilion," besides supplying some exceedingly in- genious and characteristic music to a very popular pantomime, called " The Magic Fire." In all these pieces there were to be discovered marks of genius, but not to be mentioned, in point of scientific construction, to what he afterwards pro- duced. A collection of fairy glees, which were published in 1797, possess imagination indeed, but are very faulty in the vocal arrangement ; and there are disallowed intervals in the harmonies, evidently the consequence of neglect. In the year 1809, Birchall published a set of William Linley's songs of a very superior order ; the melodies ar? elegant and original, and the accompaniments, though rather exuberant, very ingenious. The la.st song " Ariel's Adieu," would be a sparkling gem even among the brilliants in the tcitches and fairies of his incomparable brother. Two sets of canzonets, published at different periods, are com- posed in a similar style, and it is unquestionably a style of his own ; the subjects, if not all striking, are at least new. That these songs and canzonets of William Linley's are not more generally known, only can be attributed to the overwhelming prefer ence that Ls now given to foreign compositions of every description. But his chief musical under- taking was published in the year 1810, entitled " Shakspeare's Dramatic Songs, in two volumes, consisting of all the Songs, Duets, Trios, and Cho- ruses in Character, as introduced by him in his va- rious Dramas, the Music partly new and partly se- lected, with new S\inphonies and Accompani- ments for the Piano-Forte, from the Works of Pur- cell, Fielding, Drs. Boyce, Nares, Arne, and Cooke, Messrs. J. Smith, J. S. Smith, Thomas Linley, Jr., and 11. J. .S. Stevens. To which are prefixed a General Introduction of the Subject, and ex- planatory Kemarks to each Play." The reader is referred, for a very full and enter- taining critique of this ingenious work, to the European magazines of 1816. It is also re- viewed and much distinguished in the " Monthly Ile\-iew " and " Ackcnnau's Kepository." LINLEY, FRANCIS, though bUnd from hi« birth, became an excellent performer on the or- gan. Nor were hLs abilities confined merely to the science of music ; he was a charming com- panion, an acute rea.soner, and well acquainted with the works of the most eminent authors, an- cient and modern. Having completed his musi- cal studies under Dr. Miller, of Doncaster, he went to London, and was the successful candi- date, among seventeen competitors, for the place of organLst of Pentonville chapel, Clerkenwell. He was soon after married to a blind lady of large fortune ; but having sustained great losses by tha 624 LIN ENCYCLOPEDIA OF MUSIC. LIS treachery of a frientl, and licint; deserted by his wile, he oumc to America, and here his i)rrloriu- ance and compositions soon brought him into notice. lie returned to England a short time previous to his death, which took place in Lon- don in the year 1800. LINOS. A kind of rustic ai' used by the an- cient Greeks, who had also a dirge of the same name. Some say the linns was of Egyptian in- vention, while others attribute it-s origin to Linus of Eubua. LINUS. Diodorus Siculus, who b \exy diffuse :n his account of Linus, tells us, from Dionysius of Mitylene, the historian, who was contemjwrary with Cicero, that Linus was the tirst among the Gp-'eks who invented verse and music, as Cad- mus tirst taught them the use of letters. The same writer likewise attributes to him an account of the exploits of the tirst Uacchus, and a trea- tise upon Greek mythology written in I'elasgian characters, wliich were also those used by Or- j>hi'us, and by I'ronapides, the preceptor of Homer. Diodorus says that he addeil the string lichams to the Mercurian lyre, and gives to him the in- vention of rhythm and melody, which Suida-s who regards him as the most ancient of lyric po- ets, continns. He is said by many ancient writers to have had several disciples of great renown, amnng whom were Ileicules, lliamj-ris, and, ac- cording to some, Orpheus. Hercules, says Diodorus, in learning of Linus to play upon the h-re, being extremely dull and obstinate, provoked his raitster to strike him, which so enraged the young hero, that, instantly seizing the lyre of the musician, he beat out his brains with his own instrument. LION.S JEAN DES, a French diWne, par- ticulnrly well acquainted with the religious cus- toms ot the middle ages, was born at I'ontoLsc in lt)1.5. He wrote, among other works, •'Critique (fun Dxteur de Sorbonne siir let deux Lettrea de Messieurt Destyona et de Brayelonge totichaiit la Symphonie tt les Instruments, qu'on a tntlu introduira dans lour Eyiise aux Lei;ons de Tinibres," 1689. LIPAWSKY, JOSEPH, a teacher of the piano- forte and composer, in Vienna, about the year 1790, had made himself known, some years pre- viously, by his compositions, of which we shall mention the following: " Doiice lariat, pour it Cemhat, didiie d S. Mozart," Op. 1, Vienna, 1791. " .\'euj' I'ars. pour le Clav. sur f Air ' Eine Rose hold und rein,' " Vienna, 1798. " Dix Vars. pour le Clav.," Vienna, 1799. " 3 Klaviersmaten mit Violin." " Sent' Vars. pour le Clav. sur V Air ' Die MiU-k ist ffcsunder.' " " I'ars. pour le Clav. sur le Ballet ' La Fille retrouvie,' " Vienna. " Six Vars. pour le Clav. sur ' Gott erhaJte FraiK,' " Op. 4, Vi- enna. " Huit Vars. pour le CUir. sur un Danse Husse," Op. 0. Vienna. " Denize Vars. pour le Clav. sur Terzf'to di Camilla," Vienna. " \eu/ \'ars. sur une Pnlon, de f Op. ' Lodoiska,' " 1802. " Grande Sonatf pour le Clav. avec I'.," Op. 9. " Grande Stnate pour le Clav. et Vc," Op. 10. "Eine dergl," Op. 11. " .s"jx Polonoiscs pour le Clav.," dp. 13, 1803. " Vars. pour le CT-ir. sur r Air de Chcnibini, ' Guide mes pas,' " Op. 14. " .Vina, Gedicht mit Klavierbeyteil," Op. 1.5. " Trois Romances ou Andantes pour le Clac," Op. 19. " Onze Vars. pour le Clav. sur V Air de Daiayrac, • La Tour de Seualadt,' " Op. 20, Vienna, 1803. " Granite Sctnate pathttiq%ie pour le P. F. mmposie tt didiie h M. .Ant. Satieri," Op. 27, Leipsie. LIPPAUINO, GUILIEI.MO, a monk of tht order of St. Augustino, and nn industrious com- poser of sacred music, was born at Hologna. Ha flourished in the besiinning of the seventeenth century, as chai)el-raaster in the cathedral c-hurch of Como. He published the following works : " Madriyali a o Voii," Venice, 1(514. " MijiSf ft ^ e 9 Voci, con TV Drum laudamus ft 8 Voci." " Mo- tetti," Venice, I(i3i5. " Sest style : the head was designed and carved in the most beautiful manner by lien- venuto CeUini, with mythic figures representing the musical goddess and her attendants ; the fret board and sounding board are beautifully inlaid in mosaic of ])earl and ebony. This in.strument was sold by the heirs of the cardinal to a person who carried it to Innspruck, and at the taking of that city by the French army, in 1800, it became part of the booty of a dragoon, by whom it was sold to afanatico \ter la masica, in Vienna, who could not be induced to part with it, though in- credible sums were offered lor it. Chevalier Hull wished to purcha-se it, but was not successful, though the owner promised that il Hull would give 15 concerts in that city he should have the preemption of the violin at his death. 'H.e chev- alier complied with hLs wishes, and the proprietor, dying soon after, beqiicathed the instrument to him, to whom it now (1813) belongs. The edi- tor of Alexander's Philadel])hia Messenger, who had heard Uull upon this in.>tmment, said in 1843, " The unearthly, fairy-like sounds he drew from the violin, seemed to lull the hou.«e like a magic 8i)ell — like the soft tones from another world, breaking upon earth at lost." LIST, a German student in dirinitr, announced, in 1797, the edition r f a choral book for the I.u- 626 MS EXCYCLOPJEDIA OF MUSIC. 1 i-v theraii church of Schniiniburg, possessing the followiiiK lulvnntaKCs : 1. The chords fully writ- fen. 2. Inlcrludcs. 3. About sixteen new melodies composed l>y himself. 4. Several corrections of the old melodies. 6. A short introduction to thoro\if;h biuss, and a short treatise on choral playin;;. IJSTE, ANTHONY. Professor of the piano- forte and composer, born nt Hildesheim in 1774, studied at Vienna under Mozart and Albrechts- bcrgcr, and was afterwards a teacticr of music in the family of the Count of Westphalia. He also gave jjrivate instructions in 1804, in Heidelberg, where he made his lirst iMbiit as an extraordinary comjjoser for the piano-forte, by his two sonatas for that instrument, to be found in No. 9 of Na- geli's •' liijietioire dcs Claviciiiistes." According to the opinion of connoisseurs, hLs List composi- tions are excellent, as well in regard to the origi- nal and correct arrangement as to their attractive style. LISTENirS, NICOLAUS, a profes.sor of music in the beginning of the sixteenth century. His small introductory work on music has, in the course of fifty years, gone through seventeen edi- tions, an almost unrivalled Tiumbcr for a musical publication, and a proof of the value which was placed on its merit and utihty. Gerbcr has but little information of the comparative value of the different editions of this work. Notwithstanding the merit of Listenius, the ungrateful indifference of his contemporaries towards him went so far, that all which is at present known about him consists merely in this, that he was a native of Brandenburg, (which he accidentally had men- tioned in hLs dedication to John George, hereditary prince to the Elector Joachim II. of Uradenburg.) As soon as his little work issued from the press, the booksellers all considered it as their property, and printed and reprinted the same as olten as it suited their interests, without taking any further notice of the author. They did not even do liim the honor, in the later editions of his work, to reprint the well-written preface of Dr. IJugcn- hagen, which speaks highly of the merits of the author. " But," says Gerber, " why should 1 feel indignant at the ingratitude of the sixteenth century r Have I not sufficiently experienced the ingratitude of the eighteenth century towards their most usetul and talented authors, even in the course of my writing this dictionary- I Khouhl advise, therefore, every man of merit, whenever he has an opportunity, to write at least gometliing about himself, and to speak well of hiro-iolf when necessary, despising the sneers of envy. If they do not thus gain the good will and respect of their contemporaries, posterity will at least not deny them that boon." The first edition ol I.Lstenius apjicired under the following title : " I'udimeiitd MusictP in r/ratiam stuiliitsrr jiivrntiitis diltgcHter conijmrtnla," Wittenberg, 1.533 and l'>:i7. A new edition followed, with the addition to the title of " Ab aiUore denuo recognita, niiiUisi/iic iiovis reiiulii el exemplis adiltictn," Witten- berg. \6i'2, 1.544, and 1.5.54. It was also printed in Leipsic, by Michael Blum, 1.543, loiC, and 1.533, also in Frankfort on the Oder, without date, and in l$reslau, 1673, and lastly, at Nurem- berg, by Job. I'ctreio, in 1.510, 1548, 15.5.3, 1657, 1.5SS, and 1 GOO, with the addition " Ac correctius Hunin anUa edita." This last is probably also the last edition, as, in the beginning of the Rcventeenth century, the subjects which it contained began partly to he useless. I/ISTESSO TEMPO. A word imi)lying that the movement before whirh it is placed Ls to be played in the same time as the previous move- ment. LISZT, FKANZ, was born at Baeding, Hun- gary, October 22, 1811. Ho is the son of Adam Liszt, an enthusiastic amateur, and during his life an intimate friend of Haydn. The father was a good i)ianist, and played several different instru- ments. Franz received his first lessons on the piano-forte from his father ; and at the age of nine years he performed Kies's Concerto in E flat, in public. Soon after Franz was placed under Czemy, the pianist, at Vienna, and at the same time re- ceived instructions from Salieri. When he had been eighteen months at Vienna, he gave a coticert at which Beethoven was present. In 1823 he visited Paris with the intention of becoming a student in the Conservatory ; he carried letters of recommendation from the highest sources, but could not gain admittance hpcaiise /le ira-t afireignerf In 1824 Franz vi-iited London, where his playing suqirised every body. In 1825 he produced, at the Royal Academy of Music, an opera, " Don f!a>wfie, ou le C/iatrau (T Armour." In 1826 h& and his father made a tour through the Frenot provinces, and in the same year he returned to Paris to study counteriioint under Ileicha. In 1829 he returned to London, where he was most favorably received. HLs father dying in 1830, Liszt became his own master, and maintained himself by teaching. In 1830, he returned to Paris, and since then has become particularly celebrated ns a pianist. He is the owner of the instrument played on by Beethoven, and in 1853 he purchased the old harpsichord formerly belonging to Beethoven, which was offered for sale at Wei- mar, where LLszt now resides. LIUTO. (I.) The lute. LIVERATI, GIOVANNI, was born in 1772 at Bologna, in the pontifical states. Giuseppe and Ferdinand Tibbaldi, celebrated composers, gave him his first lessons in the rudijuents of music : thev died when he was abo\it fourteen years of age. He then began, and continued during the space of thirteen years, to be a pupil for the piano, organ, thorough bass, and compo- sition of the renowned master Padre S. Mattel, successor io Padre Martini, which latter eminent musician was to have been his master, had he lived. Finally, he took lessons of singing from Lorenzo GibcUi, justly celebrated for his church music, as his many compositions and beautiful fugues will testify, and who was one of the first masters in the renowned Bolognese school of singing, which has since produced Crescentini, Babbini, Roncagho, Concialini, and many others. Having perfected himielf in that school also. I.iverati was able to take the part of fir^t tenor, with the best performers in the music at the Italian churches, as also in concerts and oratorios, both public and private. His country still remembers Mith delight the success le met with in an oratorio by the Padre Mattel, and in anoth.cr by Guglielmi, in the parts of Giovanni and SL-^aro. I.iverati next refuxed ■ fi2r> LIV ENCYCLOPEDIA OF MUSIC. LOG pressing invitation to the Venetian theatre from the celebrated Pacchiarotti, who came as far ns Bolofjiia to' treat with liira ; lie likewise declined several other Himilur theatrical oflers in Italy, and went as first tenor to Uurcelona and Mailrid, con- tiniiin;;, at the same lime, Lis ^tudies in composi- tion. IJelm'C he quitted Italy, ho was elected a member of the I'liilharmonic Academy of Boloj^na, and of other musical societies. Some psalms were the first of his compositions, and were performed at the Bolognese cliurch of San Francesco, in the year 1789. In 1790 lie wrote, at Bologna, hLs first theatrical piece, " II Diicrliintitto in Cam- ragna," a little opera in one act, which was Bucccssfully jicrformed by his scholars. lie com- posed about the same time a mass for two voices, with an orj^an accompaniment ; also, " ITie Seven Words of Jesus Christ on the Cross," for three voices, with wind instruments ; and, finally, " A Grand l{c(|uicni Mass." lie next produced three instrumental quartets, by an order of his majesty the King of Prussia, obtained through the interest of his father, Mat- teo I.iverati, a distinguished professor of music at that court, and director of the theatre at Pots- dam. In consequence of these productions, Gio- vanni I.iverati was called to the court of Berlin, as successor to Carl Fasch, the celebrated contra- puntist and composer to the above theatre. He arrived in Prus.sia in 1799, and was .soon ordered to compose a grand cantata with choruses, but had not time for the completion of it before the king's death. In ISOO he became composer to the Italian theatre of Prague, where, during the ppaec of three years, he brought out seveial .short pieces, airs, duets, finales, &.C., for the stage ; also a grand cnntnta for his highness Prince Winski, tntitle," one act. fi. " Umunlro in Cordova," grand opera, choruses, in two iict,s. ('ITiese two ojierns ordered by the Prince of Ijoh- cowitz.) 7. "II Tempio dell' Ktcmith," twelve choruses, in two nets. 8. " // Cmn-ito degli Dri," in two acta. 9. "II Trionfo d'Auscmia," with choruses, in two acts. 10. " Milliadi;" in two acts. 11. " L' Adnrnzii'ni' dei Vaitlori e dei Mayi al J'nsi-pe," a grand oratorio, with twelve choruses, ordered by her majesty Maria 'riicrcsa of Naples, Empress of .\ustria, who herself condescended to sing the part of Maria, at its perlbrmance befor* the court. 12. "Grand Mass," ordered by his liighness Prince Esterhazy. Besidi-s, No. 2.5, a ciintata of one, two, and three pieces. Music published: Five numbers of " I^i Lyre d' Orfee," a icriodical work, with airs, duets, sestet.s, and quartet.s, vocal and some instrumental pieces. Two arias in " (linecra di Scopia.'' " Three Duets," dodiciited to Covmt PaUR. "Three Terzetti," dedicated to tie Countess Warenleld. " lliree Ariettas," dedicated to the Princess of Himski. " Three AricUas," del to bid defi- ance to all his exertions ; and beint; unavoidably 60 frequently from home, he saw no probability of Buccccding in hLs object, unlos some means could be adopted which would comjicl her, dur- blg his abhcucc, to retain a proper position of the hands. Execution on the piano-forte being purely mechanical, he considered that mechanical as- sistance might be afforded to facilitate or remove those difficulties which naturally present them- selves to every beginner on that instrument, and this led him to the invention of the chiroplast. He now succeeded rajiidly in liLs object, and in six months his daughter was enabled to perform the duty of organist ; and in a year afterwards she played a sonata in public, on which occasion T. Cooke, of th.e Drury Lane Theatre, accom- panied her on the violin. Having now resolved to settle in Dublin, and being considered one of the first teachers of military bands, many were sent to him from various jiarts of tl.e country by their colonels to be instructed. Tins employ- ment was so much more profitable than the tui- tion of private pupils on the piano-forte, that he totally gave up the latter. Soon after hLs arrival, he was employed by the corporation of the city of Dublin to compose an ode in commemoration of the entrance of the king, George III., into the fiftieth year of his reign, which was performed before the lord lieutenant, the corporation, and up- wards of a thousand persons. The same year he was engaged by H. Johnstone, as composer and director of music for his theatre in Peter Street, where he remained till its dissolution. Logifr now determined no longer to postpone the plan he had formed of introducing his system of mu- sical education to the public ; but being deeply engaged in mercantile affairs, which wotxld not allow him to dedicate that attention to it which such an undertaking rctiuired, he proposed to several professors, then in Dublin, that if they would teach on his jdan, ho would communicate it to them without any remuneration. This was declined. But the j.erson who was the first to refuse was also the first atterwar«is to apply for it, and to i)ay one hundred guineas for the com- munication. Logier, believing that he had nothing to hope from the professors in the promulgation of his system, set .seriously about introducing it himself. Every thi)\g had already been prej)ared for this event. A petcnt for the chiroplast had been ob- tained, and having given the year before (1814) two courses of lectures on harmony, a certain de- gree of public attention was e.vcited towards his object. He took a few young children, who had never learned before, and three months after- wards liold a public examination of them ; the result of which was, that several of the profess- ors in Dublin immediately adojited the system, and their academies being soon tilled with pupiLs, others followed their exam;)le. In the following year it made its way into England and Scotland. I'roiessors from various jmrt.s came to Dublin to be initiated ; and academies were soon established in Liverjiool, Manchester, Chester, Glasgow, Pres- ton, &c., &c. In July, 1816, Samuel Webbe, of London, paid Logier a visit, in order to form his own judgment oi the merits of his plan, which he immediately ado; ted, and introduced into the metropolis of England. About thLs time an anonymous pamphlet aj^peared in Edinburgh, the object of which was, if possible, to put a stop to the progress of this system. This pamphlet be- ing industriously circulated in England, nnd being likely to be prejudicial to him in the eye ol the public if allo\\ed to go unrefuted, Mr. Logier consii'ered it advL-able to re:,air to London, »ud 530 LOG ENCYCLOPAEDIA OF MUSIC. 1, 0 0 in person counteract its effects. His first object «vns to invite the Philhannonic Society to an ex- amination of the jjupils tnu;;ht by AVehbe, as also of three others from Dublin, that they mif;ht form an impartial judgment of the nature of his jilan. This examination took place on the 17th of November, when he experienced very warm opposition. Notwithstanding this, his system continued its successful career. His academy was resorted to by the first nobility, antl it was ado|)ted by upwards of eighty professors in dif- ferent parts of the United Kingdom. Among these was Kalkbrenncr, at that time member and director of the Philhannonic Society. 'Hiis gen- tleman and Webbc united with Logicr in con- •iiictiiig his extensive academy, and the increase of pu;iil8 soon obliged them to open a second, and many others rii]>idly followed. In 1821, the rrussian governrae«t sent a gen- tleman from Herlin to London, to ascertain the merits of the system, of which much had been heard, and with a view to its introduction info the Prussian states. 'Die result was, that in the same year I.ogier received an invitation from that government, through his excellency liaron Alten- stein, minister for public education, to reside some time in Berlin, and undertake in person its promulgation. He was too happy in such an o))]',ortunity of disseminating his system in a countryso justly celebrated for musical knowledge to hesiu.',e, though the acceptance of the proposal was attended with considerable difficulty. On the ITith of August, 1822, he arrived in lierlin, and in the same month commenced an academy. Five months afterwards, at the desire of govern- ment, he held an examination of the pupils, to whi:h were officially invited several of the best musicians in Berlin, in order to investigate the plan. The result was, that Logicr received a pro- posal from the minister, by order o) the king, to nistruct twenty professors, through whora it was to be disseminated through the Prussian do- minions, niis was accompanied by a pecuniary offer, and also of a handsome house and academy. Logier now accepted the invitation to remain tl-.ere three years, being allowed three months in each year to devote to his affiiirs in London. He thus establLshcd a national system of musical education throughout the Prussian dominions, which gradually .spread in other eo\intries. The following list comprises almost the whole of Logier's works published in the Unitid King- dom : " The first Companion to the Chiroplast," with a description of that invention, and an ex- planation of its use ; the rudiments of music luidthe art of piano-forte playing simpliKcd ; with a scries of progressive lessons, adapted to the capacity of the youngest pupil. " A Sequel to the first Companion," being a series of new les- ions, similarly constructed to those in the tir-t book, but chiefly in the minor mode, and com- pleting the practical excmplitication of all the clinracters used in musical notation ; with the diatonic scale-.i in all the keys, major and minor, ascending and descending, for both hands ; also the chromatic scale, plain and in octaves. •' A Sequel to the second Companion," containing lessons, to be played either in concert with the exercises in that book, or as single lessons, com- pleting the exemplification of the ditierent styles of variation on a given progression of harmonics. Ihe above fotir works were published at Cadiz iu the Spanish language, at Berlin in German, and at I'aris in French ; and since in London. " Ju- venile Duets and Trios," for two and three i)er- formers on one ])iano-forte, constructed chiefly on five notes for each hand, so that the ehiroplitst may be used where the pu])il is not sufHciently confident without it. " fixercises for the Hands," in a t'amiliar style, chieti yon modulations through all the keys, as an intermediate step to those l)y Cramer, Kalkbrenncr, Xc, dedicated to Miss Ouseley. " Military Duet-s," for two perfonuer.i on one piano-forte, dedicated to the Ladies Paget, (Book I ) " A second Set," dedicated to 1mi\\ Flora Hastings, (Book II.) "Logier's Tlieoret- ical and Practical Study for the Piano-forte," consisting of classical works, ancient and modern, with inverted and fundamental basses, fingered. " Xo. 1, Corelli's first Concerto." " No. 2, Corel- li's eighth Concerto." " No. .3, Handel's occa- sional Overture." " No. 4, Handel's overture to Esther." " Nos 5 and fi, Haydn's Symphony in D." "No. 7, Mozart's Overture to Zauberllote." " No. 8, Mozart's Overture to Figaro." " No. 9, dementi's Sonata in D." "No. 10, Scarlatti, with the Cat's Fugue." "Nos. 11 and 12, Beet- hoven's Trio arranged for two Piano-fortJ-s." " Logier's Practical Thorough Bass," being studies on the works of modern composers ; with a separate figured bass, having a space above tot the addition of the playable harmonies. "No. 1, Kalkbrenner's Sonata in C, and Andante." " No. 2, ditto, ditto." " A Trio in E, for two Perform- ers on one Piano-forte," with an accompaniment for another piano-forte, dedicated to the Mar- chioness of Anglesea, Op. 16. "A Second Trio in A, arranged as the above," dedicated to Major P. Hawker, with arl /i6.. accompaniments for vio- lin and violoncello. Op. 17. "A Third Grandt Sunaie n quotre mains." " Thirty-four Lessons," arranged as pleasing accompaniments to Logier's tii-st and second Companions, so as to be played by another performer on the same piano-forte. " A Concerto in E fiat," dedicated to the prince regent, with a piano-forte accompaniment ; also with accompaniments for a full band, if required, Op. 13. " An easy Sonata, with the Irish Air, ' O, breathe not his name,' " and " A Polacca, fingered," Op. 10. " Sonata in B flat, and Hon- do on an Irish Air, with Accompaniments for the Flute and Violoncello," Op. 7. " Sonata in E flat, with Accompaniments ad lib. for the Flute and Violoncello," dedicated to J. B. Cramer, " Sonata in D, with ' Blue Bells of Scotlan.l,' and Accompaniment for a Flute," Op. 8. "Intro- duction, Fugue, and two Canons, for two Per- formers on one Piano-forte." " Ditto, and (irand March, ' dedicated to Ijidies U. and A. Paget, (duet.) " Strains of other Days, tive Numbers, as Kondos and Airs with Variations ; " contjiiu- ing " No. 1, O blame not the Bard," and "The Legacy." " No. 2. Gramachree," and " Eve- lecn's Bower." " No. 3, The Young Man's Dream," and " Fly not yet." "No. 4, ll^iWn- dhn3 ('roothivi.nm')i;" and " O, 'tis sweet to think," with an accompaniment for the dutc. " No. 6, Savnirna l>ili.ih," " Heigh-ho, my Jockey." and " Uobin Adair." " Bugle Andante, witli Varia- tions." " English Military Air, with Variation*." " Spanish BoUto, trora the ballet of ' /Mh Qhi- ckitte.' " " .\dmiral Bentiow, EnglLsh Air, wkh Variations." " Believe inc, I never c»i» rove," song. " Ten favorite Irish Melodies for twc 631 LOG EXCYCLOP-'EDIA OF MUSIC. LOL Flutes." " Set of Pieces," Op. 7. " Irish Mel- odies," Op. 8. " Orii^inal Piei'es for two keyed nu);les ()bli^;:ito." '• Haydn's Sonatfl," Op. 40. " (Jod snvc the Kiii(», as a Polacca." " Sterkel's Duet and S|)nni.sh Bolero." " Sacred Music." " Music in Miu-heth." " Overture to Zaubertlote." "Countrv Dunce, as (Jiiick .Steps." ".Seven Italian Pieces." " The Last Pattle," dedicated to the Kini;. " Military Sonatas for the Piano- forte." " Hattle of Trafalgar." " Pattle of Vit- toria," and " Surrender of I'arLs." "Ten favorite Irish Melodies, for two Flutes." " Thirteen Sets cf Military Pieces, arranged for n full Hand." Mr. (jreen, the publisher of Logier's works connected with his system, says, that previous to 1821) there had been published of the elementary A-orks ui)wards of Htty thousand copies, and of the Chirophist nearly sixteen hundred had been sold. He further states, that about one hundred professors have paid Losjier one hundred guinciis eadi to be initiated in his method. I,OGROSCIXO, NICOLO, was born at Naples, towards the end of the seventeenth century. Leo, in his "Chi," had skilfully arrayed Euterpe in the ma.sk and buskins of Thalia, but without aiming at the sardonic grin of Aristophanes Logrosciuo, whose comic name appears to reveal his lacctious genius, endeavored, on his first entrance in his musical career, to enrich the comic muse by new subjects. He threw such gayety into his compo- sitions, selected such agreeable and burlesque subjects, that his fellow-uitizeus, on the first ap- pearance of his works, suriiamed him // Dio dell' Opera Biijfa, (the god of the comic opera.) To Logrosciuo is due the merit of the invention of the finale ; and this single fact w ould suffice to assign to him an honorable place in the history of his art. None of his works are now in exist- ence, and he is but little known out of his own ' ountry, as he would only comjiosc in the Xea- ■^.olitan dialect. LOIIMAXX was organist at Osterode prob- aoly in the year 1740. Gerber is in posse-i>ion of a concerto for the piano-forle by this master. LOUR, MICHAEL, singer at Dresden, in the rtrst part of the seventeenth century, was born at Marienburg, and published " Xeiie Teutsc/ie uiid Lateiniache Kirc/ien-Oesanf/e tind Concerten in /"'i/- tehn 7 uiid 8 stiminigcn Motetteit," Dresden, 1637. LOKEXnURG, JOAXXES A. A contrapun- .ist of the si.xtcenth century, of whose works there are yet in the library of Munich (Cod. ol and .54) two masses. He has also, as Waliher informs us, puljlished a " Missa d .5 voc." LOLLI, or LOLLY. AXTOXIO, a celebrated violinist, was born at Hergnmo in 1728. From j the year 17()2 to 1773, he was concert master to j the Duke of Wurtemburg. He afterwards went to Russia, where he so excited the admiration of the Empress Catherine II., that slie ordered a violin bow to be made for him, on which she | wrote, with her own hand, " Arcfiel fair par ordre \ Jf Catherine If., pour riiu-omparalile hilJi." In ' 178.5 lie went to England, and from thence visited Spain. He then i)roreeded to Paris, where he performed at the s,)iritual and other concert-s. In 1788 he returned to Italy. He was most cele- brated for ])l«ying (juick movements, and being 5: once requested to perform an adagio, positively refused, saying, " ./e luis de Beri/ame. et lea hnbi- la/u de cette ville aont Imp foas p-mr poitvoir jouer I'tular/w." We will now give some further infor- mation, from Gerber, respecting the unsettled life of this musician. When he entered on hLs en- gagement at Stuttgard, in 17C2, he found Xardini there, who excelled him by far in ability. He thcrciore requested the duke to allow him a year's leave of ab'hed with three wooden frets. The general construction of ii\e hni-spiel is highly curious ; and the instru- mciit is so ancient, and at the time of the visit of Sir Joseph Hanks and Dr. Solander to Iceland, had so far grown out of use, that they could only find one man cajjablo of performing upon it. 'llie frets of this instrument jirove the reality and anliqxiity of music in Iceland — of music strictly so called ; for they imply a scale, or scientific ar- rangeracn". of intervals. LOOS, JOII.VNN. Schoolma-ster and organist at a small town near Prague in 17'>8. He wrote various m.vsse-; and operas. He died previously to the year 1788. LOOSEMORE, HENRY. Bachelor of music in Cambridge in Ifi-lO, and organist, first of King's College, Cardbridge, and alterwards of the cathedral of Ext Ler. He composed some services Rud anthems. LOPEZ, or LORO, EDVARDUS, also caUed LUPUS. Benefiiitiritit and mai/re tie chapelle in the cathedral church at Lisbon, in the year 1600. He published, or left in manuscript, the following ■works : " Satalitite noctU Responsoriu, 4-8 roc." " Missa ejusdem nuctU, 8 coc." " B. Mari(B Virginia Antipltontr, 8 cociim." " B. Mari iktiUissintiniO So- tramenio." Towards the end of his life when in liis ona liundred and third year, he wits made rector of tlie archiepiscopal seminary. Ilis master in music was Manoel Mendes, of Evora, and his countrymen speak in the highest terms of his musical talents. LORD, JOHN, Sen., was a native of Wiltsliirc. He went to London and studied under Messrs. C. and S. Wesley, becoming, at leniitli, a good organ' and piano- forte player. He always lu'ld some situation of organist in the church of England, and has written some piano-forte music. LORD, JOHN, Jr., a native of London, and the eldest son of tlie above, was nnide to play the piano-forte l)ef'ore he was six years of age. He studied with his fatlier and Mr. Dance on the piano-forte, and \inder Dr. Crotch in theory. He was a teacher in the highest circles, and was em- ployed as the assistant proies.sor to Dr. Crotch, in the Royal Academy of Mu.sic, London; he was likewise an organist. He lias composed sonatas, rondos, and duets for tlie pi.ino-forto. LORD, WILLI.VM, a native of London, second son of John Lord, Sen., was a piano-forte jilayer, and likewise appeared in public as a liarpist, on wliich occasions lie was well received. He studied the harp under Dizi, and made it his principal instrument. LORELLI, father and son, both musicians at Naples in 1791, composed music for the ballet called " Riigijivro c Brandic. Of this work Geminiani has been heard to de- clare that it was not to be equalled in any of the modern languages ; that it is a musical institute, and may be said to contain all that is ncces.sary for a practical composer to know. In the course of the work are interspersed hymns and ofKces for the church, and some motets, composed by the author hiIu^elf and others, which possess great merit. LORENZ, A. W., professor at the royal college in Berlin, in 1798, was a musical amateur of good taste, and well acquainted -with hannony. He published " Eginhard und Emma, eine BaJUtde con Lniigbein, durchau-i in Mnsik gesetzl," Berlin, 1799. He also published " Ode an die tutchtigalt von Rose- garteii," Berlin, 1798. " .S'ijiho iind Sel/nar, eine Roinanze con Roscgarfen," Berlin, 1798. It is not certain whether the other twelve songs of various poets, which have been published in 1792 without a Christian name, are of his composition, or by J. F. Lorenz, an organist at Halle. AnA lastly, " Der Sieg der i'nschuld, eine Ballade, in Mus'ik," Berlin, 1801. LORENZ.\NI, PAOLO, a Roman by birth, and a pupil of Oratio Benevoli, was chapel- master, first in the Jesuits' church at Rome, and afterwards in the cathedral of Messina, in Sicily, from -whence he was invited by Louis XIV. to Paris. He composed and published in that city a' collection of excellent motets. He died at Rome in 1703. 633 -OR ENCYCLOPEDIA OF MUSIC. LOT I.OHILNZITI. UEUNIIAUn. violinist in the jrc'hcHtrii or tlie Urand Opera iit I'uris, publL-hed tevcTil instrumontal worki* in thut city, towariLs the end of the last century. It is dithcult to know his precise works, owin;; to the had custom of music M-llers in huppresstin;^ the Christian names of authors, and there bein;; another, anil contemporary, Antonio Loreiuiti, who published works of nearly the same description, in contest, >R it were, with the subject of this article. Ger- ber's list of Loren/ili's works is as follows : " .Vx Trios jmir lUiix ]'iolon3 it li ." Oji. 'J, I'aris, 17.S0. " SU Dims II f'lo/oii et A.," Op. ;{, London, 17112. " SU Trios a deux Viotons vt li.," Op. 4, I'aris. "Six Diios d lUiu- \'io/tms," Op. .i, I'aris. " Sit Quotuors Concert, d ilvux I'., A., ct 11.," I'aris. ■■' Airs variis a C. avec dcujciime Violoii," Paris, 1798. " Premier Concerto jMiir A.," I'aris, 1787. " 1 rinci/KS, ou yoiirelle Mitlvide de Miiiiijiie pour apprei'dre d jotu-r facilemeiit da t'iohn, siiivies de douza Duos progressifs," I'aris, 1798 aud 1800. '• Six Duos a deux V. d'uiie diJficuUi progrcssice," Paris, 1798. LOllEXZO, DIEGO, by birth a .Spaniard, was a celebrated contrapuntist in the sixteenth cen- tury. He lived chieHy in Italy. LORENZO. Under this name were publLshed, in Germany, some Italian airs with accompani- ments, about the year 1793. The author was an Italian sopranist. LOUTZING, the Gennan composer, died in his forty-eighth year, at Berlin, in 18.) 1. He was enga;^cd to go to London to superintend the production of his opera, " ('zar u»d /.immer- viniin," which was performed on all the stages of (icnnnny within six months of its hrst appear- ance, and had one of the greatest successes ever known. Besides that, he wrote " .Yli Pacha, of Janina," and various other operas, all of which were successful, being full of flowing natural melodies and great dramatic effects. He also composed a great number of vaudevilles and de- tached niorcffiii.r, particularly for Hute and ]nano, on which instruments he was an excellent per- fonuer. L08SIUS, LUCAS, during more than fifty years rector at Luneburg, was born at Vacha, in Hesse, in 1.508. He not only collected a com- plete and correct Protestant ])salmody, such as Luther lett it at his death, but published the Bame, which is perhaps tl;o only classic work of the kind, joining to it Melauchthon's eulogium of music in general, and his encouragement to > milar undertakings, for the improvement of vocal church music. He also tried to jjromote the amelioration of church singing in a separate small work He died universally esteemed in 1582. The titles of his works are, " I'anlinodia, hoc isl, CaiUica Stent reteris eccUsiir se/ecta. (iiio I ordiiie, et melodiis ]>er totiiia anni curriculum cantari usitale Solent in templis de Dn), et de ^ftlio rjus Jesti Chritio, de regiut ipsius, doctrina, ri,a, pnssione, re- turrecti jne, it ascensionr, rt de Sfiiritu Sancto. Item de Sanctis et eorum in Christum fiiie et cruet. Jam orimum ad ccclesiitnim, et scholnrum usum diligcntcr Toliecia, et hrcvihiis ac piis scholii.t illu.ytrulii, j>er Lucam IjO.ssium l.uucl>ur;/rnsrm. Cum prirfatiniic I'hilippi Mclanchthnuis," Nuremberg, l.).):i. 'I'Im; irst eiO conjectured to have been by Madame Louis, below. LOUIS, MADAME. Under this name, which is jirobably that of a Parisian amateur, have been published " Six Soitu/es pour le C/ac. seul," Paris. " liecueil d'Ariettes c/toisii, act-c Ace. de Clav.," Paris. " Fleur d'Epine," an operetta. LOULIE, FRANCOIS, a French musician, was the author of an ingenious and useful book, published in 1G9S, by Estieune Roger, of Amster- dam, entitled " Elimeiis ou I'rincipes de Mitaique mis daiis un nouvel ordre" LOURE. A short composition, or dance, sometimes of three, and sometimes of four erotcliets in a bar ; of a slow time and dignified character. One of its chief features is, its gen- erally having a dot after the first crotchet of the bar, in which particular it resembles the cia- conne. LOUVET, or LOUVE. ALEXANDRE, a com- poser and pianist at Pm-is, published there, about 1796, "Instructions thiori/ues et pratiques sur l' ac- cord du Viano-fortc, ouirwje qui a/ipreud en trts- pr.u de tons au.c pers'iunes les nuiiits excrries li ac- corder parj'aitement cet Instrument," one vol., Paris, 1798. "Amelia," an o[)era, in tliree act--*, by this author, was represented in Paris, for the first time, at the The.itre de I'Opera Comique. The music is deemed more scientific than agreeable. The rest of his works are, " 'J'rois Somil. jtour le Clav. avec l'.," Ops. 1, 2, .3, 4, Paris, from 1794 to 1796. " (iuatre Sjnat. pour le Clav. avec I'.," Op. .5, Paris, 1796. LOU^liE. A term applied singly to a well- known French air, otherwise called L'umiuble J'ainqueur, for which Louis XIV. had a remark- able predilection. This air has since formed a well-known dance. LOUYS, MATIRE JEAN, a French contra- puntist of the si.xtcenth century, of whose writ- ings there are still preserved, in the Munich library, " Pseaunws 50 de David," An\cts, 1555. LOVE^SONG. A song the words and melody of which ai-e expressive of love. LOW. A word of relative signification, and arbitrarily applied to any pni, passwje, or note, situated towards the bottom of the compass of that species of voice, or instrument, by which it is designed to be executed. LOYSE.VU, a French composes, Qourished, about the year 1079, as organist of St. Martin's Church at Tours. LOZEK, the elder, organLst at Prague in the the year 1800, is described as an excellent musi- cal tlieoiist, organist, and teacher. It is also said that he is equally as lainiliar with Tacitus, Horace, and Cicero as with Ilaydu and Mozart. LUni, MARIANE, probably an amateur, has published, in ticnuaiiy, " 12 LiedtrfUrs Kl^ivlrr," 1801, ajid " 12 )u-ue deutsche Liedi-r J'Urs KUivier," 180.3. LUCA, SEVERO DE, a Roman composer, flourished in the year 1700, in which yeivr hia oratorio, " 11 Marlirio di S. I'.rusnu)," was per- formed in the church Delia Pieta, at Rome. LUC.VTELLO, OIOV. RAITISTA, belonged, according to Terreto, to the celebrated composers of Italy at the end of the sixteenth century. Some of his workn are still to be lound in the Fab. Coitstantini Selectte CaiUionea excvUeiUiss. Auc- torum, Rome, 16H. LUCCIIESI, ANDREA. Ilis opera 'Mr/cmira " was represented at Venice in 1775. LUCCIIESI, J. M., made him.self known by the following pieces of instrumental music : " Trnis Duos a dciix I'.," Op. 1, Vienna, 1794. " Truis Duos d deux V.," Op. 2, Augsburg, 1796. " Six Duos t deux T'.," Op. 1, Basil, 1795. "Six Sonalities pour le CUiv. dont trots avec J'.," Op. 3, 1796. LUCCHINI, ANTONIO MARIA, flourished, in 1730, at Venice, as one of the first composers for the theatre there. (See Burney, vol. iv. p. 538 ) A concert mivster of this name was also celebrat- ed at Milan about the year 1750. LUCELBURGER, or LUCELBURGIUS, AN- DRE.\.S. Nothing more is known of him than that he is the author of the " Musicce Practica, lib. 2," Cobourg and Jena, 1604. LUCINDA, FRANCESCO, chapel-master to the King of Sicily, was born in that island. He composed, in 1692, the opera " ddidaura," iot Xht theatre at Venice. See Burney, vol. iv. p. 79. LUCINI, FRANCESCO. AValtber calls him a bass singer, and mentions the following of his works : " Concerti divcrsi, 4 2, 3, e 4, con Parti- tura" Milan, 1610 ; and the sequel to this work, Milan. 1617. LUDOVICI, THOMAS, a contrapuntist of the sixteenth century, seems to have roided in Italy, where there has been printed of hLs works, " 4 Psalmi priFcipuis Jestiviiatiius, 8 voc," Roire, 1591. LUGUBRE. (I.) Mournfully, sadly. LUIDERS, a good violinist, was first in the serx-ice of Piince Ferdinand of Prussia, in Berlin. j He then went, in 1 785, to Moscow ; and having I remained about five years in that citv, continued LOW, EDWARD, originally a chorister i^l his travels intentUng, after his retilni, to have Salisbury Catheilral, was organisi of Christchurch, ! fl^^'i'^***^ ^""-"-"^ "' Moscow. ,n a music ware Oxford, and professor of music in that university. He died in 1682. He published, in 1661, "Short Directions for the I'erformance of the Cathedral Service." house. LUIOI. An Italian composer, of whose com- position the opera l)utfa, " L' .AUieti/ntrice tivact," was represented at Dresden in 1732. 535 LUI ENCYCLOPAEDIA OF MUSIC. LUL LUIJA, C. F., ail artiiinn 'ii Paris, j)ublibhed, ' dintely directed that a ma.ster should be employed in the year 17'J1, " Troia Soholes pour U V'.," Op. 1, Paris. LUINKi. 'l')ie name of n species of song much used in tlic Hehrido:-, and on the western coasts of Scotland, and wliic-h is ntuerally sliort and plaintive. It is mostly sung by the women, at ihcir diversions, and duriiii; tl'.cir work. LUITCiEllT, F. II., a musician in Hamburg, published the following works: "12 deutsclui l.U'der am KUirier :u aitii/cn, in Miuik gcscizt,' Hamburg, 1797. "Six Variat. aur I' Air ' CoiUre U'3 chcutrins o'e In vie,' jmiir le I'iiiiw-fortv" Op. 2, Hamburg, 17!»a. He edited also "the following musical selection, which is much admired: " Mitsikaliichc) Journal, aiis den ncnesten deutschen U'ul franz. Ojtcrn austiczogen und J'itrs Klavier tinycrichtct. Erster JahrgaiKj, in 12 Mouatsheften, jeder d i Bor/en," Hamburg, 1798. LUI'ITICH, JOIIANX, a musician of the Beventcentli century, born in Pliiueii, published " VenusglOcklein, oder ncue tcallliche Oes&nge," Jena, IGIO. LUIZ, FRANCISCO, a Portuguese monk and chapel-master in the cathedral church at Lisbon, died there in ir)9;5. He was eminent both for his theoretical knowledge and practical talents in music. He lelt the following works in manu- Bcript : " Texto da Paixao de Domintja de Ramos, t de scsta feira mayor, h 4 Vozcs," and " PsaJmoa t ViUiancicos t dirersaa I'ozes." LULLO, ANTONIO, a musician and contem- porary of Zarlino, flourished in looO. He wrote A treatise entitled " L' Arte iufiera (kilo. Miisica." Zarlino was doubtful whether this work had ever been printed, as all his endeavors to obtain a copy of it were in vain. LULLY, or LULLI. JEAN BAPTISTE, was born of obscure parents at Florence, in the year 1634. Having, wliilst a child, sliowed great taste for music, a Cordelier, from no other consideration than the hope of his some time becoming eminent in the art, undertook to teach him the guitar. While LxiUy was under the tuition of this benevolent ecclesiastic, a French gentleman, the Chevalier Uui:>e, then on his travels, arrived at Florence. This person had been reiiucsted by Mile, de Montpcnsier, a niece of Louis XJV., to find out for and bring her some pretty little Ital- ian boy as a page. The countenance of Lully did not answer to the instructions, but his vivaci- ty and ready wit, in addition to his skill on an instrument as much the favorite of the French 88 of the ItiiUans. determined the chevalier to en- gage him ; and then, about ten years of age, he waa sent to Paris. On his arrival, he was pre- tentcd to the lady ; but his figure obtained for him 10 cool a reception, that, insteid of making him her page, she commanded the olHeers of her household to enter his name in their books as her under scullion. Neither tl-.e disappointment he experienced nor the eruploynicnt to which he was destined affected the spirits of I.nlly. In t!ic moments of hLs lei- sure from the kitchen, he u;-ed to scrape upon a wretched lidille, which he had contrived to pro- cure A person employed about the court, hap- ])ening one day to hear him, iiUoimed Ihe princess to teach him the violin ; and, in the course of a lew months, he became so great a proficient, that he was elevated to the rank of court musician. In consequence of an unlucky accident that took place, Lully was dismissed from this situation ; he alterwards, however, found means to get ad- mitted into the king's band of violins, and applied himself so closely to the study of music, that in a little time he began to compose. Some of his airs having been noticed by the king, the author was sent for, and his jjerlormance of them wa-s thought so excellent, that a new band was formed, called fcs peti/s violons, and he was plated at the head of it. I'nder his direction they soon passeil the famous band of twenty-four, till that time so much celebrated Ihioughout Europe. This was about the year 1000, at which time the favorite entertainments at the French court were dramatic representations, called batUds. These consisted of dancing intenni.xed with singing and speaking in recitative ; and to many of them Lully was employed to compose the music. An academy had been established at Venice for the performance of operas, and Louis wished to have one in France that should excel it. Ac- cordingly, in 16fi9, he granted to the Abbe Perrin, master of the ceremonies to the Duke of Orleans, a privilege for the conducting of an opera after the model of that at Venice, but to be performed in the French language. Cambert, the orgaiust of St. Honore's, was en- gaged to compose to music ; but after a little while LiiUy, who had risen high in the king's favor, contrived to get him to be removed, and himself to be ai>i)ointed in his stead. Possessing now the situation of composer and joint director of the opera, he not only left his former band and instituted one of his own, but formed t!ie design of building a new theatre near the Luxemburg palace, which he afterwards accomplLshed. This was opened in November, 1070, with a musical entertainment, consisting of a variety of detached pieces, included under the title of " Le Combat de V Amour ct de Bacchus." Lully, some time previous to this, had been ap- pointed superinteiulent to the king's private mu- sic, and had neglected almost entirely the prac- tice of the violin ; yet, whenever he could be prevailed with to play, his excellence astonished all who heiud him. For the guitar, though so tri- fling and insigniKcant an instrument, he, through- out his whole lite, entertained the greatest parti- alit\'. In the year 108*), the king was seized with an indisposition that threatened his life ; but recov- ering from it, Lully wa.s recjuircd to compose .-» " Tc Dfum." Accordingly he wrote one, which was not more rcmarkalile for its excellence thar the unhajipy accident with which its performance was attended. Nothing had been neglected in the composition, nor in the preparations for the execution of it, and the more to demonstrate his zeal, he himself beat the time. With the cane that he used for this purpose, in the heat of ac- tion, (from the dilHoilty of keeping the band to- gether,) he struck Ids foot, which caused such considerable inflammation, th.at his physician soon advised him to have his little toe taken off; and, after a delay of some days, his foot ; and at length the whole limb. At this dreadful juncture, an i.e had an excellent taste for music. She imme- ' empiric offered to perform a cure without ampu- 636 LUL ENCYCLOPAEDIA OF MUSIC. LUP tition. Two thousand [ ["-toles were promised him if he should accomplish it ; but all his efforts were in vain. LuUy died in lf)87, and was in- terred in the church of the Disculccat Augus- tines, at Parin, wliere an excelleut monument has been erected to his memory. A sin<;ular story of a conversation between L»d- lyand his confessor in his la-^t illne-is is related, wliich shows the natural archness of his dispo- tiou, even at so eritiial a moment, at the same tiuie tliat it exposes tlic weakness and folly of the priest. Havin;.; been, for many years, in the habit of conii)Osin^ tor the opera, the jiiicst, as a testimony of his sincere repentance, and the con- ditions of his absolution, re(iuired of liim to throw the last of his compositions into the tire. LuUy, after some excuses, at lenjjth aciiui- esced, and pointini; to a drawer in which the rou^h draft ot " Acliilles antl Polixenes " was deposited, was taken out and burned, and thocoulessor went away satislied. Lully };row better and was thought out of danger, when one of the young princes came to visit him. " What, IJaptiste," says he to him, " have you thrown your opera into the tiro ? You were a fool for thus giving credit to a gloomy Jansenist, and burning goocl music." " Hush ! hush ! my lord," answered Lully, in a whi>per ; " I know well what I was about ; I have another copy of it ! " Unhappily, this ill-timed pleasantry was followed by a re- lapse ; the gangrene increased, and the prospect of inevitable death threw him into such pangs of remorse, tliat he submitted to he laid on a heap of ashes with a cord round liis neck ; and in this situation he expressed a deep sense of his late transgression. On being replaced in his bed, he became composed, and died shortly afterwards. At the time when Lully was jilaced at the head of le of Lully is very evident ; the former were compositions of a mild and placid kind, the latter are animated and full of en- ergy. LULLY, LOUIS, and LULLY, JEAN LOUIS, sons of the preceding, were also musicians. They composed, in conjunction, the music to the opera of " '/.iphire ct Fhre," written by Michael du lioulhii, secretary to the Grand Prior of Vcndome, and represented in the Academic Iloyale in 1088. They also set the opera of "Orplicim," MTitten by the same person, and an opera called "Alcide." LUPI, DIDILR. A French contrapuntist of the sixteenth century. Of his works the follow- ing are yet extant : " Chansons SpirUuc/le)," 1518. " C/uiiiso)is SpiritiieUea hquaire," Paris, 1.571. "I'seuuines 30 de David dqiuUre voic," Lyons, 1549. LUPI, LUPUS, a Flemish contrapuntist, flour- ished about the year 1550. He was a composer of great eminence among hLs contemporaries, but no entire work can be pointed out of hLs compo- sition. Many single songs and motets br him are to be found in collections, especially in " Salbliiiyer Concentiu 4, 5, 6 e< 8 voc." Augsburg, 1545. LUPPACHINl, BERXADINO DEL VASTO, an Italian composer, about the }-ear 1550, pub- lished " Mculriijali a. 4 voci," Venice, 1546, and " Madriijali k 5 voci," Venice, 1547. LUPPIXO. T. W. Organist of Ware, Herts At about nine years old, Francis Cramer, from friendship to Luppino's father, (an English artist,) took the son as a violin pupil ; at the same time, and troma similar kind motive, Frank Lanza, a son of the singing master, commenced teaching him the piano-forte. After studying three years, his parents then being called to the continent, F. Cramer took him entirely under his roof, and introduced him as a violin ripieno, at the Vocal and other concerts. In another three years the celebrated J. B. Cramer received him into his house as a piano-forte pupil, with whom he re- mained till 1808. To these gentlemen, particuh\r- ly to the Messrs. Cramer, Lu|5pino expressed the warmest gratitude, not only for his musical edu- cation, but for nearly all the good which accom- panied his career in li;e. In 1808, with the ad- vice of his friends, Luppino accejited a pro])osal to a.ssi.st C. Brid'.;cman (many years established in Hertford) as teacher, tuner, and organist. In 1812, an organ having been erected in the neigh* 68 fi37 LUS EXCSCLOP.EDIA OF MUSIC. Lur oorinf; town of \Viirc, he nnd Bridscman became joint orj^iini^its of l)oth pliu-cs. In tlie following year huppino'K ninrriiisrc severed the above con- nection ; after whioh time Luppino alone retained the Ware or;;!ini.st's dituntion, and at the a;5C of thirty-one posse<»cd a tolerably extended con- nection of teaching. Ho has publLshod •' A Se- lection of I'salms and Hymns for the Use of Ware Church," part of which arc adapted, and part composed by himself. I-fSCIXIUS. properly NACHTIGALL, OT- TOMAUUS, a learned lienedictine friar, born at Strasljurn;, studied music tirst in his nutive town, and then at Vienna, where he first became known «i> a teacher of music. He was afterwards a prf«cher in St. Maurice's Church, at Aui^sburg, Uid at the sumo time lecturer on tlie (Jreek lan- guage in the Benedictine convent of St. Uhich and Afra. Thence he was cidlcd to Basil, and, lastly, ajrain to his native place, as canon of St. Stephen's Church. According to Lo Long, he died in the year 1.535. An estimate may be formed of his learning, by hLs translation into German of the book of I'salms. from the original Hebrew text ; also by his translations of the Bym])Osiaka of Plutarch, and the orations of Isocrates, together with several other learned works. Luscinius wa.s early in life a great friend of Erasmus, but became afterwards his most violent adversary. He wa.s also concerned in the controversies with the famous Ulrich von Hutten, whom he attacked with such powerful satire, that at last Mclanchthon gave him to understand, by an epigram, tliat his name could not possibly be Xightingale, but that he ought rather to be called Vulture. The following works by Lus- cinius give him the greatest claim to the admi- ration of posterity : " MiisUce Iii^titationex," 15 lo, and " Mii.suniia, sett Praxis Musi'ca," Stra-sburg, IS.'M and 1542. The most interesting part of the latter work is the correct representation of all the instruments then in use. These, a.s well as the whole book, would have been as good as lost to us, after a lapse of about three hundred years, had not Hawkins toitunately given (vol. ii. p. 441 of his history ) correct rejjresentations of all these instruments, to the number of forty-nine. LUSING^VXDO. (I.) Soothingly, persua- sively. LISITANO, VIXCEXTINO. A musician at Home, about tlie middle of the sixteenth century. His principal work is entitled '• IiUrodiuioiie fa- cilismiia et iiocissiina di Canto fermo e figurato con- Irapiiiito aemplice," Komc, 1553 ; Venice, 1558 and .5G1. LUSTRIXL ABB ATE, flourished in 1755, at Rome, as one of the first chapel-masters. LUTE. \ stringed instrument formerly much in use ; anciently containing only five rows of strings, but to which six, or more, were afterwards added. The lute consists of four jMirts, viz., the table ; the body, which has nine or ten sides ; the neck, which has as many stops, or divisions; and the licad, or cross, in which the screws for tuning It are iii.sertcd. In playing this instrument, the peril irraer strikes the strings with the fingers of the right hand, and regiilates the sounds with those of the le;t. The origin of this instrument * no: known, though generally believed to be of /cry duly date. Indeed, authors are not agreed a;* to the country to which we are indebted for the invention. Some give it to (Jermany, and derive its name trom the German word laute, while others ascribe it to the Arabians, and trace its name from the Arabic allatid. LUreXIST. A performer on the lute. The office of lutenLst to the King's Chapel, in the old countries, was formerly an active one, like that of organist ; but since the decline of the lute, has become a sinecure place. Songs for a single voice, with lute accomjianimcnt, were of Spanish, or of Eo-stern origin. The lute, which was a kind of guitar, survived to the time of Handel. The theorbo and arch-lute were the same instruments but of eidarged capacity and more strings. The lutenist in trunk hose, cap, and feather, and "bearded like a pard," took up a position at the crowded piU-fy, in which lie evidently e.xpected to be the admired of all observers, ^\^^ethe^ he sang songs, " Such u the ttarvtd lorer lings to hii proud fiir,** is doubtful. If his music bore any proportion to tho.se bulbous and massive legs which still attract the eye in liis effigies, he must have been a very extraordinary musician indeed. LUTHER, DR. MARTIX. ThLs celebrated re- fonner and piofessor was born at I->leben, .'^axony, Xovcmber 10, 1483. His " Eulogiura on Music " ho-s been published by Dr. Forkel, in the second volume of his " History of Music." Luther also wrote several choral melodies. Tlie following are the titles of some of those which he either com- posed entirely, or corrected : these titles are taken from the " J'Jlichten eines Oryanistcii," i. e., "The Duties of an Organist," by the Music Direct. Turk, p. 42. 1. " Wir glauhen all an einen Gott, iJicteti das." 3. " Ein feste Burg ut wiser Gott, Sic." 4. " Erhalt tins Herr bey deinem Wort." 5. " Es tcolt uiis Gott gnadig seyn." 6. " Ach Gott torn Ilimmel sich darcin" 7. " Es ist geicUslich an der Zeit." 8. " Dies sind die Keilgen zehn Ochot." 0. " Xun bit- ten wir den heilgen Gei-st." 10. " Gvlobel scyst Jii Jesti Christ." II. " yom Uiinmel hocJi da komm ich her." 12. " Komm, heiliyer Geist, Uerre Gott." 13. "Mitten tcir im Leben sind." 14. "Gott der Vaier fcohn tins bey." 15. " Va'er unst-r im Him- melrr.ich." 16. " Christ unser Ilerr zum Jordan." The music of some of the.se works is, with much probability, attributed to Luther, especially of the hynun called " Das grosse glauben," Xo. i ; also of X'o. 2, " Jexnia dem Pro/iheten," concern- ing which Johann Walther, in his epistle, speiiks with particular praise, especially as to the man- ner in which Luther has adapted the notes to the text. On the other hand, the melodies, Xos. 7, y, 9, 10, 11, 12, 13, 14, were known long before Luther. To these ancient melodies may also be added " Ein Kiiuklein so Idbclirh," " In duhi Juhi- lo," " Christ fiJir gen Ilimmel," and " Erstanden ist tier hiilie." Luther preferred these beautiful melodies to all the translations and adaptations from the Latin church. (iorber is not certain whether the old litany to tJod and all the saints (Xo. 14) was not originally a C:atholic hymn. AVliat, however, Ls certain Ls that the melody was known before Luther. Xor does Xo. 15 belong to Luther. It wa.s -what is called ill Germany a brrgkrcyen irei.\, that is, a melody used in singing histories in rhyme, som* 538 LUT ENCYCLOPEDIA OF MUSIC. LVD .hing in the style of the rornnnces or balhids of our day. There were, liowever, in the fifteenth century, spiritual as well as worldly henjkreijcn. Thus, for instance, a certain Kotenbacher claims the following psalms, from Luther's iirst psalm book, in his collection of " Berykreyen," printed in lool, namely, " Sie ist mir lieb die trcrlhe Mayd," and " lun neiies Lied wir hcben an." Three liundred years ago no difficulty was made in introducing the melodies of profane songs in churches. This plainly appears from Joh. Isaack's melody to " hispntck, ich muss dich la.i- sen," " Inspruck, I must leave thee," which after- wards became more known as a hymn, to tlie words " O welt i-h miis-i dich Uissen," and, after that, again became popular to the profane words, " Nun I uhc-n aUe WaUler." From the balletd of Gastoldi, " Vivcr lieto voylio," &c., and ".-1 lieta vita Alitor cl,'' &c., were also introduced into ihe church, with the text, " //> dir ist Freiide," and " Jesu icolht uiis ireisen," i. e., " In thee is joy," and " O Jesus, wUt thou show me." llie mel- ody No. IG, " Christ miser llerr," is not Luther's, but composed by Wolf Ileinz, with whose name it was printed in 1514. We are also, perhaps, indebted to Joh. Walther and Ludwig Senfl for many melodies in Luther's collection. Luther's psalm book was at Hrst very small, and in \-'yH contained only three sheets, which sheets were also printed separately. They together contained eight psabns, but with only three melodies. Of these are yet sung, in Germany, No I, " Nun freut each lieber Chrinten," i. e., " Now, Christians, till your hearts with joy," but much altered, and " Rs ist da-s heil uns kommen her," i. c., " Salvation now is come to us." The melody of the eleventh psalm, " ScUcam me fac," Hcc, is likewise in tlie tirst edition of Luther, as the psalm is yet found in German choral books. The songs in that col- lection, " Ach Gitt r >n Iliinmel sieh," i. e., " O God, from heaven look ; " " Es sprichi der un- tceisen miind wol," i. e., "llie lips of fools will speak ; " and " Aus tirfer noth athny ich zu dir," i. e., " I call to thee in deep distre:-s," must be sung to this same melody of the eleventh psalm. Atter Luther's tirst edition, the number of hymns increa.--ed yeiuly, because he not only wrote thirty more songs for the collection, but other divines did the same. The tirst edition of the enlarged hjTnn book was edited by George lihaw, Joh. Walther, and Bapst, in Leipsic. We shall now mention some later editions in the si.xteenth cen- tury. " litsanybiich Christlicher Psalmen und Kir- >hen liedcr U. Mart. Luthvri und aiuterer frommer Christen, allesampt mil den \oten und ihren rechlen Mehd,»3. " Teutseh I'salmen und Gesanyhuch O. Lutheri mit 4 Stiinmi-n cmi/mnirt, und anjf den obtiehen Choral grriehtet" Eislchen, 1598. Luther was equally fond of tiguriito des- cant, which he endeavored aLso to promote in the jhurch. This appe.-irs from a printed collection of motets, with a preface, by him, wliich well de- ser^'es to bo made public in some mvisical peri- odical work. The title is, " Sy»u>h .nitr jucundte 4 vociim, sen Mcte'tie H'l, cum prrFf'iUume Mart, Lu- theri,' Wittenberg, 1.5.'?8. In the fourth year of she "Leipz. Mus. Xeit.," jxige 4!)7, is to tie found an urangcmout of Luther's intere.--ting thou;Thts on music and science in general ; also, his remark- able letter to Ludw. .SenH, tianslated from the Latin into Gcnuan. See Mu.i. Zeit. An. 12, p. 3.5. LUITICIIIUS, JOIIANN, a German com- poser in the beginning of the seventeenth century, published " Sates I eiierei MitsieaU-i, viler uewe teulsche J'olitische Oesttnye mit 4 und 5 Stimmen, uuch lastiye lutraden, Cfc. mit 3 Utimmen," Leipsic, IGIO. LUYT'ON, CAKOLUS. Court organist to th« Emperor Uudolph 11. in IGOO. He published " Cantiones Sacrte 5 voe.," Prague, 1G03. " Oput Miuticum in Lamenrationes lereinite" Prague, 1G03. " Missa 7 vocum," Prague, 1009. '• Lib. 1 Miiisarum," Frankfort, 1G21. "■ Mndriyali a 5 voix," Venice, 1582. LUZZASCHI, or LUZZASCO. This musician was considered one of the greatest organists of his time in Italy, being second only to Claudio Morula He belongs to the four whom Galilei calls " miisicieiis par excellence." He J)ublished, among other works, " Madriyali," Naples, 1576, which excited universal admiration. Luzzaschi was a native of Ferrara, and concert master and organist to Duke Aljihonso II. He died in his sixty-second year. His publication of madrigals, above mentioned, may still be found in the library at Munich. LUZZO, FRANCESCO, an Italian composer for the churcli, published " Motuiti Coiwertaii a eoci 2 e 3 eoci," Venice, IGoO. LYCHANOIDES. (Gr.) The name given by the ancients to the middle sounds of those which Bacchius, and other (ircek writers, call spissi. LYCHANOS. (Gr.) 'Hie third strin;; of the ancient diajiason, or octave. The name given by the Greeks to tlie third chord of their two tirst tetrachords. LYCHANOS HYPATON. (Gr.) The name given by the ancients to the third sound of the tirst or lowest totrachord in the diatonic genus ; so called from its having been played with the index or fore hnger. 'lliis sound, which answered to our I) on the third line in the bass, was also denominated hypate diatonos. See that expression. LYCHANOS MESON. (Gr.) 'Hie name by which the ancients distinguished the third sound of the meson, or middle tetrachord. This sound corrcspondeil with that of our G on the fourth space in the bass. LYDIAN. The epithet applied by the ancient Greeks to that of their modes which was placed between the .Unlian and Hyiierdorian. From its bearing the name of an Asiatic pesichord. ITie origiu of tliis instru- ment may be traced to Kircher. LYRI.ST. A performer on the lyre. In an- cient tJreece, the Lesbian IjTLsts were the most celebrated. LYRODI. (Gr.) Certain musicians among the ancients, who accompanied their own singing with the IjTe. Lyrwli was also an a])pellation given to such as were in the practice of sing- ing IjTic poems comjwsed by others. LVITFRSE The name given by the ancient Greeks to the ' Song of the Reai)er8." ENCYCLOPAEDIA OF MUSIC. MAC M. M., Mezzo. Half, somewhat, rather. This letter is frc(iuontly used as an abbreviation, in con- nection with other letters ; a-s, M. F., mezzo forte, rather loud ; M. P., me;:^ ;j(aHO, rather soft; M. \., mezzo voce, with hali' the usual voice. Also lor muHO, or main, the Italian and French for /land : as, D. M., destro mitno, right hand ; S. M., sini-itfo mano, left hand; M. G., main gauche, left hand ; M. D., main droit, right hand. MA. (I.) But, as, vivace, ma non troppo f/resto, lively, btU not too quick ; allec/ro, ma non troppo, quick, but not too ruuch so. MA ASS, JOHANX GEBU.ARD EHREN- REICH, magistrate, and (in 1791) professor of philosophy at Halle, was born in Krottdorf, near Halberstadt, in 1766. He wrote, besides several other works, the following : " Ueber die Instru- mental Musik, (in der Xeuen Bibt. des schOn IVis- sensc/i,) B. 48," 1792. " Zusatz zu dcm Artik Ac- cent, im Sulzer, in Hinsicht auf die Musik," i. e., '• .\ppendLx to Sulzer's article Accent, as relates to Music." In the Xachtray zu Sulzer Theor. der sc/t. \\'., Maass ; also a paper, under the title " Charaktere der voniefiinsten Dichtcr al/er Xat. von einer Geselhch. v. Gel.," i. e., " (character of the principal Poets of all Nations, by a .Society of learned Men." In this paper, he answers to a question proposed, " By what means can the oratorical and pathetic accents be expressed in music : " MACARI, GIACOMO, a Roman dramatic composer, produced the following operas : " Ada- '■oaldo /arioso," 1727. " Aristidt;" 17-io. " (>t- taviano trionj'ante lit Marco Antonio," 1736. "La ('ontesslna," 1713, MACCIII, G. An Italian dramatic composer, resident at Venice about the yesir 17.50. MACnAL.\TII. A kind of lute or guitar, used by the Hebrews. M.VCIIUL. An in.strument used by the He- brews. This name is suppo.sed,- by Kircher and others, to have been given to two ditfcient instru- ments, one of the stringed, and the other of the pulsatile species. That of the former sort had si.x chords, or strings. The second was of a circular form, made of metal, and was either hung round with little bells, or furnished with iron rings, sus- pended on a rod, or bar, that passed across the circle. MACDOXALD, PHELPS. This gentleman was of Irish extraction, and iindcr the name of Phel|)s was highly celebrated in IjOndon, as an amateur singer and vocal comjioscr. He subse- quently held the situation of private secretary to Lord Burghersh, British arabas.sador at Flor- ence. His works are principally in the style of Jackson, of Exeter, but modernized and improved by a due mixture of the Italian school Among them arc the following .• " Bring me an urn of work divine," duet. " An age is each hoiir," tnnzonet. '• From thy arms, my dear Fanny," 0-1 canzonet. " Hither, gentle zephjT," canzonet. " I whispered her my last adieu," canzonet. " Not soft falling sliowers," canzonet. " The heart that warmed," canzonet." "Though tliine eyes, my sweet girl," canzonet. " Whene'er the howling tempest," canzonet. " WT-en fancy strews," canzonet. " When tlie maid that jios- sesses," canzonet, "('lose by the N\ cllands," duet. " Haste, ye gales," duet. " O, linger yet," duet. MACE. THOM.VS, bom in the yeai 161.1, was one of the clerks of Trinitj' College, Cam- bridge, and distinguished, among the writers on music, by a work entitled " Music's Monument, or a Remembrancer of the best practical Music, both Divine and Civil, that has ever been known to be in the World ; " published in folio in 1676. Un- der whom he was educated, or by what means he became possessed of so much skill in the science of music as to be able to funiish matter for the above work, he has nowhere informed us. We may collect from it that he was enthusiastically fond of music, and of a devout and serious dispo- sition, though cheerful and good humorejji even under th.e infirmities of age and the pressure of misfortunes. His knowledge of music seems to have been chieHy confined to the practice ol the lute, (his iavorite instrument,) and to so much of the principles of the science as enabled him to compose for it. As to the above work, a singular vein of dry humor runs through it, which is far from being disgusting, since it exhibits a lively portrait of a good-natured old man. TTie first four chapters are a eulogium on psalmody and parochial mu- sic ; the tilth contains a recommendation of the organ for that puqiosc. The sLxth treats of " how to procure an organist." In the eleventh and twelfth chapters he treats of cathedral mu- sic, and laments seriously its decline in Great Britain. In parochial psalmody the author recommends what he calls " short, square, even, and uni- form ayrcs," and is " bold to say that many psalm tunes are so excellently good, that art cannot mend them or make them better." In spooking of the difficulty of singing in tune, even with a good voice, he observes, that, "with an unskilful, inharmonious, coarse-grained, harsh voice, it is impossible." " 'Tis sad to hear what whining, toling, yelling, or screcking, there is in country congregations, where, if there bo no organ to compel them to harmonical unity, the people seem affrighted or distracted." The liberal use of compounds by the ingeniotis Master Mace gives his language a very Crrecian appearance. The second part of the work treats of the lute, and professe.H to lay open all the scitrt mnilrigal enaction. There is no Holo or recitative throughout the whole per- formance, neither is there any overture or part for an instrument ol any kind." In fact, according to the authority just quoted, it should appear that the inatlrii/al is altogether anterior to the opera as a musical comjiosition, for the same writer, sjicaking of the music of Italy, says, " Tlie musical drama in this rountry has flourished from a remote period. Siilpitius, an Italian, speaks of it a.s an entertainment known there as early as the year 1490; he was supposed to have invented it, but he only revived it. For a long interval, however, the early op- eratic spirit, in whatever form it existed, seemed to have slnmbered ; the principal Italian writers confining themselves to the production of ora- torios, mas.scs, madrii/als, and motets. ITio popes and nobles of Italy were all patrons of music, excellent artists were numerous, yet the opera did not permanently establish itself until the year 10,32, at Home. Bumey mentions that the first seculai or musical drama performed was ' II ritorno di Anijeliea nelV Inilii.' " The first publication of English madrigals began in the latter part of the reign of Queen Ehzabeth, about 1.590, and was continued in- dustriously throughout a great jiart of the suc- ceeding century. Thomas Weelkes, bachelor of mur.ic, and a gentleman ot the chajiel of James I., brought out a collection of madrigals tor four, five, and six voices, in 1.597 ; and afterwards pub- lished a large number of madrigal'^, apt for voices and viols — at once showing prolific powers, and the favorable reception which compositions of this kind received. The following specimen of the commencement of a madrigal by Arkadclt, a disciple of Josquin, was ■\ician could i)roduce from that instrument, because the breath of a man gives tlie inside of the trumjiet a moisture which is prejudicial to the purity of the tone. Maelzel publicly wound up his ii'.strument only twice, and this wa,s on the left hip." Maelzcl was also the inventor of the celebrated automaton chess player ; likewise of the metronomes, for counting time in music. He died in 1838. See Metboxome MAESTOSO. (I.) A word implying that the comi)osition, or movement, to which it Ls pre- fixed is to be performed with dignity and majesty. MAESTRO DEL CORO. (I.) The master of the choir. MAESTRO DI CAPELLA. (I.) Master of the chapel music ; or master of the band. In general, the musician who has the management and direction of a performance. MAFFEI, GIOV. CAMILLO, a Neapolitan philosopher, born at Solofra, published, amongst other works, " Oiscorsn Filnsnjico delta Voce, e del Vodo d" imjmrarc di Cantor, di GargaiUo, raccolto da D. i'alerio de Paolo di Linioshuitio," Naples, 15fi3. MAFFtJLI, VINCEXZO. One of the first tenor singers of his time in Italy, whose person and voice were eiiually agreeable. He joined to these talents great strength, facility, and much energy and feeling, in his dramatic representations. In the year 1787 he sang in tlie theatre Aliberti at Rome, where the audience were filled with ad- miration, and called out to him, " Mnjfolo .' Mnjfo- lissinio!" He sang also, in 17H0, at Reggio, Sienna, and Turin ; shortly after which, he was invited to Vifiinn, to perfonn at the great theatre thvrc, whert nc played the more serious parts in the ojjcra buffi. IIo seems to have quitted Vienna about the )-ear 1794. MAGADIS. Tlie name of an ancient Greek treble instrument, furnished with double strings tuned in octaves, like those of a three-stop harp- sichord. MAGADIZING. A term in the ancient Greek music, signifying a vocal performance in octaves, when men and women, or men and boys, joined in the same air ; so that nunjailhing was a kind of antiphonizing. Tliis word is derived from inaya.1, the bridge of an instrument ; the sense of which was extended to an instrument with double chords in octaves, and hence applied to voices in octaves. MAGALIIAENS, FILIPPE DE, court chapel master at Lisbon, was born at Azeitam, a village within the patriarchate of Lisbon. Manoel Mendes was his master in music, in whose school he became so well informed, that shortly after his instructions were ended, he was appointed court chapel-raaster. He Ls ranked among the best composers of his country, and left, at his death, the following works : '• Cantica Beaiissima Virginis," Lisbon, 1G36. " Misste i, o, et 6 voci- bus," Lisbon, 1636. " CaiUits Ecclesiaslicua coin- meiulandi aniinas corporariue stpcliendi dcfutKtorum ; Missa et Sfationesjtixla llilum sacrosanctie Romai'ut lurlesifi! Breviarii MissalUque lioniani dementis VIII. et Vrbani Vlll recor/nitionem ordinata," Lis- bon, 1014, also Antwerp, 1G91. Resides these, there are still in the royal library at Lisbon a considerable collectiou of masses, motets, &c., by this ma-^ter. MAGE, DU, organis-t of St. Quentin's Church, at Paris, about the year 1740, published a collec- tion of music, in the first ecclfrjiastical tone, for the organ. MAGERIUS, STEFFANUS, a composer at the end of the sixteenth century, set to music " i>cher(zer' s Symiolum," Nuremberg, 15G9 or 1599. MAGGHIELS, JE.\N, a French composer in the beginning of the seventeenth century, pub- lished " C/iaitsoiis a i, 6, el 6 voijr," Douay, IGOO. MAGGIORE, (I.,) orMAJEUR, (F.,) MAJOR. Greater, in opposition to minor, less, ui respect to scales, intervals, modes, &;c. MAGGIORE, FRANCESCO, a Neapolitan dramatic composer, wrote several operas for dif- ferent towns in Europe. He died in Holland about the year 1780. M.\GIIERINI, GIUSEPPE MARIA, a Mil- anese composer, born about the year 1752, brought out, in 1770, an oratorio called "The Judgment of Solomon." In 1780, a set of violin trios, by Magherini, were published in London. Another musician of this name lived at Rome at the be- ginning of the eighteenth century. MAGIELLUS, DOMINICUS, o contrapuntist of the sixteenth century, published " iludiigaJi A 5 rod," Venice, 1567, and " Malrigali a 5 voci," Venice, 1568. Roth works arc yet in the elector's library at Munich. He was a native of Valeggic . MAGINI, a vocal composer of the good Italian school, flourished obout the year 1700. The fol- lowing of his solo cantatas were extant in manu- script : " Cantata : lo nan so, quamlo ri miro, i Sopr. e Cemb." " Cantata: \'o mi iicgate amore, d 644 &IA(} ENCYCLOr.EDIA OF MUSIC. MAT !^r. e Cem'j." " Cuntatu : Da cite viiUIe il duo, \c., fl Sopr., 2 I'., e denib." MAGIUS, FUAXCISCUS, a Siollinii composer, born nt t'nstro Vetrnno, published " Sacra Armo- lia, e Musiculi Concotti A 2, 3, 4, e 5 voci, con una Mesfa h 5 conccrtala," Milnn, 1670. MAGXASCO, I.ODOVICO DA SANTA FIOKA, flourished, about 15.50, as composer and •iiii^er in the ]iapal chapel. lie was altcrwards made IJishop of Assisi. MA(i\I, BENEDETl'O, an Italian composer in the bci,'inninK of the sovi-ntccntli century, pub- lished " .Uo^;/^*." Venice, IfilG. " Mvsac ('oncer- 'ate a. 8 rod," Venice, 1610. " Concerti a 1, 2, 3 8 t«ci," Ops. 1, 2, and 3, Venice, 1616. MAGXI, Gir.SEPl'E, chapel-master of the cathedral church at Foli;,'no, was born there. lie may bo reckoned among tlie {;ood composers oi his time, that is, about the year 1700. He joraposcd, amongst other works, " Dccio in Fo- •ilfno," a melodrama, represented in the church of the above town in 1(;97. He also composed the opera "Teiuzone," Milan, 1706. MAGNI, PAOLO. Chapel-master at Milan, to- wards the end of the seventeenth century. MAGXIFIC.VT. ( L.) A canticle sung by the Virgin in the house of Zacliariah. A part of the vespers in the Catholic evening services. MAGXUS, organist of the church of St. Giles in the Fields, in the first half of the last century, was esteemed a great master of harmony, and had a style which none could imitate. Exces- sive study and application brought on a disorder in his mind, and he died a young man. MAGODI. Certain itinerant poet musicians among the Greeks, who perambulated the streets, singing humorous poems, or ballads. Thev were at length employed in the comic representations of the stage. MAOODIA. (Gr.) The nomc given by the •nclcnU to thofe lyric poi'ins 9ung hy tht inaootli. MAHAUT, AXTOIXE, a good composer and flutist, lived at Amsterdam from the year 1740 to 1760, when he fled from his creditors to a convent in France, and about the same time published a work entitled " SomelJe mithode pour apprendre, en plill uoiitinuin); to study the " divine art." He made, soon after, a tour of (iermany, and vLdted nearly all the great mtu^ters in musical science — Kjjcnding some time in the family of Kinck. After two years' absence, he returned to Treves, formed several choirs, and liecame the director of the musical d jpartment of the Normal School. He afterwards distinguished himself in Paris, as a writer for the jiublic jire-s. After quitting Paris, Dr. Mninz.er reported to England, and re- sided a short time in Loudon. His cffort-s have been principally confined to Manchester, where he ha« had many thousands of young persons under his immediate tuition, and where his memory will long be revered by both rich and poor. His incessant labors produced a malady, under which he suffered much, and which, un- fortunately, terminated in hi;; demise. It was under the auspices of Dr. Mainzer that J. Alfred Novello commenced the London •' Mu.\iral Times," t'le original title of that paper having been " Mainzer's Musical Times." Dr. Mainzer died in Manchester, November, 18.51, aged fifty years. He was the author of the jiopular work, " Sing- ing for the Million," and also publisheil a work on " Music and Education," and a valuable " Mu- sical Grammar." MAIRAN, JEAN JACQUES DORTOUS DE, permanent secretary to the Academy of Sciences, was born at Beziers in 1G78. He published, iii 1737, in the Memoirs of the above academy, " Di^- cuiirs sur la projxi'jalion dii son dayis Ua lUffireiis totu qui le moiiijfieiit ; " also, in the following number, " Eclaircissemenis sur de DUoours prici- deiU." He died at Paris in 1770. MAITllE master. DE CHAPELLE. (F.) Chapel- He afterwards wrote the opera " Montezuma," which was received with extraordinary applause, particularly the air " A morir se mi condanna," which jiroduced tears in every spectator. Hi« sublime and enrapturing songs were not sacrificed to instrumental accompaniment. Afterwards he went to Najjles, where he wrote several o|)eras, among which is •' Jjjcrmnestm ,■ " but, strange to say, in his own country alone he met with but little encouragement. He died at Naples in 1773, under thirty years of age. ITie following is a list of his principal works: " Arfaiei-.ie," open, words by Metabtasio, 1702. " Iptrmnrttra," 1702. " Cufoiie in I'lica," words by Metastasio, 17G3. " Monh'zuma," 17 r)5. " Antiffnno," ol yict- astasio, 17G8. " Didone ahbandoniuita," of Met- astasio, 170!). " Alessandro neW Indie," aiao of Metasta-sio, 1774. " Eumene," first act only. " IJiyenia in Tauride." Sacred music : " Saive Regina ; " this was performed with great applause at the Conci-rl S/nritiu-l at Faris in 1782. "Dixit I Dominus iJomino nux)." MAJf)ll. An p;)ithct applied to that of the two modern modes, in which the third is four semitones above the tonic, or key note. Those intervals which contain the greatest number of semitones under the same denomination, are also called majnr ; as a third, consisting of four scmr- tones, instead of only three, is termed a major third : a si.xth, containing nine semitones, instead of eight, is called a nmjor sixth. MAJOR MODE. One of the two modern modes ; that in which the third from the key note is major. MAJOR-INO, G.:VETANO. See Cafarelli. MAJO, GIUSEPPE DE. Rom at Naples about the year 1698. After having studied in one of the Consen'atories of Naples, and given many successful proofs of his abilities, he was appointed master of the Royal Chapel, as succes- sor ol Durante. Majo filled this situation to the satisfiictior. both of the court and public, who, on occasions »i solemnity, repaired in crowds to the Chapel Royal. His reputation di( not suffer from the contrast with that of his great predeces- sor, and he enjoyed the aiiplnuse and esteem of his fellow-citizens. It api ears, however, that Majo chietty excelled as an instructor, as he has lef', 'Jew compositions, and many excellent pupils. MAJO, FRANCESCO, or CICCIO DI, horn at Naples about 174.), was the son of nn obscure musician. From his youth he was cdiu'ated for the bar, and did not begin to learn music till he was twenty years of age. He then went to Bo- logna to hear Padre Martini, and, by the advice of this learned theorist, together with the study of the works of Joraelli, which lie had always be- lore him, it was not long before he became known as a musician. He was first invited profession- illv to Rome, where he wrote tlie music to the ajiera '• Ihmojoontc," in which ceveral airs, full of 3ie and expression, excited universal admiration. MAJOR TURES : — C sharp SCALES AND THEIR SIGNA- D flitt. 0 flat. Cflat ti^m^^^\ The following exercise, extended by a tetrn- chord added at each end alternately, should be sol-faed in everv kev which can be iormcd from it. ^^^ 646 MAK ENCYCLOPEDIA OF MUSIC. MA L The following is a table of thirteen keys, hc^inniug in the key of Gb, and rising by tetrachord* ,0 the key of F#f. Each note, when once altered, must be considered as reinainin<; bo till altered »<;ain. ^^ Do re Jnl fft wl U tl (1« n ml il do r« mt li tlo re iDiii lains further the use of degrees in the construction of the scale of music. ITie ninth chapter is on the mode or key in music, »nd of the oftice of tlie scale of mu--ic. ' The tenth .-hapter treats of the delects of instruments, and the remedy for these in general, by means of shaq)8 and flats. This chapter is concluded by a general approbation of the semitonic division, and the present i)ractice of tuning the organ or har])sichord, corresponding as nearly to that a.s the judgment of the ear will allow. As to the pretences of nicer kinds of musicians, he demon- strates that they tend to introduce more error* than those under which the present system la- bors. The eleventh chapter describes the method and art of writing music, and shows how th« ditferenccs in tune arc represented. Under this head the author exjilains the nature and use of the clefs, and the nature of transposition. He explains, also, the practice of solmization. Lastly, he enters into an examination of Salmon's i)ro- 10>al for reducing all music to one clef, as de- livered in his •' Essay to the Advancement 0} Music," of which he approves. The twelfth chap ter is on the time or duration of sounds in music The thirteenth chapter contains the general rule and principles of harmonic composition. Thest are such as are to be found in almost every book on the subject of musical composition. The ac- count given, in the fourteenth chapter, of the ancient music, is, considering its brevity, very entertaining and satisfactory. In a short history of the improvements in music, which makes part of this last chapter, the author particularly notices the reformation of the ancient scale of Guido, and adopts respecting it the sentiment of a very ingenious man, who says that it is "crux 'enelU)- nii/i in;/enoriiim." In the comparison between ancient and modem music, the author gives a decided preference to tlie latter ; and on the controverted question, whether the ancients were acquainted with mu- sic in consonance or not, he cites a variety of passages from Aristotle, .**eneca, and Cassiodoru-S to determine the negative. Tliis work is replete with musical erudition ; and, extensive as the subject is, the author haa contrived to bring into consideration nil the es- sential parts of the science. IIi.s knowledge of mathematics haa enabled him to discuss, with great clearnes-s and perspicuity, the doctrine of ratios, and other abstract speculations, in the lan- guage of a philosopher and a scholar. In short, it is a work trom which a student may deriTC 547 /4AL ENCYCLOPEDIA OF MuSIC. MAL gnat ndvnntncc ; niid it may be justly deemed ' Garcia were to siiifj an oflbrtoriura composed by one ot the most vnluiible trontit-fs on the subject ct' theoretical and practical mu^ic thHt is to be found in any of the modern lan'^uages. MALEITI, JEAN DK. A French composer of the bixtecntli century, born at St. Mnximin, in I'rovcnce. He published " Anuiurs da Hoiuard it huit purtits," Paris, 1578. MAI.IHUAN. MADAME, afterwards MA- DAME DE liEKIOT. The following account of this great singer is abridged from the Loudon " Mu>ical World." Soi)teml)er, 18.36. Maria Felicia was the eldest daughter of Mnn- iicl and Jooquina (iarcia. and was born in Paris in the year 1808. lloth her parents being Sjtan- iards, she naturally acquired a knowledge of their native language ; and at the age of eigb.t years being brought over to England, where she con- tinued, without intermission we believe, for near- ly nine years, her familiarity with the English lan- guage may be readily accounted for. Circum- Btances enabled her to attain to considerable proficiency in German ; and as for Italian, the language of the land of melody, her jirofessional duties rendered its attainment a necessity, and her constant intercourse with the pertbrmers at the King's Theatre, together with her almost mi- raculous memory, an affair of intuition. To the question of a person who had heard her con- \'ersing with equal idiomatic pro]>riety and free- dom in several languages, " which was really her native country," expressing at the sime time his admiration of her great facility, she replied, " I was bom at Paris, in the parish of St. Pierre ; my father, as you know, was a Spaniard ; there- fore French and Spanish 1 learned as every child loams a language ; early I came to England, and alter residing here some years, where I studied your language closely, I went to the L'nited States ; " one of her indescribable looks accom- panied thirf part of her narrative ; " there my English was kept up — not, I believe, improved ; the Italian Opera House ha.s been the cradle in which I was nursed ; and German I have ac- quired, that I might grasp and enjoy its musical wealth. That I may speak it witli facility, and every day, mj- servant is a German. There, that Ls the history of my being so leiirned." Shortly after her going to England, she was placed for education in the convent at Hammer- smith ; where, by the petting of her tcaclicrs and rider schoolfellows, and her own native vi- vacity and wilfulness of character, (lor she always contrived to have her own way.) she ran the risk of being completely spoiled. The rugged disci- pline of her father, however, who appears, by report, to have been the jicrsonitication of a tor- nado, changed the fare of those halcyon days. SImi was taken home, and her musical education roramenccd ; ai\d astern time poor little Maria Lad of it. A person, who knew Garcia, gave a .udicrou.s description of his behavior towards his the patriarch ; and a fearful wailing the i)oor things made of it ; when the father, Jnaljle to endure the noise, ramped into the arena, and bore all before him with his furious blare. In the I/)ndon opera season of 182.5, a disap- pointment occurring in one of the performances, on account of the return of Madame Pasta to Paris, Garcia offered the services of his daughter ; and she accordingly made her rUbiit, on tlie 7th June, 1825, (being under .seventeen years of age, > in the part of Kosina, in "II liarhUre. di Siviglia." Although, as might be expected, the performance was marked with crudities, yet, in the mi(Lst of the-^e, such signal indications of genius betrayed themselves, that many prognostirated her future vocal supremacy. She also appeared with great success in " // Crocia-'o in Egitto," on its introduc- tion in England. Previously to her aitjiearancc in public, she had attracted much notice at the private concerts of his majesty (Jeire 1 to give his visitor an ' quen.e of irregularity of conduct on his part, idea of some piece he ha.l comp.osed. he roared and which she, with her native energy and gcn- out with the voice of a bashaw, or camel driver, erosity, endeavored by professional exertions to " A,o I'ami'/lia .' " and in trooi)0rnz;i e Curiaczt " (Ciraarosn) was revived ; «nd our lieroine ai>])C;ired, we believe, for the fin, festivals, &c. We hear much of the graspin.; natuie of musicians ; while every day, lor articles jf necessity, the retail dealers make a profit of encc in the character of Ninetta : nothing can be imagined sujierior to the spectacle ;itforded by the immense theatre of San Carlo, crowded to the very ceiling, and ringing with acclamations and 6d0 MA I. J.NCYCLOP.EDIA OF MUSIC. MA. upplause. Six tiine<, alter tlic full of the curtain, WHS she calleil forward to roi-eive tlie reiterated applauses and ndioux of an audience which seemed unable to hear the idea of a final separa- tion from its new idol, who Jiad only strength and Kpirit- lett to kiss her hand to the assembled multitude, and indicate by praccl'ul and exi)res- sive gestures the decree to wliich she was over- powered by fatisiue and emotion. The scene did not even end within the walls of the theatre ; a crowd of the most enthusiastic rushed from all parts of tl'.e house to the stage door, and as soon ns the lady's sedan came out, escorted it, with loud acclamations, to the I'alaz/o llarbajn, and renewed their salutations as the charming; song- stress ascended the steps. Nothing can prove more decidedly the strong impression Madame Malibran made upon tlie Neapolitans than the fact that the next opera which was j)crformeJ was received with the most mortifying coolness, though tlie opera itself, Donizetti's " E-^iile rli Roma," was a standing; favorite in Naples, and its various revivals for ten preceding years had till then been successful ; although l.ablache made his first appearance in it on his return to his native city, and Ronzi de Hegnis, whose voice, action, and style had all improved considerably during a long retreat from the stage, performed the principal female character. On the' 1st of May, 1833, Madame Malibran made her dibut at Drury Lane in an English ver- sion of " La Snnnamhula," and drew the town in admiring crowds, " tickling the eai-s of the ground- lings " with the most provokingly admirable roulades. Shortly after, she undertook the part of Count Bellino in the " De^nl's IJridge," hut, as might have been anticipated, totally failed. It was performed but twice. On the "i'id of the same month, she sang the "Ih'h par/ate " of Cima- roso at the Ancient Concerts ; also the " Xon piu di Jiori," from " La Vlemenzn." In the latter air, the Harmnninm, alter nibbling at her " unre- strained confidence in her own opinion," says very honestly, " The declamatory [lart of this was superb, though a little hurried ; and the im- mense compass of her voice gave an effert to the air that, we are almost inclined to say, has never been equalled." This air she repeated at the subsequent Philharmonic, (June 10;) and on the 4th she made the most strenuous exertions to carry through a mu--ioal afterpiece called " The Students of Jena, or The Family Conc'ert," the music by that learned musician and amiable man, M. Chclard, who was the conductor of the Ger- man company. During the last week but one of tl is month, she wa.s engaged to sing at the Ox- ford concerts ; hut being taken ill, and led into the orchestra by Mr. Nicks, to convince the audi- ence that >he was really so, many of them, it ap- pears, " were not sparing of their exclamations against her when they left the hall." In the last week of the same month, we find her engaged at the Cambridge concerts, where she repeated, among others, the great compositions so otten re- corded, viz., the " Deh parltttf," and " Son piit di Jiori." In the early part of July she went for a night or two to the King's 'I'heatre, performing in the opera of " Cenerentola." Her last appearance in England this season — so far, at least, as we have been able to ascertain — was at the Worces- ter Festival, wliich took place on the 2lth, 2.5th, 26th, and 27th September. From this period till I the ISth of March following, wc lose all traces of the course she pursued ; when at Uoiiie we find her giving a concert for the benefit of a family in extreme indigence, and for whom slie realized the sum of six hundred pieces of gold. Shortly after, this extraordinary woman made a second a])pearance in Na])les, where she performed for forty nights — the tcnus of her engagement being £3200, with two benefits and a half. Hut her triumi)h, in this respect, occurred at Milan, where she ap])eared on the .ith of May, in I'.ellini's " \orma" with an unprecedented success, lor twelve performances ; and immediately after con- cluded an engagement with the manager of t' e " Tealrn dln di Jiori.' The " Musical Library," in remarking upon th« general performance, and the latter song in par- ticular, says, with a generous enthusiasm, " The recitative and air tr un ' 7'iVo ' she really makes her own. We can conceive nothing finer than such music, so sung, and so accompanied." It is needless to repeat that Willman, as usual, sec- onded her upon the occasion. On the 18th of the same month slie reapj)eared for the season at Drury Lane, in " La S>nnambHla." At the eighth Ancient Concert (June 3) the pieces allotted to her were the " O sulntaris " of Cherubini, and the " Cite faro acnza ICiiridice," from Gluck's " Orfcn." The critic just (iuotem exprii cH trap fart pour sni petit corps." She had, indeed, " a little body with a mighty heart ; " and both roust have given wav much earlier, had she not •The" Mnid of .*rt«iU' to Um arui May, '8J6 wu perftinnvd, fur 'J>e flnt lime, possessed the valuable faculty of being able sud- denly to unbend and apply her mind to the most cheerful and even childlike amusements. She was an intrepid horsewoman, an elegant dancer, a pleasant caricaturist, a humorous comjOTunder ot charades and riddles ; and, upon the slightest indication, she would put aside the triHe which appeared to absorb her whole attention, and en- gage with a tine enthusia.sm iu discussing the genius of Danie or .Shakspeare, Kaphael or Michael .\ngelo. No really ffreat singer was ever indifferent to the charms of poetry and fine art. At the close of the theatrical season of 183fi, Madame Malibran withdrew to her estate near Brussels ; and in the month of September re- turned to conclude her engagement at the Man- chester and Liveri)Ool festivals. The particulars of this last act of the eventl'ul drama of her li.e are fresh in the world's memories.! She died at Manchester, England, September 23, 1836. ^L\.L1MB.\. A curious musical instrument used by the incas before the conquest of South America. It is formed of slats of wood, from ten to fifteen inches in length, which vary in breadth and in thickness, lliey are laid parallel upon two bamboo canes wra])ped with plantain leaves, to which they are fa.stened with cords run through double holes in the centre of the slats- 'lliere are twenty-one of these slats in the instru- ment, and the tones embrace three complete oc- taves. The instrument Ls a very rude contrivance, jet when the slats are struck by a small ball of rubber, attached to supple handles or rods, they emit beautiful and delicate sounds. The tones are regulated by the length of the slat-s, the shorter ones yielding the sharper sounds. The instru- ment is tuned by sticking wa.x upon the ends of the slats, which sharpens the notes. The native* attain great proficiency upoa the maUmba ; two generally play upon it at once. They have a con- trivance which swells the notes to great loudness ; this is done by susi.ending hollow tubes of wood immediately under each key, of the same length as the slats, varying as they do in size. The tubes we closed at one end, and suspended with the other, or open end, ne.\t the slats. Near the bot- tom a hole is bored in the tube and a thin piece of gut is spread over it, and made fast with was. They have the same effect as a sounding board ; and so jiowcrful is the assistance of these tubes, that the maiimlxi is heard a great distance. It is still much u.sed by the Mexican Indians, at Sus- conu.sco, on the Pacific. MALINCOLIA, or MALIN'CONIA. (I.) Mel- ancholy. MALVEZZI, CIIRISTOFORO. Chapel-mas- ter at the court of the Medicis, iu the nnddlc of the sixteenth century. MALZAT, JOIIANN MICHAEL. In Traeg'a " Musical Catalogue." Vienna, 1799, a number of manuscript w orks by this composer are mentioned, which are mostly written for the EngUsh horn, (obligato) or for the hautboy. They consist of " 'SCoiizertirende Sinf'on ; " " 2 CoiizerttfUr Hoboe ; " " 2 Dergl.fUr das Eiit)!. Horn , " " 2 Uergl. fiir den Fat/ott ;" " 1 Dergl. fUrs I'iolonceUo ;" "Septette fUrs Engl. Horn;" "3 Sestetti ftlr Hoboe/' "4 t Thry have lHte, and melodious ex- pression, are at war with both soul and body. A wholesome musical education is, perhaps, a necessary part of high religious cultivation ; and it will be far more valuable to children than the < catcchistic familiarity with great truths, whicli, i being committed to memory a-s a ta^k, are, alas ! too apt, forever alter, to be a-ssociated with dark ideas, instead of directing the soul to the Maker of illumluatcd worlds. MANCANDO. (I.) A word impMng that the passage over which it is written is to be sung or played with a decreasuig sound. See Dimix- OENDO. MANCHE. (F.) The neck of a vioUn. MANCIIICOUIIT, PIERRE, a native of Be- thune, and director of the music in the cathetlral church of I)ornick, who ttourLshed about the year 1580, was a composer of songs and motetK. From his compositions that are yet extant, he seems to have been not only a dry but a clumsy c< ntrapuntist. M.VNCIN'ELLI, DOM., an Italian composer, published much flute music in Paris, London, and Berlin, about the year 177.5. MAXCINI, OIOV. BAITISTA. one of the most celebrated pupils of Bernachi, published at Vienna, in 1771, a work entitled " I'enxieri e ri- (kasioni praliche stipra il canto figiirato." This book has been translated into French twice, in one volume, octavo, and is considered to be a publication eminently classical. Mancini died at Vienna in 1800, in the eighty-fourth year of his age. In the latter part of his life, he retired on a pension, as sniging master to the court. M.\NCIXI, FRANCESCO, a pupil of Leonar- do Vinci, was born at Naples in ir>91. If not the heir of his master's talents, he inherited at least his manners and principles. He first studied hia ait in the Conservatory of Loretto, of which he became one of the directors, on the completion of his studies. He excelled as much in com))0«i- I tion a.s in tuition. The numerous and excellent scholars, and the works he has producetl, arc so I many proofs of his merit. Arnongst his operas, both in the serious and comic style, " // Cni-aliere litetone," and " Maurizio," are the most distin- guished. The genius of Mancini was cL\NFREDI, MUTIO. an Italian composer calle9 returned from that country, having nnia'^Hcd a considera- ble fortune. In IT'o he publLshod a didactic work, of no (;reat merit, under the title of " Re- yole Armoiiic/ic." The re>t of hw compositions consist of sonatas for the harpsichord and violin, operas and motets, liordly any of which are known out of Russia. MANCiEAX. A French violinist at the Con- cert Sjiiritiul at Paris, in I7oO He published, about the same time, several works of solos, duos, and trios for hLs instrument. MAXGONI, AXTOXIO. A composer of the •eveuteenth century, born at Caravaggio, pub- lished " Mitsa e Sulmi," Milan, 1623. M.-VXICIIORD. One of the names of a stringed u.strument somewhat resembling a spinet. MAXIC'O. (I.") The neck of an instrument of the violin or guitar species. MAXIERK, EXUPERE DE LA, a professor of tlie harj) and piano-forte at Paris, published there, in 1786, " Sixi^me Reciieil des Airs var. pour la Harpe," " Stptiinie Rec. ditto," and " Premier Rec. de huit Prilud^s, troiz Cluiiis. et Rom. Ace. de Harpe, Parol, et Mm. dii tn£»ie," Op. 9, 1785. MAXIXI, an Italian di-amatic composer, WTOte about 1733 in Rome, for the theatre there. MAXKELL, a German musician, has made himselt' known by the following instrumental music : " Serenata a deiue C'larinett,, deux Cors, et deux Bassons," 1799. " Sixj>etites Piicestrisfacil. pour dvux Clar., deux Curs, uii Basson, et wi FL," 1799. " Divert, a deux Clar., deux Cors, et deux Fag. Part. I.," Hamburg, 1800. MAXX, JOILYXX CHRISTOPH. A profess- or of the harpsichord at Vienna, about the year 176C. He wrote much music for his instru- ment. MAXXI, GEXAllO. A Neapolitan musician, and nephew of D. Sarro. In 1751 he gave, at Venice, the opera " I.a Didonc abbandoniiata," of Metastasio; and in 1753, " NiVoc," of the same poet. Ue retired from public life about the year 1780. MAXXI, DOMIXICUS MARIA. A learned writer at F'lorencc, in the beginning of the eighteenth century. He publLshed " De Floren- tinis Iiiveutis Commeiitariiis," Ferrarn, 1731, in ■which he speaks of the part which Florence has taken in the invention of the opera. M.VXO. (I.) The hand. Mmu) dritta, the right hand ; mono sinistra, the left hand. M.VXOIR. GUILLAUME DU, a celebrated violinist in the service of Louis XIII., was nom- inated by the king, in 1630, after the death of ttie violinist Constantino, roi des rioUt'is, maiire des •ninitriers, i. e., king of the violins, and master if the minstrels. He i)ul)lishpd " /.e Manage de la Miin'/ue et de la Uaiisi," Paris, 1601. MAXS.A.RO, DOM. DELLO. A composer of the sixteenth century, many of whose works have been published in the "De Anti (uisprimo libra i 2 \'oci de dinrsi Autori di Jkiri," \ euice, 1585. MANUAL. (G.) The key board. MAXU DUCTOR. 'Hie name given by th« ancients to the othciatc whose jirovince it was tc beat the time with liis hand, at public perform- ances. MAXZIA, LUIGI DE. A musician and com- poser at Dusseldorf, about the year 1650. MAXZOLI, GIOVAXXI. was born at Flor- ence about the year 1725. Having aUained much celebrity in Italy as a singer, he was engaged by Farinclli, in 1753, for the opera at Madrid, where he obtained a salary of one thousand six hundred ducats. In 1764 he went to England, and Dr. Buriiey thus describes his dtbu/ : " The expec- ' tations which the great reputation of this per- former had excited were so great, that at the opening of the theatre in Xovember, with the pas- ticcio of < Ezlo,' it was with great difficulty I ob- tained a place, alter waiting two hours at the door. Manzoli's voice wa-s the most jjowerful and voluminous soprano that had been heard on the English stage since the time of Farinclli ; and his manner of singing was grand, and full of dignity. In this first opera, he had three songs, composed by Pescelli, in three different styles, all of which he executed admirably. The lovers of music in London were more unanimous in approving h^s voice and talents than tboiiC of any other singer within my memory. " The applau.se was hearty, unequivocal, and free from all suspicion of artificial zeal : it was a universal thunder of acclamation. His voice alone was commanding, from native strength and sweetness ; for it seems as if subsequent singers had possessed more art and feeling ; and as to ex- ecution, he had none. He was, however, a good actor, though unwieldy in figure, and not well made; neither was he young when he arrived iu London ; yet the sensations he excited seem to have been more irresistible and universal than I have ever been witness to in any theatre." Mau- zoli had for hLs benefit " // Re Pastore," an opera, of which the music was chiefly by Giardini, and with the exception of the songs composed for Miinzoli, had been performed in 1755. The pub- lic, however, were more delighted with this great singer's performance in "EzUi," than in any other opera that was brought on the stage during his residence in England, which was only one sea.son, at the end of which he returned to Italy, and was succeeded by Elisi, who went to London, for the second time, in the autumn of 1756. His last public appearance was at Florence in 1778. M^VR.V, MADAME, was born at Cassel in 1749. Her maiden name was GEKTRIDE ELIZ- AHETH SCHMAELING, and it is stated, on the authority of a foreign correspondent of Dr Bur- ney, that her early years were devoted to the study of the violin, which, as a child, she played in England, but quitted that in.strument, and be- came a singer, by the adWce of the English ladies, who dislike. 1 a " female fiddler." It may, there- fore, have happened that to this ])rej»idice we owe the delight experienced fiom the various ex- cellences of one of the most sublime singers the world ever saw. Nor was the objection of the English ladies the only prejudice which she had to encounter ; for, on her arrival at IJerlin, at the ago of twenty-four, Frederic the Great, King of Prussia, who affected as high a skill iu music u 554 MAR ENCYCLOPAEDIA OF MUSIC. Bf All in war, could scarcely be prcvniled upon to hear her, Ills msijesty declaring that he should as soon expect pleasure from the neighing of hLs horse as from a (jcnuan singer. One song, however, coii- vinceas- sages. Mara's execution was certainly very great ; and though it differs materially from the agility of a later period, it may be con>idered as more true, neat, and legitimate, inasmuch as it was less quaint and extravagant, and deviated less from the main purpose of vocal art — e.\- pression. Mrs. Billington, with a modesty be- coming her great ac(iuirements, voluntarily de- clared, that she considered Mara's execution to be superior to her own in genuine effect, though not in extent, compass, rapidity, and compli- cation. Mara's divisions always seemed to con- vey a meaning ; they were vocal, not instrument- al ; they had light and shade, and variety of tone ; they relaxed from or increased upon the time, according to the sentiment of which thry always ajipearcd to ))arfake ; these attribut<>s were always remarkable in l'.<-r open, true, and litpiid shake, which was certainly full of ex- pression. Neither in ornaments, learned and graceful as they were, nor in her cadences, did she over lo.se sight of the appropriate chnracteriH- tics of the sense of melody, .^hc was, by txirns, ma- jestic, tender, patlu'tic, and elegant ; but the one oi the other, ni>t a note was breathed in vain. She justly held every species ol ornamental execution to be subordinate to the grand end of uniting the etFects of sound sei\se in their operations upon the : feelings of her hearem. True to this principle, if any one commended the agility of a singer Mara would a.sk, " Can she sing six plain notes r '■' 660 UAR ENCYCLOPEDIA OF MUSIC. MAR Muiluinc Mftrn, in her day, was placed at the for" BUiumit of her profession, because, in majesty and simplicity, in t;race, tenderness, and pathos, In t ic loftiest attributes of art, in tlic elements of '.be p;reat style, she far transcended all her con petitors in the list of fame. She gave to Han- del's corajjositions tlieir natural grandeur and effect, wliich Ls, in our minds, the very highest decree of praise that we can bestow. Handel is heavy say t!ie musical fashion mongers of the day. Milton v.ould be heavy beyond endurance ironi the mouth of a reader of talents even above mediocrity. The fact is, that to wield such arms demands the strength of giants. Mara possessed this Ilciivcn-giftcd strength. It was in the per- formance of Handel, that her Hiier mind fixed its expres-.ion, and called to its aid all the powers cf her voice, and all the acquisitions of her Bciencc. Madame Mara left England iu 1802, with pow- ers astonishingly preserved, considering her long professional labors. Her last performance was on tlie 3d of June in that year, when Mi's. I5il- lington sang a duet with her, a test of power from w'hich she came off with undiminished repu- tation. Since that period, Mara resided princi- pally in Russia, and at the conHagration of Moscow suffered severely in her property. To- wards the close of the year 1819, or the beginning of 1820, she returned to London, and determined on presenting herself once more to the judg- ment of the English public, who had reverenced her name so highly and so long. She, conse- quently, had a concert at the Opera House ; but her powers were so diminished that it proved unsuccessful. She died iu Livonia, in 1833, at the age of eighty-four. MARA, IGNAZ, was bom at Teutschbrod, in Bohemia, where he also received his first mu- sical education. He was chamber violoncellist to the King of Prussia, about the year 1755. He died in 1783. MARA, JOHAXX, son of the preceding, and husband of the celebrated Madame Mara, was born at Berlin in 1744. In the French Dictionary of Musicians, his death was stated to have taken place in 1780 ; but Gerber says that the account of his death in that year was what the Germans call sltli) neicn, and that he was, in 1799, still living near Berlin, in very low circumstances. Gerber adds, that he was never a very talented violoncellist, and that much of the praise formerly lavished on him was exaggeration. "Still," adds Gerber, " when I became acquainted with him in 1801, in Sondcrshausen, he still played an adagio of his own composition so well, that no orchestra need have been ashamed of him ; and when, in his allegro, he missed now and then a note, it was not so much the fault of his hand, as of his instrument, which was a bad one. He conduct- ed himself, during his stay here, like a sedate, •well-informed, gentlemanly man ; nor did he ever show the least symptoms of that inclination to intemiicrance, which has been the bane of his life. He was, however, in very great distress, notwithstanding his noble-minded wiic furnished : him, from time to time, with considerable sums of money, .\bout this time," continues (fcrber, "ho went to Holland, where he indulges of Holy Saints, l'ro|)hets, Patriarchs, and others," published in 1.371 ; " A Hook of Notes and Commonplaces, with their Exposi- tions, collected and gathered together out of the Works of divers singular Writers;" and "The Ripping up of the Pope's Fardels." The musi- cal service eompo.sed by Marbeck wa.s formed on the model of the Romish ritual, and first pub- lished in ([uarto, in the year 1.3,50, with this title • " A lioke of Common Praier, noted." The Ix)rd'8 prayer, the creed, and such other ports at were proper to be read, are written so as tr, be sung in a certain key or pitch, in a kind of reci- tative. To the other parts are given melodies of a grave and solemn construction, and nearly 03 restrained as those of the old (iregorian chant. These have each an harraonical relation with the whole, the dominant of each being iu unison with the key note in which the whole is to be sung. MARCATO. (I.) This term is expressed by a dot put over the head of a note, tlius : — implying that the note should be struck short, or S]x>tted in a more light and tender manner ; aim- ing at neatness rather than a sharj) brevity. This effect Ls produced upon the violin by letting the bow rebound from note to note, including many in the same bow. I'his species of execution, when applied to the voice in quick and lofty pas- sages, is one of its greatest beautie.%. To achieve this, a peculiar conformation of the vocal organs is necessary ; contracting the upper part of the throat to the vowel tone of e.\, as in the word earth, striking every note acpamtehj, with a del- icate distinctness, and in the same breath. MARCELLO, ALESS.\NDRO, elder brother to Benedetto, was of a noble family in A'enice. He was educated according to his distinguished station in life, and was well grounded in the arta and sciences. Among the latter, he particularly studied mathematics, philosophy, and music, lie resided constantly at Venice, where he held a weekly musical meeting, at which his own com- positions we;c almost exclusively perlormed. 'I'hese meetings were open to every distin- guished stranger. The following of his works were printed, but all under his assumed name, Eterio Stinlalico : " Cnutate da C'amprn d I'oct sola," Venice, 171.5. " 6 Concerii d due Fl. trac. o y. principaii, due W ripieni, I'iota, 6 IV. Obliy., e CcniAnto," Augsburg, 1738. " La Cetera, Coueerii di Eler. Siiiifalico, Academico Arcade, Parte Prima, Oboe 1, d Trareraiere col V. principale, publicati da Gio. t'hristiauo Lcojxild," Augsburg, 1738. MARCELLO, HENEDETTO, a noble Venetian, was l)orn in IGSO. Hi-i father, Agoslino Mar- eello, was a, semitor of Venice; his mother, Pao- lina, was of the honorable family of Capello. The male Issue of these two persons were Ales- sandro, a son next to him, whose Christian noma £57 MAR ENCYCLOPEDIA OF MUSIC. MAR la unknown, nnd tlie nbovc-mentioned Benedetto Mnrcelln : Alossnndro addicted himself to tlie iitudjr of nnturnl philosophy and the mathe- maticnl sciences, ns also to niU! and 1777, he sung as first man at .Munich and Padua; and iu 1778 at the great theatre of San Carlo, at Naples, which is the post of honor of an opera singer. There he continued two ieasons ; and he since perfonneabi>u)" of Sarti, in 1783. Tlie elegant and beautiful music of this drama did not obtain the ai)plause which it deserved, and hatl already received in other i)arts of Europe. Mar- chesi's style of singing was not only cleg-int and refined to an uncommon degree, but tre [uently grand and dignified, jjarticuliu'ly in his recitatives and occasional low notes. His variety of embellish- ments, and facility of running extempore divisions, were at that time considered truly marvellous. Many of his graces were new, elegant, and of his own invention ; and he must have studied with intense apijlication to execute the divisions and running .shakes from the bottom of his compaM to the top, even in a rapid series of semitones or half notes. Independently of his vocal powers, his performance on the stage was extremely em- bellished by the beauty of hLs ])erson and the grace and propriety of his gestures. " We ex- pected an exquisite singer," says Dr. liurney, " and were agreeably surprised by a fine actor." In 1790 Marchesi returned to Italv. He died at Milan, in 1829. MARCHESI, TOMMASO, one of the most distinguished teachers in the Bolognese school of singing, and one of the cleverest of the most recent Italian church composers, was bom in 1776 at Lisbon. In 1836 he was maestro di capelia over not less than thirty-two churches in Bolo- gna. From an eccentric peculiarity ho would never offer any of his compositions to be printed. MARCHETTO, of Padua, the celebrated com- mentator of Franco, and the first author who treated exten.sivcly of the chromatic and enhar- monic genera, left two works, first, " Lmidarium in Arte Mu-iirrf pUin/t ; incfioatum C'cfentP, pirfcctum VcronfP," 1274. and " Potwrium in Artf Miisica mcnsurai(r;" dedicated to Robert, King oi Naples about the year 1783. Those are the most ancien' treatises that make mention of shaqis, chromatii counterpoint, and discords. Several of the har- monic combinations proposed by Marchetto art still in use ; others again have been rejected. MARCIA, (I.,) or MARCHE, (F.) \ march MARCOLINI, MARIETIA, began to be dU- tinguLshed a* a singer about 1805. liossini com- posed several songs for her to sing in IS 11 and 1812. MARCOU, PIERRE, formerly chamber mu- sician to the King of France, was, in 179S, one of the first violinists in the orchestra of the Theatre Lyriquc, at Paris. He published " Ktenuiu thio- ri'/ucs ft prati'iiie-i de Musi'iue," London aud Paris, 1781. He died in 1820. MARCrOUI, ADAMO, boni at Arezzo, w/n chapel-master to the cathedral of Pisa. He dif d at Montenero in 1808. MARCUS. JOACHIM, a German contrapun- tist of the fifteenth century, jjublished " .Sfioser, was bom at Coccaglia, in the diocese of Brescift, io 659 UAR ENCYCLOP-liDIA OF MUSIC. MAR the Mirlv part of the nixtecnth century, llis i countcq)oint under Patre Martini, at Bologna. iiaturnl inclination leading him very early to the coraiiosition of niadrif;als, like Ium contemporary Palestrina, he obtained an ackno\vlcd;5cd superi- ority over all his predecessors ; and the number, aluo, of his publications is prodigious. Xiiie books of hi* madri^aU for five voices were printed at Veni.'c between the years 1.5S7 and KiOl. Be- sides these, he composed six books of madrij^als in six parts ; madrij^als for three voices ; another set for live ; and another for six voices, different from all the former ; canzonets for the lute, " Mo- Utli a 4," and " Sacrat Cautiones .5, 6, ac 7 f'ocibiis Modulamlaji." All these works were printed at Venice, and afterwards at Antwerp, and many of them in London to English words. (See".Vi(- iicti Tran.salpina," two books ; and " A Collection of Italian Madrigals, with English Words," pub- lished in 1589, by Thomas Watson.) In the madrigal style, Luca Marenzio was called, by hLs countrymen, "// piu dola: Cif/uo." lie was some time chapel-master to Cardinal Luigi d'Este ; and, according to Adami and others, was caressed and patronized by many princes and eminent per- sonages, particularly by the King of Poland. Upon his return to Rome after quitting Poland, he was admitted into the Pope's Chapel ; and dying in that city in l.iOD, he was buried in the church of St. Lorenzo, in Lucina. Peacham (see "Complete (lentleraan," p. 101, edition of 16.34) speaks of his delicious aire and sweet inven- tion ill madrigals, and says that " he excelled all Others whatsoever, having published more sets than any author else, and without an Hi sing ; " adding that his first, second, and third parts of ITiyrsis, " Veggo dolce il mio ben," kc, are songs " the Muses themselves might not have been ashamed to have composed." To this we may readily subscribe, and will not dispute his stature, or the color of his hair, when he further tells us " that he was a little black man ; " but when he asserts " he was organist of the Pope's Chapel at llome a good while, where there never was an organ," we can no longer credit his report ; nor is it likely, however great the musical merit of this little black man may have been, that the niece of any reigning pope could have been sent for to Poland, as Peacham tells us, with so little ceremony, in the character of lutenist and singer, in order to gratify the curiosity of his Polish majesty, and the affection of Luca Marenzio. In short, the whole account Ls compiled from hearsay evidence, and abounds in absurdities, and is so much the more incredible, as no other musical writers, eager as they were to record every me- morial tlicy could procure concerning this cele- brated musician, have ventured to relate these strange circumstances. There are no madrigals so agreeable to the car, or amusing to the eye, as those of this ingenious and fertile compo.ser. Tlie subjects of fugue, imitation, and attack are traits of elegant and pleasing melody ; which, though they seem selected with the utmost care, for the sake of the words they are to express, yet so art- ful are the texture and disposition of the part.s, that the general harmony and effect of the whole are as complete and unembarrassed as if he had been writing in plain counterpoint, without poe- try or contrivance. M.VRESCALCHI, LUIOI, a composer and pro- piietor of a music warehouse at Naples, studied His principal works are as follows : " Melcagro," a ballet, Florence, 1780. "/ Disertori felici," opera, Phicenza, 1784. "Andromeda e Perteo," opera seria, Rome, 1784. " Le liicoluziont del Seraglio," haXlet, Naples, 1788; and " Giulietta e linmeo," ballet, Rome. 17S9. 'Hie authors of the French " Dictionary of Musicians" state that the Op. 7 of the engraved works of Bocchcrini, con- sisting of trios for two violins and violoncello, is really the work of Marescalchi, and nothing but a trading trick. M.\RE.SCH, J. A., born in Bohemia in 1709, was the inventor of the hunting music performed on horns, which has been brought to fuch per- fection in Ru.ssia. ITiese horns are all of differ- ent lengths and curvature, but each of them is meant to produce only a single tone. To execute the most simple piece of harmony, or even a mel- ody, at lea-st twenty musicians are nece.<.«ary ; but the execution is not complete without forty per- formers, and often many more are employed. Each of them has only to think of his single tone, and to blow it in precise time, and with a force and shading proper to give effect to the passage. ThLs music more resembles the sound of a large organ than any other instrument. In a calm and fine night, it has often been distinctly heard »t above four English miles distance. It has, when far off, an effect analogous to that which is pro- duced by the sound of the harmonica when near. He died' at St Petersburg, in 1794. MARET, IIUGUES. Probably a member of the society of belles lettres at Dijon, read to the society, and afterwards printed, " Ehge Historique de M. Rameau," 17G7. M.VRGRAFF, ANDREAS, singer in the school at Schwandorff, in the sixteenth centun,-, and boni at Eger, in Bohemia, published the 128th psalm, for five voices. MARIA, D. JOAO DE ST., a Portuguese priest of the order of St. -■V.ugustine, and chapel- master of St. Vinccntp, in Lisbon, was born at Terona, in the province of Transtagana, and died at Grijo, in the convent of St. Salvador, in 1654. He left " Tres Livros de Contraponto," inscribed to King John IV. They are still to be found in tlie royal library at Lisbon. MAIUANI, GIOV. BATT., composed at Viter- bo, in 16.59, a beautiful opera entitled " Amor vuol GiovetUii." MARIN, FABRICE, a French composer of the sixteenth century, set to music for four voices some poetry of Ronsard, Baif, Jamin, and Des- portcs, which was pubUshed at Paris in 1578. MARIN, GUILLAUME MARCEL DE, bom in (ruadaloupe in the year I7.'i7, was of the family of the Marini, some of whom were doges of the republic of (lenoa. M. de Marin went to Paris at about twelve years of age, and studied at the college of Ivouis le Grand. NNTicn fourteen years old, he embraced the profession of arms, and at fifteen devoted himself to the study of mathe- matics and music. He then undertook, without a master, the study of the violin, learned composi- tion of liameau, and at length placed himself un- der Gavinies, as a finishing master for tlie violin. He composed a " Stabat Mater," which was pub- lished. nna MAR EXCYCLOP.-EDIA OF MUSIC. MAR MARIX. MARIE MARTIN MARTKI.. VIS- COMTE I)E, son of the piecedin^, wiis born at St. Jean cle Luz, near liayonne, in 17*59. Ho learned music of his father from the early age of four, and at seven comi)osed a sonata for the piano. Xiirdini gave him lessons on the violin, *nd stated him to be his best pupil. lie also FiuJiod the harp under Ilosbrukcr, but after aliout thirty lessons, the puj)!!, aiiparently feeling; an im- l)ulse to improve upon the style of his master, desisted from receiving further instructions, and continued his practice on that instrument entirely unaided. M. de Marin might have had rivals in his violin plajnng ; but it is gencrnlly acknowl- edged that he was soon without an equal on the harp. In 1783 he was received and crowned by the musical academicians at Rome. He there extemporized on the harp, and followed u]) sub- jects for tugue, which were given to him, in a man- ner till tlien quite unknown on that instrument. He played on the harp at tirst sight, from the scores of .Seb. Uach's fugucjs, and from those of Jomelli, and achieved on the harp what could scarcely be done by another on the ])iano-forte. Such an impression did his performance at the academy at Rome make on his audience, that the celebrated Corinna, who was present, rehearsed e.vtemporary verses in his honor. On his return from Italy, l)e Marin, then only iiftet;n years of age, commenced his military edu- cation at the cavalry school at Versailles. He quitted it nt seventeen, as captain of dragoons, obtaining at the same time leave of absence to continue his travels ; iu tlie course of which the French revolution closed the doors of his country against him, and he was placed on the list of em- igrants. He then procee<.led to England, where his performance on the harp was universally ad- mire>l. M. de Marin has composed much music, chiefly for the harp, which has been published in Paris and London. Several of his compositions were Bo much esteemed by dementi, that he arranged them for the piano-torte. We know not the e.\- act period of M. de Marin's return to France, since which time, however, he has been no more heard on his instrument, but as an amateur. MARINELLI, P. GIUEIO CESARE, ,ln monte Cicardo Stri'i/a, lived in the latter half of the seventeenth century, and wrote " I'lVt mlla dclla I'oce Corale, ocvero Ofservuzioni del Canto fermo," Pologna, lt>71. Buononcini, p. 11, c. 21, of his " Miisico J'ratt.," says, that in the third and fourth volumes of this work are to be found much in- formation respecting the canto Jc-niut. MARINELLI, GAETANO, a dramatic com- poser from Naples, was, about the year 1790, in the Elector of Bavaria's service at >Iunicli. Sev- eral of his airs iu manuscript are well known to amateurs. He composed " IJtre Hii\iU, ossit il Uatrimonio inaspcHatD," opera butfa. Rome, 1784, and " Gli U-xellatori," opera buffa, Florence, 1785. MERIXI, ALESSANDRO, Catimticiu Lale- ranetisis and composer, flourished at Venice about the year l.).5d, where he published several works. Of these we can only mention " Vesper Psalms, for four voices," Venice, 1.587, and " Mottcti it 6 voci," Venice, 1588. MARINI, BIAGIO, church and chamber somposcr, and also violinist, born at llrescia, was tirst chapel-master in the cathedral church of Jirescia. He alter wards went to (iermany, and held the same employment iu l(i'21, in thesorvice of the Count Palatine, who granted him the title of chevalier. The period of his return to his native country is not known. All fliat we know, trom the Cozzainto Libruria lireacianri, is, that ha died in UWiO at Padua. Co/zando also mentions the following works : " Arip, Madriiiali, e C'orrenli « 1, 2. e .3 rod," Venice, 1(520 ; " Sa/mi a 4 voci.' " Miisiche da Camera, il 2, 3, e 4 vnci ; " " MUereri d 2, 3, e 4 voci con V. ; " " Compoaitioni varie. Mad- rii/ali d 3, 4, 5, tf 7 voci con V. ; " " Ma/io<,, Canzoiiu, Piiswmezzi, JJn/M/i, Citrrenli, GagHarde, IlitorneUi it 1, 2. 3, 4, 5, e 6." MAKINL CARLO ANTONIO, a violinist and composer for his instrument in tlie church of St. Maria Maggiore, at llergamo, was born there, and flourislicd in the latter end of the seventeenth century. Ho published eight works, of which we can mention the following: " 12 Sonaie," Op. 3 ; " liailetti A la Francese il 3," Op. 6, Venice, 1699 ; " 12 Sonn/e," Op. 6 ; "12 Soiiate A 2 I., Vc, e Cont.," Op. 7 ; and "12 iSonate d V. solo i Cant.," Op. 8. MARINI. GIOSEFFO, chapel-master at Por- denone, in the Venetian states, in the beginning of the seventeenth century, published " Madri- gali," Venice, 1G18. MARINI, . A celebrated Italian haaito now on the stage, and generally held to be second only to Lablache. He has sung in all the principal cities of Europe, and recently visited the United Stales and Havana. MARINIS, GIOVANNI DE. A composer of the sixteenth century, of whoso works mention is made in " l)n Antiqtd^ /'rimo Lib. a 2 i-oci de din. Autori di liari," Venice, 1585. MARINI. GIOV. BATTIST., a Neapolitan chevalier and celebrated poet, born in 1569, ;resided some time at Rome, afterwards at Tuiin and Paris, and again in Rome. He died at Naples in 1625. Amongst other works, he wrote " Dicerie Sacre tre." Turin, 1618 and 1620. The title of the second piece is " La Musica sopra le Sette Parols dette da Chris to in Croce." MARIO. " Motetti d.l Dottor Mario libri 6," Venice, 1640. Under this title, a printed work was found in the musical archives at Copenhagen. It was destroyed by the tire there in !7Q4. MARIO ITELLUS, FULVIUS, a Icurned ivriter in the beginning of the seventet^nth century, born at Perugia, published " Xeopadia," Rome, 1624. This is an introduction to the sciences, and to music among the rest. MAUIO'lTINI, chamber singer to the I'lector at Dresden, published there " 12 Lieder," words by Blumaucr, for the piano, Dresden, 1790. A specimen of this work is to he found in the four- teenth music page of the Miuic. C irreiinndmz, 1790. There are also known by thus author "8 Daettini p. 2 Sopr." MAR1SS.\L. ANTONIUS, Baccalaureut Jurit Pontijicii in the beginning of the seventeenth century, wa.s born at Douay. He published "Flore* melodici," Douay, 1611. ri 661 M A R ENCYCLOPEDIA OF MUSIC. MAB MAKON'I, GIOV., clinpel-master of the cathe- dral church at Loili, where he was considered, in \rt'20, as un industrious composer, was born at Ferrara. He wrote a number of motets and madrigals MAUOITA, ERASMUS, Jesuit, and rector of CoUet/. ytcncntii, wus, at the same time, an able musician and composer, in the first half of the seventeenth century. He was born at Randazzo, a town in Switzerland, and was made a Jesuit in ir)12, by which means he obtained the above situ- ation. He died at Palermo in Kill. His published works are, " C'anttui pii mwiich modtdis expreasi," and " Aminta," a pastoral, the words by Torquato Tasso. MARPALU, DE. a French philosojiher of the seventeenth century. His name is found to the following two treatises : " Traitis de V Origiiie de r Harmonic, et de ceux qui Vont inventi'.e, de »on usage etdeses effets." MARPURG, FRIEDERICH WILHELM. The following account of this celebrated musi- cian was published by Gerber, in the year 1814 : " Marpurg, too, is gone, this venerable veteran amongst the literati of music ! ^^'hat tragic scenes have been presented to the Muses during the last ten years of the eighteenth century ! Not one of these years has passed by without leaving the Muses in mourning. The unhappy effects of war on many of the chapels of the German princes I shall here pass over, especially as I have, in my ' History of Music for the Year 1701," (see Annalen TeuUchtunds des I. 179-4,) found, alas! but too much of such matter to render it requisite again to touch on the same subject. Death, then, has within this period snatched away from us our first professor in musical science, our Maqiurg ! and just at a time when he spontaneously, with a ■warm love for the arts, and with an experience of more than fifty year.s, had begun to write in his own manner, that is, rudimentally, fully, and with excellent arrangement, his ' History of the Organ," a work well worthy the wish that he might have livetl to complete it, and an undertaking to which I might myself have possibly contributed some- thing. It was in November, 179.'), when I passed five weeks at Berlin, that I was received in Mar- purg's ho\isc almost daily, with the most friendly and hospitable attention. He then still showed the lively, jovial, and witty temper oi youth ; was corpulent, ate and drank well, and enjoyed ]ier;ect health. Only once, and just as he had returned from his lottery business, I found him reserved and dejected. ' My friend,' paid he, ' we have had an unlucky day ; we have lost much." AVith the exception ot tiiis Kin!,'le instance, I found him evsry day more cheerful. When he had company be W.-.s the soul of it, and by ourselves our usual subject of conversation was ancient and modern lausic, dead and living artists. Many delightful hours have 1 pas.sed with him in this manner. In one of those, he made me acquainteti with the •whole history of his life ; but unfortunately the satisfaction which the enjoyment of his society procured me, as well as the many agreeable diver- sions and new subjects which presented themselves tomeatevery moment, in the lx'aiit;ful and hospi- table city of iierlin, allowed me so little time, that I could neither store these jiarticulant in my mvmorv, nor write them down. All that 1 can recollect is, that he was born at Seehausen, in Prussia, in 1718 ; that after his return from Paris, where he resided many months, he acted for some time as secretary to a minister at Berlin ; that he afterwards resided some time in Hamburg, after which he w.-is presented with the direction of the lotteries at Berlin. I found, on the long table ir • his study, a qtiantity of books dispersed about, and some detached leaves of music : from these I concluded that he still thought much of and wrote music. I once requested him not to leave his pen inactive, but to take it up again for the benefit of musical literature. ' Perhaps,' said he, ' I shall soon be able to publish another volume of "Legends."' 1 replied gratefully, which he seemed to observe, but never touched upon tl'.e subject again On the day of my dejjirture, he called his amiable daughter, then between fifteen and sixteen years old, to tl;e piano, when she played a masterly grand sonata, by chapel-master Schutz, with an expression and firmness which denoted any thing rather than a female hand. After she liad withdrawn from the instrument, the worthy man brought the bound copy of the second volume of his ' Chorals and Fugues," and played to me himself a choral and part of a fugue, with those hands so long accastomed to labor for the benefit of the art ; he then wTote a few flat- tering lines under the title, and presented me with the book as a remembrance. I parted from him with a heart greatly affected, full of love, esteem, and gratitude, and not long after was informed by my friends in Berlin how actively he was engaged in finishing his ' History of the Organ,' which was to be published in 179.5. What might we not have expected on this subject from a Marpurg, if it bad pleased Providence to grant him one year more of life ! but I soon, alas ! received the melan- choly news that his faculties began visibly to weaken, and that probably be was laboring under consumption. His disease, whatever it was, e.\hausted so quickly the powers of lite, that he died early in 179.5. " It was probably by his order," continues Ger- ber, " that Madame Marpurg, his excellent wile, every way so worthy of l-.im, sent me the materials, writings, and drawings which he had prepared Tor hi* work on the organ. By this means I am en- abled to give the reader further information respecting this worthy man's undertaking. None of the parts belonging to the history were left in a finished state, but in all of them important progress was made by the author. The treatise on the hydraulic instruments of the Greeks is beyond depute the most learned part of the work, and at the same time the most advanced. It is treated in a manner indicative of the author's own uigenuity united to extraordinary learning. In his treatise on the tirst wind organs oi the middle ages, I have found several interesting remarks, and much uUbrmation on the history ol the organs ot modern times. He seems to have occupied hirasclf particularly in explaining the construction and the notes of the French organs, for which purpose he appears to have had recourse to thf groat work of liedi>.s de CelUs. The lollowing list contains the principal works of this celebrated author. Theoretical, " Dit kriti^che musicits and- der Spree, i. c.. The critical musician of the S|)ree, fifty numbers 1719, &c " Die kiuist diu klavicr :u spiclen," i. e., Tiie ar* of playing the harpsichord, first volume in 1750 562 MAR ENCYCLOPiEDIA OF MUSIC. MAP Bccond volume, containing thorough bass, in 1755. This work wiis translated into French, and the third edition of the translation appeared in 17(>0. " Anteituii;/ :tim k/arierspielen." This is the second and improved edition of the pre- ceding work. " AbhuiultuiK] von der Fuge" i. e. Treatise on fugue. Part I., Berlin, 1753, and Part II, 1754. A French translation of it was published at Berlin in 175(). Kollman states this to be the most profound and masterly work of the kind in the German language. " llistorisch kritiache liri/trOge zur Aufnahnw der Mttsik," in live volumes, ocivo, published at Berlin between the years 1754 and 1760. " Ilandbuch bey dem Genertl- biuss, uiid der Composition," Berlin, 1755, 1760. Kollmiiu says this work treats on harmony in a nasterly manner, but according to Rameau's lystem, concerning which it is certain, that the more harmony is explained by it, the more per- plexing it becomes. " Aiifangsgrunde der Iheurc- tischen Musik," 1757- "D' Al-embcrl'a syntematische Einleitung, i(i^," Nuremberg, 1756. " Fug he e (\ipnci per CUivicembalo e per V Organo," Op. 1, Berlin, 1777 ; and " Fugeiuammlung," 1758. 'ITiis colicftion of fiigues contains the chef d'lcuvres of Graun, Kirnbcrger, &c. M.\.RPURG, JOII. FRED., son of the preced- ing, was born at Hamburg in 1766. He wa-s, in IS 14, chamber musician to the Duke of Mecklen- burg, at Ludwigslust, and )iad previously been first violin in the orchestra of the German thea- tre at Berlin, also employed by the count of Schwedt. He entered the service of the Duke of Mecklenburg in 1790; still, however, in 1791 he was giving several concerts at Hamburg ; soon after which he seems to have given up solo play- ing, as his father, indeed, told Gerber in 1793. Probably the occupations required for his exten- sive musical duties did not allow him time for the cultivation of practical music. MARQUE, AUGUSTE, a musician, and prob- ably a performer on the piano, at Paris, pub- jshed there, in 1798, " L' Absence," a romance. 'L'Origine de la troitiime Grace." "Six Airs et Romances avec Accompagnement de Piano-fortt.'' " L' Amant trahi, Itomance, avec CUivicin," 1802. MARCiUE, JOHANXE.S DK, a native of thi Netherlands, was chapel-master to the King of Naples in KilO. MAIUJUEZ, ANTONIO LESBIO, royal chap- el-master at Lisbon, and born there, was not only considered one of the first contrapuntists of hi« time, but also by the publication of several ora- torios, poems and other works, showed that he was possessed of extraordinary knowledge, not in music alone, but also in poetry and languages. He obtained, in 1698, his office of chajiel-ma-ster, in the possession of which he died in 1709. Of his compositions there has only been printed, *■ ]'ithancicos que se cantarad na Ingnja de S. Sen- hora de \azareth dtu Religiosas Descal<;a-i de S. Ber- nardo em as Maltnas e Festa do glorioso S. Oon^aio," Lisbon, 1708. A great number of his other works, as raa.sses, magnificats, misereres, respon- sories, (all in manuscript,) are in the royal library at Lisbon, and highly esteemed. MAR.SCHALL, SAMUEL, born at Domick, in Flanders, in 1557, was a notary public, uni- versity musician, and organist, at Basil, where he was living in 1627, being then seventy years of age. He published " Der ganze Psalter, H. Ambrosii iMbwasscrs, mil 4 Stimmen," Lcipsic, 1594, and " Psalmen Davids, Kirchengesang und Geitt- tiche Lieder von Dr. M. Luther's und anderer Got- tesgelehrten MUnnern geslelU, mil 4 Slimmen, ver- fertiget durch, itc-," Ba.sil, 1606. MARSCHNER, HEINRICII, a dramatic com- poser, was born at Zittau, on the 16th of August, 1795. In his earliest youth he displayed remark- able musical talents, so that he soon exhausted the learning of the teachers to whom he was committed. He subsequently entered the choir of the children of the GjTunasium, then under the direction of the celebrated Schneider, where he attracted the attention of the organist of Bautzen, who offered him a situation in the choir of his church; but Bcrgt (the cantor at Bautzen,) teaching him only Greek and Latin, instead of harmony, Marschner abruptly returned to Zittau, and devoted himself to developing, without assist- ance, the taste for musical composition which had tormented him from early childhood ; here, in his leisure hours, he wrote every thing that came into hLs head — songs, motets, piano music ; he attacked every thing, instructing himself only by his own mistakes. At this time he wrote a ballet, " Arfi Fiire Payaanne." He afterwards found the opportunity of going to Prague, where AVebcr directed the opera at that time, (1812.) His con- dition as a Saxon subject compelled him, at the expiration of the armistice, to leave Prague, and he departed to Leipsic, placing himself under .Scliicht, to whose instructions he was much indebted. He also here became acth styles, and showed them to his master, wlien he gave him a few hints as to the avoidance of consecutive fifths and eighths, which, with a year and a hallos tuition on the violin, was all the musical learn- ing of any kind he ever had, being sent, in Au- gust, 176S, to liomsey, to be articled for five years to a solicitor there, where he was much dLscon- ccrtcd at finding no organ in the church, and, of course, no orgaiiLst. lieing now the chief musi- cian of the place, the only method he had of ob- taining any further im;>rovement, during five years, was by occasionally attending and perform- ing at the concert at Winchc;*ter, and the then annual oratorios there. In the year 1772, hia father, then a captain in (Jrecnwich Hospital, died; and, in 1774, the subject of our memoir married the dauiihter of Dr. Hrown, a jihysiciiiu of Salisbury, who had then retired to liomsey ; within two yeai-s alter which, they all removed to Salisbury, wl-.ere tlie fortnight subscrijition con- ceits were under the direction of Mr. Harris, (known by the name of Henne* Harris,) and were reckoned the best musical performances of the kind in the kingdom. There being several amateur performers in the orchestra, Sir. Marsh was immediately appointed to a respecta' le sta- tion in it, and had thus an opport anity of ira 564 MAR ENCYCLOPEDIA OF MUSIC. MAI proving himgelf on the violin and tenor, and had ■ few manuscript symphonies he had tlicn com- posed, so well executed, as to induce him to con- tinue that style cf composition. He also, by pri- vate practice of an evening, and sometimes on one of the church organs, acquired such a profi- ciency on the latter, as to be able occasionally to officiate for the organist at the churches of St. I'homas and St. Edmund ; but finding the printed voluntaries he met with to be too dilHcult, and few of them to his taste in other respects, he began composing a series of short voluutarie-i, some of •which he selected for his first set of voluntaries for young practitioners on the organ, publishetniinstcr Abbey inflaiueil by the violence ol' the dispute. Hayed raeetin;;s. In addition to the before-named in- htrunients, Marshall ])raetiscd the do'.i1)|c bass and tenor. After some little time, throui;!! Ashley's kindness, he f^nt an enga};oinent to i)lay the double bass at the al)bey meeting, in the year 17!tO; also nt several of the ))rovin(iul meetings, amoi\g which was that at Worcester, upon the king's recovery, when his majesty was |)rcsent. .^Uter which time Marshall regularly attended the meetings of the three choirs, namely, (jlouccster, Hereford, and Worcester. Alter a residence in London of about a year, Marshall went to Northampton, where he was laarricd. He then commenced teaching music, and continued in that place three years and a half. From thence he moved to liugby, being appointed organist of the church in that town. Ilere he remained eight years and a half, when, in the year l.SOl, the situation of organist to St. Marj*"s Church, Warwick, becoming vacant, Mar- Bhall was proposed as a candidate, and was elected. In the April following, he with his fam- ily went to reside at Warwick. MAU.SHALL, FKEDEUIC, eldest son of the preceding, wius for some years assistant to his lather. His instruments were the organ and piano-forte. In the year 1821, a new organ was erected in the chapel at Rugby school, when F. Marshall was appointed organist. He has com- posed some music for the piano-forte, also hjnnns and songs ; " Preludes in various keys for the Piano-forte; " "Festival Hymns," as sung at St. Nidiolas C'h\irch, Warwick; "Duke Domiim," arranged with variations for the piano-torte ; "Britain with unatt'ected grief;" "Hymn on the Death of his lato Majesty ; " Song, " Can a rosy lip;" "Harmonious lilaeksraith," arranged for the harp, piano-forte, Hute, and violoncello ; " Hondo," in an easy style, for the piano-forte. MAU.SOLO, PIF/rUO M-VUIA, Ls mentioned by Corctto, in 1(500, as one of the first musicians of Italy. He lived at Ferrara. MAUSYAS, a player on the flute, was still more unfortunate than either Pan or hLs admirer Miilius. Having engaged in a musical dispute with Apollo, he chose the peoj)le of Nysa for judges. Apollo played at first a simple air upon his instrument ; but Marsyas, taking up his pipe, struck the audience so much by the novelty of its tone, an4 the art of his performance, that he Kecmcd to be heard with more pleasure than his rival. Having agreed upon a second trial of skill, it is said that the i)crforraance of Apollo, by ac- companying the lyre with his voice, wius allowed greatly to excel that of Marsyas upon the flute alone. Marsyas, with indignation, protested against the decision of his judges, urging that he had not been fairly vanquished accoriling to the rulos stii)uliited, because the dispute was concern- ing tlic e.vcellenco of their several instruments, not their voices, and that it was wholly unjust to emjiloy two arts against one. him alive for his presumption. Marsyas was ol Cehenie, a town in Phrygia, and son of Hyagnis, who flourished, according to the O.xford marbles, 1.500 years iK'fore Jesus Christ. Plato tells us that we are indebted to Marsyas and ()lym])us for wind music; and to these two musicians is likewise attributed the invention of the Phrygian and Lydian measure. Marsyas is also said by some to have been the inventor of the double flute, though others give it to his father, Hyagnis. MAIITELLATO. (I.) Well articulated, smartly detached. MARTELLL chapel-ma*ter. in 1790, at Muu- ster, set to music " Die Reisendcn nach PoUaiid," " Der Tempet iter Dankbarkeit," and " Dcr KOuig Robe." MAUTENXE, EDMUND, a celebrated Bene- dictine monk, born in 16.34, published at Paris, in 1719, " Tiaiti de I'atu-ienne Dhcipliiie de t' ICfflUe dans III CiUbration de I' OJficc Divitt." 'l"here are some interesting details in this work respecting church music. Martenne died at Paris in 1739. MARTIAL MUSIC. Music adapted for wai and warlike occasions. An expression applied to marches, troojjs, military dirges, songs of tri- umph, and all compositions, vocal or instru- mental, calculated to stimulate to battle, excite commiseration for the fallen, or celebrate heroic deeds. MARTIAL PIECE. An instrumental com- position, the stylo of which is warlike. MARTIAL SONG. A song, the subject and style of which are warlike. MARTIN, the younger, a French composer, who published several c/uduidis, flourished in 1678, as a performer on the hai-psichord, viol da gamba, and violin. MARTIN, a musician at Paris about the year 1750. His symphonies, which were published in that city, were much admired, as were also some of his motets, which were sung at the Coiuvrt Spiritiul. MARTIN, NICOLAS, a composer, born at Morienne, in Savoy, com])ose2, he in- serted .several articles iu the patriotic writings of the day. ITie toUowing original works are his : "Letters Familiare e Critiche," London, 1758; among which are Letter 27, " Al Miladg Xeicdi- gate a Arburg, invitandola a venire a Londra per veder V Opera del Siroe ;" 28, " AlJa Sgra. Conierx, lopra la di lei Appticazione al Suono delta Cetra ; " 20, " Sopra una CommUsione data uW Autore toc- caiUe t Oj>era ;" 31, " Sypra it non avere C Au- tore ancor publicata la lua Istoria della Musica ; " f>6, " Sopra la Ragione del Canto, e sua Compoaiz- zione ; " 56, " Delia Ragione del Stiono," and " Lettreaur la Musique Italietnie," Paris, 1762. MARTINELLI, N., an Italian singer at Paris, in 1801, excelled in the buffo style. MARTINEZ. JOHN. A Spanish priest and chapel- master of the cathedral at Seville, lived about the year 1558. He left a work entitled " Arte de Canto Llano ptiesta g reducida nuebame-nte en su enlera perfeccion segun la practica," L e., The art of i)lain song brought to entire perfection, according to practical rules, &c. MARTINEZ, MLLE. M.UUANE, or, accord- ing to otlicrs, ELIZABETH, was born at Vienna, 1 about the year 1750, in the same house whicl was then inhabited by the celebrated Mctastasio, who was an old friend of her father. She was j educated under the eyes of this great poet, who, on the death of her father, adopted lier, and, among otlier accom])lishments, taught her music. Dr. Burney, when at Vienna in 1772, heard her sing and perform on the piano several of her own com',>ositions, and states that he cannot find word.s to express the energetic yet tender style of her singing. Metastasio always called her his St. Cecilia. Bvirney further says that she had a profound knowledge of counterpoint, and cites, among other sacred works of her composition, a " Miserere " for four voices, and several Italian psalms, translated by Metastasio, and arranged for four and eight voices and instruments. Iu 1773 she was elected a member of the Philhar- monic .Society at Bologna. The Abbe (ierbert states that lie possessed a mass, of her compo- sition, written in the genuine church style. MARTINL GIUSEPPE SAN, wa.s a native of Milan. He was a performer on the haut- boy, an instrument invented by the French, and of small account, till by his exquisite perform- ance, and a tone which he had the art of giving it, he brought it into reputation. Martini went to England in the year 1723, and was favored by Buononcini, Greene, and others of that party, as also by Frederic, Prince of Wales, who was his great patron. Wlien Greene went to Cambridge to take his degree, .Martini attended him, and per- formed in the exercise for it, and had there a concert for his benefit, which produced him a considerable sura. He was an admirable com- poser; and for instrumental mu.sic may, without injury to either, be classed with Corelli and Ge- miniani. His tirst compositions were sonatas for two dutes, and others for Genuan flutas : these are scarcely known, but the gre^itness of his tal- ents is manifested in six concertos and twelve sonatas, published by himself. Tlie first of the.se works wa.s published in the year 1738, when the concertos of Geminiani and Corelli, and the overtures of Handel, were become so famil- iar, there being scarcely any concert iu which the compositions of tliese two masters did not make considerable part of the evening's entertainment ; and with respect to those of Corelli, this had been the case for almost thirty years. Martini had therefore a ground to hope that the charm of novelty would recommend these his composi- tions to the public lavor ; but he was disappointed in the exi)ectations he had formed of the imme- diate sale of the whole impression of his booW, and, in an evil hour, destroyed not only a gnnt number of the copies, but al.so the plates from which they were wrought. The work being ren- dered scarce, Johnson, of Cheapside, was tempt- ed to republish it ; and it wius so well received, that the author soon found reason to repent hi^ rashness, and was encouraged to prepare for the prcs!» eight overtures, and six grand overtures for violins, &c., but just as he had completed it he died : however, it was published by Johnson after his decea.se, with an advertisement in the title page, that the work was engraved for the author in his lifetime, and was by him intended to be published by subscription. The overtures in this collection are called " <)/>era Dicima," and the concertos, Op. 11. Walsh aLio publiahad 67 MAR ENCYCLOPEDIA OF MUSIC. MAB eight overture"*, in eight part), and six f^rand concertos lor violin'*, &c., by Martini, which, notwillistandinK they are a postliuraous publi- catior, carry with them undoubted evidence of their tjcnuineness. Tlie nieritrt ol Martini, as a composer of music iu many parts, were unqucHtiouably very great. lie had a I'ertile invention, and gave into a style of modulation less restrained by rule than that of his i)rodece.-iBors, and by consetiuencc, afford- ing greater scope for his fancy. Those who as- cribe his deviation from known and established rules to tlie want of musical erudition are gross- ly mistaken : he was thoroughly skilled iu the princi))lea of harmony ; and his singularities can therefore only be ascribed to that boldne-is and self-possession which are ever the concomitants of genius; and in most of the licenses he has taken, it may be observed, that he is in a great icet-iurc warranted by the jirecepts, and indeed by the example, of (icminiaui. He performed on the hautboy in the opera till the time that IJuononcini left it ; alter that he played at the Castle concert, and occasionally at others; but being ])atTou zed by Frederic, Prince of Wales, he was at length receired into his fam- ily, upon the footing of a domestic, and api)oint- ed master or director of the chamber music to his royal highness. In the course of this em- ployment he composed a great number of sona- tas for the practice of the chamber ; and, upon the birth of the Princess of IJrunswick, set to music a drama written on the occasion of that event. He also composed a musical solemnity, which was publicly performed at the chapel of the Bavarian minister. In the honorable and easy station above mentioned. Martini continued till about the yc.ir 1710, when he died. As a performer on the hautboy, Martini waa un- doubtedly the greatest that the world had ever known. Before his time the tone of the instru- ment was rank, and, in the hands of the ablest proficients, harsli and grating to the ear ; by great btudy and application, and by some peculiar management of the reed, he contrived to produce such a tone a-s approached the nearest of all in- strumental tones to that of the human voice. MAUTINI, B.VITIST.\ SAX, of Milan, was brother to the celebrated player on the hautboy already mentioned, whose periormance and com- positions were so long and justly admired iii London. The violin does not appear to have been his chief instrument, yet he produced for it an .>1- most incredible number of spirited and agreeable compositions. About the year 1770, he was iu such repute as to be chapel-master to more than lialf the diurchcs in Milan. For these he fur- nished masses upon all great and solemn oc- casions. M-YUnXI. CIIRISTOPHKU, a Dutchman, lived in the middle ol the seventeenth century, and wrote " lltintlbuok tan den tcaren Lo«ji der Tooiieii," Amsterdam, 1041. MAUTINI, PADRE OIAMBAITISTA, a «ki ful com])oser and very erudite musician, was Iwju at Bologna in I70i). .\fter the ])criod of his youtli, he entered the order of St. Francis ; we do not know whether he had engaged in it wh !n liis taste lor eruditior and his love for an- tiq lity led him to undertake the travels wliich he extended to Asia. It was not tiJ tiis return that he entirely devoted himself to music ; he Btudicii under several masters, amougst whom he himself mentions the celebrated Ant. I'erti. Hi« progress in composition was so rapid, that in 172.3, when but seventeen years of age, he was ap- pointed chapel-master to a convent of his order at Bologna, which situation he filled till Ills death, lie exercised tlie functions of professor iu the same art, and his school, the most learned iu ex- istence in Italy during hLs life, has produced a considerably larger number of great composers than any other, while artists enjoyin.: a high reputation, and crowned with the most brilliaut success, have considered it both an hon ir and a duty to take liis advice, and to attend to his in- structions : amongst these was the celebrated Jo- melli. To the talent of forming good schoLirs P. Mar- tini united that of a composer. He has written a large quantity of highly esteemed church mu- sic, but his most celebrated compositior.s are some duets in the style ol Kicercari, and some canons lor the harpsichord or organ, which aie excessively difficult. Notwithstanding a degree of coldness, his works please by the purity, learning, and good taste which characterize them. But Martini's principal titles to reputation are his treatises on the different parts of music. Amongst his works there are two which deserve particular attention, namely, his " Sar/yh Fonda- nientale I'ratico di Cuntrapunto," or " Essay ou Counterpoint," and hLs " History of Mu.sic." The first of the-ie consists iu two collections of models, the one of counteri)oint upon plain chant, the other ol fugues, for from two to eight voices. In the first collection, the Pere Martini takes a survey of the eight sounds generally ad- mitted into plain chants ; he gives an e.xample of counterpoint, properly so called, upon each of them, most freiiuently taken from Const. Porta, and several examjjles of plain chant fugated, taken from Palestriiri. These exampl.-s are ac- companied by explanatory notes, the whole pre- ceded by a summary composition of the rules of counterpoint. The second collection is an abridged treatise on the rules of fugue and canon, followed by pieces of fugue in the madrigal style, sacred and j)rofane, rising from two to ei^ht voices, with and without a continued ba:-s, accompanied by notes. The most praiseworthy part of these collections Ls, without doubt, his choice of exam- ples, drawn from the best masters, and which convey a knowledge of their .several styles of com- position ; this excepted, the work, in the present state of things, po.ssesses but a very moderate util- ity. In fact, with respect to the countei point or plain chant, the examples by P. Martini arc writ- ten upon a system which Ls no longer felt in these days, and which consequently cannot be treated with success : as to the fugated pieces, they are more like preludes than luguc.s, properly so called ; a great number are written upon the principles ol the preceding, and are theroiore use- los-s. With regard to the text accompanying these models, it cannot be denied that the intro- ductions are too much abridge-, while, by the jjood ta.ste he had displayed in the choice of the chef-e and censure. The work attests immense reading and prodigious erudition ; it is a continuation of anecdotes, written with purity, and somewhat interesting, but it has nei- ther end nor \Aai\, nor the least shade of judg- ment or criticism. lie intended to comprise it in five volumes, but thus continued, it would have ext( nded to at least twenty- five or thirty. With the view of pursuing his labors, P. Mar- tini had amassed an enormous quantity of mate- rials. The libraries of Italy had enriched him with valuable manuscripts His friend Botrigari had left him his great musical library, which contained many rare works. The generosity of the famous Fariuelli furnished him with consid- erable funds, and enabled bim to procure all im- aginable materials. These united sources formed a library of seventeen thousand volumes, three hundred of which were manuscripts. ITiey oc- cupied four rooms ; the first contained the man- uscripts, in the second and third were placed the printed books, and in the fourth the musical vorks, nearly all manuscript. The sweetness, simjilicity, and modesty which formed the character of Martini, liis eagerness to communicate to all who desired it the treasures of science and of erudition he possessed, have conciliated universal esteem and veneration. 'ITie great Frederic, to whom he sent, in 1702, his "History of Music," answered him with a letter written with his own hand, accompanied by a snutt'box, and his portrait, enriched with dia- monds. All those whom the love of the arts con- ducted into Italy, visited him in passing Hologna, and quitted him with sentiments of admiration and gratitude. He was attacked, in 1774, with the dropsy in the chewt, according to Dr. Humev, studies. In 17.5S he went to the University of Friburg. in Brisgau, where he studied philosophy, and acted as organist to the Franciscans. HaT ing at this time decided on the musical profession he resolved to travel, and xinccrfain where he should first go, it is said that he took it in hit head to mount to the top of his hou--e, which wa* situated between the town gate leading to Fnmce and that to Italy, and to throw a feather in the air, with a determination of following the di- rection in which it should be blowni. .\s it flew towards the French gate, he followed that route, and arrived in France in 1700. He first stojiped at Nancy, where his talent for music, together with the frankness of his character, procured him numerous friends. Here he perfected him- self in his art, and had an opportunity of exam- ining, step by step, the construction of a new or- gan with fifty stops for the cathedral ut Nancy. It was this which gave him the idea of his work entitled " Emie d'Or/ue," which was published at I'aris in 1804. In 1764 he arrived at Paris, and the day after he was recjuested by some acquaint- ance to comjjose a march for one of the regi- ments of Swiss guards. He did so the same evening, and the following morning it was taken to the Duke of Choiseul, who had fixed that day to give a prize for the best new march. The duke was so pleased with it when played on parade, that he remitted to Martiiti a rouleau of twenty- five louis. Such was his ilibiU at Paris. He next made himself known by some trios and quatuors for the violin, and by several sonata? and concertos for the piano-forte, which ho caused to be published. He then was charged with the composition of a grand ma-^s ; this he himself considered as one of his best works, and it «as performed at Vienna for many years after- wards on a particular annual festival. He soon after this became director of the chamber music of the Prince of C'ondo, Irom whose ser\'ice he passed to that of the Count d'ArtoLs, with whom he remained tiU the commencement of the revo- lution. In the sixth year of the French republic, the directory norainatwl him one ol the five in- s])ectors of instruction at the Conservatory ; but neither his bileiit nor that of Grttry and Mon- signy being longer h Cordre du jour with the republicans, they were all three di.smis.sed. Martini is one of the musicians who have most contributed to the improvement of military music in France. He is aLso the first musician who, instead of the single line of figured bass which who about that time dLsccriicd in him symptoms was formerly placed under songs, introducem- pa(/iii iiieiit da Furli-piano ;" " Domiiie Sa/vitm, d ^iia/rc voix, aana orcheatre ; " " (Jraiui ('untate, comjmsie poitr le Marin ;ie de S. M. f ICmprrenr, d voix acute, avec Accompapnemcnl de Forti -piano, ou d qtui're roix ridtantea, avec chontra et grand or- cheatre." Martiui also published, in 1790, "Le of the re- citative in the Prote>tant church service. IS in three divLsions : the first containing the principles of music ; the second treating of the theory of the voice and its formation ; the third being made up of detached observations on the application of the art of singing to different styles of music. 2d. " i'cber MaJcrci in Tonkunat. Ein Maigrttaa an die Kunat- Phi/oaopfien," Berlin, 1828, 67 pp., 8vo. 3d. " Die Lehre von der musikalis(Jien Komjmaition, praktiach-thcorct iach, zum aetbst-unter' richt," 2 vols., Leipsit, 1838. 4th. '' AUgemeitu Muaikkhre. Ein UulftbuchfUr Lehrer und LemeiuL 670 MAn ENCYCLOPAEDIA OF MUSIC. MAS in jedcm WeUe mtisikalUcher Vntenreisuny," I/cip- sic, 18-J9. 5th. *' Berliner allgeineine mujiikalUche Zeitunij," 18'^3-1828. Gth. " Uebc-r Me Geltung Hdndelscher solo-ijeatlnge fUr uiuere Zeit. Ein Sach- Iragziir Kutistdes Gesan/fes," lierlin, 1829, -tto. 7th. "Betrachtnng ucber (ten htutiticn Zastand (U-r Deiitsih- en Oper," &c. Marx also wrote several article-i in the " Uuiversnl Lexicoji of Music," published by Schilling ; among them those on Uach, Hcetho- von, (Jluck, Fasch, (iri'try, Haydn, and Handel. He is also known lus a composer by several musi- cal dramas, symphonies, &c., and by his oratorio " Saint John the IJaptist," which was performed in 18.'J;j. He is still living. M.VUZIALE. (I.) In a martial style. MASCARA, or MASCHEUA, FIOUEXZO, ui excellent organist, who flourished nearly forty years, in the last half of the sixteenth century, at Urcsiia. Most cities in Italy were desirous to hear him. He was also a good violinist, and the first who composed for the organ " Caiizoni Fran- ccse." In Johann Woltzen's " Tabulaturte Miisia'S Organise," 1617, are still to be found " 10 Caiizoni Fraiuese," by this composer, but under the name yiaschcra. MASCHARADA. A term applied by the Italians to music composed for the gestures of mimics, buffoons, and grotesque characters. MASCIIEK, PAUL, composer and pianist at Vienna, in 17i)f), played also the harmonica, and was a zealous cultivator of his art. Besides sev- eral good motets and quartettos by him, which have become known in manuscript, the following have been printed : " Six I etits Rondos J'acil. et agriahl. pour le P. F. d Vuaage dcs Commen- ;aits," 1798. " Das allgemeine Wiener Aii/gebot, tine charakteristische Sonnle, filrs Fortepiano mil Begl. eincr Violine und eines Violoticells," Vienna, 1798. " 12 Landersche filrs Klav.," Vienna, 1798. " Sammlung atler StUcke, tcilc/ie bey Gelegenheit cU-s Wiener Aiifgebots erschienen sind fUr 2 B.oder'l FL, Vienna, 1800. MASCIIEK, VIXCEXZO, i)rohably brother of the preceding, resided at Hcrlin in 1788. In 179G he was appointed chai)el-master of St. Xicholas Church at Prague. He was well grounded in music and on the j)iano-forte by Franz Duschek, and afterwards studied counterpoint under Seger. He was one of the improvers of the harmonica, which he played in a masterly manner. .\s a teacher he possessed the particular gift of com- municating his knowledge to others with facility, by which means he succecdetl in raising a consid- erable number of excellent pupil*. We can only mention the following of his printed comjwsi- tions : " 2-5 Lied<-r J'Hr Kinder von Spit-lmann. Mil F. biischck gemfin-icfut/tlich geseizf," 1792. " ]Jie Spiiiii:lrilter, Opcrette von Kotzebue," 1795. " BOU- mcns DankgefUhl, eine KaiUale von Maissner," Prague, 1796. " Concei-tino ponr te Ctav. h 4 mains, 2 Clar., 2 Fl., 2 C, et 2 B.," Leipsic, 1802. " Sonate pour le Clac. fi 4 mains" Leipsic, 1802. ■' Grande Sonale pour P. F. avec V. in Es" There we also to be found of his composition, at Traeg's, in Vienna, •* 1 Klavierkonzert itus Ki, mil starker BeyU-tlung" and " 2 Concertini fUr 10 his 1 1 llogen und hiasinttrnnientc." It cannot be ascertnined, however, whether the eight alwve-mentioned Drchestral sjtnphonies, and a concerto for three harpsichords, two horns, and two ba.ssoons, are 571 I this author's productions, or whether they be long to the preceding article. Vincenzo likowist j composed, in 1800, " Hginne an die Gottheil," i. » I A Hymn to the Deity. M.\.SCIIEK, MADAME, wife of the preceding and performer on the liarmonica, travelled to Denmark, and obtained much celebrity on her in- strument. .She was also, in the summer of 1791, with her husband, at Karlsbad, where they jmb- lidy perfonned duets on the harmonica and piano- forte. MASCrrn. MICHELE. a Neapolitan violin- ist, wa.s attaclied to the household of the regent Duke of Urlcans. He died at Paris about the year 1750. MASI, GIUOLAMO. was born at Rome in the year 1768. He was instructed in music by his father, a pupil of the famous Durante, and a distin- guished harpsichord player of hLs time. .\t eigh- teen years of age young Masi was chosen piano- forte ma.stcr to the Duchess Braschi, niece of the reigning pope. At twenty-one, his father (who was director and composer of the Royal Spanish , Church of Rome) being struck blind, the son suc- j Deeded him, and during four years that he sensed ! the church, composed a great quantity of sacred music, besides two operas for the theatres. He ne.xt went to Naples, where, his piano- forte play- ing procuring him a number of friends, he was ! prevailed on to settle. Amongst other music, he I composed there a cantata that was jxTfonned with great success. On the preparation of the , French to invade Italy, Masi set otf for England, I in company with Sir John Legard, with whom I he resided, teaching the piano-forte. He has 1 published a great number of ro\idos and varia- i tions in a popular style. ITie productions that \ have most distinguished him are " A Set of Can- zonets, the Words selected from Po])e's Eloisa;" I " A Set of Preludes," published bj- Monzani ; I and " A Toccata." Masi has. besides, contracted I into septets and quintets many symphonies of I Beethoven, Mozart, Romberg, Wocld, Jtc. 1 M.YSI, GIOVANNI, a chapel-master at Rome j in 1 79.3, is mentioned in the " Indice de Sjx-tlacoti " of Milan, for 178.3, as an opera composer. Among his other works, he brought out at Rome an opera butfa, entitled " Lo Sposalizio per punt iglio." MASI, P., chapel-ma.ster at the church of the Holy Apostles, and singer in the pontifical ' chapel at Rome, left many compositions lor the church, chamber, and theatre. lie died in 1772. MASK. A. utensil called by the Italians ;vr- sona, from the verb personare, to sound through ; and which was used by the ancient Roman ac- j tors and singers. It wa.s generally formed with I a wide mouth, in the shape of a shell, for tha ' purpose of augmenting the power of the voice. I upon the principle of the speaking trumpet. I MASON, WILLIAM, a clergyman at York. I also king's cha])lain, was one of the classical I poets and musical authors of England. He waj I born at Hull in 1726, where his lather wa« vicnr At his native town he rcceive«- cini posiniU," Venice, 1567. " Missa 5 el 6 vocum." " Roratc casli 5 voc." " \uncium vnbis, 6 voc." " Omius gentes, 6 voc, Li>>er 1," Venice, 1578. " Cant ion. Sacra, 5 voc.," Venice, 15S0. "Sacra- rum Cantionum, 7 vocibiu, Lib<-r 1," Venice, 1607. Arisius, in his " Cremon Literal.," p. 454, from which the preceding jjarticulars respecting Mas- ■ainus are taken, adds, that ho himself possesses the following of his works : " // Quartn Lihro de XIaHriiali a 6 coci," Venice', 1594 ; " Musica su/ter Threnoi Jcremitt Prop/ietrr, 5 vocibta." Venice, 1599. J side:) these, there were also several pieces ' by him in the " Si/mphonia Angelica," edited at I Amurgos, in 1585, by Hubert Vaelrand. The fol- lowing works by him are in the Munich library ! MadriffoJi a 4 voci," Venice, 1569, "Muteltid Set t voci," Venice, 1576, and " Missa, 8 voci," Venice, 1600. MASSART, J. N. A French violoncellist and composer for his instrument, about the year 1768. .MASSE. A celebrated chapel-master in the service of Louis XV. of France. M.VSSEXTIUS, DOMIXICU.S, a composer, flourished in 1632 at Rome, where, according to AUatius, he published the following works : " Mo- tvlli d ]'oce sola, " " Mofetti a dtw, epiii voci," " .Sai- rni d otto voci," and " Canz.inetti a una, c piu voci." MASSEXUS, PETRUS, chapel-master to Charles V., at Brussels, wa.s born at (ihent, and flourished about the middle of the fifteenth cen- tury. He published " Declaration's unUionis do- minirir et saliUcUionis anyelictp," Brussels, 1559. Finck mentions liim as one of the best composers of his time. MASSI. FRANCESCO MARIA, a Minorite, flouiLshed about 1696 as chapel -ma.ster and com- poser in Itiily. He set to music the " J'ccca/or pcntlti al liiambini) Giesn tteUa notte di Salale," Perugia, 1696, of the Count Nicolo Monte Mel- lini, and dedicated it to the Acadcmici Oscuri of Lucca. MAS.SM.VXX. ALEXANDER, organist in Kneiphoff, near Konigsberg, in Prussia, published at Amsterdam, in 1720, " Suite pour te Clavd- ciii." MASSON', C. Chapel-master of the cathetlral church at Chalons, in Champagne, and of the Jesuits' Church of St. Louis, in the beginning of the eighteenth century, published " Traiti des Rigtcf lie Composition ile la Musitjue, jvir leifiicl on nj>i>rend h faire facilement un Chant surdvs J'aroles, n composer a deux, a trois, et d quntre parties, SfC, et d chijfrer la Basse Contiinw, suirant Vusage des meitleurs Autcurs. Oucraffe tris-utile d ceux qui ■jouent de V Orgue, du Clavecin, el du Thiorbe," Paris, 1705. A fourth edition, revised and cor- rfc<'ted at the expense of Estienne Roger, was published at Amsterdam under the title " Nou- renu Traiti, fe." An etlition of this work is said to have been printed in 1757, at Hamburg. MASTER OF HIS M.UESTYS BAND OF MUSIC. A musician whose department it is tt direct the king of England's band, and : set the birthday and new year's odes, as also th; minuets for the royal balls. MASTER OF SONG. TTie name given, in remote times, to the person appointed to teach the children of tlie Chapel Royal to sing, and to per- form the organ. MASTER-SINGERS. A class of poets who flourished in Germany during the fifteenth and part of the sixtcjenth century. They were confined to a fe>» imperial towns, and their chief scat was the city of Nuremberg. They were gen- erally of burgher extrnction, and formed regular corporations, into whi.^h proficients were admitted bv the ordinary course of apprenticeship. 'ITieil poetry (generally confined to devotional or scrip MAS EXCYCLOP.'EDIA OF MUSIC. MAI mral pieces, legendary tales, with some admix- I published "A Book of Psalms and Ihinns," i» ture of satire and of amatory lyrics) wa-s sub- jected to a peculiar and jjedantic code of laws, bo'h composition and versification ; and a board of judges, styled merAer, assembled to hear the poems recited, and ntark the faults which might be committed in either particular ; he who had the fewest faults received the prize. Hans Sachs, the famous cobbler of Xurenilierg, was a mem- ber of those societies, although his genius was of too independent a character to submit to tlie trammels of their poetical regulations. MASURES, LOUIS DES; A Flemish contra- puntist of the sixteenth ceutury. Of his works the following is yet in the electorate library at Munich : " Canti'iuen d i part.," Lyons, 1.064. MATAUSCIIEK, an abbe, probably resident nt Vienna. Of his compositions there were pub- lished in that town, in ISO-J, " Dt-ux Iloncteaiix pour le Cltiv.," Nos. 1 and 2, and " Quatorze Varia- tions pour la Fliiti\ avfc Ace," Op. H. MATHER, SAMUEL, organist at Sheffield, was the youngest son of Mr. Slather, organist of St. Paul's Church, Sheffield, to which situation he was appointed in 1788. His son Samuel was elected organist of St. James's Church, .Sheffield, in 1799, and his eldest son, John Mather, (or- ganist and professor of music in Edinburgh,) was appointed organist of the parish church of .Shef- field soon after; so that the father and his two sons, at that jieriod, held all the organists' situa- tions in the three churches at Sheffield. His father dying in 1808, S. Mather was in a few days after unanimously elected to till St. Paul's Church. In the year 180.), he was appointed master of the military band, attached to the Sheffield regiment of volunteers, which situation he long continued to hold, together with a lieu- tenants commission. In the year 180(), Mather, in conjun'tion with his brother and J. Foster, Esq., of High Green, began the Yorkshire Ama- teur Concerts at Sheffield. In the following year, they were held at Leeds, and the next at York, Bnd have been continued since that time, trienni- ally, at those places, with increasing i)leasure to the lovers of music. In the year 1814, he estab- lished the Yorkshire Choral Concert, of which he was the sole mana'.;er for the first four years, hav- ing obtained the names of the noblemen and gen- tlemen in the county to support it, by an annual subscription of one guinea each, and having an excellent band of vocal and instrumental per- formers. Here he brought forward every month B per.'ormance, which was always numerously at- tended. "The Messiah," "Judas," "Samson," " Israel in Egypt," "The Creation," " .Vthalia," "Jephtha," " Acis and Galatea," "Alexander's Feast," with various selections from the best composers, followed in succession. Nearly the same plan has since been adopted in Edinburgh, where his brother hius liccn one of the principal managers. In the year 1813, Yaniewitz and Mather first brought the inimitable Catalani be- fore the Sheffield audience for three days' jwr- formance, of which Mather had the entire man- agement. In September, 1S'_'2, he was electeil grand organist to the provincial lodge of freema- sons for the West Riding of the county of York. His publications are not very numerous ; but •everid of them have been well received. He ha.s number about two hundred, com])osed and adaptei to words selected by his grace the I^ord Archbishoi) of York, for the service of the church of En^iland, and for the use of i)rivate families ; also a number of songs, duets, trios, choruses, Tc Deum, &c. M.VTINATA. (I.) A lover's matins, oi morning sons. M.VTIXS. TTie name of the first morning ser- vice in the Romish church ; a ser\'ice chiotly con- sisting of singing. MA'ITA. FR. JOAO DA, a composer, born at Lisbon in 1710, studiod divinity at Coimbra. He died in 1738, in his twenty-fo\irth year, leaving some motets and mass&s of his composition. MAITEI, SAVERIO, an advocate at Naples, published at Padua, in 1780, a work in eight vol- umes, entitled " Dissrrfazioni pn/iniiiniri ulla tra- dttzione de salmi." He also published, in 178.1, " EUxji-s " of Metastasio and of JomcUi, who were both his intimate friends. He died at Naples in 1802. MAlTHAl, HEINRICH AUGUST, a com- poser and solo violinist at Leijjsic, was born at Dresden in 1781. He devoted himself to music from inclination, and from his infancy; it is not surprisins;. therefore, that he soon made himself master of several instruments. Among the.;e, he considered the violin as his principal, and made such progress on it, that when, in 1801, on a journey to Leipsic, he made his first public ap- pearance at a concert, he was immediately ad- mitted as a member of the orchestra. It reflects no less honor on his tiilents as an artist than on his general character, that shortly after this en- gagement, a society of musical amateurs at Ix-ip- sic, in 1804, provided liim with a sufficient cap- ital to undertake a journey to ParLs, for the pur- pose of perfecting himself on his instrument un- der the great violinist, Kre\itzer. He so \\ ell ful- filled this praiseworthy intention, that, after a stay of eighteen months in Paris, having returned to Leipsic, he was, at his first public reappearance there, received with universal enthusiasm for hi.« increased abilities and e.xcellcnce in the art. Af- ter his return from Paris, he was also very suc- cessful in several attempts at the composition of ariettes, variations, duets, and concertos for the violin, of which the following have been printed : " SecA* dciitsche Arietten, mit Bcr/leit. Hes J'iaiiof. Oder der Guitarre" Leipsic, 1807 ; " Cone, ptiii Vinlon, in E," Op. 2, Leipsic, 1808. " Thrc* Duos roncert. pour 2 I'.," Op. 3, I^eipsic, 1810 ; and " Qiiatiior brillant, pour 2 C, .4., Vc." Op. 6, Leipsic. That he was, in 1814. one of the best performers on the violin in Germany, Gerber tes- tifies from his own experience. MArniEES, JOHANN WILHELM, bom at Rerlin, was concert master to Prince Henry of Prussia at Rheinsbcrg. He was a very solid and able violinist of the school of IJenda, and partic- ularly distinguished by his fine and full tone. MA'ITHEES, CARL LUDWIG Youneet brother of the preceding. He was chnmbfr mu- sician anil performer on the hautt>oy to the Mar- grave of Brandcnburg-Schwedt. After the deatk. of the margrave, his whole band having been dis- charged without any pension, Matthees in de- 673 MAT ENCYCLOPAEDIA OF MUSIC. MAI •pair, laid Kside the hautboy, and established a i powder and spirit manufactory at Schwedt, but with sucli bud success, that, after ten years K])eut in labor and care, lie was obliged, in 1799, to leave Schwedt clandestinely, having first taken his hautboy out of a dirty corner, and put it in his greatcoat pocket as his sole future hope. In " Httch's Vielerley " are to be found two solos for the hautboy by this musician. He was consid- ered a ])erformer inferior only to Bcsozzi, FLschcr, and Lebrun. MAITHEIS. NICOLA, an Italian violinist, went to England about the latter end of Charles II. 's reign. He was an excellent musician, and performed wonderfully on the violin. His man- ner was singular ; but he excelled, in one respect, all that had t^eeu heard in England before : his areata, oi manner of bowing, his shakes, divisions, and, indeed, his whole style of performance, was surprising, and every stroke of his bow was a mouthful. All that he played was of his own composition, which manifested him to be a very exquisite harmonist, and of a boundless fancy and invention. AVhen he lirst went to England he was very poor, but not so poor as proud ; which prevented his being heard, or making useful acquaintance for a long time, except among a few merchants in the city, who patronized him ; and setting a high value on his condescension, he made them indemnify him for the want of more general favor. By degrees, however, he was more noticed, and was induced to perform at court. But his de- meanor did not please, and he was thought capri- cious and troublesome, as he took offence if any one whispered while he played, which was a kind of attention that had not been much in fashion at the English court. It was said that the Duke of Kichmond would have settled a pension upon him, though he wLshed him to change his manner of playing, and that one of his pages should show him a better. Mattheis, fur the sake of the jest, condescended to take lessons of the page, but learned so fast, that he soon outran him in his own way. But he con- tinued so outrageous in hLs demands, particularly for his solos, that few would comply with them, and he remained in narrow circumstances and obscurity for a long time. Nor would his superior talents ever have con- tributed to better his fortune, had it not been for the zeal and friendly offices of two or three dilettanti, his admirers. These were Dr. Wal- grave, a prodigy on the arch-lute, Sir Roger L'Estrange, an expert violinist, and Mr. Bridg- man, the under secretary, who accompanied well on the har|)sichord. These gentlemen, becoming acquainted with him, and courting him in his own way, had an opportunity of describing to him the temper of the English, who, it humored, would be liberal, but if unciWlly treated, would be s\ilky, and despise him and his talents ; assur- ing him that, by a little complaisance, he would neither want employment nor money. By advice so reasonable, they at length brought him into such good temper, that he became gen- erally esteemed and sought after ; and having many scholars, though on moderate terms, his purse tilled apace, which confirmed his conver- loon. After this he discoveree of his craploj-mcnt as secretary to the resident, he was truster of Cologne, at Bonn, about tlie year 1783, was born at Venice in 17o0. He was a violin pupil of Morigi. He composed Fevera] symphonies, masses, \c. MAUCOrUT. LOUIS CHAULE.S, a mu-siciM at the court of Brunswick, published .-lorae briot for the violin at Offcntwch, in 1784 ; aUw " Com MAU ENCYCLOP.EDIA OF MUSIC. MAV ,i, 5,ei 8 I'oc." Antwerp, 1604. MAURICEAU, JEAX, in 1853, published ** Some Account of the Mysterious Music of the Bay of West Pascagoula." There are several legends touching these mysterious sounds. One of them relates to the e.\tinction of the Pasca- goula tribe of Indians, the remnant of which, many years ago, it is said, deliberately entered the waters of the bay and drowned themselves, to escape capture and torture, when attacked by a neighboring formidable tribe. There is another legend, as well authenticated as traditionary his- tory can well be, to the effect that, about one hundred years ago, three families of Spaniards who had provoked the resentment of the Indians were beset by the savages, and, to avoid mas- sacre and pollution, marched into the bay and were drowned — men, women, and children. Tradition adds that the Spaniards went down to the waters, following a drum and pipe, and sing- ing, as enthusiasts are said to do when about to commit self-immolation. The inhabitants in the neighborhood believe that the sounds which sweep with mournful cadence over the bay are uttered by the spirits of the hapless families ; nor will any remonstrance against the supposition abate their terror when the wailing is heard. Mauriceau thus explains the music of the water spirits : — " During several of my voyages on the Span- ish main, in the neighborhood of Baragua and San Juan de Nicheragua, from the nature of the coast we were compelled to anchor at a con- siderable distance from the shore; and every evening, from dark to late at night, our ears were delighted with .£olian music, that could be heard beneath the counter of our schooner. At first I thought it was the sea breeze sweeping through the strings of my violin, the bridge cf which I had inadvertently left standing ; but, after exam- ination, I found it was not so. I then placed my ear on the rail of the vessel, when I was contin- ually cliarmed with the most heavenly strains that ever fell upon my ear. They did not sound as close to us, but were sweet, mellow, and aerial, likethesoft breathing of a thousand lutes touched by the fingers of the deep-sea nymphs at an im- mense distance. •' .\lthough I have considerable • music in my soul,' one night I became tired, and determined to fish. My luck in half an hour wa.s astonish- inH ; I had half filled ray bucket with the finest white catfish I ever saw ; and it being late, and the cook asleep, and the moon shining, I filled my bucket with water and took fish and all into my cabin for the night. " I had not yet fallen asleep when the same sweet notes fell upon my ear ; and, petting up, what was my surprise to find my ' catfish ' dis- coursing sweet sounds to the sides of my bucket." Music, like every thing else, is now passinf; from the few into the many. The art of print- ing has laid before the multitude the written wis- dom of ages, once locked up in the elaborate man- uscripts of the cloister. Engraving and daguer- reotype spread the productions of the pencil before the whole people. Music is taught in our com- mon schools, and the cheap accordeon brings its delights to the humblest class of citizens. All these things are full of prophecy. Slowly, to the measured sound of the spirit's music, there goes round the world the golden band of brother- hood ; slowly, slowly the earth comes to its place and makes a chord with heaven. Sing on, thou truehearted, and be not discour- aged ! If a harp be in perfect tune, and a flute, or other instrument of music, be near it, in per- fect tune also, thou canst not play on ..ne with- out wakening an answer from the other. MAURICE, landgrave of Hesse-Cassel, bora May 2.5, 1572, is said to have compo.sed eight or ten sets of motets, and other pieces of solemn music, for the use of his own chajjcl, the organ of which, on the great festivals, he frequently played himself. lie completed and published a work, bes;un by Valentine Guckins, entitled " Opera metrici sacri .^^anctorxm, Dominicalium et Ferarium." He died March 15, 1632. MAURO D'ALAY, or MAURINI, an instru- mental composer, published, in 1710, "12 Con- ccrti d V. piiiicip., 2 I'., A., I'c, e Cembalo," Op. 1, .Amsterdam. MAURUS, a monk, belonging to the convent St. Martini de ScalLs, born at Palermo, flourished as a composer in the si.xtecnth century. He published " Cantiones Sacra;" Venice, 1590, for voices and instruments. MAVIUS, CHARLES, JR., musical profess- or at Leicester, wa.s born at Bedford in the year 1800. His father (a professor of music, residing at Kettering, in Northamptonshire) was a German, and went to Eni^hind at the period of the French revolution. Though born at Bedford, the first ten years of the life of the subject of this memoir were spent at \Vindsor, where, at an early period, con- siderable natural talent lor music was discov- ered in him ; in conse luence of which, when about si.x years old, his father commenced giv- ing him in>truction upon the violin. After pay- ing some attention to this instruraent, he be- came an.vious to attempt the piano-forte ; and accordingly, when little more than seven years of age, he began the study of that instrument, under the daily attention of his father, and made very considerable progress, both in the practical and' theoretical branches of the science, insomuch that, in his twcll'th year, he was appointed or- ganist to the church at Kettering. .\t the age of fourteen he commenced ths study of composition, and subsequently received lessons under some of the most eminent profess- iSTA MAX ENCYCLOPAEDIA OF MUSIC. XI A , ors in London ; viz., M. P. King, on theory and •ingini;, Griffin on practical piano-forte play- ing, itc. About this period (18U,) Mavius wrote an introduction and rondo, which was act published till 18 IG. This was well re- ceived, and favorably spoken of by the musi- cal reviewers, (see " Monthly Magazine," Sep- tember, 1S17 or 1818.) who were entirely un- acquainted with the age of the author. Several other pul)lication8 by him have appeared. Ma- vius resided at Leicester in 1820, where he had considerable practice as a teacher. ITie principal compositions he has published arc, " La Prome- nade," an air with variations, dedicated to MLss Simpson ; " La ReconnaisHance," an air with vari- ations, and tiute accomiianiment, dedicated to Miss Stop ford ; and " A Thema for the Piano- forte," dedicated to Miss Mary and Miss Lavinia Eyles, (Preston.) MAXIMA. The longest note formerly used in music, being equal to two longs, four breves, eight semibrevcs, S:c. See the word L.mige. MAXWELL, FRANC. KELLY, doctor of divuiity, and chaplain of the Asylum, died in 1782. He published " Essay upon Tune, being an Attempt to free the Scale of Music and the Tune of Instruments from Imperfection," with ■ixteen plates, Etlinburgh, 1781. MAY'ER, a vocal composer, was, in 1790, director of the music of the Bohemian Dramatic Society. In 1795 he was at Cologne, and be- longed to one of the choirs of the church. In the Gotha " Theatrical Calendar," the following of his compositions are mentioned : "Das Irrlicht," "Die Ltiftkugvl," "Marlborough," and "Die Becker." The last three are ballets. MAYER, G. A contrapuntist of the sixteenth century, of whose works are printed " 3 C'aiUiones Devotee," 1577. MAY'ER, J. P., a musical amateur, published in 1802, at Carlsruhe, " 12 Lieder" MAYER, SIMON, a very pleasing dramatic composer, was born at Mendorf, in Uavaria, June 14, 1763. He has, since 1798, resided alternately in Italy and Gennany. but chietly in Italy, where he has written much for the theatre, with great success. In 1802, he was appointed chapel-mas- ter, in the place of Carlo I.cnzi, in the church of Maria .Maggiore, at Bergamo. He obtained much honor by this appointment, a great number of competitors being opposed to him. In less than a year, however, he was again in Vienna, where he represented his " R/uivocn." Of hLs composi- tions we can mention the following : "Sisera," oratorio, 1795. " .^r^«« flur7.»cAn/i," operetta M:;y- er has been ranked, by the French critics as a dramatic composer, nearly equal to cither Mozart or Rossini. He excelled principally in harmony. MAYERBEER. A pupU of the abbe Vogler, and composer of a successful opera called "Ho- miUa e Ctstanza," performed at Munich in 1823. lLA.YERHOFElt, M. A musician, probably resident at Vienna, of whose works Traeg men- tions in his Catalogue for 1799, besides two col- lections of dances, a " S;3letto, A 2 ^V., 2 V., A., e basse," in manuscript. M.VYNARD, JOHN, a i)erforraer on and com- poser for the lute, wa-s the author of " The Twelve Wonders of the World, set and composed for the VioU de Garaba, the Lute, and the Voyce, to sing the Verse, all throe jointly and none several ; al.so Lessons for the Lute and Hiusse Violl, to play alone: with some Lessons to play lyra-wayes alone, or, if you will, to fill up the I'art-s with an- other Violl set lute-way," published in folio in the year Kill. These twelve wonders are so many songs, exhibiting the characters of a courtier, di- vine, soldier, lawyer, physician, merchant, coun- try gentleman, bachelor, married man, widow, and maid. MAYNI, JOHANNES. A contrapuntist of the sLxteenth century, of whose works have been printed " Canliones Sacrir, 3 iit the dithculties of fingering, the want of variety in the tones of the piano, a defect wliich docs not exist in the orchestra, and the impossibility of pointing ont to the hearer the various crossings of the parts — all these things often oblige us to change certain passages of accompaniment, in order to substitute others more easy of execution, but still analogous in their nature. The study of accompaniment should commence with the scores of the works of Cimarosa, Paisi- ello, Guglielmi, and their immediate successors ; for their style, though brilliant, is easy and clear, riiese works have the advantage of habituating th-' i» '.ompanist to exactness, without calling upon him for much effort. The following frag- ment will show with how much facility one may accompany a piece written like the celebrated finale in " La ScHjfiara," an opera by Paisiello. No. 1. Mo'Jerato. Tiolinl. Oboe. Voce. ^^^^^^l3l ■V-' MIe ragcizo foro-rlt«, f»Torite, tuTO-ritO. £v^. Bafso. P^^P^-^ 4?T *-' &c. "\\'hoever is endowed with the lea.st intelligence will see, at the tirst glance over this score, that the violins and hautboys must be played by the right hand a« far as the third bar, where the second violin part passes to the left hand. The Horns also belong to the left hand, so that the passage will be executed thus without difficulty. No. 2. {^^^^ No composition of this school and period wUl offer more dithculties, either with respect to ar- rangement or to fingering. Some accompanists, abusing the liberty con- ceded to them of arranging the accompauimeni in the manner most convenient as to cxecvuion and to their instrument, change the character of the traits, either from want of taste or from mere indolence. Reducing, for exam])lo, every variety of arpeggio to one hackneyed species, they give tc the music an aspect of monotony and Niilgarity which destroys its chann. The j)as»age, for e.x- araple, is often accompanied as in No. 3, p. 6S0. If we are at all endowed with a musical organ- ization, we cannot but be strvick with the want of taste manifested by such an arrangement. Doubt- less it would be too difhcult to accompany it as it is written, that is, to retain the second violin part in its precise fonn ; but the left hand may surely execute a jiassage analogous to it, as in example No. 4, p. 580. If, however, the desiyn in the second violin part were continued throughout the entire piece, and i)articularly if much modulation were in- troduced, the above system of accompaniment would offer great dilliculties, and compel the left hand to skip about ; in this ca.se, it would be better to abandon the passage contained in the first violin, and to execute the second -violin part as in No. o, p. .-580. Parts for the violin, the tenor, or the bass often contain repeated notes in quick movement, the execution of which on the piano would be both difficult and ineffective. ITiese repeated notes appear under different forms, and admit of being played on the piano in several different ways. In recitatives and other places, these kinds of tre- molos arc disposed as in No. 6, p. 581. They may be arranged by the accompanist in several ways, the choice among which depends upon his taste or caprice. Among the examples which I shall give of these arrangements, the first is best suited to rec- itative ; the rest belong rather to measured ac- companiment. Sometimes the repeated notes are grouped in twos, as in e.xaraple No. 7, p. 581. If the movement be quick, the accompanist { must simplify the doubled notes, as in No. 8, p. 581. But if the movement is moderate, he must em- ploy ar]>eggios, as in example No. 9, p. 581. When the tremilo is given to the accompanying part.s with a melody in another part, it must b« played with the left hand, while the right exe- cutes the melody. As the natu-« of the piano will not allow ui to i)rolong the sounds &t will, as on stringed or wind instruments, we can ctwily imagine that long notes, such as we sometimes meet with in scores, would produce a very poor effect, particu- larly in slow movements, if the accompanist were merely to execute what was wTitten. We must, therefore, arrange these kinds of accompanimenJ* BO as to mark the different times of the bar. Af to the form of the arrangement to be adopted, we must, as far as possible, imitate the air of tran- quillity which the composer intended in his ac- companiment, and only multiply the notes so fax as is necessary to avoid drowsiness and ennuL To translate the accompaniment on the pianc with the re-iuisite calmness, there Ls no othar way than to take the harmony and arrange it a* in example No. 10, p. 581. Each musical or marked stage of rultiratioi 679 MEC ENCYCLOPEDIA OF MUSIC. MEC has its peculiar physiognomy, with which the ac- companist should he aciiuaintcd. These epochs may be redured to the following principal di- vijiioius : — 1. The style of counterpoint, without any writ- ten accompaniment, culled the style of " Palcs- trina." 2. Music, accompanied by a figured bass, ex- tending from CarLssimi to Durante. 3 . The music of the eighteenth century, divided into the Italian, German, and French schools. 4. The music from tlie time of Ilaydn and Mozart to the present day, in which the differ- ences of schools or styles are imperceptibly amal- gamated. The art of the accompanist consists in knowing exactly the peculiarities of each of these epochs, BO that he may not introduce any thing incon- gruous in his accompaniments. This is particu- larly important in miisic accompanied only by a figured bass. The slow movements of the ancient schools are not to be played so slow as those of Rossini or Heethoven, &c. ; while, on the contrary, the rjuick movements must be played with much less rapid- ity than those of the present day. In accompanying the music of Palestrina and authors of that school, we must play the four parts simply as they are ^^Titten, without adding any other notes by way of filling up the harmony. To accompany the cantatas, duets, or trios of Carissimi, Durante, &c., the accompanist must follow the different voices with his eye ; playing them, as they stand, as nearly as possible wlierever any imitations occur, and merely filling up the harmony in three parts only, when that is not the case. The recitative of the compositions of this period ifi accompanied only by a figured bass, like the Italian comic operas. ITie accompanist must play the harmony indicated by the figures without re- No. 3. Moderate. Violino Imo. gard to regularity of measure, attending only to the declamation of the singer. At the beginning of the recitative, and wherever modulations occur, he must arpeggio the chords which indicate the key. These arpeggios should rather precede the singer, for the purpose of facilitating his intona- tion. In accompanied recitative, the intermediate ri- tornelli are ])layed in strict measure, and the ac- companist follows the singer in the other portion! of it. The music of Paisiello, Cimarosa, and others of that school, offer but few difficulties to the ac- companist, as the instrumental parts are few and simjjle, though brilliant and effective. Mlien we arrive at Mozart we are completely in the domain of music for effect. lie first assigned to the wind instruments the important part which tliey now enjoy in the orchestra. The effects which he draws from them are magical ; they demand from the accompanist great sagacity and experience in transferring them to the piano in a manner analogous to the idea of the com- poser. "Don Juan," "Figaro," and the "Magic Flute," are works which, in this point of view, cannot be too much studied. When the student has mastered the works of Mozart, he may proceed to the still more elabo- rate scores of Cherubini, Spontini, Kossini, and hia imitators, &c , &c. The obligation of discerning the intention of his author, of imagining the means of rendering them on the piano, and of expressing in his per- formance what he feels, should not give to his accompaniment the appearance of labor. He has other duties to fulfil — that of guiding the sing- ers, keeping them in time, assisting their intona- tion ; things which he could not accomplish if liis presence of mind were disturbed. To be calm and vigorous at the same time, is the problem which he must resolve. Violino 2do. Tote. Bum. ^^^m ^E :=^=S ^ S^ :^#= -'' — >i^ J^^^^^^^^ Ca-ro og-get - - to del niio » - - - nio - - re non te - - me - te & - te^— ro - - n-. m^c^rTrr-^^ 9=^-g=f=iE^[^^ No. 4. Moderato. No. 5. 1^ 1-^ --l__jj :l=^n^tzl^^ ' -^ l^[^^^V//gr"^ &c. Piano. &r. 580 MEC ENCYCLOP.EDIA OF MUSIC. MEC No fl SpTt-f-rj§ W No. 7. AtUpo W^^ sad — ^ Ac. No. 9. ^t^jE^Jl^0~:lL^ No. 10. &c. a-j^?^ J^^i^^J^I^^ &r. No. 12. AUrgTO. Piano. J^^^lgjUEi (i^iig No 13. Moderato. No. 14. CaKtabiU. Clar. in Btf pp \ u* TfMt cuf •■ um rtanfa u**. rt I I »_ ..n ( To U r*aJ • aUth Uw»r. «r ly CornI In Q» ;>;> { b^m .r lu iu« ci«r ^^^ w Voce. ijf fe^i^l^ Banl. jtp let - ta tm - magint del mio coD4orl«. Jltei :f^; g No. 16. Can(aii<<. *^ VA • let - tm im - maulDn del mIo con-«ortc Dl • let - ta im - nutjine del mlo con-«ortc. ^^pp@fip '^^i J I FTtrr p; No. 16. M e^ r^^ J5- ^^«^ a; Cwf Ml IS 41 M ■ • 4m L*«rte4* U bat*. ^ 5^ Us "^ CM4urf«a> il S 6 R 6 8 PUno. 581 MAZ ENCYCLOPEDIA OF MUSIC. MEE MAZOUUKE, or MAZURKA. A Polish r.Btion8l (lance, in 3 tinie, witli a peculiar rhyth- mic construction, somewhat like that of the po- lacca. MAZZOXI, AXTOXIO, second chapel-master of the Cathedral at Hologna, and dramatic com- poser, was bom in that town al)out the year 17'i5. lie composed there, in 1770, in his ca- jmcity of member of the Philharmonic Society, a Mas^nificat, consisting entirely of choruses. Maz- zoni studied counterpoint in his youth under the (^"hapel-master Perdiera, and subsequently trav- elled, during several years, to Naples, Madrid, and as far as St. Petersburg. In 1756 he brought o\it at Parma the comic ojiera, " / Viaggiatori '■iilicoli," words by Goldoni. This piece was em- inently successful. MAZZONI, GIOVANNI, chapel-master of the Cathedral of Lodi, flourished about the year 1600 »s one of the first contrapuntists. MAZZUCHELLI, an Italian musician at Paris, published there " Recucil des plus agriables Ariettes ties Operas arrang. pour deux Mandolines, liec. 1 et 2," Paris, 1792; " Recueil d" Ariettes dea Opdras luiitveaux, avec Ace. do Guitare, Rec. 1, 2, et 3," I'arLs, 1793. MEAN. An epithet formerly applied to the tenor or middle parts of any composition, as be- ing the mean between the treble and bass ex- tremes. Hence the C clef, in wliich those mid- dle parts always are, or should be written, was called the mean clef. ME-AN CLEF. The tenor clef. See Mean. MEASURE. That division of the time by which the air and motion of music are regulated. Some imagine the measure of music to be of mod- ern invention. But the ancients not only prac- tised the division of time, but formed it upon rules very severe, and founded on principles un- known to musicians of the present day. MECIIEL, a French composer at the begin- ning of the eighteenth century, published " 7 BUcher Sonaten fUr die l^ioline," 1729. MECm, GIOV. DATTISTA, organist at Bo- logna, published at Venice, in 1611, " Moietti d 6, 3, 7, 8 voc." MECHTLER, F., probably a German harpist «t Paris, published there, about the year 1794, " Petits Airs connus, variis pour la Ilarpe." MECK, JOSEPH, a violinist, belonged, in 1730, to the chapel in Mentz. He published " 13 Comcrti per il T. (i 5 e 6 Strom.," Amsterdam. Besides these, several of his concertos and solos in manuscript were known at that time. MEDER, JOHANN VALENTIN, a celebrated cl.a;)el-miuster at Dantzic, was bom In 16.50. He com])osed many operas and cantatas and much church music ; but only one of his works was published, namely, " Capricci i 2 VioUni col Baa- to," 1698. MEDER, JOHANN G.ABRIEL, son of a school- master in Gotha, published " Sinfonie pour t' Or- theatre," Op. 4, Berlin ; " 6 Marches jx>ur 2 Clar., 2 Cors, et Fag.," Berlin, 1795 ; " L'lUuaion du Priiitems, Sonnte pour le Clav., acec l'. et I'c," Op. 9, Berlin, 1797; " Principea de Musique jmur le Chant, avcc 12 SJ/egea ct D. coiU.," Berlin, 1800. There was also a manuscript opera in his name it Breitkopf 's, in Lcipsic. MEDERITSCH, or MEDRITSCH, JOHAN-\ called GALLUS, was, in 1794, engaged as con- ductor of the orchestra at the theatre at Ofen, ir Hungary. He seems to have resided there only a short time ; for in 1796 he was at Vienna, where he wrote the first act of his " Pyramidcn von liahy- lon." Of his operettas and other works, all of which met with a favorable reception at Vienna, we can mention the following : " Der Seefahrcr," operetta ; " Die Rekruten," operetta, 1794 ; " Dei letzte Rauach," operetta, in two acts ; " Malcbeth, mii Geaang ;" " Chor der Banditen, d 4 voci ; " " Chor der Tempelherm, a 4 voci, 2 FL, 2 Clar., Fag., 2 Tromboni, et Organi ; " the first act of " Pyramidcn von Babylon," being the second pai1 to the " Zatiberflate ; " also the second act of Winter's composition, arranged for the piano- forte, Vienna, Offenbach, and Leipsic, 1798. This piece was performed for the first time at Schikaneder's Theatre at Vienna, in 1797. The following instrumental music is also his : " 2 tk>n. pour le Clav., Nos. 1 et 2," Vienna, 1791 ; "2 Quintetli pour le Clav., Ft., J'., A., e Vc" Vi- enna, 1792 ; " 24 Vars. auf den Barentanz, fIXrs Klav.," Vienna, 1792 ; " 3 Son. pour le Clav., avec v.," Vienna, 1797; "6 Vara, pour le Clav.," Vi- enna, 1797 ; " 6 Vara, aur le Thime de F Introduc- tion de I' Overture de /' Opira, Babylon's Pyramidcn,' ' Vienna, 1798 ; " 9 Vara, aur I' Air : Ein gutes Kind," Vienna, 1798 ; " 3 Sons, dialog, pour le Clav. et V., Liv. 1," Op. 1, Vienna, 1799; "4 Concerti a Cem- balo," (manuscript;) "4 Son. i 4 mani," (manu- script ;) " 6 leichte Klavier Sonaten," (manuscript ;) "3 Trioa pour 2 Violons et Vc," Op. 12, Vienna, 1800 ; " 3 Caprices facil. pour le Clav., avec V. obi.," Vienna, 1802. Gerber also saw the following church compositions by this master : " Stabat Mater, d 4 voci con StromeiUi," (manuscript;) " Misia solennis in D, ii i voci cone, con Strontenti," (manuscript;) and " Missa in C, Kyrie, e Gloria." MEDESSIMO. (I.) The same ; as, medessimo tempo, in the same time. MEDIANT, or MEDIANl^E. (F.) The ap- pellation given to the third above the key note, because it divides the inter\-al between the tonic and the dominant into two intervals called thirds. When the lower of these thirds is minor and the upper major, the key is miiwr ; and when the lower third is major and the upper minor, the key is major. MEDITATIO. (L.) A word formerly used to signify the middle of a chant, or the sound which terminates the first part of the verse in the Psalms. The colon, constantly placed in the middle of each verse, in the Psalms, expresses this pause, or me- ditaiio, and is placed there for the use of those who chant the Psalms in the cathedral ser4ce. MEDIUS HARMONIOUS. (L.) ITie tnird, or middle note of the fundamental common chord. MEDLEY. That part of the ancient melopoeia which consisted of the proper intermixture of the modes and genera, called by the Greeks agogt. With the moderns, a medley is a humorous, hotch- potch a.ssemblage of the detached parts or pas- sages of ditferent well-known songs, toarrangeq that tlie latter words of the sentence, or line, of one song connects with the beginning of another 682 MEG ENCYCLOPEDIA OF MUSIC. MEI MEGELIN. HEINRICH. Violoncellist in the I chapel of the Elector of Saxony, at Dresden, sub- " Chant des Victoires," " llymne de Guerre," 179l} : " Aui/iute ('ompaijiie du .Save." &c., hymn, 1797 ' gequently to the year 1771. lie was an excellent i " Le Pout de Lodi, hummnife au Vain'jtteur de flla- perfonner, and composed much music for his in- strument. MEHKSCHEIDT. A German musician resi- dent at Paris. His work, under tlio following title, met with a good recei>tion : " Tahle raiaunnie des I'rincipis de Mttaiijue it de r Harmonie ; contenant ce qui eat le plus eaaentiel a observer dans la Musiqua tie," 1798; •'HymneaUt I'aix," 179S. Instrumental music : " Oavrrt. du jeuiu Henrt pour I'. F. ; " " Trois Son. pour le ('lac. avec V. ojt 1, Lii'. 2," 1701 ; " Trois Son. jmur le Clav. V. ae lib," 1788 ; with various other overtures, sym- phonics, sonatas, &c. Mchul also jiublished two reports, which h< read at the Institute : the one on the future stata pour ceux r/ui reulent trarailler a la C'omi>osition, i , . . „ , , , , , ^ , J /• i A k of music in rriince, tlic other on tlie labors of tht arrangie (tune maniire atste jxntr que chuque mu- licien puisse voir (fun soul coup-d'wil rout ce qu'il petit et doit /aire coiu-ernant V Uarnwnie." I'aris, 1780. MEHUL. ETIENNE HENRI, member of the Ir.stitute, also one of the three inspectors of in- struction, and professor of composition, at the Paris Coiisin-atory, was bom at Givet, June 24, 1763, and was the son of a cook. At ten years of age, he had improved so much in orfjan play- ing, under the tuition of the blind organist of hLs native town, tliat he was nominated organist of the Rt'colcts, and at twelve was chosen adjunct to the organist of the celebrated abbey of Valle- dieu. It was in this abbey that he learned com- l)Osition under a very able Cierman contrapuntist, named Hanser. Mchul first went to Paris when sixteen years of age, and took lessons on the piano of Edelman. At eighteen, he was present- ed to Gluck, who initiated him in the philosoph- ical and poetical departinent-s of the musical art. About the same time, he set to music a sacred ode of J. B. Rousseau, which wa.s sung with success at the ('oncert Spiriiurl. Under the direc- tion of Gluck, Mchul next composed three operas, solely lor improvement in his art. These were " La Psi/cht," words by Voiscnon ; " L' .inacrion," of Gentil Bernard ; and " Lausus et Lydie," of Valadier. .A.t the age of twenty, he presented to the Royal Academy of Music an opera in four acts, " Cora et Alouzo," which, however, was not performed till six years afterwards. Fatigued and restless at this long delay, he composed another opera, " Eup/irosint," which was per- formed a year before " Cora et Alonzo." His third work was " Stratonice," and the fourth, ".Idrien." The following methodical list contains the prin- cipal compositions of this celebrated musician. For the Royal -\cademy of Music : " Cora et Alonzo," 1791 ; "Uoratius Codes," 1793 ; "Adrien," 179.3; " Le Jugement de Paris," 179.3; "La Dan- tomanie," 1800; " Persie et Andromide," 1810; And " Amphion," 1811. For the Opera Comique : " Euphrosine," 1790; " Straieghorn, declared it to be a iiiasteri)iccc, and had it copied. MEIBO.M, HEINRICH, the elder, first pub- lished an improved edition of Luther's hymn book, in 1525. MEIBOMIUS, MARCUS, a well-known phi- lologist and critic, was a native of Tonningen, in Holstein. When advanced in years he settled at Stockholm, and became a favorite of Christina, Queen of Sweden. Having searched deeply intc the writings of the Greeks, he contracted an en- thusiastic partiality for the music of the ancients, and not only entertained an o))iuion of its superi- ority over that of the moderns, but also that he was able to restore and introduce it into practice. ITie queen, who, from frequent conversations with him, had been induced to entertain the same sen- timents on the subject as himself, was prevailed on to listen to a proposal that he made. This was, to exhibit a musical performance that should be strictly conformable to the practice of the an- cients ; and, to crown all, he, who hod but a bad voice, and never iji his youth had been taught the exercise of it, engaged to sing the principal parts. Instruments of various kinds were pre- pared under the direction of Meibomius, at the expense of the queen, and a public notice waj? given of a musical exhibition that should astonish the world, and enchant all who should be happy enough to be ])rcseiit. On the appointed day Meibomius apjxjared, and, beginning to sing, was heard for a short time with patience, but his per- formance and that of his assLstiints soon became past enduring ; neither the chromatic nor the en- harmonic genus was suited to the cars of hi* illiterate audience, and the Lydinn mode had losi its power ; in short, his hearer^, unable to resist the impulses of nature, at length expressed theii opinions of the performance by a general and long- continued burst of laughter. Whatever might be the feelings of the people Meibomius was but little disposed to sympathixf with them. Their mirth was his disgrace, an(' he felt it but too sensibly. Seeing in the gallery M. Bourdclot, the younger, a physician, and hi* rival in the (jueen's favor, he imputed the be havior of the people to some insinuations of th^ person. Ho therefore immediately ran up to him, and struck him a violent blow on the neck. T* 683 MEI encyclop.«:dia of music. MEL avoid the conswjuences of tliis rashness, he quit- ted the I'ity before he coukl be called to account Jor it, and took up his residence at Copenhaj^cii. In this iiliicc he was well received, and became a professor at Sora, a college in Denmark for the instruction of tlie nobility. Here he was honored with the title of coun-ellor to the kinj;, and was soon afterwards called to Elsiueur, and advanced to the dignity of president of the board of mari- time taxes or customs ; but, nej^lecting his em- ployment, he was dismissed from his office, and he soon afterwards (juittod Denmark. lie now nettled at Amsterdam, and became professor of history in the colle;je there ; but. on refusing to give private instruction to tlie son of a burgo- master, ullcf;ing, as his excuse, that he was not accustomed to instruct boys, he was dismissed from that station. On this he quitted Amster- Jam, and visited France and Eni;lai\d ; but after- wards returning, he died at Amsterdam about the year 1710. The great work of Mcibomius was his edition of the seven Greek musical writers, Aristoxenus, Euchd, Nichoraachus, Alypius, Gaudentius, Bac- chius, and ArLstides Quintilianus. This was published at Amsterdam in the year 16.52, and contains a general preface to the whole, and also B particular preface to each of the treatises as they occur, and a Latin translation of the Greek text, with copious notes, tending to reconcile various readings, and to explain the meaning of the several authors. To this edition Meibomius has added a treatise, " De Miisica," of Martianus Felix Capella ; that is to say, the ninth book of the work of that author, '■ De yupliia ]'hitolo^/itete de Dcfuntos, d 4," and " Gloria, laiis et honor, d 8 vo:es." The rest of his works consist of ma.sses, lamentations, misereres, psalms, respon* sorie-i, hymns, &c. MELLSS.\, MATTEO, flourished as organist and composer, in the Jesuits' Church at Goritz, in Friaul, about the middle of the seventeenth century. He published " Hatini Conccrtati i 2, 3, 4, e 5 fori," Venice, 1652. MELODIES OF IRELAND. In 1852 a so- ciety was formed in Dublin for the preservation and publication of the " Melodies of Ireland." The collectors appointed for the purpose, in a very short time gatiiered many hundred pieces of the national music, both vocal and instrumeutaL The society was to exist five years. MELODIOUS. A term applied to any pleas- ing succession of sounds given in time and meis- ure ; also to the tones of clear and meliifluoua voices. MELODIST. A composer or singer of nulo dies. 684 MEL ENCYCLOPEDIA OF MUSIC. MEL MELOI )IZE. To melodize ia to form such I ety of lines. It should be m much as possible > a Bucccskion of sounds as, by its duo execu- tion, shall produce a consiHtent and agreeable effect. MELODRAM.V, or MEI.ODRAME. A modem species of drama, in which the powers of instrumental music are employed to elucidate the action and heighten the passion of the j)iccc. The first essay in this kind of composition was successfully made in Paris, soon after the revolu- tion ; and subsequently, in London, in a piece called "A Tale of Mystery," the music of which was furnished by Dr. 'Hiomas Busby. MELODY. MELODIA, (I.) MELODIE. (F.) A succession of sirajile sounds so regulated as to produce a pleasing effect upon the ear ; dis- tinguished from hiirinonij by not necessarily in- cluding a combination of parts. Among the records of the sixteenth and seventeenth centu- ries, we tind scarcely any thing that will bear the name of melody. Even tlie best-regulated strains are constructed with so little reference to har- mony, that the inter\-als seem to follow one an- other more by chance than by design. Every one knows that music fonueerfe«'t one ; that mo- notony and mannerism are b.h admirable a.- variety in unity ; in «hort, that melodies compose 1 hy i barbarous aneople are as excellent M those invented by the great «i-riter». lltt mart 585 hbl ENCYCLOPEDIA OF MUSIC. MEN rabid admirer of those intorefltiuf; old ncquaint- ance!4 \vill, we oi)ine, scnrct'ly go so far. Far be it from us to evince niiy lack of reverence for an- tique, time-honored melodies. Tliey are intwincd ■Nvith our earliest recollections ; they surprised us into admiration, before the reij^u of judgment commenced ; they are associated in our minds ■with thoughts of home and dreams of happiness ; eome of our best poets have wedded to them their worthiest inspirations ; they are endeared by a thousand ties to our memory ; and we cannot listen unmoved to ** Th<* mplwly of youthful dayi Which steals the truinbliiif; tear of apcechlcM* praise. " These, however, are adventitious circumstances, to which wo have alluded merelj' because we feel convinced that they have very much influenced the public mind. I'eoplu love to hear that which reminds them of the time when " pale pain " was unknown to them ; hence the erroneous conclu- sions they arrive at. One peculiarity of melody is, that it more easily takes the stamp of indi\-iduality than the more complex branches of the art ; and we shall hazard the reproach of having made a trite observ-ation when wo remark that the native airs of various countries are impressed with the general features of the national mind and character. The con- ception of melody, owing to the singleness of its nature, is more immediate, and emanates more directly from the feelings and emotions, than the complexities of harmony and counterpoint, which demand more consideration and calm reflection. The mind, always subject to local and physical influences, takes its color from surrounding ob- jects ; and its first musical impulse, which is mel- ody, becomes naturally imbued with the circum- ambient spirit of the time and place. Hence the distinct character of national melodies. We must, however, warn the true student against giving undue importance to tliis fact, and urge him not to consider, because he may be an Englishman, that he is bound to imitate English composers. Let him rather reflect that great works are of no country, but are as universal as the immutable principles upon which they are constructed, and that it Is better to strive to be great in art than merely national. MELOPLASTE. M. Galen invented, in 1819, a new instrument, with this name, for teaching music. His method consisted in making the pupil sing from a staff, without either clefs or notes, according to the movements of a portable rod called the meloplaste. MELOPCEIA. (G.) A term in the ancient music, signifying the art or rules of compo- sition in melody. Aristides Quintilian divides the mchpcca into three kinds : the hijimtoides, so tailed from the gravity of the sounds to which it Was confined ; the mesaides, consisting of the jiiiddlc sounds ; and the tietoiden, formed of the •cute sounds. These were again divisible into other kinds or dmtinctions ; as the erotic or amor- ous, the comic, and the encomiastic ; also into the m/staltie, or mournfid, tender, and affecting strain ; the diiutaJiic, or noble, bold, and exhila- rating air ; and the riic/ui-s/ir, wliich was between the>e, and calculated to calm and assuage the passions. MELONE. ANXIBAL. A learno.l contra- puntist at Bologna, about the year 1560. Ht published a work entitled " Desiderio di AUema- no, Benel/i," (the name being an anagram of his own.) It is a work very useful, as respects the musical history of his time. MELOS. (G.) A term applied by the an- cients to the sweetness of any melody, or to that quality or character by which a melody was rendered agreeable. MELVIO, FRANCESCO MARIA, chef d'or- chestre at Castello, in Italy, about 1648. Repub- lished " GaUUea," Venice, 1C48, and " Cant iotut Sacra, 2-5 roc," Venice, 1G50. MEN. (I.) The abbreviation of nteno, less ; as men allegro, less quick ; men presto, less rapid. MENDELSSOHN, BARTIIOLDY FELIX, was the son of a rich merchant and banker, at Hamburg, and was born in that city on the 3d of February, 1809 Besides being thus favorably placed. FelLx Mendelssohn entered upon the breathing world encircled with the areola of an- cestral renown. He was the grandson of Moses Mendelssohn, a hght of philosophy and science, as well as one of the most brilliant exponents of Jewish literature, whose name, moreover, is con- nected with music by more than one aesthetic^l disquisition in the course of his profound and varied works ; among which, if we recollect, is to be found a treatise on " equal temperament." The early development of the musical faculty in the young FelLx Mendelssohn forces him into a comparison with the precocious Mozart ; but his more fortunate position saved him from the many evils resulting fiom the premature drudgery of public display. His earliest musical instructor was the natural guardian of his infancy — his mother ; and on his father removing to Berlin, wlien Felix was but four years old, the child was placed under the musical tuition of another lady, Madame Bigot, to whose enlightened and affectionate care Mendelssohn was always proud to own his obli- gation. At this period, he was frequently accom- panied by the witcheries of Baillot's violin. In tracing the progress of his perfect and well-con- ducted musical education, due weight should be allowed to these favoring circumstances, from which the future composer, no doubt, derived much of the faultless expression, the tendernesa, and the playful gayety with which liis woiks overflow. At the age of eight years he was esteemed amongst his friends a minute prodigy — and not without reason. He could then play at sight the most intricate scores of Bach, and, wthout pre- meditation. transiKisc Cramer's exercises into all sorts of keys. He also evinced a wonderful fac- ulty in extemporizing upon a given theme. At this period, ho was put under the care of the severe and methodical Zelter, the contrapuntist, wliile his practice on the piano v.-as directed by the romantic Louis Berger, whoso enthusiastic nature set its stamp upon the susceptible heart of the incipient musician. Zelter was not the man to give ready way to fervid impressions ; yet the extent to which " hit glorious boy," as he called him, had wound him- self round his rigid affections, is manifest fron: the eagerness with which the profofisor desired t« introduce his pupil to the " great man" of Gei. 58G MEN ENCYCLOPAEDIA OF MUSIC. MEM many, Goethe. When Sir "Walter Scott, in hLs latter days, met Goethe, the eyes of Eurojie were fixed with intense interest on their interview. But here we hove to tell of the mighty German genius permitting the introduction of a child of twelve years. Zcltcr, writing to Goethe, in 18'2l, tells him, " I desire to show your face to my favorite pupil before I die." Upon the circle which surrounded Goethe as its centre, the young musician made a prolound impression, winning, at the same time, the affection of all, by his boy- ish openness, mingled with those little expiUiilti-ie» which belonged to the pupil of Madame Bigot, and the spoiled child of his mamma. It was on one of these occasions that lie stopped in the midfct of the performance of a fugue of Bach. His quick and delicate ear was offended by an in- formality in the score. He insisted that there were consecutive fifths. Ilummel was i)resent, and was lost in astonishment ujion discovering that the passage actually contained " covered fifths," which had hitherto escaped detection. Hummel's wonderful performance on the piano- forte made a deep impression upon young Men- delssohn, BO much so, that he burst into tears when once asked to play after him. Felix had composed several works for the piano ; but it was not till in 1824 that he appeared as a writer before the public. In that year were published two quartets for violin, tenor, -i-iolon- cello, and piano, (Op. 1,) the young author being then not tii'teen years old. These were followed by a grand duo in F minor, for piano and violin ; a quartet in B minor ; and several other works ; among others, the oi>era named " Die Uochzeit des Caiiuuhos." The last-named opera, in tliree acts, was performed in Berlin, but without any remai"kable manifestation of public approval. Before his fatlier would allow him to devote himself' to music as his profession, he took him to Paris to consult the then aged Cherubini. The ordeal proposed by that consummate musician to test the proficiency of the aspirant was the composition of a " Kyrie " for chorus and full or- chestra, which was accomj)lished to the perfect eatisfaction of the renowned judge. This decis- ion it was which gave to the world its future Mendelssohn. Animated by this encouragement, he resumed his studies under his former esteemed mastfrs, and successively produced the works from Op. 5 to Op. 12 ; besides several quartets, and an octet. About this period he made the acquaintance of Mottchelcs ; and as early as 1827 was performed in public that charming produc- tion of his i)cn — " The Midsummer Night's Dream," ( Der Sommernachtstraum.* ) But it wa^s in England that hw most brilliant Bucces^es were to be won, and in the hearts of Englishmen that his talent wa.s to bo lastingly enshrined. Through the mediation of Ignace Mosclieles, the banded artists of the I'lulharmon- ic Society e.xtended to the talented stranger the right hand of friendship; and in the year 1829 Mendelssohn was in London, and at once under- stood and cordially respondetl to that applausive sj-mpathy which the jierlormance of his works, by the rbilharmonic .Society, evoked, and which I'orever bound him to that hospitable soil. The Thii miiif mean the orfTturr. which he cnmpo«ed In l^tiX. at I i^ of rixtrrn. The other |M>rtion« of thai mime were produced BMDf fcAn Uur. splendor of his recejition in England ga\ e him an extemporaneous fame throughout Eur< pe. In IS.'il we find him at liomc, where the " Wnlpur- ijisnacht" of hu ejirly friend (ioethe (iccupieil his eminently artistic pen. There also he pieced together the inspiratioiLS whidi he had previou.sly conceived amongst the basaltic cavcnis of the Western Lslcs of Scotland, and the romantic " Hall of Fingal " was the result. Tliis over- ture was performed in London, in 1832. Wlule at Home, also, he struck into a new line of com- position, altogether his own, in those matchless " Lieder ohne H'orte," which prove, beyond de- nial, that music has its poetry, as well as poetry its music. His agreeable exterior. Ids cultivated intelligence, and the independence of his po- sition, made him every where rcceivetl with dis- tinction. And on his second ^-isit to I^ndon, in 1832, he found himself quite identified with the artistic monde of that capital. In the me-an time he had travelled, in the com- bined quality of tourist and musician, through Scotland, France, Germany, and Italy ; and after four years' imi)roving and ennobling al»cnce, he retunjed to Berlin ; but not to make that home of his boyhood his exclusive residence. " In 1834," says M. Fetis, " I found him again at Ai.\-la-Chapelle, whither he had betaken himself on the occasion of the Musical Fete of the Pen- tecost. He was then twcntj'-five years of age; his former youthful timidity had given place to the assurance of the acknowledged artist, and even to a certain air of hauteur." Until 183G, he continued to direct the fetes at Dusweldorf and Cologne, and then retired, in conscout this time generally received, that MendcLvsohn was defi- cient in genius — the jKMwession of the lower fac- ulty being taken as a negation of the higher. It b posoible, moreover, that the strict and formal dicipline of the erudite Zeltcr had swuthevl the infant mind of his pupil in bands of rigid form, which retarded its development ; yet, perhaps, only to render its maturity more Ivautilul and perfect. However this may be, Mendelssohn was spoken of as a distinguisheprehension to the contrary embittered his last days, yet he lived long enough for fame. Not so with Mendelssohn. However extended his mortal span might have been, his fine talent would have continued, in all probability, to un- fold and discover fresh beauties as long as his nat- ural faculties were perfect. He died in the period of full promise, withered in the spring time of his genius. MEN FORTE. (I.) Less loud. MENDES, MANOEL, a Portuguese author and comjioser, born at Evora, was first chapel- master at Portalegre, and afterwards in his native place, where he died in 160.5. His knowledge as a musician, by which he formed several eminent composers, and his practical works, have given him a distinguished place among the artists of his country. Among other works preserved in the royal musical library at Lisbon, he has left, in manuscript, " Arte do Canto Chao," " Mi.isa A 4 e .5 ci)zes," and " Mayiiijicas (i 4 e 5 vozes," " Variot Moletes a diverscu vozcs," MENEDEMUS, a musician of ancient Greece^ was, according to Plutarch, a pupil of Aristotla MENEGHINL GIULIO. chapel-master at Padua, in 1770, succeeded in that office his cele- brated ma.ster Tartini, in honor of whom he com- posed a funeral service. MENEHOU, MICHAEL DE. master of the choristers in the church of St. Mauri at Paris, in the sixteenth century, published " Instnictiun det Priceptes, ou Fondemcns de Mtisique taiU pleiiie gut Jiyurie," I'aris, 1571. MEXE.STRAUDIE, or MINSTRELSY. (F.^ Tlic general name under which the successors of Pliilip Augustus, of France, recalled and estab- lished those minstrels of Paris who had formed themselves into a company, but whom, on ac count of their irregularity and licentiousness of conduct, that prince had banished from the king dom in the first year of his reign. The tutixM- 683 MEX ENCYCLOP.^DIA OF MUSIC. MEK traudie had a chief appointed over them, called Jhc king of the minstrels. MEXESTUIEK, CLAUDE FRAXgOIS, a French Jesuit, wrote, in 1G81, a treatise, " Dcs Reprdseiitalions en Miisique, anciennca at inodernea." In this book, among a great variety of curious particulars, is contained n brief inquiry into the music of the Hebrews. 'ITie author states that dramatic music was first introduced into France by the pilgrims, who, returning from the holy land Bt the time of the crusades, formed themselves into parties, and e.xhiluted spectacles of devotion, accompanied with music and songs Tlicre are likewise many curious accounts of public amuse- ments, and of dramatic and musical representa- tions, in several of the courts of Europe. In the year 1682, Menestrier published " Des Dalktu uiwUimes et moderiteSy seloit lea lliglei du TliiAtre." He died in the year 1705. MENGOLI, riEDKO, was a native of Hologna. and born about the year 1626. In the early part of his life, he read public lectures on music in several of the schools of Bologna, for the purpose chiefly of explainijig the doctrines of Zarlino and (jalileo. He published there, in the year 1670, a treatise entitled " Speciilationi di Mitsica." In that part of the work which he denominates the natural history of music, he treats of the anatomy of the ear, of its capability of receiving sounds, and of the j)ower of the air in conveying them. He then speaks of the combination of sounds, in which he lays down some new principles, that are, in fact, the chief foundation of the whole work. After this he explains, at considerable length, the nature of the musical ijitei^'als, show- ing between what numbers the species of each interval are most perfect. Ho treats of the chords; then of singing and modulations of tunc. The latter he distinguishes from singing in gen- eral, by obser\-ing that modidation is a .'succes- sion of sounds so strongly imjiressed upon the senses, that we are not able to repeat them. The author next discourses fully on the subjects of consonance and harmonical proportions, and also on the passions of the soul, endeavoring to show how they are concerned in and affected by music. Towards the conclusion he gives a table of the several musical chords that are suited to the differ- ent affections. Some of the speculations contained in this work arc specious and ingenious ; but the philos- ophy of sound has been so much more scientif- ically and clearly treated since the time of its publication, that the dithculty of obtaining the book, which is now become scarce, is no great impediment to the advancement of music. MEN'GOZZI, BERNARDO, bom at Florence in 1758, was a singer of taste and a good com- poser. He brought out several operas at the Thtiltre Montansicr at Paris, which had great success. ITiese were " Les deiix J'i.tirj," " laahtUe de Salishiiri/," " Pourceaugnac," " Lea Ilahitana de Vatu-liiae," and " Bninet et Caroline." Placed at the head of one of the classes of the Conservatory, Mengoz/i formed many excellent singers ; amongst ■whom may be named Baptiste, of the Thciltre Feydeau. For this latter theatre, Mengozzi has only written two opera,s, " L'lte Faute par Anuntr," ruid " La Dame toilie," the music of both of which was considered novel and brilliant. He died at Paris in the year 1800. MEXO VIVO. (I ) With less spirit. MEX PIANO. (I.) Less soft. MENUET. (F.) A minuet. MENTE. JOHANN FRIEDRICH, was boni at Uotenburg on the Oder, in 169S. He received his earliest instructions in music from his father, (Samuel Mente, ) who was a celebrated organist. He then went to Frankfort on the Oder, where he studied during three years under Simon, musician to the university. In 1718 he visitixl l)res also the opera called " Eliaa e Claudia," for the same theatre. In the carnival of 1822, he composendo& pepers of that date contain any notice of it* per 591 MES EXCYCLOP^DIA OF MUSIC. MEl formaiice there, it is probable that it wa« brought r for their son, thev consented. He bean with out first at Dublin, as here stated. The Messiah ■was performed in Kin)j;'s Chapel, Boston, in 1796 ; and the Messiah and the Creation were first performed by the Handel and Haydn So- ciety, Uoston, in 1817. MESSING. FRED. JACOB, called the mad Jiddier, was for some time a member of the or- chestra in Covent (inrden Theatre. He called nimself Handel's son, whose monument he visit- ed daily, went with his head shaved, and dressed in black, with a star. He died in London in 1797, at the age of forty-three. His children were educated at the expense of the Musical Fund. During his insanity he fretiuently played Handel's music in places of public resort. MESTO, or MESTOSO. (I.) A term sig- nificative of a pathetic and melancholy style of performance. MESTRIXO, NICOLO, born at Mestri in 17.50, ■was of low origin, and studied music with little assistance from masters. When thirty-two years of age, he first went to Paris, where he made his dibul at the Concert Spiritual in 1786. The grace- ful composition of his concerto, and sweet ex- pression in his style of playing, were at once highly applauded. Mestrino had a great talent for extempore playing. In 1789, he was nom- inated chef d'orc/icstre of the Th6atre Monsieur ; but he did not enjoy this office long, the abuse of pleasure shortening his days. He died at Paris in 1790, aged forty-nine. Twelve of his concertos were published at Paris in his life- time, and since his decease a collection has been republished of twelve solos, taken from his con- certos, with an accompaniment for the violon- cello. MESURE. (F.) The bar or measure. MET-\.LLO, a church composer, lived in the middle of the seventeenth century, as the fol- lowing of liis printed works proves : " Motetto Hanctus Dominus, iSfc, a 4 Soprano, A. in Canone, B. 1 in Cunone, e B. 2." METASTASIO. Bom at Rome in 1698. He was distinguished, at the early age of ten years, by his talents as an improvisatorc. A rich law- yer, named Gravina, who amused himself with writing bad tragedies, was walking near the Campus Martins one summer's evening, in com- pany with the Abbe Lorenzini, when they heard, at no great distance, a sweet and powerful voice, modulating verses with the greatest fluency to the measure of the canto iinproviso. On ap- proaching the shop of Trapassi, whence the grate- ful melody proceeded, they were surprised to see a lovely boy pouring forth elegant verses on the persons and objects which suiTounded him ; and their admiration was increased by the grace- ful compliments which he took an opportunity of addressing to them.sclves. When the youth- ful poet had concluded, Gravina called him to liim, and, with many cnconiums and care.s.scs, offered him a ])iece of money, which tlie boy politely declined. He then inquired into hia situation and emploj'ment, and being struck with the intelligence of his rc|)lics, proposed to hilt parentis to educate him hs IiIk own child. Convinced of the sincerity of the offer, and flat- cered by the brilliant prospects wliich it opened changing his name from Trapassi to Metostasio, for (he Une of Greek. He adoi)ted him, gave him a careful, and as it hap|)ened, an excellent, edu- cation, and finally left him a part of hLs prop- erty. MetastHsio was twenty-si.x j-ears old when his first opera, the " Didone," was per- formed at Naples, in 1721. In the comjiosition of it he M-as guided by the advice of the fair Marianna Romanina, who executed the part of Dido in a superior style, because she passionately loved the poet. This attachment appears to have been durable. Metastasio was an intimate friend of Marianna's husband, and lived many years in the family, recreating himself with fine music, and studying unremittingly the Greek poets. In 1729, the Emperor Charles VI., that great and grave musician, who, in his youth, had played so miserable a part in Spain, pro- posed to him to be the poet of the opera at Vienna. He hesitated a little, but at length accepted the offer. He never afterwards left that city, where he lived to an extreme old age, in the midst of dignified voluptuousness, with no other occupation than that of expressing, in beautiful verses, the fine sentiments by whicti he was animated. Dr. Burney, who saw him in his seventy- second year, thought him, evep then, the gayest and handsomest man of his time. He always declined accepting any titles or honors, and lived happy in retirement. No tender sentiment was wanting to his sensibility. This great and happy man died in 1782, having been ar;quainted, in the course of his long career, with all the eminent musicians who have de- lighted the world. METHFESSEL, FRIEDRICH, (the elder.) A theologian, and at the same time a vocal com- poser of talent and feeling. He was born at Stadtilm in 1771. His father, who was himself a singer, soon observed his son's warm attach- ment to music, and developed his talents by fre- quent and diligent practice. This had so quick and powerful an effect, that the boy, who was destined for the church, employing all his spare time from the study of languages and sciences in cultivating music, soon distinguished hunself as an able performer on tlie piano-forte and ^-iolin, whilst at the siune time he became an excellent tenor singer. Through this rare musical talent, united to his constant hilarity, wit, and humor, it became an easy matter with liim to establish a circle of friends in his school at the university, aud in all his subsequent situations of life, and by this circle he was both loved and esteemed. In 1796, having completed his theological studies, he found himself compelled to undertake the situa- tion of a private tutor. His restless spirit, as well as the feeling of not being in his sphere, drove him, in tlxis fatiguingly uniform employment, from place to place, without his ever bemg contented and happy. Thus he lived like a true minstrel, traversing from one German town to another ; still, wherever destiny led hiiu, his muse was ever his dearest and most diligent conductress. This is proved by the collections of songs which he published from the year 1798 ; some of them are dated from nearly every place at which ho temporarily resided. The critics praised his songs on account of their interesting melod'-s, aud the public also found pleasure in them. 692 MET ENCYCLOP.EDIA OF MUSIC. MET Lastly, he undertook the composition of the opera " Dr. Faiutus," but fouhl not, through tlio visible decline of his strcnfith, finish it. Just before his death, however, he published a suc- cessful sketch of it. If lie could have entirely devoted himself to music, F. Methlessel miglit certainly have reached a hifjli degree of per- fection. He died of consami)tion in his native town, in 1807, in the thirty-eighth year of his age. Of his works we can mention the follow- ing: "12 Ktavifrliedrr," Offenbadi, 1798. "12 Licder mit Begl. der Guitarre," Leipsic. " Des Sangers Liebe, ein kleiner Homan in Liedern vott Itochliss mit Guitarre," Op. 12, Leipsic. " Kleine BiUaden u. Liedcr, mit Guitarre, tiebat einem ko- mischen Anhange," Leipsic. " 12 Dreystimmige Lieckr bei/m Ktaviere," lludolstadt, 1800. " 3 Gesange aiis der Oper Faust fur K/av.," Kudol- stadt, 1801. " 12 Lieder mit Klavier oder Gui- tarre," Bonn, 1803. " Kleine Romanzen und Lieder, m. Guit." METHFESSEL, ALBERT GOTTLIEB, younger brother of the preceding, singer to the court at Rudolstadt, and composer of several songs and some music for the piano, was born at 8tadtilm, in Schwartzburg, in 1786. He applied himself early to music under the direction of his father, so much so that, in his twelfth year, he wrote two church pieces, which his father executed. In his fifteenth year he went to the academy at Rudolstadt, rimained three years as prefect of the choir there, and wrote for it sev- eral motets and cantatas. At length, in 1807, he went to I>eipsic, from whence the Princess of Rudolstadt sent him to Dresden for further im- provement. Here, through his dL^tinguished talents, he made himself so many friends, that when he gave a farewell concert, in 1810, pre- viously to commencing his employment of singer at Rudolstadt, his loss was much bewailed by the public. A. Mcthfessel was a very feeling and excellent tenor singer. He extemporized well on the piano, to which he occa.sionaUy united his voice. He also accompanied himself beautifully on the guitar. " The musical world," nays Gerber, writing in 1812, "may expect very much from this able young man. I WTite this with the greater confidence, because I have en^ joyed the pleasure of hearing him publicly, as well as in private circles." The following list contains his principal works up to the year 180D : " Liedcr mil liegleit, dea Ktaviers." " Grande Sona'e a i mainn." " Sonatiue Hi mains." " Six I'ar. sur un 7V»'nic," Leipsic. " Scf.t \'ar.$urle Men. de C Op. Don Gi'ivanni de Mozart," Op. -9, I^iptic. " 6 Son. facil. pour le P. F., Op. 13, Lit. 1 et 2," Leipsic. " Schitsucht von Schiller." " Arminia, von Tiedge bt-ym Ktov." " Gestlnge, 6 dreystimmige, mit will- kilMicher liegl. des I'. F.," Op. 11. "Journal fUr die Guitarre, \s. und 'Is. Hrft" I^cipsic. " Grand Duo pour 2 Guit.," Op. 26. " Der Trou- badour und 5 Gedichte, mit P. F. oder Guit," Op. 27, Leipsic. METIIODE. (F.) A treadse or book of instruc- tions. METKE, A. F., chapcl-maater to the Duke of Brunswick-Oels at t)el», in the year 1708, waa » good violoncellist, and composed for the theatre in thit town the operetta " Der Ttu/el ein llydrau- likus," 1790. He also published "2 Prohge," 1798, and "3 Concert, pour le I'c, " Op. 3, 1803 METRE. That ]iart of the ancient music wliich consulted the mea-sure of the verses. Se« Metiuc. METRIC. An epithet applied by the ancient Greeks to that part of tlieir music which had lot its object the letters, syllables, feet, and verses of the poem. The metric differed from the rhyth- mic in that the former was only used in the form of the verses, while the second was confined to the feet of whicli they were composed. METRONOME. Invented by John Maelzel, musical mechanician of the Emperor of Austria, 'llie metronome consists of a portable little obe- lisk or pyramid, scarcely a foot high, so decorated on the outside as to form a very pretty piece of furniture, and containing within a simple me- chanical apparatus, with a scale resembling that of a thenuometer. According to the number on this scale to which the index Ls set, the audible beats produced will be found to embrace the whole gradation of musical time, from the slowest to the quickest. The scale of the metronome is not borrowed from the measures of length pecu- liar to any one country, but Ls founded on the division of time into minutes. The minute being thus, a.s it were, the element of the metronomic scale, its divisions are thereby rendered intelligi- ble and applicable in every country. A univer sal standard measure for musical time is thuii obtained, and its correctness may be proved at all times by comjiarison with a stop watch. At the top of the obelisk is a small lid, with a hinge to its back. On lifting this lid, the upper part of the front of the obelisk is pushed forward with a spring, so as to permit of its being taken out and put aside ; and at the same time the steel pendu- lum, together with the scale behind it, will like- wise fly forward into a perpendicular direction, and a small key be found under the upjier lid. This key fits a hole contrived about the middle of one of the sides of the obelisk, and with it the clockwork is wound up, and the pendulum made to move. \u motion may be stopped at pleasure by a small bra.ss bolt fixed to the top. Maelzel's metronome determines the movement of a piece of music with a degree of precision which no word or combination of words, how- ever well chosen, can pretend to do. We will give an example or two in illustration of \XJs wav of indicating the de;;ree of movement. r = 132 implies that when the movable nut is set to 132 on the graduatecd with the figures 2, 3, 4, 6. In order, therefore, to cause the bell to strike correctly, the rod must b« set according tc 76 693 MET ENCYCLOPAEDIA OF MUSIC. MEY the number of times that the measure note occurs in each bar. Persons who do not possess Maelzel's metro- nome may readily ascertain the corresponding lime, by forming a pendulum of a length of thread, with a Iciulcn bullet at the end of it. The measure is to be taken from the i)oint of suspen- lion to the centre of the bullet. The time occu- pied in the swinging of the bullet from one side to the other, which is called "one vibration," is that intended to be shown. It would, perhaps, be well, when it is required to act with a low metronomic number, — for which, it would ap- pear, an inconvenient length of thread must be used, — to look for ilouhle such number, take the length of thread standing against it, and reckon the time of two vibrations instead of one. This plan of proceeding will render it unnecessary to use thread longer tlinn twenty inches. The plan is not new, as several of Dr. Crotch's pieces are so marked ; but it will probably be so to many read- ers, and the scale is useful. Metronome. Thread. Metronome. Threnrt. No. Inches lone. No. Inches long 42 . . . . -» 3-4 96 . . . 14 1-4 44 . . 7i S-% 100 . . . . 14 44 . . . . 08 1-2 104 . . . . 13 48 . . . . 61 108 . . . . 12 SO . . . . 46 1-4 112 . . . , 11 1-4 42 . . . . 42 116 . . . 10 1-2 44 . . 48 1-4 120 . 9 3-4 M . . . 44 7-8 12S . . . . 8 7-8 48 . . . . 41 S-4 1.12 . . . . 8 eo . . . 39 1-8 !.•» . . . . 7 3-8 « . .. • . 34 1-2 144 . . 0 .3-4 6C . . . . 32 1-4 142 . . . 8 1-8 €9 . . . 23 1-2 100 . . . . 4 1-2 72 . . . . 27 1-8 ll» . . . . 4 76 . . . 243-8 irs . . . . 4 1-2 80 . . . . 22 184 . . . . 4 1-8 84 . . . 19 7-8 192 . .1 7-8 88 . . , . IK 1-8 200 . . . 3 1-2 93 . . . . 16 4-8 A Patent Portable Metronome, invented in 1850, has come into use, which is a very complete and perfect instrument for measuring time in music. It is the size and form of a small watch, and may be carried in the waistcoat pocket, being similar to a si)ring measuring tape, on one side of which are marked the nvimbers of vibrations in one minute, (as in Maelzel's metronome,) and on the other the Italian musical terms in general use. From its moderate price, small dimenisions, and practical usefulness, it is adapted for all classes of musicians and singers. METRICAL. That music is metrical the phrases of which are directly, or alternately, regular and equal in their temporal lengths. METRUM. (G.)Tlie measure or Ume. METRU. A singing-master at Paris about the year 1676. The Abb6 de la Louette says, that this musician either invented the seventh syllable, w", or brought it into use in solmization. Laborde tnakes him a celebrated chapel-master, about 1620 ; perhaps they were two persons, father and ton. METZELIAS, mEROXYMUS, was a singer ftt Stade, obout the middle of the seventeenth century, and also at Ilmenau, in Thuringia. He was born in the principality of .Schwartzburg. His principal publicotion is, " Compendium Mu- ticet, lam choraiis quam JiguralU, certU quibiisdam jhfi-rvaiionibus, Usque rariorihia einmalum, in stu- iioam iurmtutis, pre of las Hebrew origin. Much of the peculiarity of this compoMr 695 MEY ENCYCLOPAEDIA OF MUSIC. MET production!" may be explained by refprrins to the hi.story of his lilc, his early studies, and jjredi- lections. In his works may be trftceiation. He was not only a good harpsichord player, but also understood composi- tion well. MEYER, JOHAXX HEINRICH CHRIS- TIAN', lieutenant in the Hanoverian regiment of SaxcGotha, was born at Hanover in 1741. He i«7:i*e, besides other works, " Brief nber litisslami," Gottmgen, 1779, in wWch he treats much on music. He died in 1783. MEYER, PHIL.. Sen., was born at Strasburg, in Alsatia, in the year 17.37. At an early age he was sent to the college, destined to study divinity for the Protestant church establishment ; there he soon joined more students, who, from a pretUlection to music, were accepted to assist in the vocal department of the church service, and, by degrees, was more successful than others in getting instructions on the organ from the organ- iKt He thus acquired the foundation of his musical knowledge of the German school, and cultivated it as much as opportunity was allowed him, consistent with college duties, till abou twenty years of age, when, meeting by acciderl with an old German harp without pedals, he took so much pleasure in playing on it, as tc confirm his strong musical inclination so decided- ly, that he left college with a restdution to devote himself to the musical profession, and for that purpose went to Paris, as the seat of the arts. He there met with early encouragement, but found the harp very little known, and very incomplete : the occasional semitones were then produced by means of hooks turned wit! the left hand, which operation, during the conl-na- ance of performance, rendered the resources of modulation extremely conftned. Meyer now applied himself, with the assistance of an instru- ment maker, to improve the harp. Two and three pedals were at first added, and after progressive additions, Naderman, father to the esteemed professor of that name at Paris, brought the seven pedals to perfection. By this time the harp was very much cultivated at Paris ; several other makers succeeded, and Meyer published the first principles of the instrument, entitled "Mdt/iode de la Harpe," which was long esteemed by the first professors as a sure guide to that instrument. Some sonatas also established his claim as a composer. About this time he took the oppor- tunity of studying with Muthel, an esteemed pupil of S. Bach's, who visited Paris on a musical tour. He then went to Strasburg, married, and returned to Paris, where, after a few years, he was tempted by an English family to visit Lon- don. He there found the pedal harp hardly known ; and soon met with so much encourage- ment among the first nobility, that he made London his principal abode for several jears, till, (while on a visit to Strasburg,) the American war breaking out, he was induced to remain in France, and again to go to Paris. Finding, however, that during his absence Krumpholz and several other professors had taken possession of the field of his former exertions, and lieing encouraged by his professional friends to write for the opera, he then followed his favorite propensity for compo- sition by .setting to music a poem of one act, by Mr. Pitra, entitled "ApoUcn ct Daphne." Tlds first attempt succeeded sufficiently to procure hlra, from his style, the appellation of Young Ghick, and an introduction to Voltaire, for the purpose of composing the music to a serious opera, entitled " Samson." This was to decide his fame, but unfortunately, when on the point of its being finished, Voltaire died ; in consequence of which, the offence which that writer had givoi to the clergy manifested itself against the per- formance of this opera, on account of the subject being taken from Scripture, and it was interdicted. This proved so serious a check to P. Meyer's musical ambition, that he resolved to return to London with his family about the year 1784. Here also he found his princijial former connec- tions provided with other masters ; and as he had neglected a talent, which, at the best of times, through his insurmountable timidity, proved ungrateful to him, he gave up all pretensions as a performer, and trusting entirely to the reputa- tion of his works, always met with distinguished patronage as a teacher, until his two sonS followed his steps. He died in 1819, aged 82. P. Mcyei was a stanch enthusiast of the German school 596 MEY ENCYCLOPAEDIA OF MUSIC. > IC aiid in hLs compositions, which particularly claim originality, he obstinately avoided the florid changes of the modern style and tiisto, and the continued esteem of his music at the present time IB a fair test of their intrinsic value. His prin- cipal works arc " .Sir CanzDiiettaa, with AccODipani- tnent of t^k small Harp," the words chosen by Mr. Fox. In this set, "Thy fatal shafts" was very popular for some time. A set of sonatas, entitled '■' Origiiial Soiuxtas." "Ditto," dedicated to the Countess of Oxford. " Ditto," dedicated to Lady Whitbread. " La Chasse." "Tico Urand Stmala-i, with Accompaniment," dedicated to Miss Staples. "A Collection of Ilymm for Harp and Piano-forte," dedicated to Princess Charlotte. Several fugues, which are, perhaps, the only music of that description published for the harp. " Ttco Duets," dedicated to Mrs. Walker. &c. MEYER, P., Jr., son of the preceding, wa« an excellent harpist in the style of Madame Krumpholz. He has published some music for his instrument. MEYER, FRIEDRICH CHARLES, young- er brother of the preceding, was also a professor ct the harp, and has published some very pleas- ing sonatas for that instrument. MEZZA 13RA\"URA. An expression used by the Italians to signify an air of moderate passion and execution. MEZZA VOCE. (I.) An expression signi- fying that the movement before which it is writ- ten is to be sung, or played, with a moderate strength of tone, and in a delicate, pleasing manner. MEZZO. (I.) Half, middle, mean. This word is generally u.^ed in conjunction with some other ; as, mezzo forte, moderately loud ; mezzo piano, rather soft. \Vhen WTitten alone, and ap- plied to the grand piano-forte, it denotes that the pedal is to be used, avoiding one of the sets of strings. MEZZO CAR.\TTERE. (I.) An expression applied to airs of a moderate cast in point of exe- cution. To excel in the mczz(j varatlere, it is ne- cessary to have a tolerable acquaintance with the cantabile and the bravura styles ; to be able to swell and diminish a note, and to run ea.sy divisions with neatness and precision. MEZZO SOPRANO. {I.) ITie middle species of the female voice. Below the soprano or treble. MEZZO SOPR-VNO CLEF. The name given to the C clef when placed on the second line of the staff, in order to accommodate the mezzo soprano voice, which is a treble voice of a moderate or somewhat low scale. MI. The syllable applied by Guido to the third note of his hexachords. In the natural hex- acliord it is expressed by the letter E, and is the third note of the major scale. Ml CONTRA KA. (L.) Trrmi •nplird by •ncltnt thrnriitu In ffil liiUr reUtioiif b.-twrt'n the n*»lrt of onr rhorft ■» mmmreU »ilh tie notv* of Uiat which immctlutely pircrdetl or fullowrd iL MICHAEL, S.VMVEL, ori;anist. abovit the 7ear 1«);)0, in St. Nicolas Church, at Leipwic, was x>rn at Dresden. Of hi.'* works are known ' Psalmodia Reyia, oder austrletne SprUche au.i den 25 Psalmen Dacids, mil 2, 3, 4 und 5 Stimi en, beydes voraliter und auch instrumentaliter zu ge- brauchen," Loipsic, 1032 ; and '* J'aduanen snd Ualiiarden," &c. MICHAELIS, CHRLSTIAN FRIEDIUCH, son of a physician at Lcipsic, professor of {Jii- losophy, and, in the year 1801, private tutor to a nobleman near Potsdam, was bon> at Ix'ipsic in 1770. He received liis general musical education under AVcidenhammer, DurgraUllcr, and Goer- ner, learning the violin of Koke. MichaeUs has given lectures on mu.sic in Ixipsic ; he has also published many scientilic works relative to music, and some instrumental compositions. MICHAULT, or MICHAUD, a French violin- ist, published, in 1780, his Op. 2, comprising six duos for the violin. Another mu.sician of the same name distinguished himself on the horn about the year 1788. MICHEL, YOST, a celebrated performer on the clarinet, die riod, they well merit a place here. Micheli 1 .'lates as follows : At Venice he made acquaint- ance with Gio. Gabriclli, Gio. Croce, and other celebrated men. At Naples, where he resided with the Prince of Venosa, he became acquainted with Scipione Stella, Gio. Battista Paulo, Muzio Effrera, and Pomponio Nenna : at the same time Partolomeo Koi was chapel-ma.ster, and Gio. Maque organist to the vice queen. Rocco Rodio, Scipione Cerreto, Giustin-auo Corcella, and Domenico Moiitella flourished also at that time as profound musicians. In Ferrara, he was ac- quainted with Luzzasco Luzzasci, Fierone Fioron, Gio. Mazziiio, the chapel-master of the Dome at Lodi ; also withPietro Morsolo, and other learned artists. At Milan, where he resided a year, he found D. Fulgentio Valesi Parnegiano very ob- servant iu the composition of canons, also Gugliclmo Arnone and Cesare Borgo, at that time organist,s to the metropolitan church. At Rome, he became acquainted with the Spanish musician Seba.stinn Raval. When Raval went to Rome, says Micheli, as he had not yet met with his equal iu Italy, he considered himself to be the first master in the world, and therefore chal- lenged Francesco Soriano and Gio. Maria Xanino to a comjietition of knowledge in the science. Hut he was overcome in the first attemjjt ; so that Raval was afterwards compelled to acknowledge Soriano and Nanino to be great maestri. Micheli enriched canonical music with various new inven- tions, and brought it to the highest perfection, as his works fully prove ; from amongst which the following may be named : " Miisica vaija et artiji- cio.ia, continenle Motetticon obliijhi, e Canoiti diversi, tanto per quelli, che si dilvttano scntire varie curi- ositii, quanta per quelli, qtie vorrantio professare d' intcndere diversi sttulii delJa Miisica," Venice, 1615 ; " Coinpictaa 6 vocr," Venice, 1616; " Kaiton filr 9 Chore mit 36 Slimmcn ; " " Motetto in Canone, ' Amo Christum, ifc.,' d 3 vuci, 2 Sopr. e Basso, con Continiio ; " " Motetto in 2 Canoni infiniti, ' iiancte Chenibi'te, ice.,' i 4 Soprani;" "Motetto, ' Vcni, tponsa ^hristi, *rc.,' n 5 voci, fi^prano con Pobligo Sopr. A., Ten., B., ed Orgaiio ; " " Motetto, ' O quam pulcher, ire.,' a 5 voci, 3 Sopr. A. Ten. ; " " M.idri- (jnli r) 6 voci," Venice, 1567 ; " Madrigali a 5 voci," Venice, 1581. MICHELI, HEXEDE1TO, of Rome, composed and brought out at Venice, in 17Ki, the oi)era of " Zenobia," the words by Mctaslasio. MICHL. JOSEPH. A dramatic and church composer at Prague, about the year 1760. MIGNAUX, or DEMIGXAUX, a musician at Paris, published, in 1774 and 1775, much music lor the harpsichord, harp, and violin. MIXjNOX, JE ax, chapel-master in the church of Xotre Dame, at Paris, about the year 1679 ■wTote several motets, which at that time were con sidered exquisite. MIGXOT, DE LA A'OYE, a French geome- trician, wrote, about the middle of the seventeenth century, " Traiti de la Musiqite, jMitr apprendre d composer a ptusieurs parties," Paiis,' 1659. A second and enlarged edition, with a fourth vol- ume, was published at the same place in 1666. MIKSCH, a singer at Dresden, about the yeai 1799, published the rondo " Endlich hab ich sit fiefunden, am Klavier zu sinrjen," i. e., At last 1 have found it, &c., published at Lcipsic, by Breltkopf, in 1797. MILAX, DOX LUD0^^CL^S, a Spanish no- bleman and musical amateur at Valencia, in the first half of the sixteenth century, published " Ei Maestro, o Musica de Viguela de Mano," Venice, 1534. MILAXI, FRANCESCO, a composer of the seventeenth century, published " Litanie e Motittt a 8 voci con B. C." MILAXOLLO, TERESA and MARL\. These two wonderful sister violinists were bom in Milan. An interesting anecdote has been told in relation to the circumstances which first. in- duced Teresa MilanoUo to study the violin. When attending a musical mass at Savigliano, in Piedmont, (her native country,) being at that time about four years old, she was much struck by a solo on the violin. No sooner was the ser- vice over than she expressed to her lather her desire to learn this instrument. Her father ex- plained to her that the piano and harp were more suitable to a female ; when she exclaimed, " O, it is the violin that I love ! " This extraordinary predilection induced her father to engage a mas- ter, under whose instruction she made great prog- ress ; and at the age of six she gave a concert in her own country. She then gave concerts at Marseilles, Paris, and in Holland, wth immense success, and went to London when scarcely eight years old. .\.t Lille, where a medal was struck to her honor, her sister Maria, then aged six years, was heard for the first time. They played to- gether in the north of France, and at Paris, and visited Germany and ])art of Italy. In Germany they gave two hundred and fifty concerts. After their arrival in London, both were elected hon- orary members of the Beethoven Quartet Society ; a distinction only conferred upon foreign per- formers on the violin of first-rate talent. The younger sister died in Paris in 1848, at the age of si.xteen. Teresa was still giving concerts in Germany, Hungary, Switzerland, &c., with great success, in 1853. MILAXTA, GIO. FRANCESCO, a composer of the seventeenth century, published " Missa, Salmi, e Motetti con Sinfouic, a 1, 2, 3, 4, 5, e 8 voci concert.," Op. 1. MILAXUZIO, CARLO, a monk of Santa Xa- toglia, W.1S originiilly, about 1628, organist of St. Slelfano's, at Venice, but afterwards became chapel-master of St. Euphemia's, at Verona. He proved himself an industrious church composer, as the following, among his works, will evince . " Arnu>nia ."sicra h 5 voci, con Messa e Canzoni," Venice, 1622. •' Litanie delia Madonna, A 4-S voci." " Compieia ConcerUita con le Antifone e Lita fi98 MIL ENCYCLOPAEDIA OF MUSIC. MIL Hie, d 1, 2, 3, e 4 voci." " BalleUi, Saliarelli, e Cor- reritine alia Francese d 1 V. Lib. I." " Ariose I'a- ^Atfzje," Venice, 1628. " Messe A 3, 7. « 11 voci, con ItutrofHcnli," Venice, 1629. " (.'oncerto Sacra di Salmi d 2 e 3 voci, con B. Lib. 1." " Salmi, d 2 voci, con B." " Concerto Sacro di Salmi it 'i e Z voci, con 2 f. Lib. 2." " Horlas Sacer deliciarum $eu Moletti, Litaniie et Misaa, 1, 2, el 3 vociim." MII.CITMAYEU, JOII. PETER. In his Inst works he names himself court musiciiin to the Elector of Bavarin, and professor of tlie hnrp. He lived at Dresden in 1799. He apijcars to have been born about the year 1750, as in 1797 he de- clares he had been giving in»>tructioaa twenty years on the harpsichord. MILES, MRS., formerly MISS GUEST. This celebrated professor of the piano-forte watt a native of Bath. She began her musical career at the age of five years and a half, with progressive talent and success. At the age of fourteen she visited London to take her tinishing instruction from that liighly-gifted master, John Christian Bach. The talent ot this lady was universally acknowleilged and confirmed by the approbation of their majesties, to whom she was introduced at an early period, and suhseciuently attended the princesses regularly at Weymouth. In the year 1806, Mrs. Miles was honored with the high and dattering anpotntment of instructress to her royal nighness Princess Charlotte, in consequence of wliioh she removed from Bath. I'he publications of this lady are not numerous, but her sonatas, dedicated to her illustrious scholar, have been handsomely reviewed in the journals of the time. Her mauuscri|)t concertos, which she reserved for her owni performance exclusively at the Bath concerts, under the direction of Rauz- zini, have given proof of genius in composition. MILHEYRO. ANTONIO, a Portuguese com- poser, born in Braja, tlourished in the beginning of the seventeenth century, lie was first chapel- master to the cathedial church at C'oimbra, and alterwards at Lisbon, but at length became canon. He published the following works : " Rifuale Ho- tiMnum, Pmili V. ju.uu edit urn, siibjuncta Mitsa pro dej'itnctis a se miuicis hmhi/Tm adaptata cantuque ad ijeneraUm rtgni consiielwiinein reilacto," Coimbra, 1618. The rest of his musical works are partly to be found in the library of Francisco de Valla- d ilid, and partly in the royal musical library at Uiibon. MILITARY MUSIC. The origin of military music takes us back to the most remote anti({uity. Every nation in ancient times had its peculiar iustruracnis of music, and its national .songs. These songs invariably refer to the splendid vic- tories gained, memorable battles fought, cele- brated sieges carried on, or the eminent services of some individual hero. The name of the sol- dier and the otKcer who effected a deed of renown, stood in glory's celebration beside that of the general who commanded. With the .Spartans, the song of Castor was the signal for combat ; the Romans took cities to the sound of the trum- pet and t!ie horn ; the Egyptians, Arabians, and ancient Ciermans combat(>i)eared. About this ])eiiod the French minstrels began occasion- ally to accompany the troops to battle. Their instruments were the rebvc, a little thi'ce-stringed violin, bagpipe, and Jtntv, or ]npe. About the year 1330, they began to use the clarion, an in- strument derived from the Moors, who transmit- ted it into Portugal from Africa. The cornet, another war instrument of the ancient.s, made its reappearance about the same time. It was about this time, also, that the adventurous Italian bands recovered the usage of military music, which soon expanded itself among the other nations of Euroi'.c. To the drums and trumpets they joined the flute, fife, and pandean pipe. The drum was played with a single stick. At the end of the fifteenth century they began using regular band.s of music in the army. The bagpipe, invented in the thirteenth century, and the violin, were add- ed about the commencement of the sixteenth. The invention of this first instrument belongs to the .\lps or Piedmontcse inhabitants. In l.i3o the Swiss introduced into France the fife, which served to accomjjany the diuius, and the usaije of which Ls preserved t'> thLs day among the ar- mies of many nations. In the seventeenth cen- tury we meet with the hautboy, an instrument of (icrmau origin, given to the dragoons and mu.s- keteers of the guard. We are indebted to the Hungarians, and through them to the eastern nations, for the kettledrum, the brusmn, the true jliUe ; for the tambturinr, to the Italians ; the modern horn, to the Hanoverians ; for the cymhaU and big drum, to the Turks. The adoption of these la.st two instruments and the kcttlec- ginning of the eighteenth century, the entire mu- sical scheme of our irnops. Then each battalion, each com|e tutti i mali tniei," which was in the highest degree pathetic. " Uer style of singing," continues Dr. Burney, " was always grand, and such as discovered her to be a perfect mistress of her art. She was a most judicious and complete actress, extending her intelligence to the poetry and every part of the drama ; yet her greatest admirers acknowledged that her voice and manner would have been still more irresistible if she had possessed a little more fe- male grace and softness. The performance in men's parts, however, obviated every objection that her greatest enemy could make to her abili- ties, either as an actress or singer." In 1758 Mingotti quitted England, and afterwards sang at most of the princijjal cities of Italy. She did not, however, cease to consider Dresden as her home as long as the King (Augustus) lived. After his death, which took place in I7f)3, she estab- lished herself at Munich, where she enjoyed the general esteem of both the x)urt and town. In 1772 she had still preserved much of the beauty | of her voice ; and at this time she cc "Id converse ] on music with as much science and judgment as the most eminent of the chapel-masters. JK-r i conversation was animated, and she spoke in I such perfection the French, Italian, and German, that it was difficult to distinguish which was her native language. She also knew enough of English i and Spanish to support a conversation ; nor was I she ignorant of Latin. We are not acquainted with the period or place of her decease. MIXGUET, PABLO. A Spanish musician at Madrid, in the last half of the eighteenth cen- tury, published there " (iua»i ('reat'ir," and a "Te Deum," which were performed in the cntlicdrnl at Milan by nn orclie-tra of two hundred and Kfty musicians. Finally, on the occasion of tlie marriage of the Viceroy of Italy, (Prince EuRcne,) he composed a cantata for the Teatro Delia Scula. MINOR, or MINORE. (I.) Less in regard to intervals ; minor as to notes and keys. The only form of the minor scale which is recognized in the strict rules of harmony is, — f^x^ i3E ±: t=± -Pf^ & This U the lamv ascending and deMending. Minor Scalks and their Sio.vatures. A sharp, (relatire minor sf C sharp.) D sharp, (of F sharp.) G sharp, (of B.) M^-^^^M — T^M — I C sharp, (of E.) Fsharp, (of A.) -#3 .yrik B, (ofD.) ^m lE, (of 0) A, (of C.) D, (of F.) ^^ G, (of B aat.) C, (of E flat.) F. (of A fiat.) -^ Z^- ^ ±i Bflat, (of Dflat.) E fiat, (of 0 fiat.) A flat, (of C flat.) ^UNOR CANONS. Those clergymen of a cathedral, or chapel, who occa.sionally assist in the performance of the service and anthem. MINOR MODE. That of the only two modes recognized in modem mu-sic in which the third degree of the scale from the tonic forms the in- terval of a minor third. MINORET. GUILLAUME, was one of the four masters of, or composers to, the chapel of Louis XJV. He composed many motets, which, though greatly admired, have never yet been printed. MlNOZZI, MARCELLO. chapel-ma.ster to the Daomo at Carpi, published, in the tirst half of th • seventeenth century, " Salmi, Sinfonie e LitanLf o 3, 4, e 5 roci, con V.," Venice, 1638. MINSTRELS. Certain poet-rau.sicians of former times, whose profession it was to wander about the cou.itries they inhabited, singing pane- gyrical songs and verses on their occasional bene- factors, accompanying theraselvas on the har]i, violin, or some other instrument. .V minstrel is a professed musician, or singer. Elisha, of old, had one to soothe his troubled mind. MINSTRELSY. The art, or profession, of a min.strel. MINUET. A movement of three crotchets or three quavers in a bar, of a slow and Rrnceful motion, and always beginning with the bcatina note. This is the dancing minuet, and in said to have been invented at I'oitoii ; but there are other minuets, of a time somewhat quicker, and which were I'ormorly much u.sed as concluding move- ments of overture:^, sonatas, &c. MINUEITO. (I.) A minuet ; a slow dano« in triple time. MION, music master to the royal family of France, brought out the following operas at thf Royal Academy of Music in Paris : " Nititis," 1741; "L'Anni'e i/alante, il la (Jour," 1747; and " L' Annie galante, d Paris," 1748. MIRECKI (pronounced Mirctzky) was a member of the Consers-atory at Paris ; he has compo.sed some excellent music, wa.s a distin- guished performer on the piano-forte, and every way considered as a rising genius. lie was by birth a Pole, and when apparently not more than twenty-six or twenty-seven years old, produced works that would have done credit to a long and studious life. His edition of the whole of Mar- cello's celebrated psalms Ls beautii'ully arranged, vnX\i an appropriate accompaniment for the piano- forte. In this work he received some assistance from Cherubini. In the latter part of 1823, he published an etlition of Clari's duetti e terzetti with a similar accompaniment. These composi- tions were originally published in 1730, and are distinguished by grandeur of subject and elegance in their melodic phra.ses. ITie original plates, engraved on copper, were deposited in the Teatrc San Carlo, at Naples, and destroyed in the con- flagration of that edifice. It is to the talent and perseverance of the young and sjiirited Mirccki, backed by an enterprising publisher, Carli, of Paris, that the musical world is indebted lor th« above invaluable treasure, which would other- wise, probably, have been buried in oblivion. .Mirecki, in hb piano-forte playing, exhibits all the tact of genius, and is highly celebrated as an extemporary performer. MISERERE. (L.) Have mercy. A hymn (tf supplication, so calletl because the word miserere is the first in the Latin transcript of that hymn. mSEROCCA. BASTIANO, chapel-mastct and organist to the collegiate church of St. Paul at Massa, in the beginning of the seventeenth century, was boni in li;ivenna. He puhlishwl at Venice, in the years 1609 and 1611, several masses, vespers, and motets. MISHROKITHA. The Chaldean name for the flute and the pipe. MISLIWECZEK, JOSEPH, cnlled in Italv IL BOEMO, or VENATORINI. He was the' son of a miller at a village near Prague, where he was born in 1737, with a twin brother, who so strongly resembled him that their parents could scarcely distinguish the two infants. Joseph re- ceived a good education at his village school, and probably there received \\\n first ledcons in music. After the death of his father, he went to Prague, to obtain f\irthcr instructions in his favorite art from the celebrated organist Segert ; aud he then api)lied him.sclfto the study of coun« terpoint with so much succot,* that he shortly afterwards composed six »ym])honies, that wei much applauded, and which ho called •* Jar»- 603 MIS ENCYCLOPEDIA OF MUSIC. MOC uary, February, March," kc. Encouraged by this first success, he proceeded to Venice, and placed himself under I'escetti. From thence he went to Parma, where he com|)osed his first opera, which pleased so much that he was invited to Naples. Here the opera of " lieUrofonte," which he pro- duced on the kind's birthday, rendered him so celebrated, that, within the next ten years, he brought out nine more operas in that city. Amongst these the " Otimpiade," 1778, was a great favorite, principally on account of the ariette, " ^Je cerca, se dice," &c., which was universally considered as a chef d' ocuvre. Not long after the representation of " Bclkrofontc," he revisited Ven- ice, where he was loaded with honors. He met with an equally flattering reception at Pavia, and in 1777, or according to others, 177.'5, at Munich. In 1780 his fortune began to change. In this j-ear he gave, at Milan, his opera " Armida," which was quite unsuccessful ; he also failed in an opera at Rome. He died in wretched circum- stances, in 1781, or according to others, 1782. MISS A. (L.) A mass. The mass usually consists of five principal movements — the Kyrie, Gloria, Credo, Sunctus, and Agnus Dei. (I.) In measured or strict MISURATO. time. MIT. (G.) With ; as, mit Begleitung, with an accompaniment. MIITORD, JOHN, an English author, pub- lished " Essay on the Harmony of Language, &c.," London, 1774. MITSCHA, or MICRA, FRANZ ADAM. Secretary to the governor at Gratz, in Steyer- mark. Nothing is recorded of him in print, yet too much is known not to give him a place here. We have, of his composition, the opera " Adrast und Isidore," 1790; " Vl Stark-besetzte Sinfonien ;" "11 Notturni fUr 7 xind mehrere Instrumente ; " " 6 Violinquartetten ; " " 1 Terzetto d 2 V. e Vc. ; " and several part songs for eight voices : the greater number were at Traeg's in Vienna, in manu- script. MITZLER VON KOLOF, LORENZ CHRIS- TOPH, born at Vettelsheim in 1711, was educat- ed at the g\Tnnnsium at Anspach. He learned the principles of music from infancy, also sing- ing from Ehrman, and the violin from Carby. In 17.31 he went to the university at Leipsic, where he studied theology and the sciences in general, till at length, in 171)3, he gave public lectures at Leipsic, on matherantics, philosophy, and music. It was the perusal of the writings of Mattheson, and the frequenting of the Leipsic concerts, but principally the conversation of the great Bach, that foi-med the taste of Mitzler, and made him 60on desirous of elevating his favorite art to the dignity of a mathematical science. To this effect he published, in 1736, a dissertation entitled " Qund Musica Scietitia sit." In 1738, he es- tablished, with the assistance of Count Lucche- lini, and Chapel-master Bcimler, a corresponding lociety for the sciences connected with music ; of this society he was named secretary. Its prin- cipal object was the improvement of the theory of music. Mctzler afterwards went to Poland, as teacher of the mathematics in a nobleman's fiunily, and finally settled at Warsaw, where the King of Poland granted him letters of nobility He died in 1778. His principal works are as follows. Theoretical : " Dissertatio qiwd Musica Scientia sit et pars eruditionis philosophical," Leip- sic, 1734 ; " Lusus ingenii de prcpscnti bello augus- tiss. atque invictiss. imperatoris Caroti VI. cum fmderatis hostibus, ope tinorum musicoritm illus- trato," Wittenberg, 1753 ; " Musikalische Biblio- thek," &c. ; i. e., Musical Library, or extract Notices and impartial Analyses of Books and Writings on Music, three volumes, Leipsic, 1738 to 1754; "Die Anfaugsijrllmle der Getieral- bassc, nach Malhematischer Lehrart abgehandeU." &c., i. e., The Elements of Thorough Bass treated according to Mathematical Rules, and explained by means of a Machine invented for the purpose. Leipsic, 1739; " Musikalischer Staarstecher," Sec, i. e., The Oculist in Music, who amicably discovers the faults of reasonable Musicians, and ridicules the follies of soi-dLsant Composers, 1740; and lastly, "J. J. Fax's Gra- dus ad Parna^ssum," translated from the Latin into German, with notes, Leipsic, 1742. Practi- cal works : these consist of " Three Collections of Moral Odes, with Harpsichord Accompani- ment," Leipsic, 1740, &c. ; and " Four Cantatas for the Flute," &c., Leipsic. MIXO-LYDIAN. (Gr.) The name of one of the modes in the ancient music ; called, also, Hyper-Dorian. The Mixo-Lydian mode was the most acute of the seven to which Ptolemy re- duced the Greek music. MOBILE. The name eiven by the Ureeks to the two middle chords of each tetrachordi because they varied with tlie genera. while the two extreme chords, which were called staUe, nevei clianged their tone, or pitch. MOCIGANGA. (Sp.) A musical interlude much used in Spain, and of the same species with the entremes ; the only difference between them being, that the mocigatiga is more fully furnished with music and dancing. MOCKING BIRD. The power of imitation of these birds has not certainly been overrated. When in the right humor they will imitate all sorts of sounds, even to the crowing of a cock. If they do not succeed well the first time, they will repeat the effort, always gaining in correct- ness, untU. they master the subject — sometimes with exact truth, sometimes failing to render the notes perfectly. But it is as composers, not as imitators, that the mocking birds most command our admiration. There appears to be no end to their powers of combination. There is a variety and strange contrast in their song, that would be sought for in vain in any of the sounds presented for their imitation. Sometimes they will begin low down on the scale, working up the gamut, stojiprng here and there to throw off ad libitum varia- tions, then starting again, always ascending and repeating the same process. Sometimes they begin at the top of their scale, and descend in a like manner. At one moment they will touch a note, repeat it several times with a great- er or less degree of emphasis, and then they will flat or sharp the same note after the same man- ner. It would require the pen of a good musi- cal composer to trace out in a faithful description all the phases of their song. We have often followed out forty or fifty different arrangements. Within this limit, (that of our memory,) w« could pronounce with certainty that the saiiM 604 MOC ENCYCLOPEDIA OF MUSIC. MOD gong had not been repeated. We are persuaded that there is scarcel)- any limit to their combina- tions. Tlie lark, doubtless, surpasses them in the gushing joyousness of his note — the thrush, nightingale, and perhaps other birds, in liquid sweetness. But in the variety and combination of notes, in compass and flexibility, and in the marvellous facility of execution, the mocking bird bears away the palm. Nature furnishes in the feathered tribes voices of all descriptions, that ' Worble their wood notM wild," and, by way of an excusable simile, they may be resembled in their peculiar characters to those of certain prima do7inas. The mocking bird, like the matchless Catalan!, unites all styles with a compass that comprehends every note, from the purest soprano down to the deepest contralto. The bird is aptly named, and its voice is wisely adjusted to its task. With sweetness alone, it would be unable to render its great variety of intonations. The American mocking bird is the prince of all song birds, being altogether unrivalled in the extent and variety of his vocal powers; and, besides the fulness and melody of his original notes, he has the faculty of imitating the notes of all other birds, from the humming bird to the eagle. Pennant states tliat he heard a caged one imitate the mewing of a cat, and the creaking of a sign in high winds. Ban-ington says, his pipe comes nearest to the nightingale of any bird he ever heard. The description, however, given by Wilson, in his own inimitable manner, as far excels Pennant and Barrington as the bird ex- cels his fellow-songsters. Wilson tells us that the ease, elegance, and rapidity ol his movements, the animation of his eye, and the intelligence he displays in listening and laying up lessons, mark the peculiarity of his genius. His voice is full, strong, and musical, and capable of almost every modulation, from the clear, mellow tones of the wood thrush to the savage scream of the bald eagle. In measure and accents he faithfully fol- lows his originals, whOe in strength and sweet- ness of expression he greatly improves upon them. In his native woods upon a dewy morn- ing, his song rises above every competitor ; for the otheis appear merely as inferior accompani- ments. His own notes are bold and full, and varied seemingly beyond all limits. They con- sist of short expressions of two, three, or at most five or six syllables, generally uttered with great emphasis and rapidity, and continued, with undiminished ardor, for half an hour or an hour at a time. While singing, he expands his tail, glistening with white, keeping time to his own music ; and the buoyant gayety of his action is no less lasci- nating than his song. He sweeps round with enthusiastic ecstasy ; he mounts and descends, as his song swells or dies away ; he bounds aloft, as Bartram ob8er\'es, with the celerity of an arrow, as if to recover or recall his very soul, expired in the last elevated strain. A bystander might suppose that the whole feathered tribe had assembled together on a trial of skill, — each Btriving to produce his utmost eftbrt, — so perfect are his imitations. He often deceives the sports- man, and even birds themselves are sometimes imposed upon by this admirable mimic. In confinement, he loses little of the power or ener- gy of his song. He whistles for the dog ; Cuesai 8tai-ts up, wags his tail, and runs to meet hia master. He cries like a hurt chicken, and the hen hurries about, with feathers on end, to pro- tect her injured brood. He repeats the tune taught him, though it be of considerable length, with perfect accuracy. He runs over the notes , of the canary, and of the red bird, with such superior execution and eflect that the mortified songsters confess his triumph by their immediate silence. His fondness for variety, some suppose, injures his song. His imitations of the brown thrush are often interrupted by the crowing of cocks ; and his exquisite warblings after the blue bird are mingled with the screaming of swallows, or the cackling of hens. During moonlight, both in the wild and tame state, he sings the whole night long. The hunt- ers, in tlieir nocturnal excursions, know that the moon is rising, the instant they hear his delight- ful solo. Alter Shakspeare, Barrington attrib- utes, in part, the exciuisiteness of the nightin- gale's song to tlie silence of the night ; but if so, wliat are we to thmk of the bird, which, in the open glare of day, overpowers and often silences all competition ? The natural notes of the Amoiican mocking bird partake of a character similar to those of the brown thrush ; but they are more sweet, more expressive, more various, and uttered with greater rapidity. MODE. A particular system, or constitution of sounds, by which the octave is divided into certain intervals, according to the genus. The doctrine of the ancients respecting modes ia rendered somewhat obscure by the difference among their authors as to the definitions, divis- ions, and names of their modes. Some place the specific variations of tones, or modes, in the manner of division, or order of the concinnous parts ; and others merely in the dirterent teusiou of the whole ; i. e., as the whole series of notes are more acute, or grave, or, as they stand high- er, or lower, in the great scale of sounds. While the ancient music was confined within the nar- row bounds of the tetrachord, the heptachord, and the octachord, there were only three modea admitted, whose fundamentals were one tone distant Irom each other. The gravest of these was called the Dorian ; the Phrygian was in the middle, and the acutest was the Lydian. In di- viding each of these tones into two intervals, place was given to two other modes, the Ionian and the yEolian ; the first of which was inserted between the Dorian and the Phrygian, and tue second between the Phrygian and the Lydian. The system being, at length, extended both up- ward and downward, new modes were estab- lished, taking their denomination from the five first, by joining the preposition hi/per (upon or above) for those added at the acute extremity, and the preposition hypo (under) for those be- low : thus the Lydian mode was followed by the Hyper- Dorian, the Hyper- Ionian, the Hyper- Phrygian, the Hyper-^'Lolian, and the Hyper- Lydian, in ascending ; and the Dorian mode was succeeded by the Hypo-Lydian, Hypo- uilolian, Hypo-Phrygian, Hypo-Ionian, and the Hypo- Dorian, in descending. The moderns, however, only reckon two modes; the majta and the minor. The major mode is that divisica 606 MOD ENCYCLOPAEDIA OF MUSIC. MOD of the octave by which the intervals between the third and fourth, and seventh and eifjhth, become half tones, and all the other intervals whole tones. The minor mode is that division by wliich the intcr\-al8 between the second and third, imd Kfth and sixth, become half tones, and all the others whole tones. Another .distinction also exists between the major and minor modes : the major mode is the same both ascending and descending ; but the minor mode, in ascending, sharpens the sixth and s'eventh, tliereby removing the half tone from between the fifth and sixth to the seventh and eighth. Mnde in ancient mu.sic was equiva- lent to n key in the modern. Anterior to I'tolemy, modes were placed, by all musical men, at the distance of half a tone from each other — and miraculous powers have been attributed to the modes in ancient music ; this seems difficult for us to believe, when it was the mere transpo- sition of the scale to a different pitch ; for now a change of key, without a change of time, can neither much elevate nor depress the spirits. ITie arrangements of the diatonic scales for- merly used under the titles of Greek modes, and ecclesiastical, or church tones, are not employed in modern music. Many of the ancient modes were denominated from the different people who invented or adopted tbem ; and the most impor- tant, together with some of their characteristics, will bo found in this Encyclopaedia under the different alphabetical heads. The aticient Greek modes were the Dorian, Phrygian, Lydian, Hyper-Dorian, and Ilypo-Doriau ; the atUhen- tic modes were the Dorian, Phrygian, and Lyd- ian ; the ploffoi modes were the Dorian, Phry- gian, Lydian, and Heptachord. See Scalks, Keys, and Signatures. MODERATO. (L) A word used adjective- ly, to signify a time of a moderate degree of quickness. MODERATO ASSAI CON MOLTO SENTI- MENTO. (I.) A very moderate degree of movement, with much feeling. MODERN MUSIC. An expression applied to music composed witliin the last lialf century. MODESTO. (I.) Modestly, quietly. MODIFICATION. A term applied to the temperament of the sounds of those instruments whose tones are fixed, which gives a greater de- gree of perfection to one key than another, and produces between them a characteristic differ- ence ; as in organs, piano-fortes, and the like. MODULATION. The art of conducting har- mony, in composition, or extemporary perform- ance, through those keys and modes which have a due relation to the fundamental or original key. Though every piece, as is well known, has its principid or governing key, yet, for the sake of contrast and rehef, it is not only allowable, but ne;cssnry, to pass from key to key, and from mode to mode ; to a.ssurae different sharixi or flat«, and lead us through those transitions of tone and harmony wliich delight the ear and interest the feelings. But though, in grand comi>ositions, there is no quality of greater im- portance than that of a masterly modulation, it u not easy to lay down rules for its accomplish- ment. Sometimes a gradual and almost insen> Bible evolution of hiumony is requisite to the composer's object; at other times, a be Id and sudden change can alone produce the nrcessary effect. Modulation, technically speaking, denotes a transition from one key to another ; but, used generally, applies to the art of arranging melody and harmony with or without quitting the ori ginal diatonic. In Modulation, a change, or passage from one key to another, may be effected by passing at once to a new tonic or dominant ; or, as is more satisfactory and usual, by first introducing some chord characteristic of the key into which we desire to pass ; that is, some chord which con- tains the leading note and subdominant of the new scale. The chords employed for this pur- pose are chiefly the dominant seventh, the seventh on the leading note in major, the diminishca seventh, or the inversions of these three chords; and, lastly, the superfluous sixth. The natural resolution of all these chords is either into the common chord of the tonic or the dominant, direct or inverted. All modulations may be dis- tributed into three classes : natural, abrupt, and enharmonic. We shall treat of each class in a separate section. In Natural Modulation we only pass from any given key to another, which is closely related to , it ; that is, to one of which the signature differs by not more than one sharp or flat, more or less. Thus, if the original key is major, then its related keys are, — First. The major of its dominant and sub- dominant ; Second. Its own relative minor ; and Third. The relative minors of its dominant and subdominant. Thus the keys related to C major are G and P major, and A, E, and D minor. But if the original key is minor, then its re- lated keys are, — First. The minor of its dominant and sub- dominant ; Second. Its own relative major ; Third: The relative major of its dominant and subdominant. Thus the keys related to A minor are E and D minor, and C, G, and F major. We may modulate from a given key into any related key, by only one intermediate characteristic chord. Examples : MoDtTLATlONS FROM C TO ITS RELATED KeYS. No. 1, to G. No. 2, to p. 606 MOD ENCYCLOPEDIA OF MUSIC. MOD No. 6, to E minor. (9^— J^ At -X-, a chord of the sixth is placed on C, in order to introduce a note in common with the next chord. This materially softens the tran- lition from one chord to another. M3D"LATnXS FROM A MlNOIl TO ITS RELATED Keys. No. 6, to E minor. No. 7, to D minor. 5 89 The modulations at Nos. 1, 2, 4, 5, 8, are ef- fected by the dominant seventh and inversions ; those at Xo.<. 3 and t>, by the diminished seventh and inversions ; that at No. 7, by the superfluous BLXth ; that at No. 9, by the diminished seventh on the sharpened fourth of the new scale ; and that at No. 10, by the first inversion of the im- perfect common chord. By modulatinp; step by step in the manner e.x- plained above, we are enabled to connect the most distant keys. AbrTTPT MoDtTLATION. By abrupt modulation is to be understood all Budden modulations into keys which are not closely related to the oritjinal key. This is done in various ways ; as, 1. By abruptly chanj^uf; the mode of the key which we are in from major to minor, or from minor to major. Kxaraplc : Mnjor to minor. Minor to m^jor. g^^ ^^^ When this chanfje h.-is been made, we may either remain in the key thus altered, or modu- late from it according to it« new relations. Ex- ample : C major to E flat. Mode cuangetl. ^ 2. By changing the mode or species of the consonant chord erai)loyeeoios of enharmonic modulation is obtained by changing the dominant seventh into the superfluous sixth, or the suporlluous sLxth into the dominant seventh. Example : I>enUDUI Tlh. Sup«r4uiMU Stb. iJJL^JsJ As these two chords consist of the very same sounds, one may lie substituted for the other, and by this meant very distant keys may be connected with each other. Example : Oto D. Enhturnonle chmog* expnswd. ■^=^^^£tfeEH- 9-^-^^ — N=tt= BtoO. 83 "rF EnliannnDic chaagr implied. jfe^'i^^^i^a^^ Many beautiful examples of enharmonic modu- lation may be seen in " Albrechtsbcrger's The- oretical Works " Example* illustrative of the theory of modulation may also be seen in " Dach's Scales and Modulations," and " Albrechtsbcrger's Table of Modulations; " also in an original and ingenious essay on the detenninatioa of the key in music, by W. Forde. There is no branch of musical science more necessary to a composer than modulation. It may be said to be " the key which opens to the admiring ear all the trersures of harmony." As melody signifies a progression of single sounds, so in the science of harmony docs modulation signify a progression of chords, or mixeil sound*. To conduct the harmony with ea.-i0 and grace is a distinguishing quality in a first-rate composer. ANTien we modulate upon ai» orgiin or piano-fort', in passing from one chord to another, it may be laid down as a general rule, that one of the fingers should remain upon that key which Ls to form a part of the succeeding chord. This gives a smoothness to the trai\sitions rcndilv perceived by the ear. For bold and sud.lcn cifeots, these connecting "links of harmony" arc dispensed with, and the changes are produced by dashing into chords at distances more remote. As there are twelve semitones within the oc- tave, and any one of tliese may he taken as the basis of ;. key, and as every key may be formed to be either major or minor, there are consequently not less than twcnty-fo\ir keys into which, in moduhitin;;, we may occasionally move. Twelve of tliese transitions are adroitly performed by the agency of the diminished seventh. 'llie laws by which wc j)ass from one accord to another form the rules of counterpoint, or the art of setting note against note ; the principal of which is, that when music is WTitten in parts, no two ]iarts are to move in the same direction, at the distance of a llfth, producing omecutice Jiftfu, the effect of which is intolerable to the ear. This may Ik; tried upon the piano-forte, by striking them in succession. An offence of lass magni- tude are con.secutive octaves, which, if intro- duced without the design of strengthening a part, are quite unpardonable. Ficcini compares modu- lation to the turning off from a road on which we arc travelling. The ear is willing to follow us — it even wishes to find a guide in us — but it expects that, when we have brought it to a halt, it should find something to repose upon as a recompense for the journey. If you disregard this reasonable demand, and yet expect that the ear sliould con- tinue with you, ere long you will find }'our- self disappointed ; it will leave you running on by yourself, and all your efforts to call it back again will be in vain. To devise a mc.ody ac- cording to a natural order and unaffected plan of modulation, never to deviate but for a purpose, and to return to it with ease, are difficulties iu the art. To abandon, on the other hand, a key which has scarcely been propounded ; to wander at random, without reason or object, from one key to another ; to skip to and Iro, merely to leave a place in which you are incapable of main- taining a footing ; in short, to modulate for the sake of modulation, — betrays an ignorance of the art, and a poverty of invention. MIXED CADENCE. A name formerly ftp* 609 MIX ENCYCLOPEDIA OF MUSIC. MOL plied to a cadence on the dominant when preced- ed by the liarmonj' o>' the subdominant. MIXTURE. Ar organ stop of a shrill and piercing quality, consisting of several ranks of pipes. MODERNE, JACQUES, a composer to the Church of Notre Dame do Confort at Lyons, in the seventeenth century, published several works, of which, however, Gesner, in his ''■Partition. Univers.," lib. 2, tit. 7, gives only the following : " Chansoiis d 4 Parties," and " Morteiti, 5 et 6 voc, lib. 3." MOELLER, JOH. GOTTFR. This musician announced himself at Leipsic, in 1797, with the title of Stutlio.ivs theologi(B et mn!.ices, as compo- ser of a double sonata for the piano-forte, about to be published. Whether this really appeared is not known ; but afterwards the following works were published by him: "12 I'ar. pour le Clav.," 1797; "16 Var. pourle Clav.," 1798; and "4 Waltzerund 2 Eaylischc," 1798. We find his Christian name frequently printed J. C. Whether this is an error of the press, or whether the name is to be written J. C. Moeller, we have no certain account. He was, in the year 1800, resi- dent at Leipsic, as professor of the piano. He was a pupil of the lamous Kittel, of Erfurt. In the year 1805 appeared his " Fantaisie et Fugue pourle Piano-forte," Op. 4, Leipsic. MOESER, CARL, violinist in the royal Prus- sian chapel at Berlin, where he was born about the year 1774, was universally allowed to pos- sess the most distinguished talents. The readi- ness with which he read d Here ouvert, as also the cleamefs with which he executed at first sight, •were truly astonishing. When only in his sixth year, he attracted notice at Berlin by his perform- ance on the violin. His first teacher was Bot- ticher, who in a short time brought him so for- ward, that ho was able to join in the most difficult violin concertos of Giornowich, Haack, &c. He then became first violinist in the chapel of the Margrave of Schwedt. Afterwards, however, on the death of the above nobleman, when his chap- el was closed, the king patronized the young artist, supported him, and procured him in- struction from concert master Haack, who then cultivated his talents to their subsequent ex- traordinary perfection. In 1792 he was still without any musical appointment, and practised the science only as an amateur, holding a situation in the civil department of government. Soon after that time, however, we find him belonging to the Royal Chapel ; and in 1797, he was travel- ling with tlie title of maitre de chapelle. MOITO, GIOV. BAITIST., a composer, flour- ished about the year 1600. Of his works ha^^e oeen printed " Mudrijali d 6 voci," Antwerp, 1600. MOLENDA, WENZEL, a delightful violin- ist and composer for his instrument, born at Pi- eek, in Bohemia, lived at first, for six years, at Bohmisch-Krumau, as musician in the Minorite church there. He then went to Linz, to study philosophy ; but soon after proceeded to Vienna. There he continued but a short time, and went to Hungar)-, where lie was in the service of a prince, as violinist. This situation he resigned, in order to visit Paiis, where, by his ready and pleasing mode of execution, he became greatly admired. At length he left France, and appears, about the year 1788, to have resided at Mentz^ where he possessed an elegant hou^e. He vrroU many concertos and other music for his instru- ment, of which, however, it is probable that none has been printed. MOLING, LUDO^nCO, chef iTorchestre at thi theatre at Turin, in 180.3, published " Airs variit pour le Guitare aocc Ace. de Viokm," Paris, 1803. He was a pupil of Pugnani, and composed much other instrumental music ; he has also published at Paris several sets of Italian ariettes. MOLIQUE, BERNHARD, a \-iolin player, was born at Nuremberg, October 7, 1803. His father, who was the chapel-master of the town, gave him his first instructions in music, and taught him the management of nearly all the most accessible instruments. But Bemhard evinced, at a very early age, a decided preference for the violin, not only by devoting, with eager- ness, a great portion of his time to the study of it, but especially by the delicacy and sweetness with which he handled the instrument — the more remarkable, as it was far beyond the age of the precocious boy. Connoisseurs already recog- nized in him a virtuoso, even before he had made any considerable progress in practical skill ; an3 his father, consequently, spared nothing that could contribute to develop and jiromote his talent. He confined his practice principally to the violin, and the facile child followed with delight the parental lessons. At the age of fourteen, how- ever, his talent, knowledge, and capabilities transcended the powers of instruction possessed by the happy iather, who, in 1816. sent him for further accomplishment to Munich, where the King of Bavaria, having been informed of the promising talents of the youth, appointed the first violinist of the royal chapel, Pietro Novelli, to be young Molique's future instructor. After two years' application he left this school for Vi- enna, where he was immediately engaged in the orchestra of the Theater an der ^yien. In 1820 he returned to Municli, and was appointed to the office of his instructor, Novelli. Up to this time he had often played in public, with the greatest success; but it was in 1822 that he first under- took a veritable artistic tour through Leipsic, Dresden, Berlin, Hanover, &c. Although he had not yet succeeded in fully accomplishing the object which every artist has in view, in gain- ing to himself the reputation which is his due, owing to the lustrous fame of Spohr, which eclipsed every rising genius, still the tour was powerfully infiuential upon his future artistic development. In September, 1826, he was ap- pointed music director at Stuttgardt, where he long was the pride of the Stuttgardt orchestra. Molique, in the course of his visits to Paris, Vi- enna, London, and St. Petersburg, obtained a European reputation, which his great qualities fully justify. He is a sterling, thorough artist, whose true and earnest nature despises, from the depths of his soul, those modern whims and meretricious ornaments, and all tl'.at vharlatanerit with which most virtuosi of tlie present day en- rapture the public. His playing, rounded into the classical form of art, swerves not from its aim to search for fancifully invented beauties, or to wander through brilliant passages, but rather t« 610 MOL exc"yclop.i:dia of music. MOM put the richly omamented principal part in an aarmonic combination, in the necessary organ- ical connection with the accompanj-ing instru- ments. His violin concertos, therefore, are not to be considered, like those of the modern virtu- osi, as mere solos, but are to be compared to com- pletely written symphonies, in which his instru- ment shines forth as the poetical completion of the entire musical structure. It requires, then, \n abundance of power, and an immense facility, to appreciate the position, so as to keep the prin- cipal part in a constant intimate alternation with the orchestra ; now imperceptibly rising to a powerful energy, then again yielding to the op- posing forces, and anon striking forth with the decision of the master hand. Never does he separate himself from this harmonically combined system, never allow himself to indulge in artifi- cial bravura passages, but yields himself to the inexorable law by which the whole is held to- gether, the uppermost link of the harmonic chain being his o\«i artistically embellished solo part. WTien he has the bow in his hand, he is a musical totality ; hence the extraordinary ease of his ex- terior bearing, which is the index of a total in- tellectual absorption in his art. From the early plenitude of his native resources, Molique has risen, by successive developments, to the height of artistical perfection, which has secured him the laurel amongst all the living violinists. To hear him play an adagio is the most perfect treat. There is no feigning of feeling, no exaggeration, no affectation ; it is the pure fire of an artistic inspiration ; no confusion of sentiments, but sim- ple, self-conscious tr\ith. Add to this his effective execution, his magnificent, full, and solid tone, in all its regions of the highest purity, its soft and harmonious fulness, combined with a marvel- lous rapidity. As a composer for his instrument, he is distinguished by a solid greatness of manner, modelled upon the style of Haydn, Bach, Mozart, Beethoven, and Spohr, and evidencing the pur- est taste and the most extended knowledge, united with an eminent talent apparently created for the beauties and charms of harmony. These re- marks are equally applicable also to his other compositions, his string quartets, piano-forte so- natas, si.-mphonies, and above all, his mass. .\s conductor of the orchestra, he combines, with the most refined ear, calm self-possession and an en- ergetic precision. As a master, he is full of merit ; and pupils, whose names are of great celebrity, and of whom he may well be as proud as they are worthy of him, contribute to augment the fame of the excellent master. Molique is evidently one of those happy beings whom Providence has endowed with an indescribable richness. MOLITOR, INGENTIN, a Franciscan monk, and organist to the convent at Botzen, in T}to1, born at Habach, flourished us a composer in the second half of the seventeenth century. He pub- lished " 6 Kanzonen fUr 2 C, 1 TVo/*-, 1 Viola da Gamba, und B ," and " 19 Motetti, a 2 Soprani, 2 v., e B.," Augsburg, 1663. Minor in relation to modes moll, \ minor ; H moli, B mi- MOLL. (G.) Mid kcj-s ; as, A nor, &c. MOLLE. (F.) Soft or sweet. A relative term nsed to signify a flat sound; that is, a sound which is half a tone lower than the sound with which it is compared ; as, B flat, or B molle, is a semitone beneath B natural, or B durum. Thi« term, as its sense intimates, is applied to the flat sounds, on account of their supposed softness or sweetness, in comparison with the effect of the natural and sharp tones. MOLLENHAUER, FRIEDRICH, HEIN- RICH, and EDUARD, brothers, distinguished virtuosos, who have given concerts in Germany, were born in Erfurt, the first in 1818. the second in 1828, and the third in 18.30. Friedrich and Eduard are violinists, and played in New York, in 18.53, in Jullien's conceits. The other brother is a violoncellist. :M0LTNER, BALTHASAR, composer and member of the college at Schleusingen, in th« beginning of the seventeenth century, published " iloiette fur 6 S/immen, auf dem Tod der Fr. Lat- termaimin zu Eisjield ; " i. e., Motet for six voicei on the Death of Fr. Lattermannin at Eisfield, Co- bourg, 1614. MOLTO. (I.) Very, or much. A word used; in conjunction with some other, by way of aug- mentation ; as, Molto allegro, very quick ; Moltc adagio, very slow. MOMBELLI, DOMENICO. Chapel-mastei Reichardt, who, in 1790, undertook a journey tc Italy for the express purpose of becoming ac- quainted with the powers of the different tenor and alto singers, gives the following very flatter- ing description of Mombelli : " He pleased me above all others. He has a very agreeable and clear voice, particularly in the deeper tones, and sings with much feeling and expression. His appearance and action are prepossessing and ex- pressive." In the winter of 1790 to 1791, he sang at the theatre at Leghorn and Padua. He is known as a composer by the following little works : " 6 Ariette Italiaiw von Ace. di Cemb. o Arpa," Vienna, 1791 ; "8 Ariette Ital. con Ace. di Cemb.," Op. 2, Vienna, 1794 ; " 6 Duettini per 2 Soprani, con Ace. di Cemb.," Op. 3, Vienna, 1795. MOMIGNY, JEROME JOSEPH, DE, was of Belgian origin, and was bom at Phillippeville in 1776. His father, who had graduated at the University of Louvain, and had studied music at the court of Brussels, taught him the alphabet and the gamut at the same time. His father's fortune being impaired, he was sent to St. Omar's, where he had an uncle by the mother's side, who took the charge of his education. His progress in music was so rapid, that, when only nine years old, he extemporized. -\.t twelve he was the organist of two parishes of St. Omar. Sum- moned to the royal abbey of St. Colombo, he there acquired a taste for retirement, study, and philosophy. It was in the groves that surrounded this religious asyhim that he first composed, and gave himself up to reading. Unhappily he wanted models. He sought them at Paris. M. de Monteynard, one of the ministers of Louis XVI., beiiig a-sked by his sister, the Abbess of St. Pierre de Lyons, to send her an organist, sent Momigny. In 1793 he became secretary of his section, and was appointed municipal officer at the time when the citizens of Lyons were striv- ing to shake off" the yoke of the reign of terroi Outlawed for having been unwilling to betrmj 611 MOM ENCYCLOPEDIA OF MUSIC. MOW the confidence of his fellow-citizens, he took refuRe in Switzerland, alter havinj^ wandered, without a home, through the south of France. He returned to Lyons, and afterwards established himself at I'aris, in 1800. He had composed at Ia'ohs twelve sonatas for the piano. forte, at I'aris two quartetH for two violins, tenor, and ba-ss, so- natas for the piano, a trio, formin<; his twenty- Becond work, forty romances, and two Ojieras, " Le Baron ile Feh/ieim," the words by the Prince of Schakowt-koy, and " />a Nouvclle I^aitiir'-," of which he wrote the words and the music. He also pjiblLshed, for the use of the family of Napoleon, solfeggi, with nn accompaniment for the piano- forte, and in 1802 his first lessons for that in- Btrument appeared. Momigny. independently of his musical abilities, was a very learned man, and has particularly distinguished himself by the publication of a work in three volumes 8vo., entitled " Coura compkt (f Ilarmonie et de Composition d'aprds tine Thiorie twuvelle et ginirale de la Musiqite bas^.s stir des Principes inconteslailes, puisis dans la Nature, ice." ThLs book may be considered as containing a new theory of music, though the whole idea of it is not original, being founded partly on the system of IJallicre, which was expanded by Jamard, and partly on 8ome of the views of the Abb6 Feytou, which appear in the article " Chromnti'/ue," in the " En- cijclopidie Mithr)diqite." According to the theory of Momigny, the generator produces the fol- lowing intervals : G, b, d, g, b, d, f, a, c, c, which the author calls "I'unir/ue I'jpi" of the musical system, and compares the seven musical notes, a, b, c, d, e, f, g, proceeding from the generating string, to the phenomena of the decomposition of light, discovered by Newton by means of aprLsm. Momigny has distinguished himself also by a most remarkably well arranged edition of l)u- rante's six duets, the subjects of which were taken from Scarlatti's cantatas. These duets are sung at all the miuservatoires on the continent, and are renowned for the beauty of their melodies and harmonic treatment. Momigny, invited by the conductors of the Encyclopidie Milhodlqne, has a further title to respect, by having ably com- pleted the musical part of that work, which was left unfinished by the horrors of the revolution, and the consequent unfortunate sacrifice of some of ita most able original authors. MONAULOS. (Gr.) A kind of single flute, of higher antiquity than even the lyre, and said, by some writers, to have been invented in Egypt. The Egyptians called it I'hotinx. or crooked flute : its shajjc was crooked, and sometliing like that of a bull's horn. MONDODONO, or MONDONDONO, GE- liOLAMO DA, a jiriest and composer in Italy, tiourishcd about the year IfifiO, and published, among other works, " Missa, Sahni, e Falsi Bor- ioni A 5 voci," 1G.5;5, and " Sosition were much admired, he went to Paris in 17.'J7, and procured three of his motets to Ihj sung at the Concert Spirituel, when it was consid- ered that they were nearly unrivalled. He was then nppointe^e Anweisung zum Gcncraldass," in manuscript. Sacred music 612 MON ENCYCLOPEDIA OF MUSIC. MON 1. " ^ratorium Ueilsame VnterreduiKjen ." 2. ** Oraloriiim." 3. " 5 liitten." 4. " Hc({uiem a 4 tcci, 2 v., con Org." 6. " Musa Grot, d 4 voci e 4 Str." 6. " Miaaa A 4 voci, con 12 Strom.," " Chorus ex hortulanis, S:c." Violin music : 1. " 6 fi'.n/on. fiir voile Orcheater." 2. " 2 Concerte, eini J'Ur V. und eina ftlrs Vc." 3. " 18 Sinfonien /If 2 v., A., und B." 4. " 15 Divi-rtimeiUna a 2 I'., A.,e B." 5. "4 Trioa d. 2 Viole e B." 6. "3 Partit. d FL, V., e B." 7. " 2 Trios A Fl., Viola, e B." 8. " Sonata i V. aolo con B." 9. " 12 ilinueti h 7 und 10 Stimmen." 10. " Muaicn Tur- cheae A \0." Ilnqjsichord music : 1. " 12 Concerti per it Cemb. con Ace." 2. " 30 Divertimenti j)i-r it Cemb. aolo." 3. " 6 Son. p. il Cimb. aolo." The- atrical music : " Diana e Amore," opera. MONOCIIORD. An ancient instrument, or macliine so called, because it is fumLshed with only one strin;;. Its use is, to raea.'iurc and adjust the ratios of the intervals, which it eflccts by means of movable bridjjes, calculated to di- vide the chord at the pleasure of the speculatist. The monnchord appears to have been in con>tant use with the ancients, as the only means of fonn- in^ the ear to the accurate perception, and tlie voice to the true intonation, of those minute and ditficult intervals which were then practised in melody. MOXODIE. (F.) A composition for a sin- gle voice. ITie term originally applied to church Bolo?>. MONOLOGUE. A poem, song, or scene, written and composed for a single performer. MOXOTOXOrS. An epithet applied to any instrument which produces but one tone, or note ; as the drum, the tambourine, &c. MONRO, GEORGE. An English organist, lie played the harpsichord at Goodman's Fields Theatre, from the time when it was opene0, he pro- duced, at the same theatre, " Le Maitre en Droit," and " Le C'tuti dupi." Sedaine, being present at the representation of the latter opera, was so as- tonished at the effect of the duo between the cadi and the dyer, that he exclaimed, " Viola nwn homme ! " and the same evening introduced him- self to Monsigny. The plea-ing ojjcra " On n* a' arise jamais detoiil," given by Mon-oser of the Feydeau, in the year 1H02. We know not the exact jicriod of his decease. MONTANARI, ANTONIO, a celebrated violinist and ])upil of t^orcUi at Rome, flourished, according to Sir J. Hawkins, at Rome, in 1700. Dr. Buriiey .says of Montanari, that he died broken hearted, when Bini, in 1730, came to Rome, and there excelled, on the violin, all living musicians, among whom Montanari was previously con- sidered the tirst violinist. It cannot be ascer- tained, however, whether this anecdote relates te Antonio or to Francisco Montanari, or whclhel he is improperly calleil .Vntonio by Hawkins, oi lastly, whether there lived only one violinist ol the name of Franci.sco Montanari ; the latt«t however, is the most probable, becaujta hia work and his i>ortra>t arc in existence. 613 MON excyclop.t:dia of music. MOC MOXTAXOS, or MONTANXKS, FUAXCIS- CO. Portionarius, in a church at Valladolid, in Spain, in 1000, jjublLshcd "Arte de Musica thro- rua 1/ }iractca," 1592; "Arte de Canto JJano" Salamanca, liilO. MONTAXr. (F.) Ascending. MOXTAUIX, a fertile composer of French popular songs, probably resided at I'ariw about the year 1710. Of Iuh numerous compositions, home airs in Lulli's style are inserted in the Riciiiil d' Ain a^.rieiix ct h lioire pour I' annie 1710. MONTE. rillLIP DE, a native of Mons, in Ilainault, born ii\ the year lo'il, was master of the chapel to tlie Emjjcror Ma.ximilian II. ; he was also a canon and treasurer of the cathedral church of Cambray. liesiiles several masses, this writer composed four books of madrigals. MOXTECLAIK, MICHAEL, was born in the year l(iG6, at Andelot, a town of IJassigny, about ten miles from Chaumont. He was originally a teacher of music in Paris, but was afterwards taken into the Itoyal Academy. Monteclair Ls said to have been the first i)erson who introduced the violone or double bass into the orchestra of the opera. He died near St. Denis, in the year 1737. There are extant of his works " MUhode pour apprendre la Musique," " Principes poitr Ic Violon," " Trios de Violona," cantatas, motets, and one messe de requiem. He composed the music to an entertainment entitled " Dcs Files deT Eli," and to the celebrated opera of " Jeptltc," \vritten by Pellegrini, and represented at Paris in the year 173"2. MOXTELLA, DOMEXICO, a learned mu- sician, flourished at Xaples about the year 1.500. MOXTEM.WOR, GREGORIUS, a celebrat- ed musician in the chapel of King Philip II. of Spain, at Madrid, died in 1560, and left several works. He was born at Montemor, not tar from Coirabra, in Portugal, and died in the flower of his youth. MONTESARDO, GIROLAMO, a composer in the first half of the seventeenth century, pub- lished, about 1653, " Messa, ikiimi e Litanie d 4 vuci." MOXTEVERDE. CLAUDIO, of Cremona, chapel-master of the church of St. Mark at Ven- ice, was a celebrated composer of motets and madrigals, who flourished about the beginning of the seventeenth century. He was also well known for his skill in recitative, a style of which, indeed, he may be said to have been one of the inventors ; at least there are no examples of recitative extant more ancient than those in his opera of " Orfeo." There are several of his madrigals inserted in the collections published by Pietro Phalesio and others, about the year ItiOO. He was tlie first who >ised double discords, Buch as a fl, and T^^ as well as the fiat fifth and the seventh unprepiurd. In his secular pro- ductions, by quitting ecclesiastical modulation, he determined the key of each movement, smoothed and phrased the melody, and made all his parts sing in a more iintural and flowing manner than had been done by any of his pred- ecessors. In his fiith and last book of madri- gals, almost every Hi)ecies of discord and modu- lation is hazarded, tor the use of which the bold- e«t coraiiosers ol modern times have been often | thought licentious. 1 61 MOXTFERRATC, XATAL, sub-chapel-mas- ter at St. Mark's Church in Venice, flourLshcd in 1660. We can mention the following of hi« works : " Salmi concertati d 5, 6, e 8 voci, con T'.," 1650; " Motetfi," Venice, 1655; " Motciti concer; tad," Venice, 1660 ; " Motctti li voce sola," Venice, 1666 ; " Mot'.tti d voce sola," Xcmce, 1G73. Bur- ney observes that he was the first who used th« da cajto, which, about 1680, became common. MOXTGERAULT, MADAME, a female mu- sical amateur at Paris, published there, previously to the year 1796, " Troi^ Senates pour k Clac. seul." 'ITiis lady is said to have been possessed of exten- sive musical knowledge. She was appointed aa- sifitant professor at the Conservatory m Paris. MOXTI, GAETAXO, a composer, bom at Xaples, was reckoned among the dramatic com- posers of Italy, between the years 1783 and 1791. Some of his works are " Lo StudeiUe," opera buifa, Xaples, 1784 ; " Le Donne vcndicate" opera buifa, Palermo, 1784; " Lm CoiUadina accorta," opera buft'a, Dresden, 1782. MOXTICELLI, AXGELO MARIA, of MUan. born about the year 1715. sang in Xaples, in 1746, with Mingotti ; he altei wards went to Lon- don. Monticelli died at Dresden about the year 1764. MOXTVALLOX. DE, published at Paris, in 1742, a work entitled " Nouveau Systime de Mu- sique sur les intervaUes des tons et sur Us proportions des accords, oil fon examine Us systimes proposes par divers auteurs." MOXZA, ALBERTO. A celebrated singer, about the year 1700. MOXZA, CARLO, chevalier and chapel-mas- ter at the theatre of La Scala at Milan, was a native of that town, and occupied the above situ- ation about the year 1766. He was then in high repute, as one of the best composers for the church and the opera. He produced in the above year his opera of " Tcmistock." Dr. Burney heard one of Monza's masses in the church of Santa Maria, and found it a fine composition and full of genius. He wrote some other operas, and also some music for the harpsichord. MOXZAXI. This eminent performer on the flute was born in Italy, but resided many years in England, in the early part of this century. He was formerly first flute at the King's Theatre, and performed at most of the principal concerts and music meetings ; after which time he was largely engaged in the music trade, and in the manufac- turing of flutes. MOORE, THOMAS, ESQ. 'lliis celebrated poet and musical amateur was a native of Ire- laud. .Vfter having been under the tuition of Mr. Whyte, a man of taste and talent, he com- pleted his education at Trinity College, Dublir Ilis cla-ssieal studies being finished, he went to London, entered himsell' of the Temple, with a view to make the law his profession, and was called to the bar. In those moments when he was not occupied with the dry lechnicaUties, tha trifling quibbles, and the endless prosing of legal writers, he amused himself with translating tho Odes of Anacreon ; these he published, with co- piovis notes, in l.SOO. This version, one of th i most elegant that has ever appeared, met with bO MOO EXCYCLOPJEDIA OF MUSIC. MOB favorable a reception from all who possessed a classical and i)OCticnl taste, that he seeiux to have beeti induced to abandon the law, and devote hiraself to literature. In 1801 he <;ave to the press a volume of poems, under the assumed name of Tliomas Little, which went throuf^h thirteen or fourteen editions. In 180;J he pub- lished " A candid Appeal to public Conhdence, or Considerations on the actual and imaginary Dangers of the present Crisis." About this time l.e went to the Hermuda Islands, of which, through the interest of Lord Miura, he was ai>- pointed rey;i^trar ; and he also vi--itcd the United Slates. Of the American character he lormcd a very unfavorable opinion, and that oi)iniou he did not hesitate to express freely in a volume which came out upon his return to England, in 1806. This volume bore the title of " Epistles, Odes, and other Poems." In ISOS he sent to the press " Corruption and Intolerance," two poems, with r.rtes, addressed to an EngUshman by an Irish- man ; and in 1809, "The .Sceptic," a philosophi- cal satire. These works, of which the first is pungently satirical, are little known ; bul they are worthy of their author. They were succeetl- ed, in 1810. by " A Letter to the Homan Catholics of Dublin." His next production. " Intercepted Letters, or the Two-penny Post-bag," by Thomas Brown, the younger, 181'2, was eagerly perused, and fourteen editions of it were printed. It lashes severely one elevated personage, and several of the most eminent of the Tory party. In sparkling wit, keen sarcasm, and humorous pleasantry, it is rivalled only by another volume, entitled " 'Ilie Fudge Family in Paris," which issued from the press in 1818, and the hero of which is a poet, who has apostatized from the principles of liber- ty, and become the virulent supporter of court measures. In ISl.'J the fame of .Mr. Moore was increased by the appearance of his e.xquisite songs to Sir John Stevenson's collection of Irish melodies. Some of the>e songs are among the tinest speci- mens of poetry, and the morality of the whole of them is unexceptionable. They have since been collected into one volume. In 181'J he published a series of sacred songs, duets, and trios, the mu- sic to which was composed and selected by him- self and Sir John Stevenson. This series forms, in every respect, a suitable companion to the Irish melodies. In the following year, 1817, came torth his great work, on which he was known to have been long engaged, and which the reading world had awaited with eager expectation. On this occa.sion, all the hopes which had been ex- cited were fully realized. Ity the publication of " Lalla Uookh," he placed beyond the possibility of dispute his claim to be ranked among the first of British poets. " Thou:;lits that breathe and words that burn," would not be an unapplicable motto for this Oriental romance, which unites the purest and softest tenderness with the loltiest dig- nity, and glows in every jMige with all the ferror of poetry. For this poem he is said to have re- ceived the sum of three thousand guineas. .Vfter this Mr. Moore published his poem of " The Loves of the Angels," and also a small spiiited work entitled " Memoirs of Captain Hock." We have also omitted to mention that he corapleteil Mur- phy's untinishcd translation of Sallust, also edited an edition of the works of Brinsley Sheridan, and published a biography of biin. Moore died in lSo2. MOO REHEAT), JOHN, was well known a» tlie composer of several English operas, which have attained great i)opularity. He was an Irish- man by birth, and received his first instructiooi in music in that counti-y. For several years of the early i)art of his li:e he was employed as a performer in the orche>tras of ditferent provincial theatres, where, as far as so confined a sphere would admit of, he obtained considerable celeb- rity. In 1798, a situation in the orchestra of Covent UiU-den Theatre having been offered to him, he was induced to accept it, in the hope that he might thus have an opportunity of ad- vancing himself into the liigher departments of his profession. This opportunity was, not long afterwards, afforded him by an engagement with the managers to compose the music to tlie pan- tomime of "The Volcano, or the Rival Ilarlo- quins," and to the entertainment of "The Naval I'illar." 'I'hose were so well received by the pub- lic, that, in 1801, he was employed, conjointly with Davy, in the ballet pantomime of "I'erotue," which had an almost unprecedented degree of success. In 1802 he com])osed the overture and other music in the pantomime of " ILuleccimeu of hia Ci>mj)Ositions, one of the madrigals, " Hitti mi c at," taken from his fourth book, published at Venice in 15 H, is inserted in Smith's " .l/iuica Aniii/iui." ITie style of Morales, though leamc 1 for the time in which he wrote, is somewhat dry, and the harmony, by his fretjucnt use of unac- companied fourths and ninths, is uncouth and insipid. MORAUZ.VTIONS. The name given to cer- tain old Si-otch puritanical songs. MORAND, PIERRE. Under this name waa published, at Paris, " Juatijicatian lie la Slutiq'it t'rani;oise," kc, 1751. MOR.VNDI, PIETRO, an Italian composer, belongwl, in 1783, to the orchestra of the theatre of Sijiigaglia. He was born in that town, and was living in 1701. He com|)0:.ed " Uli Vturpa- tori df Uui," opera buffa, 1791. MORARI, ANTOINE. \ contnipunti!.t of the si.xteenth century. .-Vmong the motets pub- lishe reveltido pela menma Senhora," LLibon, 17;i3 ; " Ftorea Musicaes wlhidas no jardim da millvtr Iica6 de ratios authores. Arte practica de Canio ed Orrea Mitsicaes colhidas tu) Jardim da ynit- hor licad de varios authores. Arte practica de Canto de Orgad. Indicc de ceremonia para priiicipiantes com hum breve resumo das regraa mais priiicipaes de accompaiiliar om instrumentos as vozes, e o conheci- menlo dos tons assiyn tiaturacs, como ncideiitaes," Lisbon, 1738; " Brece resumo de Canio Chad com as regras mais principacs, e a forma, que dcve guar- dar 0 Director do Cora para o sitstnntar Jirme na ctrda chamada ('oral, e o organi-sta quando o a com- panha," Lisbon, 1738 ; and "Brece resumo do Can- to Chad dedicada a Magestade de D. Joa6 V.," 1739. MORAVIAN CUSTO>L The Moravians have a custom, which, we believe, is peculiar to them, of performing a certain kind of music for the dead, or solemnizing the departure of the soul into eternity. This music is pertonned on four brass horns, in harmony, upon a platform, or open apartment, high up in the steeple of their church, which generally has a commanding elevation above the suiTounding buildings. Just as the glowing rays of day are dissolving in the sky, the soft, dirge like choral floats on the evening air, tilling it with solemn sweetness. It seems as a voice from the unknown world, summoning the B])irit of the di.ad to its eternal home. The sacred harmony penetrates and hallows every bosom. It speaks directly to the heart ; nor does it grow tame by repetition. Who will attirra that such a custom does not soften, humanize, and retine the heart ? It must powerfully draw the minds of those within its iuttuence to reflect upon the great change which awaits all tiesh, and to pre- pare and to familial ize the soul with death, and ■with thoughts concerning its future and everlast- ing abode. MORAWETZ, GIOVAN. A musician, resi- dent, about tlie year 17Ji), at Vienna. Of his works the following weie in Traeg s " Catalogue," Vienna, 17^9: "3 SinJ'urnie a 11 e 12 Stronieiiti." " Concertino d 9 Slrom." " 8 Xotturni, i Fl. d'Anujrc, Fl. true, 2 F/o/articular movement which is intended to be a\>- ]ilied; that sign, therelore, which has the first hook or notch bent downwards, thus, "^r, shows that the double turn is to begin with the lower note ; that bent the contrary way, shows that it U to begin with the >ipi)er note. \i the mordcnte does not stand over, but after the note, to serve as a link to connect with the following notes, then the jjrincipal note is again added as a fourth note, and executed only just before entering on the following tone. If the mordente is placed over a dot, then the fourth note stands in place of the dot. The mordente is always to be played rapidly, whether in quick or slow time, and very distinct, and perfectly e(iual in its third and fourth notes, both as regards (juickness and power. The mordente is a species of trill or shake. Its def- inition varies, however, with different master?, in different passages. Dr. Arnold gives the fol- lowing example : — The Italians use it differently in the same pas- sage. Wrilttn. Played. y^«^ .— #^» MOREAU, JEAN BAPTISTE, a musician, born at Angers, in 1G56, was led by the conscious- ness of his musical talents to try his fortune a» Paris. Having succeeded in a bold attempt to get unperceived into the closet of madame the dauphiness, Victoire de Raviere, who was fond of music, he had the assurance to pull her by the sleeve, and ask permission to sing a little air of his own composing. The dauphiness, laughing at the singularity of the incident, allowed him to do so. He sang without being disconcerted, and the princess was pleased. The story came to the ears of the king, and he desired to see him. Mo- reau was introduced to his majesty in the apart- ment of Madame Maintenon, and sang several airs, with which the king was so much delighted that he ordered him to compose a musical enter- tainment, which was performed at Marli two months alterwards, and applauded by the whole court. He was also engaged to compose the interludes for the tragedies of " Esther," "Atha- lie," " Jonathas." and several other pieces for the house of St. C)t. He died at Paris in 1731. His chief excellence consisted in giving the full force of exi)ression to all kinds of words, and also to subjects. The poet Lainez, with whom he was intimate, furnished him with sever- al songs and little cantatas, which he set to mu- sic, but none of them have been published. MOREAU, JEAN ANDRE, bom at Paris in 17(>8, was the son of the celebrated surgeon of that name. Having in early age lost his father, and announcing a decided talent for music, hia mother determined, by the instigation of her (riends, to bring up her son to the musical pro- fession. He was accordingly sent, in 1774, as a chorister of the cathedral at Amiens, where h« studied under Dominiijue Leuder, who was then considered one of the fii-st chapel-masters of France. At eighteen years of age, he obtained the situation of chapel-ma-ster of the collegiate church of Uethune, and two years afterwards obtained the same situation at Peronne. He ha* published much vocal and instrumental music. MOREL, a J'rench composer in 172(1, published 616 MOR ENCYCLOPAEDIA OF MUSIC. MOR " Lei ThiiiUertes," a work contiiining a collection of cantatas, and a " 'J'e Ucum Utiidamus." In t)ic " Recueil d' Airs sirieux et d boire pour Tan 1710," Paris, are also inserted several of his airs. MOREL, a canon at Montpclier in 1740, pub- lished " \ouvelle Thiorie physique de la Voix," Paris, 174G. MORELLI, GIUSEPPE, an Italian singer at Cassel, -was, in his eighteenth year, court singer at Lisbon, where he witnessed the dreadful earth- quake. .\ccording to his own assurance, his hair turned at once quite gray in eonsefiserere in si.\teen parts : in 1808, "// Corntdiiio," and "Ore'ti;" tor the theatre of Panna ; " Enone e Paridc," a serious opera, for Leghorn ; the greater part of which was com- posed on board a man-of-war that la}" off the port, in order to escape from the altercations of the singers ; and a mass and vespers for the Church of St. Ciecilia, in Parma : in 1809, " Ri- nalcl, acipiire 1 more celeb- rity by his treatise entitleitions of the Earl of Momington : " Hero in cool grot," glee, i voc. ; " When for the world's repose," glee, 4 voc. ; an excellent copy of this glee, with separate piano-forte ac- companiment, is given in the Vocal Anthology. " 'Twas you, sir," catch, 3 voc. ; " Uently hear me, charming maid," glee, 3 voc; "Come, fair- est nymph," glee, 3 voc.; and "By Greenwood tree," glee, 4 voc. MORTAIU), ANTONIO, a Franciscan friar and organist in the cathedral churches of Ossa- ro and Novara, was born at IJresciu. lie nour- ished as a composer about the year IHOO, and died in a Franciscan convent ii> 10 11), after hav- ing published several works. Coz/.ando had seen tlie following of them, which he mentions in his " Librar. liresco," p. 'Ki". " Fiainmelle A morose a 3 voci," Venice, 1599 ; " Mcssf, Salmi, Mayni- Jicnl, CaiUMHi da suntmre, e Falsi Boriioni, o 13 voci, coil la I'artitura," Milan, 1010; " Cnnzoni A 4 voci. Lib. 1 e 2," Venice, IG'23 ; and " Litanie i 4 voci, con B. coiit.," Venice, IC'23. MOUTELLAKI, MICHELE, a pupil of Nic. I'iccini, was a celebrated Italian composer, born at Palermo in 17.50. He brouglit out the following operas at Rome, Milan, Venice, and Modena, which were eminently successful : " Le Astuzzie Ainorose," 1775 ; " Ezio," of Metastasio ; " D. Uualterio Civelta," 1776; " Aniiijono," 1778; "II liaron di Lmijo Nero," 1778; " Alfsandro tieW Indie," 1778; " Troja distrutta," 1780; and " Didone abbaiuljnala," 1780. Dr. Ihirney also speaks of the " Armida " of MortcUari, which he heard in 178G, at the King's Theatre, when Moitcllari was in London. The doctor says, " The taste of this composer is of the most re- fined and exquisite kind. Though of the Nea- politan school, his compositions arc, however, less bold, nervous, and spirited, than elegant, graceful, and pleasing licing a Palermitan by bu-th, his strains may be rather called Sicilian than NeapoUtan." MOSCA, N., an Italian composer, wius pianist at the Opera Bulfa at Paris, before Spontini held that situation. Besides some vocal pieces which he has added to several operas j>erformed at that theatre, he brought out, in 1805, " La Oinovria di Scozia," and in 1800, " La \'iiidctta Fcmiuina." N. Mosca is brother to the Neapolitan composer of the same name. MOSCA, LUIGI. It Ls doubtful whether this composer is not the same person racntioneil in the preceiling article, since, though the authors of the French " Dictionary of Musicians " give to the other the initial N., (icrber has giver, the pi- anist at the Opera ButTa in Pi\ris under the Chris- tian name of Luifii. At all events the Nc;ipoli- tan composer is a musician of considerable emi- nence, and has especially made liim-clf known by the following operas : " L' Amove per Ini/a»no," opera butfa, 1803; this was highly successful at Naples; " // Ritnrno inasjtetUilu," 'Sa.\t\c9., 1808; " L' Impoatura," Naples, 1801; / Predeiitenti de- lusi ; " this opera is also highly spoken of. MOSCIIELES, IGNAZ. This celebrated pi- anist and composer was born at Prague, in the year 1794. He studied composition under Al- brechtiberger, and the piano under Strcichcr, and first appeared in public at Vienna, about the age of fifteen. After rcraaiuing in that city about ten years, he commenced his tnivels, passing traces of it are found carher than the times of I through Holland to Paris, and from thence to Henry VIII. ; ani it is more probable that it was London, where he arrived in 1821, making his fW*uY borrowed either from the Frencli or the Flem- ' at the Philharmonic Concerts of that year. The ings. In the morris dance bells were fixoC(l rate of movement : thus andante con molo mc:tns a little faster than andante, or an andante movoMient, that must not bo allowed to drag. MOTO CONTRARIO. (I.) An expression indicative of that progression of the different har- monic jiarts of a composition, by which they move in opposite directions. MOTET, or MOTETTO. (I.) The name for- merly given to certain elaborate vocal compo- sitions, consisting of several parts, and the subjects of which were generally sacred. The Latin psalms and hymns of the Romi.sh church are frcringly, jocosely. MOTUS. (L.) Movement ; a.s, mr>/iM a>n/rari- u-t, contrary movement ; motu* obliquua, oblique movement ; motiu rectus, similar movement. MOUCIIE and MOUCIIY. Roth names be- long probably to one musician at Paris, who pub- lished " Trois S)naies jioiir U Clav ," Op. 1, Paris, 1796, and '< Le Flageolet d,' Amour, avec Ace. de P. F.," Paris, 1798. MOULET, JOSEPH AGRICOLE, professor of the hvp at Paris, was bom at Arignon in nOG. He has published much music for his in- strument, and several romances. MOUR.\, PEDRO ALVARES DE. A canon and comj)OKer of the sixteenth century, born at Lisbon. lie resided at C'oimbra, whence he pub- lished " l.ivro de Motettes 6 4, 5, fi, c 7 Vozes," Rome, 15i>4. His " Licro de Missas a dirersat Vo:es," manuscript, is yet in the royal musical library at Lisbon. MOTRET. A French dramatic composer. He died near Paris in 1738. MOITIIPIECE. A little silver or brass ap- pendage, inserted at the end of the tube of a French horn, or trumpet, to receive the jiressure of the lips in ])erformHnce. MOl'TOX, JE.W, master and conductor ot the choir in the chapel of Francis I., was a pupil of Josfjuin de Pres. If we were allowed to credit the testimony of liis contemporaries, he was one of the most celcl>riite(l musicians of the age in which he livearticular use ; in such cases, he was obliged to conform to the degree of talent whicli each person possessed, which acco\ints for the many compositions for the harpsichord that appear so little worthy of him. Artaria, a music seller at Vienna, and some others in his line, found means to procure copies of thee pieces, and publi^heil them with- out the perrai«sion of the author, and without offering any remuneration. One day the manager of a theatre whose nfliiir* were in a very desperate state, presenteil him.Hclf to Mozart, stating his embarm., and add- ing, " You are the only man in the world who can relieve me from inv ditHcultici." " I « " ;-e- plied Mozart ; " how so r " " lly composing for me an opera entirely adapted to the taste ol tho<)« upon his tiilents as a composer. His compositiiins j who froiucnt my theatre; it may to n certaio we principally admired for the amazing fertility i degree, be a work Imth to please connoiwieurt »f the idcott, the clear and happy designs, and i and to your own glory ; but abor« ail, rcmembw 627 L uoz ENCYCLOPEDIA OF MUSIC. MOZ it is to please a class of people who do not un- flerstniid fine music. I will take care to let you have the poem directly, and that the scenery shall he heautitul ; in a word, let it be entirely conformable to the present taste." Mozart, soft- ened by the entreaties of the poor man, promised to undertake the matter. " How much do you B.sk for this r " replied the raanaj^er. " Why, you have nothin;; to give," said Mozart; "listen, however ; we can arrange it in the way that your mind may be at ea,se, and that I may not entirely lose the fruits of my time and trouble. I will give the score to you alone ; you may pay me wliat you choose, but on this e.\pross condition, that you upon no account let any one have a copy ; if the opera gets about, I will sell it to some other manager." The director, charmed with the generosity of Mozart, exhausted him- self in promises. Mozart immediately set about the music, and composed it exactly in the style directed. The opera came out, t)ie theatre was filled, and its beauties were e.xtolled throughout Germany ; some weeks after, it appeared at five or six different theatres, but without any one having received their copies with the cognizance of the distressed manager. Mozart was very prompt in acquiring new habits The health of his wife was very precarious ; he was passion- ately fond of her ; and in a long illness she had, he always advanced to meet those who came to see her, with his finger to his lips, as a sign they should not make a noise. His wife got well, but long after he always met his friends when they came to see him with his finger to his mouth, and speaking in a whisjier. During her illness he would sometimes ride out very early alone, but always, before going, left a small note for his wife by her bedside, in the fonn of a prescription from a physician. The following is a copy of one of them : " Good day, my dear love ; I hope you have slept well, and that nothing has disturbed you ; be careful you do not take cold, and that you do not hurt your.self in stooping ; do not vex yotirself with the servants ; avoid all uneasiness till my return ; take great care of yoiuself ; I shall be home at nine o'clock." Constance Weber was an excellent companion for Mozart, and frequently gave him very pru- dent advice. Mozart's income was considerable ; but owing to his love of jileasure, and the em- barrassment of his domestic affairs, he left his family but the glory of his name, and the pro- tection of the public of Vienna. After his death the inhabitants of Vienna testified their gratitude for the pleasures he had afforded them by their kindness to hLs family. In the latter years of Mozart's life, his health, which had always been delicate, rapidly declined. Like all jjcoplc of strong imagination, he was ever anticipating future evil, and the idea that he should live but a short time continually haunted his mind ; at those periods, he would labor with »uch energy, rajiidity, and force of attention, that he Imjucntly became totally indiifcrent to all that did not concern his art. Kvery body per- ceived he was ruining his health by this exces-ive »fi\dy. Ili.s wile and Iricnds did all they could to draw off his attention ; and for their gratifi- cation he would frecpiently accompany thont in their walks and visits, and would quietly allow himself to be conducted any where by them ; but I his mind was always wandering. He seldon overcame this habitual and silent melancholy, but j when the idea of his approaching dissolution awakened him to new terrors. HLs wife, dis- tracted with fear at his singular habits, endeav- ored to draw around him all those friends in whose society he most delighted, and took cars j they should arrive about the time when, after many hours of labor, he naturally rccjuired rec- reation and repose. These visits pleased him, but never made him desist from pursuing his studies ; they talked, they endeavored to engage him in conversation, but all to no puqiose ; and if they actually addressed him, he would make some reply totally unconnected with the subject or else answering in monosyllables, and w^'ild immediately continue to write. Mozart labored under a weak state of hea.th during his whole life ; he was thin and pale, and though the sh:ipe of his face wa.s singular, hw physiognomy had no striking character in it but that of extreme irritability. His countenance varied every instant, but indicated nothing fur- ther than the pain or pleasure of the moment. He had a habit which is generally supposed to de- note stujjidity ; namely, perpetual motion of the body, and was continually either twirling his hands or striking his feet upon the grounjl. I'here was no other peculiarity in his habits, fur- ther than his passionate fondness for billiards. He had a billiard table at his own house, on which he played every day, sometimes even alone. HLs hands were so decidedly formed for the harpsichord, that he was extremely unskilful at any thing else. At dinner his wife almost always carved his food ; and if he happened to be obliged to do so himself, he performed it with the greatest difiiculty and awkwardness. This same man, who, as an artist, had at- tained tlie highest degree of excellence from his earliest youth, ever remained a child in all the other relations of life. He had no self-command ; order in liLs domestic affairs, a right employment of his money, temperance, or a reasonable choice in his pleasures, were not amongst the virtues he practised ; indeed, he was ever led astray by the pleasures of the moment. His mind was con- stantly absorbed in a mass of ideas which ren- dered him totally incapable of reflection on what we call serious subjects, so that, during his whole life, he was in want of a guide to direct him in the passing business of the day. His father was fully sensible of his weakness, which made him request his wife to accompany their son in liis journey to Paris in 1777, his o^vit en- gagements at Salzburg precluding the possibility of his absence from that town. With all these eccentricities, Mozart became a being of a superi- or order, directly he placed himself before the piano. His soul then rose above all the weak- nesses of his nature, and his whole attention scemej rapt in the sole object for which he was born, the harmuny of sounds. The fullest or- cliestra did not prevent his observing the slightest false note, and he would point out with the most astonishing precision the exact instrument on which the error had been committed. Mozart, when he went to Berlin, did not arrive there till late in the evening. He had scarcely stepped from the carriage, when lie asked the waiter of the inn wliat opera was to be j)erformed that night. " L Enlevement dii Scrail," was the answer. ""Tha* 628 laiz ENCYCLOP-EDIA OF MUSIC. MO^ is ielightful," be hastily n plied, and immediately WIS on his road to the theatre. He placed him- self at the entrance of the pit, to hear without being seen ; but he soon found himself close to the orchestra, at one moment praising the per- formance of paiticular airs, and at another ox- claiming against the manner in which certain parts were performed. The director had allowed himself slightly to vary one of the airs : when they came to it, Mozart, unable any longer to contain himself, in n loud voice corrected the orchestra, and told them the manner in which they should play the movement. All eyes were imi)etuosity of which he was capable. Still no attention was paid. Ho then began to remon- strate with his audience in rather an abrupt man- ner, though still continuing to play : fortunately his rebukes were in Italian ; therefore few |)eopla understood him. Silence, however, was again iu a degree restored. When his anger was a littlfl appeased, he could not help laughing him-elf at hLs own iuipetuositv : lie then tried a more jiopu- lar style, and concluded by playing a well-known air, uiKin which he extemporized variations, and enraptured the whole assembly. Mozart soon after this left the room, having previously invited fixed on the man in a greatcoat who occasioned ( the nuister of the house and a lew other select such confusion. Some persons immediately rec- ognized Mozart, and in a minute the mvisicians and actors learned that he was amongst the spec- tators. Several of the performers, amongst others a very good singer, were so much struck with this information, that they refused to appear on the stage. The director complained to Mozart of the dilemma iu which ho found himself placed : the great composer instantly repaired behind the scenes, and succcetleil, by the praises he bestowed on the general performance, in making them con- tinue the opera. Music was, in fine, the great occupatiou of Mo- zart's life, and at the same time his mo»t pleiusing recreation. From his earliest infancy, jiersuiusion connoisseurs to join him at the inn, where he kept them to supper ; and upon their begging him again to perform, he immediately complied, becoming once more so rapt in his subject thai he forgot himself till midnight. The following anecdote is also related of Mo- zart. An old tuner having put some strings to' Mozart's harpsichord. " My good friend," said Mozart, " how much do I owe you ■ I leave thia place to-morrow." The poor man, regarding him rather as a god than a human being, re^ilied, to- tally disconcerted, humbled, and stammering, "Imperial majesty .... Monsieur le Maitre d« Chapelle de sa majcstc iraperialc .... I can not .... It is true I have fre(}uently been here was never necessary to place him at the piano, i . . . . Well, give me a crown." " A crown ! " On the contrary, it re(iuired care to prevent him from over-fatiguing himself and injuring his health. Ho had always a miuked predilection for performing at night. When he placed him- eelf at the harpsichord at nine o'clock, he never ([uitted it till midnight ; and indeed, at times, he was almost obliged to be forced from the instru- ment, or he would have continued preluding and trilling away the whole night. In the usual rou- tine of life, he was the mildest of human beings, but the least noLse during music would cause in him the most violent indignation. He was far above that aH'ected and misplacetl modesty which reso- the same time far more dilHcult; some ladies in lutely exempt from all importunate mixture of the assembly began to think it decidedly tire- majesty and tragedy : no piece in tlie world can some, and whispered to each other a few satirical be compared to the " Snzz<' de Fiiaro." words ; soon half the company began to Uiik. T\\c master of the house was on thorns, and at .enirth Mozart discovered the impression his mu- jic made on the audience. He, however, did not quit his tirst idea, but developed it with all the 629 As to the opera of" Idmneiieo," it may be safely afKnned to be unrivalled, as well araong-t hii own operas as amongst those of the tinest com- posers. For the " Flaiito Mnijirn," it should b* seen, to form a correct idea of its beauties. It ap- MUF ENCYCLOPAEDIA OF MUSIC. MUt pears to be the sportive effort of a tender imagi- nation, sikI does honor to Morart's gieit talents. T}ie ttii-romnntic imagination ol Mozart ap- jiearii at its zenith in " b:>n Jiiun," this faithful delineation of so many interesting situations, and all of which are wonderfully portrayed by the rich talents of the composer. He has tri- umphed most completely in the discordant gran- deur of the music, u\ the terrible reply of the btatue ; it conveys to the ear a horror equal to that of Shakspeare"s most terrific passages. IIh- fear of Leporello, when he decides not to epeak to th< cvimmander, is ilisplayed in a truly comic style — a circumstance unusual in Mozart's music. When "Don Juan" first a])])eared at Kome it did not fully succeed ; the music per- haps was too difficult for the orchestra. The piece of " Cusi fun tntle" would have fl( urished better in the hands of Cimarosa. Mo- zart never succeeded when the trirtings of love were to be depicted, that passion having been ■with him, throughout his li;e, either a blessing or mbfortune. lie succeeded therefore best in those characters where tenderness was to be de- veloped, and not at all in such parts as the hu- morous old naval captain. It must be owned that, in the course of this piece, he has fiequent- ly taken shelter in his sublime harmony, as, lor instance, in the trio '• TtUte fan cusi." MUFFATl', GEORG, was an eminent or- ganist, composer, and fuguist, and one of the great harmonists of Germany at the latter end of the seventeenth century. Alter having been for some time organist of the cathedral church of Strasburg, he went to Vienna, Home, and Paris. At the latter place he continued six years, during which time he made himself, in a particular manner, acquainted with Lulli's style of composition. Jn 1G90, he published his " Ajijmratiiii Musico-Oryaiiistus," a work consist- ing of twelve toccate, which he performed at Augsburg on the day that the consort of the Emperor Leopold was crowned empress, and his son Joseph King of the Kouiaus. MUFFAIT, GOTTLIEB, son of the pre- ceding, was organist to the court of the Em- peror Charles ^'I. He was a pupil of Joseph Fux. He published " Com;x>iiimenti Musuali per il Cembalo;" besides which there are still in manuscript, " 6 Klavicr-l'artien und 8 I'artien Tol■cctt■>^ ytnU Vuij-.n." MUHLE, XICOLAUS, by birth a Silesian, was born ibout the year 1750. He was in early life engaged in the orchestras of the theatres at Dantzic and Konigsbcrg. By long perseverance in practice he at length made himself so well qualined for the situation of chej d'orcluslrc, to which he was appointed, that no mistake in time or l^tlsc note ever escaped him. His composi- tions certainly evince talent, but IrcMjucntly also haste and negligence. We can mention the tol- lowing of them: "Die Wiidiliibe," operetta; "Das Opfer di-r Trent;" interlude; " Mit dent Uluckeiuiihlaij ZicOlf," operetta; "Die Sinyachule," operetta, 1792; " Di-r Ercmit von ForinenUra," operetta, 1793. MUHLiLVXX lived iu IGOO, at which time be publi.«hed " Mnsiea AnlimcUiniholica," Leil)sic. I'lus was perhaps the same musician who died iu 1613 at Leipsic, as professor of dirinity and archdeacon of the church of St. Nicholas. MCHLING, AUG., born in 1780 at Ra- guhne, received his musical education in St. Thomas's school at Leipsic under Hiller and A. E. Mailer. He distinguished himseLi' under the former as an excellent soprano singer, as also afterwards by his talents in composition, both for the voice and orchestra ; at the same time ha was an able ]]ianLst and violinist. In the latter capacity he appeared at the concerts in Leipsic, where he gave great satisfaction. In 1809, he was invested with the offices of professor of vocal music and director of the Gi/mnoaium and TOcfUerschule at Nordhausen, wheie he was at the same time organist. The following of his compositions have been pubhshed : " iiec/is Lie- dt-r mit Bejl. des P. /■'., Ues \\." Leipsic. " ^mmlunj zicei/ und dreystimmiger Gcsange fUr uxibliche Stimmen mit loillkuhrl. Begleitung des Kutviers," Nordhausen, 1812. He also composed overtures, symphonies, and an oratorio called " Die Lbidensjeicr Jesu." MULLER, ANDREAS, city musician at Frankfort on the ^lauie, in 1600, was born iu Hammelburg. He published " Teutsche Balielen und Canzonetlen zn singen und auf Instrumenten zu brauchen, mil 4 Utimmen" Frankfort, 1600. " Teutsche wetlliche Cauzonetten zu singen und auf Instrumenten zu brauchen, mit i bis ii !!itimtnen," Frankfort, 1603. " \euwe C'anzonetten mit 3 i^«»i- fnen, hiebecor ton den Italis componirt, utid mit Teutscher Spravh unterlegl" Frauktbrt, 1608. MULLER. AUGUST EBERH.IRD, singer iu St. Thomas's school, and chapel-master of both the principal churches of Leipsic, was cel- ebrated as a composer, organist, pianist, and flutist. He was born at Northeim, in Hanover, in 1707, where his father, Mathias Muller, was then organist ; but the latter subsequently went to Kinteln in the same capacity, by which means his son was sepai-ated from his birthplace at the most tender age. At Rinteln he received his first instruction iu music, and made such consid- erable progress, that by the age of eight he had ] appeared iu public in several townis. In 1785 he leu school lor the University of Leipsic, and proposed to study the law, but went in the fol- lowing year to Gottingen. Here he was admit- ted a member of some amateur concerts, and also played his first public concerto on the flute. Having tailed in obtaining the place of organist at the university, which had been always occu- pied by a student, he was compelled to leave that town very soon, for want of supi)ort, and returned to liis parents. He did not, however, stay very long with them, for, in order to hear and learn all within his power, he undertook several short musical journeys. In Brunswick he was so lortuuate as to find protection from a relation, and remained there lor several years. At last, in 1789, he went to Magdeburg, where he not only obtained the permanent situation of organist in the Church of St. Ulrica, but also was married. His talents were here so \\ ell appre- ciated, that, in 1792, the direction of the grant city concerts was oH'ered to him, and also that o' a private concert, whose members were chiofl, noblemen. Both the.>e othces he tUed tc the utmost satisfaction of the proprietors. He wu G30 MUL EXCYCLOP^DIA OF MUSIC. MUL not, howcvpr. so completely eni;ap;e(l as to be un- able to uiKbntnke short tours from time to time ; the most protluctive of which to him, in point of improvcmrnt, was that wliich he mailo to llerlin in I79'2, wlieie he remained a whole winter, and not only formed an acquaintance with Marpur;;, Fasch, Keichardt, and other celebrated men, but by his able, expressive, and sweet style of per- formance on the piano-forte, his uncommon abilities on the tlute, and hi-< powerful and har- monious performance on the organ, he created a univer-al sensation. At the same time ap- peared, partly in Herlin, partly in Ort'cnbach, his first comi)ositions for the piano-forte, after which he continued to publish seveial other works. This unexpected and brilliant dinnuemcnl, as compo.ser and virtuoso on various instruments, pi,n genaiwn und rich- tiifen Vorlra'je der Mozart'schen Klavierkonzcrle in Absicht tichtiijer AppUl.atur," Lepisic, 1797 ; "tVfte-r die FlOle und Ftotenspiel ; " " Ktiivier oder Forte- pianoschiile, oder Antreisiinff zur richtigen SpicUtrt," Jena, ISOo ; " KlKim-a Elementarbttch fur Klavier- tpieler," Leipsic ; " Inslruktire L'ehuiiy:ithcke ( Pities instructicis) fur das I'. F. far die erst n Anfnntjer, \tei, lies u. Ztes Supplement zum Elemeutarbtuli," Leipsic; and "Tour 2 Fliilcs." Op. 11, Hamburg; "3 Dirgl.," Op. 13, Leipsic, 1797 ; " Grand Concert, pour la Flute, Cf). 16, in /)," Leipsic, 179S ; " Journal jmur la Fliite, cunten. plus. Piftvs d'une dijficulti progress. Cah. 1, 2, 3, 4," Ilamliurg, 1799 ; " Concert, pour la Flute, in E min." Op. 19, Lei])sic ; " Concert, pour la Fliite, in D dur.," Op. 20, Leipsic ; " Ein FtO- tenkonzert im slrcngen Siyl, noch in Msl. ; " anil " Theme ffiv. de Mozart varii pour Flute, avec Fliite ou 1'iohn," Leipsic. He has also published, for various instruments, " Grand Sonu/e pour I'. /■'.," Op. 2'), Leipsic. 'D'.is sonata has had tb.o peculiar fate of l)oing in raanv places coi)ied with Mozart's name, and is still considered by many as belonging to that author. " Grand Cone, jmiir Fl., Oe. 27, in ('," Lcii)8ic ; " Trois Duos Cone, pour 2 Fl., Oe. 28," Leipsic ; " Six Gran'ls Caprices pour P. F., Oc. 29, Liv. 1 et 2," Leipsic ; " Grand Cone, pour Fl., Oe. 30, «'/» G," Leipsic ; " Trois Grands Caprices pour P. F., 0» 31," Leipsic; " Thime de .Mozart, ' Ein Madchen oder Weibchen,' varii pour P. F., Oe. 32," Leipsic ; " W .Izer in 12 DurtOncit, vorzUglic/i fiir den i'nter- richl, mil Ap/dikalur 33 IT.," Leipsic ; " Truis Grands Caprices pour P. F., Oc. 34, Lie 4," I>eip- sic ; " Fantasia p. P. F. jx^r servire d' Introduzione a un Tenia di .Mozart, con I'ariaz.," Op. 35, Leip- sic. After having, in 1807 and 1809, had the honor of giving lessons on the piano-ibrte to the hereditary Princess of .Saxe- Weimar, for wiiich especial i)uri)ose he wrote in the i^ame year his great capriccios for the piano-forte, printed at Leipsic, he was appointed chapel-master to that court, under the most honorable and advanta- geous conditions. ThLs situation he held in 1810. MDLLEU. mad., wife of the preceding, and the great ornament of the Leipsic concerts, was distinguished as a very able pianist. MtTLLEll, CAUL. Ch,f.,ronhestre at the German theatre in Amsterdam. .\ friend of Oer- ber's knew Milller in that city in ISOl, when ho was yet a young man, but an able violinist. He had then only written the solo parts to two con- certos for the violin, and two works of variatiou^. MtTLLEU, CARL W.. court musician to the Duke of Urunswick, published, " Ariette A , Op. Les none .\rcatl. arcc 12 Var. p. le Clar," No. 1, Brunswick; " .\ndante avec Var. p. le Clav," Ber- lin, 1795; " Ariel te arec 10 I'ar. p. le Clac, da Cosa rara," Op. 6, Berlin, 1800 : " 10 I'ar. pour le Clav. sur \un bcui die Flur,," &p., 1800 ; "9 I'ar. pour le Clav. sur Sch.on eiUtfriih der Arkeismann," 1802 ; " 3 Sonates faciles pour P. /■'.," (Jp. 7, Leip- sic ; •' 3 Polonaises pour J'. /■'.," Op. 18, leipsic ; and " 3 Sonaies faciles pour J'. F.," Op. 19, Leipsic. MCLLER, CII. p., publiahod " Lieder auf alU Sonn. und Festage dcs llrrrn, zum Gottesdiensl in der liOmish- KatKilischrn Kirchr flir die Orgd und 2 Singstimmen," i. e.. Songs for the .Service of all the 8unilays and Holydays of the Lord Ln th« Roman Catholic Church, for the Orgaix aud tni Voices, Ijind...!iut, 1793. Ml MUL ENCYCLOPEDIA OF MUSIC. MUL MLLLER, F. A. Probably a Uerlin musician. ' mentioned situation, in the enjoyment of which Of his workH were ijublishetl, between 1796 and 1800, " lirunnenlUd mil 2 Melodien," "3 S-matiiie p. U P. F. o Arpa, ace. da 2 Corni e I'.," "3 Soiia- tiiies pour la Il.irpe on P. F.," and "Sonate et Rondo en Caprice pour Ic Clac," 1800. MCLLER, HEINUICH, doctor and professor of theolofiy, also pastor and superintendent at Rostock, was born at Lubec m l')31. He held from l(io3 his different clerical situations at Ros- tock, where he died in KiTo. lie published " Geistliche Schu-Musil;," 10.59 and lOfiS, in which he introduces several observations respect- ing church sinking. XltJlJ.ER, JOIIAN'X, composer and organist to the Elector of Saxony, and born at Dresden, was a pupil of Pcrandi. He flourished about the year 1640, and died towards 1670. The follow- in;? works are ascribed to him : " Neioe Teutsche M>tcUen mit 5 und 8 Stimmen componirt," Darm- stadt, 1611, and •' Jubileum Sionis," Jena, 1649. MULLER, JOHAXX. of Ferudorf. probably a singer, published " Kur:e und leichte AntccU'ung zum Singen der Chorahnehdien," &c., i. e., A short and easy Introduction to the sing'ng of Choral Melodies, written for his Pupils, Frankfort, 1793. MtLLER, JOIIANX CHRISTIAN, a mu- sician, resident at Leipsic, was born at Langen- Sohland, near Bautzen. He belonged to the academies at Bautzen, Zittau, and Lauban, at which latter place he did much good, in the capacity of prefect to the choristers. He went afterwards, in 1778, to Leipsic, and was appointed violinist to the concert and theatre there, through the interest of cha])el-master Ililler. He died at Leipsic in 1796, in the flower of his age. Besides his " Self-Instruction Book for the Harmonica," he published " Schi/Ur's Od/f an die Fremlc in Mii- sik," Leipsic, 1786, and "Wildungen's Jtlgerlieder," Leipsic, 1790. MCLLER, JOHANN CONRAD. Professor of the piano-forte at Frankfort on the Maine, about the year 1800. He published " 12 Walzer furs Klac," Offenbach, 1800, and " Gesdnge am Klav. nebst einem Anhange von 8 Walzerny" Neu- Btrelitz, 1802. MCLLER, JOIIANN DANIEL, concert mas- ter at Frankfort, published " VolUtaudiges Ilessen- hamittisches Clioralbuch," Frankfort, 17.54. MULLER. JOHANN IMMANUEL, singer, organist, and composer at Kerslebcn, near Erfurt, was born in 1774, at Schloss-Vip])ach, near Er- furt. He received from his father his first n>- ftructJons on the violin, and began his studies on the piano about the same time, under the schoolmaster of his native village. Soon after- wards his godfather, the curate of the village, undertook his further instruction, and brought him so forward on the organ, when only in his ninth year, that he was heard with pleasure in one of the neighboring churches. Upon this his father sent him, in 1785, to Erfurt, where he was received in the choir, and at the same time cn- i'oved the instruction of cha])el-ma»ter Weimar : le next continued to study the piano and organ under the directions of Kluge, and also studied thorough bass and composition under Kittel. lu 17''.5 he obtained the situation of organist in the H«glcr chur'jh at Ei-furt, but was afterwards in- rited by tl-.t community at Kerslebcn to his first- he still continued in 1799. The following of hia corajjositions have become known : " Sinfonie in £v, (i 16," in manuscript, and "4 Deutsche Mis- ten," also in manuscript. MULLER. JOHANN MICHEL, was organist ' to the gymnasium at Hanau. Of hLs works we can mention " 12 Sonate a Ilautbois concert. 2 HaiU- bois ou Violons, Taille, Fagot el B. C," Amsterdam, I 1730; " Xeuaufgcsetztes J'oUsfttndigcs Psalm unj Choralbucfi," &c., i. e.. New, complete, and new- ly arranged Psalm and Choral Book, in which are set to Music, with new Melodies, not only the one hundred and fifty Psalms of Da^-id, but also two sets of Evangelical Church Ilj-mus, and other Sacred Music. MULLER, JOHANN NICOL, was, in 17o8, actuarius at Wurenbach. Adlung mentions the following of his compositions : " llarmonische Kir- chenhist atis 12 Arien, 12 Prdludien, tind 12 Leich- ten Fugen vor die Orgel und Clavier.," Nuremberg. MC^LLER, JOSEPH, a cop>-ist in the imperial royal library at Vienna, in 1796, was, at that time, considered among the best artLsts on the harmonica MtJLLER, WENZEL, was, in 1791, chef dtor- chustre at the theatre Marinelli, in I^eopoldstadt, at • Vienna. He was commonly called, at Vienna, the people's composer, on account of his talent for introducing in his operas, in a clever and easy :nanner, the themes of national melodies and dances. This is not to be ascribed to poverty of imagination, but to his paying homage to the taste of the public, and to his attending to the burlesque and low comic words which he is obliged to set to music. Samples of this style, jjeculiarly his own, are found in his " Sonntags- kinde" and in the ■* Fesle der Braminen," That it is not only the inhabitants of Vienna who find pleasure in this species of lively potpourri and dancing music, is e\'inced by the numerous audiences which were attracted to all the thea- tres in Germany, where Mflller's operettas were performed ; so that, with justice, he may be ranked with Von Dittersdorf, at the head of the most popular German composers of his age. Perhaps it is also to be ascribed to the familiar style of his compositions, that, in little more than si.\ years, he was able to compose the music to twenty-nine operettas, all written for Marinelli's theatre. They have been printed in various forms, throughout the whole of Germany. MtjLLER. The four brothers, celebrated for their admirable string quartet playing ; said ;o be the most perfect ever known. They ai'e the sons of Hcinrich Friedrich MuUer, court mu.sician to the Duke of Brunswick, and composti of many excellent songs. He died at Brunswitk, at an advanced age, in 1818. All lour brothers were most thorouiihly educated in masic, and each has become a brilliant virtuoso. Caul FuiEmucH, the eldest, was born at Brunswick, on the 11th of November, 1797. In the quartet with his brothers he takes the first violin. The tenor is admirably held by the second brother, Theodob Heinuich GfSTAv, who was born on the 3d of December, 1800. The violoncello is played, and in a masterly manner, by the third brother, Aroi-ST Theodou, born August 27, 1803; and the second violin by the youngest, Fuanz Fkb- 632 MUN ENCYCLOPAEDIA OF MUSIC. MU8 OTNAND Geoiio, boHi Julv 29, 1809. The quartet of the brothers MoUer is famous throughout Europe; they have given the musical workl a new conception of this class of instrumental per- formances, so that all other quartet playing, when compared to theirs, seems but an incomplete at- tempt. MUNCHAUSEN. BARON ADOLPH VON, chamberlain at the court of Prince Uenry of Prussia about the year 1793, was a very accom- plished musical amateur. lie not only excelled on the piano and harmonica, but also published the following works of his composition, which do credit to his talents : " Troi» ifin/on. pour F Or- cheat.," Op. 1 ; " Deux is>iuU. h quatre Stains p. le Ciav.," Op. 2, Piu-is, 1793; " Sonai. d quatre Maim pour k Clav." Oj). 2, 1793 ; "Uiu Sonat. A qiuUre Maiin pour le Clav.," Op. 3, 1793; " Dix Airs, avec Ace. de Clav.," Op. 4, Berlin, 1793 ; " Deux Sill/on. did. h S. M. le lioi de Prtase," Op. o, 1790; " Trois Dims pour V. et A.," Op. 8, Ber- lin, 1797 ; and " Si„fi>n. Piriod.," Mentz, 1800. MUNDANE MUSIC. The music of the spheres. MUNDY, JOHN, was organist, firnt of Eton College, and afterwards of the free chajiel of Windsor, in the reign of (iueen Elizabeth. In the year 1580), at the same time with Bull, he was admitted to the degree of bachelor of music at Oxford, and, about forty years afterwards, to that of doctor. lie died in'lG30. Mundy was an able performer on the organ and virginal, as is manifested by several of his compositions for those instruments, preserved in Queeu Elizabeth's virginal book ; and among the rest, by a fan- tasia, by which he endeavors to convey an idea of fair weather, lightning, thunder, calm weather, and a fair day. In this attempt he has failed ; it was not for want of hand, as the passages are such as seem to imply great command of the instrument. He composed several madrigals for five voices, which wereprinfeoiuit. pour Vc. et IS.," Op. 2 ; " Trois Duos pour deux Vc," Op. 5 ; " 3 Dergl," Op. 6, 1802 ; " Second Concert, pour Vc.," Op. 34, 1803; " Gr. Trio p. Vc, VinUm, et B. uml Gr. isonate p. le Vc. et B.," Op. 38, Paris, 1804. MUSvEUS, according to Plato and Diodorug Siculus, was an Athenian, the son of Or])heu8, and chief of the Eleusinian mysteries, instituted i« Greece in honor of Ceres ; or, accoriling to others, he was only the disciple of Oq)heus ; hut from the great resemblance which there was be- tween his character and talents and those of his master, by giving a stronger outline to the figure, he was called his son, as tliosc were styled the children of Apollo wlio cultivated the arts of which he was the titular god. Musa;us is al- lowed to have been one of tlio first i)oets who versified the oracles. He Ls placed in the Arun- delian marbles, ejioch fifteen, one thousand four hundred and twenty-six years before Christ, at which time his hymns are there said to have been received in the celebration of the Eleusinian mys- teries. MUSARS. Tlie name given to certain itiner- ant musicians who perfonned on the musette, and were formerly very numerous in most countries in Europe. MUSARD, FRANCOIS HENRI, a cele- brated composer of dance music, has been styled the French Strauss and Lanner. He lives at Paris, where he has a large orchestra of his own, with which he gives " promenade concerts," being the predecessor of Jullien in that kind of business. He also receives mcredibly large sums for playing at balls. MUS. BAC. (L.) The abbreviation of AarA- elor in music. (See that term.) At Oxford, the applicant for this degree must compose a ])iece lor voices in five parts at least, with instrument- al accompaniments for a small band. Tiie pro- fessor's fee for examining tlie composition i* one guinea; and to insure tliat the composition is really the production of the candidate for the bachelor's degree, a certificate, siguen'isic is derived from ynusa, because it is believed that the invention of this art is to be attributed to the Muses ; but Diodorus derives it from an Egyptian name, intimating that music was first established as a science in Egyjjt, alter the deluge, and that the first idea ot musical sound was received from that produced by the reeds growing on the banks of the Nile, by the wind blowing into them. Others again imagine that the tirst ideas of music were received from the warbling of birds. However this may really have been, it appears at least equally rational to attribute its origin to mankind, since musical intonation, in the ijifaucy of language, must often liave been the natural result of passionate feeling ; and since, also, we find, that wherever there is speech, there is song. Of all arts, music is the most natural to man ; and it is fair to infer that each nation, even at an early period of its history, must have possessed it to a certain extent, differing oidy tiora that of other lands, ac- cording to climate and other circumstances. Man is an instrument of music ; his every thought is e.xpressed by tones. Fear, anger, joy, desire, have each a pecuhar tone, underetood by all human beings, and comprehended by the brute. Man exercises this power in the various avoca- tions of lite; he uses it to heighten a certain feeling of e.xcitement, or to allay the fury of his antagonist, lietore the introduction of letters music was ; indeed, it came forth from chaos with the spirit of God, and moved upon the face of the waters ; the very motion of the earth, while it was " without form and void," wa-s musical ; and as darkness rested upon it, the voice of Je- hovah broke the awlul stillness, and made the earth musical with created light. -Vll nature then, as now and forever, wa;5 full of music. There is music in the hum of the industrious bee, as it wantons from Howor to flower — music so sweet «nd harmonious, that it seems, as it were, the lullaby to the thousand meaner insects whose couches are made among the roses over which the bee rules with unbounded sway. There is music in the grove — strains of sweetest melody from a thousand tuneful throats. There is music in the breeze at eventide, as it passes, (Eolian-like, over the face of the earth — in the bud roar of the storm, as it swells up aneriod of ten years introduces some forms or tunes of melody peculiar to itself, and which generally grow out of date before that period expire i. Suf- ficient, however, has been to each generation, and to each i)eo])le, its own music, liowover rude the same may be deemed by us. livery individual becomes conscious, from time to time, of progress made in the capacity to appreciate music. Do we not, perhaps, each remember a time wlien the various means which science employs to give a zest to the combinations of harmony, when sus- pensions, syncopations, and unresolved disso- nances were an abomination, were what the Italians were wont to call scelerala — accursed — to the, as yet, uncultivated ear? " As the indiWdual, so the world has passed through many rude, unfashioned days; an 1 the history of music, while it abounds with examples of wholly or partially barbarous practices and modes of composition and execution, in which men have at some time found satisfaction and taken delight, is not deficient in anecdotes cor- roborating the suggestions of each one's experi- ence, that, to the untrained ear, the sweetest har- mony, whose touches now (to reverse the exqui- site words of Lorenzo) become soft stillness and the night, may be intolerable jargon. I'hc terror and affright with which the fierce Algcrine re- coiled, when he beheld pointed at him the awful bell of a huge bass horn in the hands of the French musician whom he was on the point of running through with his lance, may serve to symbolize, though somewhat extravagantly, the 8huTt. " Until five hundred years ago, no compositions for four parts had ever appearetl. Countcq)oint did not e.xist. The makers of melody, the tmu- vires, or finders, were a distinct cla.ss from the harmonists, llie barbarism of successive tiftha was of frequent occurrence. " In another century, counterpoint having arisen, harmony has made surprising progress. only two strings, if tuned fourths, of furnishing ' In that period was invented the canon, the first that series of sounds called by the ancients a heptachord ; and if tuned fifths, of pr.iducing in octave. Now, as Moses was skilled in all the earning of the Egyptians, it is probable that Jie Israelites, who interwove music in all thoir leligious ceremonies, borrowed much from that form of the round and fugue; and rcsta were first introduced, particularly in the tenor, which was so called from its holding, or sustaining, the melodv ; female or soprano voice being then wholly uuknown. The invention of printing music with mo%-a- people. Transferring mere sound from the mind ble types did not occur until the beginninx of the to paper, without the assistance of any interme- | succeeding, the sixteenth century. In thUperioi diate articulation, is a wonder only eifualled by arose those celebrated discussions and cuntrovei- the act of writing wordj. The master mind sies concerning the fundamental principlits of 63o MUS ENCYCLOPyEDIA OF MUSIC. MTJ8 music. T)iHi)utc8 ran high about the duitonic divLxioii of the scale, and the mat)icinatical rela- tions of houiuls were widely explored. ' Every mathcnmticiiui,' says M. FetLt, 'thought himself' boni to be a musician.' The happy result of all this ^va^^ the discovery, by Znrlino, of lemjH'ra- minl, the proper method of tuning the clavichord. Towards the clo>c of that century, music was written to 1)C sung by o-; many even as nine choirs at once. In the mean time, melody was lost sight of. No attention was jjuid to the sense of words ; every thing was wTitten in fugue ; and the ab- surdity and jiedantry which prevailed in the schola>tic disputations were scarcely less con- spicuous in the composer s counteri)oint. "Uctween looO and IGOO, instruments were first introduced into the church to play the pait sung by the voice. Just before the close of that centviry, in lf)[)i, occurred that memorable event wliich infused into music a new life, when was brought upon the stage the precursor of the long line of musical drama, 'The Death of Eurydice ! ' " About this period, too, creeps in the ' auda- cious innovation,' as it was esteemed, ' of tlie use of the aeiisible iwte,' so called. Monteverde dares to jdace together the fourth, fifth, and seventh ; a collocation which leads the mind to the ensuing chord, and which at once gave rise to genuine and regular modulation. The distinction be- tween the major and minor modes was then also marked out. " Arriving at the commencement of the seven- teenth century, we find music beginning to ac- quiie more lightness and buoyancy, and new combinations and varieties of measure produced. Then it was that the Neapolitan school became celebrated under Leo, Durante, Porpora, Scar- latti, by whom and their successors were origi- nated nearly all the ordinary forms of music, airs with variations, rondcaux, the aria with chorus, scenas, trios, quartets, and finales. It was not until this so late period that thorough or con- tinued bass, signifying a bass running throuijhout the music, bcgi'n to be used, becoming the pecu- liar labor of the organist's left hand. At this period, we should not omit to mention, were pro- duced those difficult organ compositions which, even now, challenge the skill of the most expert performers on that instrument. Down to this period, the gamut, notwithstanding Monteverde's discovery, was still limited to six notes. No writer treated of the gamut of seven notes until one Lambert, in 1G80. " At the doi-e of the seventeenth and begin- ning of the eighteenth centuries, oratorios had begun to acquiie importance ; and about the same time, Cia.sparini, the predecessor of Scarlatti, Cor- dicelli, and Clementi, first formed the principles of fingering the harpsichord. " Towards the middle of the last century, the trio and quartet have received great improve- ment, and the symphony takes its origin : at first composed for four violin parts, viola, and ba.ss ; afterwards extended to admit the wind instru- meiit-H, and now brought to the highest perfection by the successive labors of Martini, Haydn, Mo- zart, and IJeethoven, who arc thought by some to have occupied the ground so completely as to render it not merely hazardous, but presump- tuous, for any to attempt to follow them into IhLs, their peculiiu: territory ; a criticism, how- nrer, of which, vast as their works are, another fifty years may, perhaps, have derclo^*^ th« mistake. " Only a hundretl years have elapsed, since, u France, a hitherto unregarded country, the Italian composers, Leo and Durante, found admirers. The struggle of their successor, LuUi, with th^ old French composer Kameau, which ended in the Italian being compelled to quit the field, was followed by the entire reform of the grand opera by Ciluck; the hLstory of whose yet more ^^olcnt struggles for superiority with Piccini, forms one of the most cmious chapters in the annals of the art. ••In speaking of music we are constantly re- minded that we can say but little of American music, for hitherto we have had no music. It shall not ever be so, however ! I cannot and will not beheve but that, from beneath this thrift, this utiUtariani-sm, thus cunning, there will yet force its way to the light this flower, — Art, in all its va- rieties ; that Germany, and Franc*, and Italy, all resjdendent as she is, shall not be forever monop- olists of all that is glorious and divine, and America be repellent forever : I cannot bring my- self to believe that a laud so fruitful of statesmen, orators, and men of science, and no longer de- ficient in historian, poet, painter, and sculptor, shall be forever destitute of the great musician. Only he will not derive his insi)iration and nur- • ture from the unmeaning publications of which our day and our country are so prolific ; with which the love of pecuniary profit, or the desire to gratify a fleeting fashion, have inundated us. " America can already boast of her manufac- turers of instruments, if not of her instrumental performers ; and it withm the past fifty years no fundamentally now modes of producing sound have been dLscovered, there have appeared such multitudes of new combinations of the old, in a variety of instruments, for which names must be obtained, that the inventors have been put to all imaginable shifts to find suitable appellatives. " ^^'hat numberless compounds ol classic words that could be pressed uito the ser\-ice of music ! AVith Melodeon, Harmonica, and Seraphina, all are familiar. But how shall one venture to enu- merate Harmonium, Orchestrwn, Cclestiiia, Bartt- chordou, Euphon, Plectro-euphon, and Poli/pUctron, JEdophone, Concertina, Ghjcibaritono, Eiimelia, JEol-hannonica, Eoline, and Eolodinn ; Aerophone, Tirpodion, Kalipthongon, and the like, which by no means comjilete the list of those produced within, or nearly within, the half century r "\\liat may be the final result of the tendency to combine the properties of various instruments, a tendency more familiarly illustrated in the ' at- tachments'," BO called, to the piano-forte, acolian, dolce campana. v*ic., we cannot pretend to fore- see. Questionable as the success of these ex- periments may still be deemed, it is probable that, after the prejudices which usually attend .pon the introduction of novelties are laid aside, large additions to the resources of harmony may be event ually acknowledged." MUSIC, AERI.\L. Music supposed to be pro- duced by aerial beings, or by the power of en- chantment. MUSIC MASTER. A musician who teaches the principles of the harmonic science, or the art of musical ])erformance. MUSIC ROOM. A room appropriated to, and G36 MUS ENCYCLOPEDIA OF MUSIC. MUf! resen'ed for, the rehearsa. and performance of music. MUSICA MENSURABILIS. (L.) Measured music. Music in parts of dissimilar motion. MUSICAL CONVENTIONS. These annual patheiings of choristers and mu-sic teachers, of late so common in New Kn<;land and other parts of the United States, originated in New Hamp- shire. In 1829, the idea of holdin;.; musical conventions was suijsested to the members of the New Hampshire Central Musical .Society, at Goffstown, and the first was appointed to he hold- en lit Concord in September. It was a two days nierting, and wius conducted by Henry Eaton Moore. In 1830 a similar meetinR wa.s held at Pembroke, closins; with a concert; and in 1831 the third musical convention was held at Oott's- town. Iliese were all under the lead of Mr. Moore. Soon after a three days' convention was railed and holden at Haverhill. In 183() a con- vention was hohlcn in llostou, by the lioston Academy of Music, under the direction of Messrs. Lowell Mason and Oeorge James Webb. The first class aH'orded such encouras^ement as to lead to the appointment of another the follow- in;: year, which was attended by a much lari.;er number of teachers. This cliuss gave increiising proof of the utility of the plan, and led to the appointment of a third. The attendance at the third cla.ss was so much increased, that a fourth was ai)i)ointed, and the thing began to a-ssume the appearance of an annual festival, which was looked for with increasing interest. After a few- years the interest thus awiikened gave rise to other convention", held at the same time, and in the same city, under other auspices. The nriiji- nal clas.s, however, suffering neither in numbers nor interest on account of the other conventions, annually increased, and the fourteenth annual meeting of the regular American Convention and Teachers' Class, held by Messrs. Miuson and Webb, at Boston, in October, 1840, was more numerously attended than any of its predeces- sors, more than one thousand persons being in attendance. In August, 1847, the first convention of composers and tetu-hers was held at Leipsie. It had its rise in the mind of Franz Brendel, editor of a musical pajxjr tlrere, who tried to bring about a meeting of music teachers, for discussion and action with respei't to various abuses of the day. Through hLs exertions a committee was formed, and an invitation was extende.iience, as will completely answer the purpose, is a mced all over (iermany. How ha|)py must such s com- poser leel, could he enjoy, through the remi.inder of his lite, but a thousandth part of the ha mlcs.s pleasure he has ditfused by thLs one song amongst hLs fellow-creatures ! Of his compositions wo can name " Life let us cherish," a convivi il song, with accompaniments of harp and harjisichord, Zurich, 1794; " Songs, with Accompaniments on the Piano-forte, First Collection," Zurich, 1795 ; " Second Collection," Zurich, 1795 ; " 'Diird Col- lection," Zurich, 1793 ; " Tviitonia," consisting of roundelays and choruses, in sL\ nurabc-s folio, Zurich, ISOS, arranged for the piano-lorte, and the vocal parts printed separately. " In t!ie com- position ol tliese lively and pleasmg roundelays," continued Gerber, " science, taste, and fancy are so joined to familiar harmony, a.s to prove the most charitable boon that could be bestowed on suffering Germany. O that there were but in every town three or four amateurs of both sexes sutiiciently clever to execute them correctly I How many a happy hoxir, how many a delightful evening, would thus be passed I and trom how many a gloomy thought would the singers re- lieve both themselves and surrounding friends I " "Twelve Toccatas for the Haq)sichord, " Zurich, i 1807. N.1,;eli's songs have been tnmslated, and I made widely popul.ir in France, It^ily, England, Sweden, and llenmark, indeed wherevjr Euro- 1 pean culture hius penetrated. Many of tliem have been introduced, by Mr. I/)well M:..son, into the school song books in New England Nageli ' founded a great singing school in Ziirirh, which spread the blessing ot a richer rausicNl culture throughout Switzerland. Alter this he wrote several vocal schools tor all .sorts of choirs, and in 1812, an elementary work ou singing on the Pcstaloz/.ian system. He was one ol the prin- cipal founders of the Swiss mu.sicad league oi uni m, which set the tirst example ob the coati- 639 NAI ENCYCLOPAEDIA OF MUSIC. NA.fl nent of grout musical festivals. lie died at Zurich on the 26th of December, 1836. NAIN'VILLE. A French singer of eminence at the Comic Opera iii Paris, between the years 1768 and 1790. NAKED. A term significantly applied, by modern theorists, to foiirf/u, Jifths, and other chords, when unaccompanied. NAKOKUS. The name of an instrument much used by the Egyptians in their Coptic churches, and in their religious processions, and consisting of two brass plates suspended by strings, and struck together, by way of beating time. NALDI, SEBASTIAXO, a celebrated Italian buffo singer, performed during many seasons at the King's Theatre, in the early part of the eighteenth century. He was considered the bc>t bujfo raricn/o that ever appeared in Loudon. His most celebrated character was the Fanatico in the opera of " II Fanatico per la Miisica." He quitted England for Paris about the year 1819; shortly after which he met with his death in that me- tropolis, by the bursting in his chamber of a por- table steam apparatus for cooking. NALDI, MLLE., daughter to the preceding, was an excellent singer, and was engaged, in the seasons of 1822 and 1823, at the Italian opera at Paris. NALDIXO, SANTL a Roman monk, was a singer in the Pontifical Chapel there, about the year 1617. He published many motets. His death took place in 1666. NANIXI, GIOVANNI MARIA, a fellow-stu- dent, under Rinaldo del Mell, with Palestrina, was a native of Vallevano, and, in 1.577, was ap- pointed a tenor singer in the Pontifical Chapel, where many of his compositions were preserved. He afterwards became chapel-master of the Church of St. Maria Maggiore, in which office he probably succeeded Palestrina. There are extant some fine madrigals of his composition, and two manuscript treatises of music ; the one entitled " CciUociiifiuanta Sette Contrapunti e Canoni a 2, 3, 4, 6, 6, 7,8, 11 toci sopra del Canto Fermo intito- lato la Btiae di Costanzo Fcsta;" and the other, " Trattato di Contrapunto con la Regola per far Contrapitnto." This latter treatise is the joint work of G. M. Nanini and his younger brother, Bernardino. He died in 1607. NANIXI, BERNARDINO, a younger brother of the jjreccding, was distinguished as a sur- prising genius, and as having improved the prac- tice of music by the introduction of a new and original style. ITiere is, however, nothing ex- tant of his composition, except a work, printed it Rome in 1620, entitled " Salmi d 4 voci per le Domeniche, Soleiinita delta Madonna et Apostoli con ifet Mayuijicat, ttno diet altro a 8 voci.'' NAXXIXL LIVIA. called LA POLACCHI- NA. A very celebrated singer about the year 1700, in the service of the court of Mantua. NAX'NO. An ancient Greek flutist and poet, especially known by the poem that Mimnermus wrote in his honor, B. C. 600. NANTEUNI, ORATIO, was born at Milan, where he held for many years, towards the close of the sixtooith century, the office of leader of the band at the Church of St. Colso. Picinelli. in his "Ateneodei Litferati Milan':si," savs, " Milan may be proud of having produced, amongst its curiosities and objects of admiration in music, Oratio N'anterni. His compositions are charac- terized by great depth of science. His music was said to be meat and drink to those who heard it, (pasceva gli uditore. ) He played, also, with infinite sweetness, so that there was not one who did not join in his praise." Moringa, in his " Xohitld di Mifano," 1.595. also calls him a delicate and in- telligent musician, and highly spoken of. He published several of his works. Some particular specimens occur in " Burgameno Parnassus Muii- CU3 Ferdinand. 1, 2, 3, 4, e 5 toe," Venice, 1615. NAPOLEON. ARTHUR, is a native of Opor- to, in which city he was born on the 6th of Sep- tember, 1844. He is the second of a family of six children, and in 1851 lost a younger sister, who was almost hLs equal in musical talent. At the age of three years he evinced a strong passion for music. His father taught him his notes, the treble and bass clefs ; and he rapidly imbibed the rudiments of the art. Before he had reached the age of five years he had appeared in public at the Philharmonic Society of Oporto. At the age of six years his father took him to Lisbon, where he played before the court ; soon after which hb was made an honorary member of tlie Philhar- monic Societies of Lisbon and Oporto. In 1852 he was taken to Paris, where he played before the court, and was honored with the notice of their imperial majesties ; and the little Arthur's suc- cess is recorded in the most eulogistic terms, by Hector Berlioz, in the "Journal (fcs DibaU." Ar- thur Napoleon is of a slight, slender frame; but he has a fine, intelligent countenance. His taste and facility in musical composition are highly promising of future excellence. At his piano he is a maestro — away from it, a playful, happy child. He possesses great animol spirits, but can easily be brought to concentrate his ideas on any given subject. He will amuse himself for hours, when left alone, in composing imaginary operas, with chairs and sofa pillows lor his company, and himself the conductor and orchestra. He doas not study, he only plays at music. It has been said, by a French critic, that " he must have brought from heaven the secrets of musical sci- ence, for he has not lived long enough to learn them." In truth, no teaching could gi\'e the taste, feeling, and expression which he imparts to Thalberg, Prudent, Herz, and a crowd of other composers, who may come under the magic touch of his little fingers. His execution is natural and artistic. The instrument obeys him. He passes over the most difficult pas.sages gracefully, and he interprets the great masters not only with un- erring precision, but with wonderful richness of tone, charm of expression, and w.^rmth of senti- ment. NARDINI, PIETRO, first ■violinist to the Grand Duke of Tuscany, at Florence, was bom St Leghorn in 1725. He was considered as the best pupil of the great Tartini, with whom he long resided at Padua. In 1762 he was engaged, together with several other distinguished mu- sicians, in the service of the Duke of Wurtcm- burg, ond the following year rendered himself very conspicuous among his colleagues by hii 610 NAR EXCYCLOP^EDIA OF MUSIC. NAl superior performance at the birthday concert of the duke, his master. In 17(17 the duke's cliapel establishment was considerably reduced, when Nardini returned to Leghorn ; and it is from this period he composed most of his works. In 17*i!) he went to Padua, to revisit Tartini, whom he attended in his hist illness with affection truly filial. On his return to Leghorn, the generous offers of the Grand Duke of Tuscany determined him to quit tliat town and enter the duke's ser- vice. Shortly after this, the emperor, Joseph II., was travelling in Italy, and Nardini had the honor of several times performing before him ; when the king testified his satisfaction by pre- senting the musician with a richly-cnaraelled gold snutl'box. In 178:i the President Dupaty was in Italy, anil in the twenty-ninth letter of his pub- lished tour he thus speaks of the talents of Nar- dini : " CV violon est una voix ou en a une. II a toiichi les Jibres de mon orcille qxti n'avaient jamais friini. Avec quelle tinuili Xanlini divUe Cair! arec que/lc adri-sse il eiprime le son de toiites lus cordes de son instrument ! avec quel art, en un mot, il travaille et ipurc U' son!" jN'ardini especially shone in the performance of adagios ; and it is said that, on hearing him with- out seeing the performer, the magic of his bow was such that it sounded to the hearer rather like a human voice than a violin. I'he style of his sonatas is ably sustained, the ideas are clear, the motive well treated, and the expression natural, though of a serious cast, as was the character of tlie composer. (See the " Essay on Musical Taste," by J. B. Rangoni, Leghorn, 1790.) Nar- dini died at Florence in 1790; according to others, in 1793. Among his works we can men- tion " Six Concertos for the Violin," Op. L, Am- sterdam ; " Six Solos for the Violin," Op. 2 ; " Sue Trios for the Flute," London ; " Si.\ Solos for the Violin," London; " Si.x Quatuors for the Vio- lin," Florence, 178'i ; and "Six Duos." NARES, JAMES, doctor of music in England, was the brother of Sir James Nares, knight, one of the justices of the court of common pleas. For some time he was organist of the cathedral church of York, where he composed several ser- vices and anthems. From hence, on the death of Travers, in 1758, he was promoted to the situ- ation of organist and composer to the Chapel Royal, and succeeded Bcniiud Gates as the mas- tor of the children there. 'ITie latter of these sit- uations he resigned about two years previously to his death. The compositions of Dr. Nares were not numerous, and were principally tor the church. Two of his anthems, " Heboid how good and joyful," and " O Lord my God," are inserted in the second volume of Stevens's " .Sacred Mu- sic." Dr. Nares was a studious and sound mu- sician, and his writings show him to have been endowed with a very considerable share both of genius and learning in his profession. He died in 1783. As organist of the Chapel Royal, he was succeeded by Dr. Arnold, and as master of the children, by Dr. Aj-rton. NARYSCHKIN, SEMEN KIRILOWICZ, master of the hunting to the Emperor of Russia from the year 1 7o 1 , first conceivcrly he now enjoyed the benedt of attending, twice a ■week, a gratuitous course of instruction from this great master ; at one lesson accompanying Eyselt, and at another Hunt. He had, moreover, the good fortune of jjiissing, about this time, from the jervice of liis despotic master to that of Hunt, who was of a very opposite character. Having thus spent three years and two months at Padua, and having acquired, besides a great proficiency on the vioUn, no ordinary skill on the harpsi- chord, he was introtlueed to Mr. Pitscher, who was travelling through Itiily at the expense of Prince Henry, and who, failing in his design of obtaining instruclion from Tartini. applied to take lessons of Naumann, then considered his best pupil, and also made him the ott'er of accompany- ing him, free of cxiiense, on his tour through Italy. This was too delightful a proposid not to be accepted by Xaumann with alacrity. Tartini himself, indeed, unwilling as he was to part with his favorite, deemed his removal almost indispen- sable to his becoming great in his iirofession. Ac- cordingly he left Padua with Sir. Pitscher in 17l)l, proceeded to Rome, and thence, in a few weeks, to Naples ; the charms of which city, to- gether with the delightful climate, and, above all, the splendid theatres, detained them six months. It seems that Naumann there devoted himself exclusively to theatrical composition, and tried his strength in that style on several detached pieces of Metastasio's poetry, which he meant for the stage. At length they quitted Naples, spent tlie Easter holidays at Rome, and then proceeded to Eologiia, where, on presenting Tartiui's letters of recommendation, Naumann was immediately admitted by the celebrated Padre Martini to his academy, on the footing of an old acquaintance, and failed not to dip freely in the treasures which he discovered in this master's library. Mean- whUe the time allowed to Pitscher for his resi- dence in Italy had expired ; but, as war still con- tinued to rage throughout Saxony, Naumann thought best to let Pitscher return alone to Ger- many, remaining himself at Venice until a more auspicious period. In that city he soon got a sulKiient number of pupils to supersede all cares al>out his immediate wants ; and, indeed, before two months had elapsed, hLs greatest wish, up to that ]eriod, was accomplishe t"..« remainder, set by two other ma.^tcrs." (Th* titles of those two pieces are not kimwu to Ger- ber.) " Having now resided eighteen months at Vcn ice, and, in all, seven years in Italy, the treaty of Huhcrtsburg at length restored peace and tran- atriotism, perhaps, contributed tn hii being, shortly afterwards, appointe. ser.-com. Dresden ; " Amphion," Stockholm; "Cora," " Gustacus I'asa," "La Reygia d' Imeneo," Dresden; " OrJ'eo," Copen- hagen; " Midi-e," Berlin, 1788; " Prolesilao," 1793; " V Andromeda," "La Dama Soldato," op- era buffa, Dresden, 1791 ; iu this opera is the song of " Vino cccchio," so well known in Lon- don ; "Amore yiuatijicalo," opera bulla, Dresden, 1792; " Aci e Galatea, ossia i Ciclopi amandi," Dresden, 1801. For the chamber ; vocal: " Ecco quel fiero istante," a canzonet, for soprano and violin, 1778; "Freemasons' Songs," Leipsic, 1778 ; " Airs from Kobert and Caliiste," written for Mme. Ilclniuth ; " A Collection of thirty-sL\ German, French, and Italian Songs, with Ac- companiment for the Piano-forte ; " " Dii Lehrstundc,'' of Klopstock, 1786; "Six Italian Ariettes, with Accompanime:it for the Piano- forte," 1790; "Six French Ariettcs," 1790; "Ode on May. the Words by Clodius," Berlin; " Elegy, by llartmann, ' An die Volker, von \Vie- singer,' " Dresden, 1794; " Blumenstrquss J'Ur Li- na," Leipsic, 1794; "12 von Eiiiens gcMiichen Liedem Seym Klavier ; " " Stx Airs, acec Accom- pagnement du Piano-forte par -U. le Comte de liar' tig;" "Die Ideale ran Srhiiler," Dresden, 1796. " AirM Frani^is pour Piano-fete et Guilott " 647 NAU ENCYCLOPEDIA OF MUSIC. Hamburg, 1797; "25 ncuc Licdei- verschicdencn Inhalia vun lUr Fran ron lleck," Dresden, 1799; and " Cantathiii an die Toiikutmt." Instrumental : "Six Quntuors for Piano-forte, Flute, Violin, Bnd Bass," Op. i, Berlin; " Six Trios for the Har])si<'hord and Violin," Op. 2, Berlin; "Two Sj-Tuijhonies for a full Orchestra, from the Operas of Cora 1111(1 Klisa," Op. 3 ; " Six Sonatas for the Harmonica or Piano-forte," 178f); "Ditto, Sec- ond Part," Dresden, 1792; "Overture to Mdie, for the Piano-forte and Violin ; " " Concerto for the llaqisichord, in B," Darmstadt, 1794 ; " Three Sonatas for the Harpsichord, with Violiu and Bass," Paris; " >ix Duns fiiciUs pour 2 V., d I'uMoge de Commen^ant*," Leipsic. NAUSS, JOIIANX X. Or-anist at Augsburg about the middle of the eif^liteenth century. He published, in 17.51, a work on thorough- bass; he also published two volumes of preludes, fugues, airs, and pastorals, under the title of " Die apielende Muse," and afterwards five vol- umes of short pieces for the harpsichord. The whole were printed at Augsburg. NAUZE, LOUIS DE LA, member of the Academy of Inscriptions and Belles-lettres, insert- ed in the thirteenth volume of the memoirs of that society a dissertation on the songs of Ancient Greece. NAVARA, FRANCESCO, of Rome, flourished towards the end of the seventeenth century. lu Ui96, he brought out at Venice, the opera " Basilio lie d' OrietUe." NAV ARR A, ■ST:NCEXZ0, a priest at Palermo, iu Sicily, was born there in IfiOG. He published, in 1702, a work entitled " Brecis et accurata totius Miiiicte Xotitia." He also wrote a book called " Le Tavole d«Ua feyi/e numcrica, ed armoiiica, nelle quali si discoluno gli arcaiii piii reconditi del niimero e delta musica." ITiis work was about to be pub- lished when the author's house was consumed by fire, iu 1710. NAVARRO. FRA^-CESCO, a monk at .\lvaro, in Old Castile, about the year lfi20, wrote a work entitled " Manuale ad usuni chori jitxta rilum fra- trum minoruin," and another called " Dc oral, et por. canon." NAVOIGILLE, GUILLAUME, a French mu- sician, was, in the year 1798, first violin at the Pantomime Xationale at Paris. He published some quartets for the violin, and also wrote the music of the following pieces for his own thea- tre : " L'l Naissance de la Pantomime," Paris, 1798, Lud " L' Iliroiiie Suisse, ou Amour et Courage," Paris, 1798. There was also a musician of this name at Paris, probably a son of the preceding. N.\ZZARI, a pupil of Carmanati, and violin- ist at Venice in 1770, was then considered as one of the first solo players in Italy. NEAXDER, ALEXIU.S, director of the music at the Church of St Kilian, at Wurtzburg, in the year I'JOO, published " M.,l,lti a 4, .5, ')-24 voci," first, second, and third parts, Frankfort on the Maine, lGOo-1606. NEANES. One of the eight barbarous terms iumkI by the modern Greeks in their ecclesiastical feiiuic. The iutouatious of the eight church NBA modes are sung to this and the other eevea words. NE.\POLITAX SIXTH. A chord of thi sixth, in which both the third and sixth are minor. This chord is situated on the fourth of the ascending scale; thus in the key of A minor, the Xeapolitan Sixth will be KEATE, CHARLES, was born in London in the year 1784. His early indications oi a ca- pacity and taste for music were noticed by some friends of his family, wlio strongly advised his being brought up to the musical i)rofession. He was under great obligations to these friends, but particularly to WLlliiun Shaq), for directing his musical studies, and superintending his steady practice on the piano-forte, until the period when he formed a very intimate acquaintance with John Field, who had then just begun to distin- guish himself as a piano-forte perlbrmer. Neate received the benefit of his friend's instructions, and had also the advantage of hearing hLs incom- parable performances, until Field's departure for St. Petersburg. Neate and his friend Field, being both great admiiers of the \-ioloncello, wero_ kindly instructed ou that instrument by their' mutual friend, W. Sharp. His first public per- formance was at the oratorios under the Ashleys, who had invited him the previous season to hear Dussek, and also granted him the privilege of turning over the leaves tor him. ITie great per- formances of this celebrated master animated Neate, then a boy, with an mcreased zeal for his art, and with the ambition of occupying a similar post of honor beibre the public, when Dussek should quit England. Just at that period Neate was indeed selected to supply the vacancy, and continued to fill that department for several successive years. He was one of the first members of the Philharmonic Concerts, and was chosen a director for the second season ; to which situa- tion he was reelected, year after year, Avith the exception of the two years that he was on the continent. Being a very ardent admirer of Beet- hoven's music, he had fully determined to be- come personally acquainted with that great artist, should circum.>tani,es ever afford him an oppor- tunity of so doing ; accordingly, as soon as the peace was proclaimed, he gave up a very consid- erable connection, in order to visit Vienna. So gratified was he with the reception he met with in that capital, that he was induced to remain eight months : duriuL; the whole of which time he enjoyed Beethoven's friendship and profes- sional advice. He also pas.sed five mouths at Munich, when he studied composition under Winter. He also took a few lessons in composi- tion of Woelrt, who strongly counsellei him to publish, and selected from among his miinuscripts a sonata, which he desired should be inscribed to liim ; accordingly Neate published hLs Op. 1 in the year 1808. He did not then continue to publish, as he felt that the time devoted to keep- ing up his practice on the jiiano-forte, added to those hours he was engaged in teaching, and hit occasional violoncello playing, left him far too little leisure to admit of a hope that he would arrive at that eminence, as a composer, whi ik ^ii NEB ENCYCLOPEDIA OF MUSIC. uec would satisfy his ambition; he therefore made up his mind to be no composer, rather than one under such uniiivorable circumstances. But on hearing it insinuated that the reason assigned for his not continuing to publish was, that he did not compose his Oj). 1, he was again induced to take up his pen and intrude himself upon the public as an author, which, but for these un- founded suspicions, lie would certainly not have contemplated, lie ])ublishcd his Op. 2 in the year 1822, and has since that time continued to compose and publish. NEBEL, or NEBEL NASSOR. (II.) 'llio came given by the ancient Jews to their ten- stringed harp ; as that of which David speaks in the Psalms. This instrument was used when Jehoshapluit obtained his groat victory over the Moabites. It perhai)S obtained its name from its resemblance to a bottle or tlagon ; it is first mentioned in the I'salms of David, and the in- vention of it is ascribed to the Phccuicians. It ■was called a ten-stringed instrument. Josephus says that it had twelve sounds, (or strings,) and was struck or played upon by the fingers. Ile- sychius says it wa« " a hiu^h-sounding instru- meut ; " but others highly commend it. Bochart says, "Not know the imb/af then thou know- est nothing that is good." Ovid says that in playing it was turned about with both the hands — a circumstance which will be fully explained by the following short account of the nuxlern psaltery. It is in the form of a triangle, trun- cated at top, strung with thirteen wire chords Bet to unison or octave, and mounted in two bridges on the two sides. It is struck, not with the fingers, as of old, but with a plectrum, or Uttle iron rod, and sometimes with a crooked Slick. (G. pi.) Accessory NEBENGEDANKEN. und subordinate ideas. NECELLLNI, DOM. MARCO, chapel-master to the Duke of Parma about the year 1670, was in high repute as a composer. NEEFE, CHRISTIAN GOTTLOB, chapel- master and court organist to the Elector of Co- logne, at Bonn, was bom in 174S at a village in Saxony. lie first studied the law at Lcipsic, and at the same time received instructions in music from chapel-master llillcr, under whom he made such progress, that he at length decided on fol- lowing the musical ] rofession, for which an opportunity presented itself, by some of his com- positions for the German comic opera at Leipsic oeing ])erfi-t the begin* 649 NEO EXCYCLOP.^DIA OF MUSIC. NEl ning of the Bevcntceiith century, and published "Salmi a 7 voci," Venice, 1613. NEGia, MAUIA CATARII^A. An Italian ■in(;er, born at Bologna. She sang at the opera iu London, under the direction of Handel. NEfilll, DOM. FRANCESCO, an ecclesiastic and pupil of Antonio Lotti at Venice, about the year 1740, was eminent in his time as a per- former on the harpsichord and violin. At his death he Icl't several motct-i, cantatas, and in- strumental pieces of his composition. NEHILOTH. Ancient wind instruments. NEHULICII, JOHAXX PETER TIIEODOIl, professor of the harpsichord at Moscow, in 1798, was born at Erfurt in 1770. Endowed with a fle.xible tenor, he manifested, at a very early age, an extraordinary genius for music, ou account of which he was, as he went to the grammar school in the above town, at the same time placed un- der the direction of the music director Weimar. That gentleman soon advanced him so lar in singing, that already, at the age of eleven, he handed liim over to Chajtel-master Uach at Ham- burg, as a treble singer. It was there that he formed himself, in the strictest sense of the word, on the harpsichord ; for, after an interval of twenty years, his manner, even in his own compositions, still partook remarkably of the Bach school. However, both he and his master were but too soon disappointed by the loss of his treble voice, when he was obliged to return to Erfiut. He then took pains, by a social in- tercourse with the two eminent organists, Kittel and Haesler, to extend the solid information he had already acquiied, whilst at the same time he began to feel the necessity of a more compe- tent knowledge of several instruments. His great love for the science suggested to him, in- deed, the shortest, but at the same time the roughest and most laborious way of acquiring this additional knowledge, namely, to article himself for live years to the town musician of Gottingen. It truly required all the enthusiasm Mrith which Nehrlich was inspired, to persevere iu the science under such depressing circum- stances. Yet he not only persevered, but also Hvailed himself of every leisure moment to •study and practise in his garret the most ab- struse rules of counterpoint. " As an admirable proof of this," says Gerber, " I have now before me a printed Gottingen concert bill of the 26th of January, 1793, which mentions a concerto lor the harpsichord of Xehrlich's composing, to be executed by himself; and in a note of Dr. For- kel's he says, among other things very much to the purpose, and in Nehrlich's praise, ' Here the composer lias not only developed the wliole range of his ideas, out of the theme chosen for each division, without the least falling off either of melody or modulation, but like a true musi- cal desperado he even ovcrleajis these bouiula- ries, by retaining the same theme through all the three divisions of his concerto, still modil'y- iug it, with peculiar scientitic dexterity, and in a most interesting manner — a feat of skill which probably many esteemed composers would tind it ditHiult to imitate;* tlie more so, as it aji- pears that, on this occiusion, the tliemc was not Mlecteil by himself, but given liiiu, at his par- ticular request, by Dr. Forkel. If this attempt should savor a little of school pedantry, let it b« remembered, it is by a professor who has to re- proach himself with such subtilties only in hi* youth ; though, if such a one possess genius, the public need not fear any thing that is dull from him." After Nehrlich had faithfully served his apprenticeship at Gottingen, he got by Haesler's recommendation, the situation d music master in a gentleman's family at Dorpa^ in Esthonia : here, being comfortably settled, hi followed his scientific pursuits with great spirit, writing, chiefly for practice, a number of varia- tions on Russian and French songs, some of which he occasionally sent for revisal to his friend Haesler, who was then at St. Petersburg. Thence arose the circumstance of one set of these pieces being most unexpectedly returned to him in print. It was liis "Airs Russes var. pour le Clav.," Op. 1, which had been published by Gerstenberg, at St. Petersburg, according to the directions of Haesler. In this way his ixiend certainly afforded him an agreeable surprise, though, had it been in his power, he would have made the work undergo many alterations and improvements previous to publication. This first essay was, hoM-cver, well received ; so much so, indeed, that the publisher desired the author to send him more pieces of a similar kind,- which he accordingly did. Some years after this, Nehrlich yielded to Haesler's request, and joined him at Moscow, in which city he soon got a sufficiency of teacliing in the first famihes. Of his even then greatly accumulated stock of manuscripts, only the followin-> were in print in 1798: "Airs Bitsses," Op. 1, Petersburg, 1795; "Airs Ritsses acec Vars. pour Ic Clav.," Op. 2; " FaiUaisie el Chanson Russe avec Var. pour le Clav.," Op. 3, Moscow; ^' Six Le<;oiis pour U Clav.," Op. 4, Moscow ; •< Twenty-four short Preludes in all sharp and flat Keys," Op. 5, 1798; " Fantaisie et Chanson Russe avec Var.," Op. 6, St. Petersburg, 1802 ; and '• Twenty-five Sj.iritual Odes and Hj-mns from Gellert, with Accompaniments for Piano-forte," Op. 7, Leip- sic ; " Variations to the Air ' Hie Katze tasst dot Hansen nicht ;' " "Variations to the Air 'God save the King.' " NEIDHARDT, JOHANN GEORG, was bon» at Bernstadt, in Silesia, and resided, in 1706, at Jena, as a student of divinity. It was at that period that he first made himself known as an author of music. He subsequently became chapel-master at Konigsberg. His principal works are entitled, " The best and easiest Tem- perature of the Monochord," Jena, 1706 ; " lec- tio Canonis Armoiiici," Konigsberg, 1724 ; and " The seven Penitential Psalms." NEILSON, LAURENCE CORNELIUS, was born in London, and at the age of seven accom- panied his father and mother to the West Indies, where he buried the former, who was born at Copenhagen, and with the latter retiirned to his native land, after the family had suffered severe lo.sses in a turtle fishery concern. His musical career began in 1785. Valentuie Nicolai (whose piano-forte music previously, and at that day, was much esteemed) was the only master he ever studied under ; after which he attended pro- fessional schools and private families in Netting, ham and Derby, and was organist for two yean 650 NEK ENCYCLOPAEDIA OF MUSIC. NETJ at Dudley, in Worcestershire. That situBtion not answering his wishes, he left at the earnest entreaty of friends, and returned to Nottingham During his residence there he weekly visited Derby, and, for twelve years, the celebrated sem- inary conducted by the Misses Parker, at Ash- bourne ; when, on the death of Samuel Bower, (a worthy man and eminent musician,) organist of Chesterfield, he succeeded to his engagements in that town and neighborhood ; but, through the interested motives of Mr. IJower's daughter, was dejirived of the organ, although her father hsd niiide her a liberal settlement, accompanied by a command, "that she should have nothing to do with the organ or teaching, as it woidd be an object of consideration to his successor." lie dying in 1808, Noilson gave up the former place, and, though greatly disappointed, continued at Chesterfield. One of Neilson's sons was a pupil at the Uoyal Academy of Music, Hanover Square, being one of the ten elected on the com- mencement of that establishment ; which, from the assistance of most able masters, together with the excellent order and regularity with which it was attended hud conducted, gave rea- son for a favorable anticipation of its results. The following publications are by L. C. Neilson : " Three Sonatas for the Piano-forte," dedicated ti," Op. 1. Ills second opera con-sistod of sona- tas for from three to twelve voices. NEUI, SAN FILIPPO DI, an ecclesiastic, foun- dor of the order of the Oratory at Rome, was born at Florence in \n\n, and died at Homo in l.V.).). In his chapel he first introduced a more artificial kind of music than the plain canto fermn, or choral, which had been cu.stomary in the mass. Thi» wa.s called, alter the chapel and order of its founder, oralorium ; and so San Filippo Neri has been commonly, though improperly, ccftisidered the inventor of that form of sacred musical drama called uratario. NKRUDA, JOir.VNN OEOIIG. Chamber musician and violinist in the chapel at Dresden, where he was employed more than thirty years, lie was an excellent performer and a good com- poser. Of his numerous compositions there have onlv been printed " SLx Trios for the Violin," 1703. NEKUDA, JOHANN ClIRYSOSTOMUS, brother to the preceding, was born in Rohemia, in 170-'). lie was an excellent violinist, and first resided in Prague, but afterwards retired to a monastery, where he died in HG.'?. NERVIUS, LEONARDUS. a Capuchin monk to Miss Emes, (Pre.ston.) "A Sonata for the and composer, Hourished in the beginning of the Piano-forte," dedicated to Mrs. Smith, (Preston.) " Twelve Divertimentos for the Piano-forte," (Preston.) "Three Original Duets, Flutf;«," (Preston) "Three Set.s, twelve each, from favorite Airs, ditto," (Preston.) " .Six Numbers Flutist's Journal," (Preston.) Song, " VrHicn fortune reigns," sung by Mrs. Harrison, (Pres- ton.) "Several single Pieces and Songs," (Pres- ton.) " -V Set of Marches, Waltzes, and Dances, for the Harp or Piano-forte," dedicated to Mrs. Musters, (Cleracnti.) " Twelve Duets for Flutes," arranged from several airs, (Clemcnti.) " A Book of Psalms and Hymns," selected, composed, and dedicated to the Reverend G. Bosley, (Gould- ing.) "Single Pieces and Songs," (Goulding.) Song, " What has art with love to do : " sung by Mrs. lliff, (Relfie.) " O, give thanks," part of the , _ _ _ 107th p.sahn, composed as a duet and also as a •"•'roi'h"! V'e <■';»«'?'" mon icuie louni of uio third teuichord, ,*.'', , , when conjoint with the fecund. tno. lor voices ; marches, rondos, songs, and seventeenth century, and published at Antwerp "Ten Masses for 4, o, 6, and 7 voices," IGIO, and " Caniionet Sacra;" for eight voices, IG'J.'}. NESER, JOHANN. Bom at Wiesbach, in Gennany, 1.570. He published in 1619 a work for the music schools of his country, entitled " llymni Sticri." NETE. The name given by the ancient Greeks to the fourth, or most acute chord, of each of the three tetrachords which followed the first two, or the deepest two. NF.TE DIEZKfGMENON. In the ancient munlc, Oie fln«l or highe.t Mxind of the fourth tetrachord. and the flrat or irr«Trst of the f.lih. XETK IIVPERBOI.AEON. The iMt Mundof the A./j^-r'o/ncoii, or tiiffheit Iflmchurd, and of the great •Jttera. or diajirmm, of tha Greek*. -VETE SVNEMMEXON. The name bv which the anrlenU dU> glees, out of print, (Preston.) NEKEB, or CHALIL, which has been con.sid- ered to be pipes by most translators, is supposed to have been the Hute and hautboy. NEL. (I.) In the. NEl-VI, GIUSEPPE MARIA, of Bologna, published in 172.3, conjointly with Caroli, the ^QU^ic of the drama " Amor nato tra C omhre," also, tlie lollowing year, the opera of " L' Odio Redi- rico." NENNA, POMPONIO, an Italian contrapun- tist at the beginning of the seventeenth centunr-, rendered himself celebrated by his madrigals. Padre .Martini, in the second volume of his his- tory, cites the works of Nenna, of whose mad- rigals for five voices, eight books were published between the years 1(>09 and IG.'U. NERI, or NEGRI, MASSIMILIANO, flour- ished as organist and composer to the Church of St. Mark, at Venice, about the year 1671. He published, in that city, " Sonate e Caruoni H 4 t^romaUi da Chicin c di Camera con alcune corren- NETII, JOHANN MARTIN, organist in Hol- Btein, was born there in 168.3. He was pupil of a celebrated organist named Kosenbusch. to whose situation he afterwiu-ds succeeded. He died in 17.36. NET0IDE9. The nam* liven by the anelenU to Uie aouDda forming the higher portion of their icale, or fritem. NEUBAUER, FRANZ CHIilSTI.vN, concert ma.ster to the Princess of Schaumburg, at Bflcke- burg. .Some fragments of the short and unset- tled life of this professor are all that can be met with. He was a Bohemian, and low Imrn, but had the good fortune, early in life, to tall into the hands of a worthy master of a grammar school, who discovered hLs talent.s, and knew how to culti- vate them ; so much so, that, when he left the seminary for Prague, he possesstxl, besicles hi* particular skill in music, a tolerable taculty of expressing him.«elf in the Latin tongue. He got from thence to Vienna, where he 8.s»iduously strove to perfect hira.self as a composer, by moan* of his acquaintance with Haydn, Mozart, and Wranitzky. When still a youth, he entcrescr, and did bo with such caa* 6ol NEU ENCYCLOPEDIA OF MUSIC. NEL and facility, tlint he would frequently sit do«Ti at his (le^k in the public parlor of the inn where he hii|)|ieaed to lod^e, and write away, amidst the deafeniuj; noise of a numerous company. When not quite tliirty, he entered, in 17!)0, into tlie Princf of Weilburfj's service, as chapel-master; but when that chapel was broken up, on account of the French revolutionary war, he emiijratcd to Mlndcn, in Prussia, where he staid till he f^ot acquainted with the Princess of Schaumburg, who uol only gave him a gracious reception at BQckeburg, but also granted him leave to per- form his compositions in the chniiel there. Bach, who was then stUl at the head of the chapel. Boon perceived how greatly superior the lively youth was to himself in the management of instrumental composition, although his fre;[uent violation of the rules of the science did not escape the old professor's observation. Of course, the old man, seeing himself thrown into the background, with all his good nature, covild not refrain from some confidential censure of Neubauer's composition. Neubauer soon heard of this, and as all liis fortune depended on his maintaining his credit with the public as a com- j)oser, his feelings were naturally much hurt at Bach's criticism. Ilis giving vent, however, to his feelings in violent invectives, and by chal- lenging the old man to a duel about a question of crotchets and quavers, only shows his low education. On Bach's death, Neubauer got in full pos- session of his place, and was appointed by the prince-is conductor of her concerts. He then married a young lady of Bockeburg : but he had scarcely enjoyed this happiness six months, when he, too, was carried off to the grave. His death took j)lace in 1795. Most probably he accelerated it by the intemperate use of strong liquors ; for as he was wont, when in the neighborhood of the Rhine, to excite his imagination with the juice of the grape, the want of it afterwards compelled him to have recourse, for that pur- j)Ose, to brandy. Neubauer was interred by the side of his rival. It is impossible to deny genius, fire, and invention to his works. But as to the opinion maintained by some, that his greatest forte lay in his symphonies, they whose ears have been regaled with Iladyn's sublime masterpieces, will hardly subscribe this eulo- gium, since Neubauer's symplionics, compared to Havdn's, ajipear more to be written in the quar- tetto and divertimento style, and may be called rather jjretty than beautiful. In vain we seek in them that matchless, sublime, unabating effect which captivates the hearer in Haydn. Neubauer's style of symphony rather p.artakes of the trifling and the playful. Probably he suc- ceeded better in quartets, and other sonatn-like compositions. Those of his works which are held in the greatest estimation are, " Ln lia- tailU," his principal sj-mphony ; the great effect of which, however, must be attributeition without accepting any remuneration from hLs pupil beyond his occasional assistance' in the performance of his duties as court organ- ist. At the age of eighteen he was engaged at the court theatre as chorus master of the opera ; and it was only during his fulfilment of this occupation that he took the resolution to devote himself exclusively to music. In 1798 he quit- ted Salzburg, and went to Vienna, where the celebrated Joseph Haydn received him as a pupil, on the recommendation of his brother Michael. He profited by this inestimable good fortune during seven years, always endeavoring in some degree to merit the kindness of his master, who treated him Uke a son. In 180.5, he undertook a jour- ney to St. Petersburg, where he was soon engaged as chapel-master and conductor of the orchestra at the German theatre. X serious illness, however, obliged him to leave Russia. In 1807 he became a member of the Academy of Music at Stockholm, and, in 1808, of the Phil- harmonic Society at St. Petersburg. During his residence in the latter city and in Moscow, he brought out many works of his own compo>ition with great acceptance ; but it was not until 1808 that he was induced, by the advice of the con- noisseurs, and especially of hLs master, Joseph Haydn, to publish any thing. In 1809 he went to Paris, where he became intimate with men like Cherubini, Cin-try, and C'uvier, and lived entirely devoted to the arts and sciences. His patroness and motherly ft-iend, the Princess of Lorraine- Vaudemont, had introduced him to Prince Tal- leyrand, who soon after not only gave him an apartment in his hotel and a place at his table, but treated him, in all respects, as a member of his own family. In 18 U he accompanied this prince to the congress at Vienna, where, at the funeral ceremonies in memory of Louis XVI., his vocal requiem was performed by a choir of three hundred singers, in the St. Stephen's Church, before all the emperors and kings. In 1815 he was named Chevalier of the Legion of Honor, and ennobled by Lotus XVIII., and, after the con- gress was over, returned with Talleyrand to Paris 52 NJiU ENCYCLOPAEDIA OF MUSIC. NEM In 1816 he accompanied the Duke of Luxem- bour};, who went out as envoy extraordinary to Kio Janeiro. There he was warmly received by the dircctin<5 minister, Count da IJarca, and pre- sented to the kin<;, who settled on him a rich pension, which Neukomm, on the breaking out of the revolution in IS'Jl, voluntarily renounced, and followed the kin;^ to Lisbon, where ho was made knisjht of several orders. In October of the same year he returned to I'aris, and resumed his residence with Prince Talleyrand. In l.S2() ho spent eij;ht months in travelliii}? through Italy, and a'j;ain returned to Paris. In 1827 he made a tour through Belgium and Holland, and, in 1829, tluough England and Scotland, where he was most warmly received by Sir Walter Scott and other dL-^tinguished men. llcturning to Paris, he accom- panied Prince Talleyrand, in 18.'i(), on his emba.ssy to Kngliind ; and there he, for the most part, since remaineil, Knding an agreeable and honorable sphere of action. He usually spent the unem- jjloyed autumn and winter months in visiting his friends upon the continent. In lS:i2 he went to Uerlin, where one of his oratorios, " The Law of the Old Covenant," and several others of his com- positions, were jierformed ; from there he visited his friends in Leipsic and Dresden, and returned to London. In 1833-4 he made a second journey to Italy. The winter of 1834-5 he pa-sscd in Southern France, and made an excursion from Toulon to Algiers, to Bona, (the ancient Hip- pona where St. Augustine resided as bishop,) and to Bttgia, on the north-west coast of AMca, whence he returned, by way of Paris, to London. In the year 183t) he had resolved to visit .America, and pass about a year here. lie had already taken a berth in a Liverpool packet, when an attack of fever compelled him to renounce the project. In Manchester, where he lived in an amiable and very frienilly family, he soon re- covered liis full health and strength. His active nature would not rest ; he made a journey to tlie southern part of (iermany, and then to Frankfort on the Maine, where he remained several weeks. Then he travelled through Darmstadt, Heidel- berg, Manheim, Carlsruhe, &c., to Paris, to his old friend TallejTand. In 1847 ho was again in England. In spite of .so much travelling and various experience of life, Neukomm composed an inrre.lible number of works. Since his twen- ty-fifth year he has kept a thematic catalogue of his works, which contains the titles and themes, or first notes, of five hundred and twentv-four vocal compositions, (among which are si.xtv-scven psalms in various languages,) and two hundred and nineteen instrumental works ; in all, seven hundred and forty-three works ; and yet he com- posed many others which, in his travels, he for- got to set down. He is chietly known, in this country, by his popular dramatic oratorio of " David," and by some of the songs which he has composed to words by Barry Cornwall. NEUM.E. A term applied, by the old mu- sicians, to (iicisioiis upon a single vowel at the end of a psalm or anthem, as a recapitulation of the whole melody. Sir Henry Spelman, how- ever, says that the name nrumrr was synonjTnous R-ith the noun note, and that it simply implies an aggregation of as many sounds as may be con- veniently uttered in one single respiration. NEUMARCK, GEORGES, secretary of the archives, librarian, &c., at Weimar, was born at Muhlhausen in 1021. He waA a member of the Frtu-htbrinijrtulen Geselhc/inft, (Productive Socie- ty.) He published a didactic work on compo- sition, and also composed some songs. He i- liko- wLse said to have written the psalm, "ll'ir nur den liiber dott," S;c. He dieli>, Uoston, was burned down on the nif;ht of .Nlarch .'il, 18.52; and immediately prep- arations wtTO made for building a new one. The new Teini)le is immense ; it covers an area of ninety four feet front by one hundred and thirty- six feet deep, and is seventv-five foct high in front. The walls are of ample thickness and strength, varying in thickness from thirty-six inches to t-ixteeu inches, and, in accordance with the most approved method of building, hollow. This insures greater proportional strength, dry inside walls, a saving in furring and lathing — by admitting of plastering upon the bricks — and greater resonance and adaptation to music in the walls of the large halls. ITiis method obviates, also, to a very considerable extent, all danger of fire spreading, as it often does, and did to tlin de- struction of the old Temple, between the plaster- ing and the wall. AVherever in this new building it has been found necessary to use furring and plastering, layers of brick have been placed to cut off all chance of fire spreading between the plastering from one story to another. The floors, too, have a thick coating of mortar between the under and upper courses of boards, as a protec- tion ag.ninst the spread of fire, and to prevent the transmission of sound. The main Hall is one hundred and twenty-four feet long, seventy- two wide, and fifty feet high. Back of the stage, in a recess, is the organ, one of the largest ever built in the United States, placed there by the builders, Messrs. Hook. NEYDIXG, a musician at Erfurt, was bom in 1722. He was a good violinist and harpist, and left many vocal and instrumental compositions in manuscript. He died in 1788. NICAISE, ABBE CLAUDE, a native of Dijon, who died in 1702. ■wrote " Disseriatio de Vetenim Musica." It was not printed. NICETIUS, or NICETAS, ST. Dr. Forkel observes, in the second volume of his history, p. 197, that this Nicetius is said to be the real author of the hymn " Te Deum laiidamus," commonly ascribed to Ambrosius. NICHELMANN, CHRISTOPH, chamber mu- sician and professor of the harpsichord to the King of Prussia, was bom at Treuenbriezen in 1717. His first masters were Bubel, Schweinitz, and I.ippe. In 1730 his father sent him to .St. Thoma.s's school at Lcipsic, where he continued the study of music under the great Seba.stian Bach, then director in that school. The eldest son of Bach was at the same time his princiijal teacher on the harpsichord, and directed his first essays in composition. Being desirous, three years after this, to familiarize himself with tl.e dramatic style of music, bj' hearing the compo- sitions of the best writers for the theatre, and not being able to satisfy this desire at Leipsic, whore there w.as not then any opera, he resolved on a journey to Hamburg, in which one of his school- fellows, by the name of Boehmen, agreed to ac- company liim. Though the opera of this city was on its dccbne, it was still supported by the chapel-masters Keiscr, Telemann, and Mattheson, and several distinguished singers were attached to it. At Hamburg, Nichclmann became ii ti- mately acquainted with Keiser, who, with th« other two chapel-masters above mentioned, gavf him all the information he reijuired on the sub- ject of dramatic music, till the year 1738, when, after a short visit to his native jdace, he proceeded to Berlin. The organization of the Chapel Itoyal at Berlin, and the establishment of the opera in 1740, furnished him with a new opportunity of increasing his musical knowledge. He also, at this time, profited by the lessons of (iuantz in counteqjoint, and Graun in vocal composition. It was now that he wrote his sonatas for the harpsichord, which were afterwards published in two volumes. The death of hLs father havin:; deprived him of the pecuniary assistance which he had previously obtained from home, obliged him to turn his mind seriously to his establish- ment in lite. Tlie appointments at tlie Royal Chapel in Berlin being all filled up, he decided on a journey to England and France. Scarcely, however, had he reached Hamburg, when he re- ceived orders from the King of Prussia to return to Berlin, and the promise of a place in the chapel. Having immediately obeyed this man- date, he was nominated second performer on the harpsichord in the Chapel Royal. Amongst the compositions which he wrote during the time he filled this situation, we can mention only the pastoral, of which the king himself composed the symphony and two ariettes, dividing the compo- sition of the remaining ariettes between Nichel- maun and Quantz. In 1749 he wTOte his work " Die Me/odie." This was published at the time of the controversy respecting the comparative merit of French and Italian music, and called lorth several virulent replies, which, in their turn, were again answered. In 17oG Xichclmann ob- tained his discharge from the Chapel Royal, which he had soUcited from the king, and aftei that period resided privately at Berlin till his death, which took place in I'CA. NICHOLSON', RICHARD, organist of Mag- dalen Church, Oxford, was admitted to the degree of music in that university in 159.5. He was the first professor of music at Oxford under Dr. Hey- ther's endowment, and was the composer of manv madrigals. He died in the year 1639. NICHOLSON, CHARLES. The father ol this eminent flutist, who died 1737, was also an admirable performer on that instrument, and dedicated much time to its improvement. In this he was eminently successful ; and, at his death, left his son in possession of a knowledge of the principles on which he proceeded, and a genius highly capable of carrying those principles into execution. The rich, mellow, and finely- graduated quality of tone whicli he produced throughout the whole compass of the instrument, sufficiently e%-inces the success which ha< attend- ed his exertions. Nothing could more clearly show the mastery this artist obtained over the grand impediments of the instrument than hispcr- formance,in 1822, at Covent Garden Theatre, where he executed an adagio without the accompani- ment of a single instrument ; and such was his complete success, that an encore was d<» nanded by the whole house with acclamation. In pa- thetic movements, indeed, he had no rival. Nich- olson has published numerous works for his in- strument, amongst which are "Preceptive Les* sons for the Flute ; " "A Volum" o'" Studies, oon- 654 NIC ENCYCLOPAEDIA OF MUSIC. NIC listing of Passages selected from the Works of the most eminent Flute Composers, and thrown into the form of Preludes, with occasional Fin- gerings, and a Set of original Exercises ; " '• Twelve select Melodies, with Variations for the Flute and Piano-forte," in conjunction with Burrowes ; " O (hlce concento, with \'ariations tor Flute and Piano-forte," also with Burrowes; "Four Vol- umes of Flute Beauties, consisting of forty-eight Numbers; " "Twelve select Airs, with Variations as Flute Solos, with P. F. Accompaniment;" " Le Bouquet, or Flowers of Melody ; " "Potpourri for Flute wid P. F., introducing ' Life let us cher- ish,' ' Auld Robin Gray,' and favorite (Juadrillc, ' La Matilda,' as a Rondo ; " " Six Fantiuiias ; " "Mai/se(ler's Polonaise, for Flute and P. F.," and "Introduction and six Variations to 'The Fall of Paris,' with an ad libitum for the P. F." NICLAS, J. A. This musician, who was born in Suabia, published "Choix d'Airs de phtsieurs Operas," Lcipsic, 1790. One half of the French opera songs arranged in this work for the harpsi- chord, and sixteen in number, are of the private secretary Ilorinzky's composition. The remain- der are by Pacsicllo, Salomon, Gretry, and Gluck. Amongst them is also a chanson by Madame Au- rora, iirst singer at Rheinsburg. The publisher of this collection was at that time musician in ordinary to Prince Henry of Prussia at Rlieins- burg. NICOLAI, DAVID TRAUGOTT, court or- ganist of St. Peter's Church at Gorlitz, was born in that town in 1733. He was one of the most cel- ebrated performers on the organ in Germany, in the latter half of the last century, especially as an extempore player, and owed his great proticiency chietiy to the instructions of his father, B. T. Nic- olai, who was aKo celebrated on the same instru- ment. At the early age of nine, young Nicolai was able to perform with icUit Sebastian Bach's most dithcult compositions. His skill in mechan- ics was also so great, and especially his knowl- edge of organ building, that he was sent for j liom all jiarts of the surrounding country to [ inspect newly- buUt or repaired organs. The love of his native place, and above all his great at- ; tachmeut to his organ, rendered all calls to more ! lucrative situations fruitless. As a reward for this attauhment and loyalty, he obtained of the court, in 17.'te as of his opulence, is exceedingly gratifying. On one side you pass through a concert room into Ms study, the walls of which are covered with por- traits of all the celebrated authors, amo igst which those of lirst-rate composers are not oiait- ted. On the other hand, you behold a piano, and opposite to that a museum of engravings in huge portfolios, comprising also a collection of portraits of eminent musicians, not very nuiuer- ous indeed, but no less interesting on that ac- count. Tlie most valuable object, however, to be met with there, is himself: his excellent judg- ment, and agreeable conversation concernii g the sciences in general, scientitic men, nud their works, which one may look for in vain aoiongst a thousand professors, appears to him quite natural. Greatly as hLs writings abound with useful m.ttter on those subjects, it is in conversa- tion only that his vast erudition, and nice dis- crimination in every art and science, can be duly appreciated. The nobility, and even princes, are entertained at his hospitable l>oard ; when they are sure to find, besides the profusion of luxuries they are used to, something much more rare, namely, a society more remarkable for the ci.paci- ty of their brains than for that of their -tomachs. F. Nicolai, moreover, enjoyeout fi^f- teen years old, she ranked amongst the most dis- tinguished members of Fasch's excellent Conser- vatory." "ITiis superior man dietl at Berlin in 1811, age3 657 Ni'C ENCYCLOPAEDIA OF MUSIC. NON church as chamber ; a'.so some harpsichord music, which latter he publiHhed in 1756. XOCETTI, FLAMINIO. A celebrated Italian contrapuntist of the sixteenth century, of whom Cerrt'to in his treatise, written in IfiOO, speaks hi::hly, calling hira, however, N'ucetus. He prob- noly published several works, though his "Misse a 8 IOC." is the only one known. NOCIIEZ. A pupil of the celebrated violoncel- lists Cervetto and Abaco. After having travelled in several foreign countries, and especially in Italy, he returned to France, was engaged at the comic opera, then at the grand opera, and at length, in 1703, was nominated chamber musician to the king. It is Nochez who compiled the article Violoncello, which is found in the second book of Laborde's essay. lie died about the year 1800, havuig been jircviously pensioned, after a service of more than fifty j'ears in the opera orchestra. NODARI, UIOV. PAOLO, an Italian con- trapuntist of the sixteenth century, is ranked by Cerreto, in the same honorable manner as the preceding Nocetti, amongst the most celebrated professors of his time. NOELLI, GEORG, chamber musician, and professor of a musical instrument called the Pan- taleon, to the Duke of Mecklenburg-Schwerin, about the year 1780, was nearly the sole person who arrived at eminence on that instrument, having been taught it by the inventor, the cele- brated Pantaleon Hebenstreit. Noelli tirst studied counterpoint under Geminiani, and then at Dres- den, during six years, under Ilasse, and at Bologna under Padre Martini. He travelled tlirough nearly all Europe, and was in London at the time that Handel was there. He was in- timately acquainted with Emmanuel Bach, and some of his compositions are said much to resemble the style of that great master. He died at Ludwigs- lust in 1789. None of his compositions have been printed ; but several of his symphonies, also some quatuors and trios for violin and flute, were left in manuscript in the music warehouse of Westphal, at Hamburg. NOELS. Certain canticles, or songs of joy, formerly sung at Christmas, in the country churches in France. The name is derived from the Latin word tmtalU, and alludes to the nativ- ity. NOFERE, GIOV. BATTISTA, an Italian vio- linist, published, subsequent Iv to the year 17(J3, as well at Amsterdam as at Berlin and in Lon- don, fourteen operas, consisting of trios, duos, and solos for the violin, and solos for the guitar. NOINVILLE. BERNARD DE, published at I'aris, in 1719, L'llistoire du Thidire de I' Opera" in one volume octavo. This work went through two other editions in 17-33 and 1757. NOIRE. (F) A crotchet. Calle;i Sohis Domine ' will, in particu- lar, remain a perpetual monument to his mem- orv." This shows it tT have been written pr»- fViS NON ENCYCLOPAEDIA OF MUSIC. NOF vious to 1768. In Burgh's " Anecdotes of Music " is this passage: "The celebrated canon, ' Xon Nobis Dumuie,' wbh without doubt written by GUI' countryman Bird." John I'lirry, in a letter dated December 19, 1848, says, "Tliat Mozart did not w rite it is made maiiiiest by Hilton haviiij,' inscribed it, in a printed collection, with the name of W . Byrd affixed to it, as far back as lGo2, above a century before Mozart was born. But whether Byrd was the author has never been satisfactorily proved, alt)iou<^li it has been attributed to him for nearly two centuries. Some writers have named Palestrina as tlie com- poser ; but it is universally admitted in England to be the undoubted composition of Byrd. See Biiiu, William. NONOT. JOSEPH WAAST AUBERT. was born at Arras about the year 17oo. He was scarcely six years of age when he lieard, lor the first time, a regular orchestra at the college of tliat town ; and is said to have ex[)erienced so much pleasure on the occasion, that, from that monii nt, his taste for the art became so apparent, that liis father was unwilling to oppose his incli- nations. His sister at this time took lessons on the liarpsichord ; when the child used to place liimseLt near, and would repeat manv of the passages that had been played, after the master had leit the room. Some time after this, at the fCte of his parish, he begged of the organi-t, who was an old miui aged eighty-four, to let him play the offertory in the church. The old organ- ist laughed at his request, but good humoredly granted liira permission, when he immediately sat down and extemporized a movement of his own composition. The congregation were aston- ished, and could not compreliend the renovation of talent, as they supposed, in their o'.d i.erformer. Tl'.e boy, having tinislied ilie movement, (luietly left the organ loft. Soon iifterwurds, his father having a party, much was said on tl-.e subject of the organ performance at the piust J'tte, when young Xonot ran to the harpsichord, and repeat- ed the whole piece, with considerable improve- ments. Even this, however, could not bring his father to decide on letting the boy have a mas- ter ; but he soon took him to Paris on a visit to a friend, who happened to be very intimate with Leclerc, a celebtated organist in that city. This friend took young Nonot to the church of St. Germain dcs Pres, to hear Leclerc, when tlie boy again asked tl:e favor of being allowed to play, and so astonished Leclerc as to lead him to doubt the possibility of the music being com- posed extemporaneously. He was soon, how- ever, convinced of this fact, by giving the child a theme, which he followed with etjual skill. His enttiusiasm was then such, that, seizing the child in his arms, he exclaimed, " Ta resUras d I'aris .' " luid soon prevailed on the father, by liis earnest entreaties, to leave his son with liiin to be educf'ed lor the musical profession. He afterwards became very eminent, and composed much instrumental music, which was highly esteemed by Christian Bach and other able judges. He was remarkable also for his ability in playing irom a choral score ; and even Piccini, iiciaii, and a skilful performer on several instruments. The principal of his compositions consist of n few concertos and gome };lecs. For Bome years jireviously to his decease, Norris's health had been gradually breaking up, and at the abbey commemoration in the year 1789, he was injudiciously brought forward to produce those feelings of rapture which in his better days he had inspired. Such, however, was his feeble Ktato, that he could not even hold the book from which he sang. Ilis whole frame was agitated by a nervous tremor, and that voice which had formerly been heard with rapture now excited the deepest emotions of pity. After this he en- gaged himself at the music meetings at Birming- ham, where his exertions proved fatal, a-s he ex- pired at Imley Hall, near Stourbridge, in Worces- tershire, the seat of Lord Dudley and Ward, ten days after the meeting, namely, on the 5th of September, 1790, at the age of about fifty years. NORTH, FRANCIS, lord chief justice of the Court of Common Pleas, and afterwards lord chamberlain, about the end of the seven- teenth century, ranked with the most discrim- inating musical amateurs of England. He not only played well on both the lyra viol and bass viol, but also sang better at sight than many pro- fessors of hLs time. He also attempted the com- position of several sonatas for two and three parts, and amongst others arranged Guariiii's can/.onet, " ('or niio del," &c., as a fugue for three voiee.<. At length he published, but anonymously, " A Philosophical Essay on Music," in which are introduced many sensible remarks, for those times, on the generation of sound, which caused the book to be soon out of print. The lyra viol mentioned above was nothing but a viol da gamba, but with more, and more difficultly tuned, strings than the six which commonly belonged to the former instrument. ITie music for it was written in notes like lute music. NORTH, ROGER, of Rougham, in Norfolk, and brother of the preceding nobleman, was born in 16.50, and was one of the most remarkable contributors to musical history, inasmuch as he left behind him, in his own handwriting, " Me- moirs of Music;" which manuscript contains accounts of all the celebrated British amateurs and composers from 10.50 to 1G80. When Haw- kins and llurney were writing their works. Dr. Montague North, canon of Windsor, had the i above manuscript, and allowed these authors the | \ise of it. Roger North was also a practical musician, both in singing and on the organ ; for which purpose he had one built at his seat in Norfolk, by old Schmidt, which is said to have surpassed in quality all the other instruments made by that celebrated nieclianic. Amidst his musical pursuits, this gentleman arrived at the age of ninety, and died in \~'.i\. NOSCEMUENI, STEFFANO, born in Lom- bardy, towards the end of the sixteenth century, was a composer who exclusively devoted his tal- ents to church music. He was chapel-master of ttie ducal church at Mantua, and composed " Con- certi Ecclesia-itici," for twelve voices, and "Motetti," for tive and six voices. NOTA. (I.) A note; as, ;io/a 6((ona, a strong or accented note ; tiota cambiata, a changed or ir- regular transient note ; nota cattica, a weak or unaccented note ; nota caratteristica, a characteris- tic or leading note. NOTATION. The manner of expressing, or representing by characters, all the different sounds used in music. The ancient notation was verv diHcrent from that of the moderns. The Greeks employed for this purpose the letters of their al- phabet, sometimes placing them erect, and some- times inverting, mutilating, and compounding them in various manners, so as to represent bv them all the different tones or chords used in theii system. 13y a treatise of Alypius, professedly written to explain the Greek characters, we tiiiil that they amounted to no less a number than one thousand two hundred and forty. These, however, were afterwards rejected by the Latins, who introduced letters from their own alphabet, A, li, C, D, E, F, G, H, I, K, L, M, N. O, P, (fifteen in number,) by which they expressed the sounds contained in the bisdiapasou. For the great improvement upon this notation, which at lengtli took place, and which is, in part, adopted at the present day, we are indebted to St. Gregory, the first pope of that name, who, reflecting that, in the bisdiapason, the sounds after Lichauoa Meson, or the middle tone, were hut a repetition of those which preceded, and that every septe- nary in progression was precisely the same, re- duced the number of letters to seven, viz.. A, li, C, D, E, F, G : but to distinguish the second sep- tenary from the first, the second was denoted by the small, and not the capital, Roman letters ; and when it became necessary to extend the sys- tem farther, the small letters were doubled, thus, aa, bb, cc, dd, ee, ff, gg. The staff, consisting of a variable number of parallel lines, the applica- tion of which some attribute to Guido, was after- wards introduced ; and this was again meant tc be improved upon by the adoption of small points, commas, accents, and certain little oblique strokes, occasionally interspersed in the staff, while alsc two colors, yellow and red, were used ; a vel- low line signifying the letter, or note, C, and a red line denoting that of F. Two methods of notation were long after employed for the viol and other stringed instruments, which were distin- guished by the terms lyra way and gamut way. with this exception, that the literal yiotntion foi the lute was constantly called the tablature; con- cerning which, and the notation by letters iji general, it may be observed that they are a very inartificial practice, as was also the old method of notation tor the flute and flageolet by dots. NOTE OF PROLATION. A note, the origi- nal and nominal duration of which is extended by the addition of a dot or hold. NOTENPLAN. (G.) The st^ifT. NOTES. Characters which, by their various forms and situations on the staves, indicate the duration, as well as the gravity and acuteness, of the several sounds of a composition. There arc six principal notes used in music ; the semibreve^ minim, crotchet, quaver, semiquaver, and demi- 660 NOT ENCYCLOPAEDIA OF MUSIC. NO! eemiquaver. lliey are distinguished by their dif- ferent forms and characters, thus : — kmibrare. Minim. Crotchet Quaver. 8«miqu>. Drmiaemiq. 1 IS- mm It is highly necessary that the learner under- stand perlectly tlie time and character of each note. (See tables under Division of Time.) It will bo seen tliat one seinibreve is c C B A n ■ ' la ml la ml re ut la Ml fa Bmi re ut U •ol h ml n at la' •ol fa lami ra ut la •ol fa ml re nt la •ol la ml !• Ut ru = mi I* ¥ at J Tteor, or mean. iul- ; ; 9-= Bam, or lowest Gamma. I *J 0 A 7o^- »^sz i • p Ui U A B C D B r 5 r ? 5 » m w -r ?^3Z ^^^ A B 0 D B r 8 3 3 3 ~ r 3 ^ ?■ From the foregoing diagram it will be seen that the bass clef, also called the F fa ut clef, on what- ever Unes placed, makes the notes on the line be- tween the dots^^j^ F or fa ut, whence reck- oning Ls made upwards or downwards ; tliat the tenor, or C sol fa ut clef makes all the notes on the lino between the cross or horizontal bars ff^Jfg- C or sol fa ut ; and that the treble, or G tol re ut clef makes all the notes on the line round •which the charaofor turns -O- G .i(>/)hiqu« de la Miisi'/iw, el dis Ubserva/ioim sur U'S iiff'irem Oinre.i reciis au ThiAtre." ITierc is tlko a dissertation on the opera seria. NOVACK, JOII ANN, chapel-master at Prague in 1756, wa,s celebrated for his sacred composi- tions. NOVATL GIOV. CARLO, of Plaoenza. wa« celebrated as a singer about the year 1710. NOVEL, or NOVELLI, FELICE, of Venice. A celebrated singer towards the end of the eigh- teenth century. NOVELLO, VINCENT\ This very able or- ganist and composer was of an Italian family, but was born in London in 17S1. He held, in 182o. the situation of organist to the chapel of the Portuguese embassy, in South Street, Park Lane, where his masterly performance on his instrument was a subject of curiosity and admi- ration to all admirers of sacred music. In 1811 he published a " Selection of iSacred Music," in two volumes. In this work he displayed so much judgment, taste, learning, and industry, as to fix the attention of the musical public, with great interest, on Ms subsequent productions. His second publication was " A Collection of Motets for the Offertory, and other Pieces, prin- cipally adapted for the Morning Service," in twelve books, sold separately. In this collec- tion are several compositions by the selector himself, in speaking of which an eminent modern critic observes, "The general characteristics of Novello's style appear to us to be suavity, ele- gance, and bold and varied modulation. His melodies do not rise into extraordinary felicity or originality, yet they are ever flowing and agree- able, mixing much of the sober dignity of the church style with a lighter manner, that gives relief while it assorts well with the graver foun- dation and more solid materials of the work. We should be induced to hazard an opinion, that Ilaydn is a favorite with Novello, and that he often finds himself dra-.vn by an irresistible impulse to the study, and to au indirect imita- tion of Haydn's writings. Our notion is formed from that leading and general assimilation which attracts men of common feelings by a common sympathy, of which we not only imagine we perceive considerable traits in the motets of Novello, but that they prevail in other things we have seen from his hand. It would, indeed, be matter of surprise it' he had escaped the universal fascination. We must do Novello the justice to say. that we consider him to be of the school of Ilaydn ; for we do not find a single passage that leads us to think of Haydn other- wise, than through the resemblaiice which, only by a large and broad acceptation, impels us to the princijile that they hold in common, namely, sweet, flowing, and ornate melody, supporte I and diversified by frequent and often ciu-ious and unexpected changes in the harmony. Novello, then, is Haydn's scholar, not a plagiarist or direct imitator." His next publications were, " Twelve easy Ma.sses for small Choirs," three volumes ; " Gregorian Hymns for the Evening Ser\-ice," twelve books, sold separately. The only portions of the Gregorian Chant now generally retained in the morning service, are the parts sung by thf ])ricst at the altar, and the responsories. Thesp Novello ha,s endeavored to preserve as long aa j)ossible, by arranging them for six voices, and giving them the rich and harmonious effect re- quired by the admirers of the modern schocL He has published them among his motets. G62 NOV EXCYCLOP-^DIA OF MUSIC. NUM In the evening service, the chants for the psalms and the Gregorian hymns have stood their ground against all attempts to supersede •hem. How long this may be the ca-se, it is not easy to calculate ; but Novello lias done all in nis power, ii. the last-named work, to j)rcserve them for the admirers of these old melodies, by forming them into a coropleto collection. That he does this in a most masterly style the slightest in- spection will convince the musician. Novello has eJited eighteen books of " Mozart's Masses," and eighteen books of " Haydn's Musses," both works with very judicious accompaniments, for the organ or piano-forte. He has also written various original songs, canzonets, &c. NOVI, FRANCESCO, born at the commence- ment of tl'.e eighteenth century, was remarkable both as a composer and a poet, and set his own verses to music. On cpiittiiig the conservatory, his work-i were sutticiently well received by his fellow-citizens ; but being unable to struggle with the reputation of the existing composers, he quit- ted Naples for Milan, and gave his ojjera " Giulio Cesare," which succeedod as well as he could desire. From Milan he went to Pavia, where he wrote " Puinpco," and which, being performed before a le^s severe auilience than that of Milan, met with a still more gratifying reception. Novi composed several other operas in tlie serious style. NOVITIATE. A beginner. NOZEMANN, JACOB, was bom at Hamburg in 169.3, and in \1H was celebrated in his native town as a violinist. He afterwards was appoint- ed to the situation of organist of the licmon- strants' Church, at Amsterdam, where he died in 1745. He publislied a collection of music for the liarpsichord, entitled " La hcUa Tecieaca, oikr 24 J'atloriliei, Mu.irlten, und Puyianeii ;" also some Bolos for the violin. NOZZARI, N , a tenor singer, bom at Ber- gamo about the year 1775, was a pupil of the celebrated David. He sang at the Opera Uutfa, at Paris, between the years 1802 and 1807, and in 1813 was performing at Vienna. NUCCI, GIU.SEPPE, an Italian professor, was, in 1770, employed as composer of ballets at the Grand Theatre at Turin, where he brought out the following pieces ot his composition : " Anfjelica e Wilton," " / diie Ciicciatori, e la Ven- ditrice di Lalte" *' L' Americana in Etiropa," " Or- feo cd Eiiridice," and " (jli >s-hiari Turchi," all performed for the lirst time on the Turin stage in 1791. NUCIITEU. JOHANN PHILIP, a musician at Erbach, in .Suabia, was bom at Augsburg. He published at Ulm, in 1()95, a work entitled " Ociim paschale jiovum," containing " ilitate dnminicaliis A 4 Voci concert,, ct 4 Instrum. concert," NUCIUS, JOHANN, born at Gorlitz, wrote one of the best and most important works of his age, (the beginning of the seventeenth century.) It seems that Dr. Forkel was in possession of a copy The title of it is " Mu.uces Poetic, annihilate the minor scale. 5th. Numerals, according to the candid con- fession of their most enthusiastic ndvocatc«, are entirely useless in instrumental maoic. 'Ilien'- fore, scholars who are taught by numerals, ar» 663 SUM ENCYCLOPEDIA OF MUSIC. NUC rnlirely cut off from general musical culture. Can this be excused, and can such Buperficialily be reconciled with a thorough system of school education ? 6th. The nuraeralists are not agreed among themselves as to a system of fixtures ; and cannot become agreed, because the right system has not yet been discovered, (as it jjrobably never will be,) and because, naturally enough, no one of them likes to exchange the impcrlections of his own system, to wliich he has become accustomed, for the defects of another system to which he is not accustomed. 7th. Vocal music is regularly taught in many ( ountries in the public schools. lUit what can re- sult from all the quiurrelling, which, by this numer- al question, has been associated with this task r For, in consequence of the Irequent change of teachers, now a numcralist of this method, and now a numeralist of another method, then again a jiOur le C'lav.," Op. 1. Ho aLso composed a cantata for the birthday of the Duke of Wurteinberg. OELUICIIS, JOTIAXN C. C, doctor of laws, kc, was born at Berlin in 1722, and was cele- brated in Germany by his numerous works on diplomacy, literature, and jurisprudence. In his youth he liad proposed writing a general history of music, and had already collected numerous and curious works for that purjxise, when his in- tention was frustrated by other occupations, and ill that resulted was a tract entitled "An Ilistor- 'cal Notice respecting the Academical Honors in Music, both of Universities and Musical .Soci- eties," Berlin, 1752. lie died at Berlin in 1798. OEL.SCIILEGEL. JOIIAXN LOHELIUS. studied first at Mariuschein, where he was ap- pointed organist by the Jesuits. He subsetjuently removed to Prague, where he obtained the situa- tions of organist at the Dominican and the Mal- tese churches. At length he entered, in the year 1747, into tlie order of Preinonstrants, where the direction of the figuratc chvircli music was as- signed to him, in the year 175o. This situation, which he tilled to his death, contributed to ani- mate his industry in the science. It induced him to take a new series of lessons — first of Sehling, in music in general, and then of J. 1". llalx'r- mann, in counterpoint. He continued to study in this manner during several years with indefat- igable a|)j>lication, until lie had written a num- ber of musical j)ieces, several of which were re- ceived with applause by the court of Dretden. Not satisfied with this ajiplication of his talents, he now aspired to learn the art of organ building. What induced him to this arduous and laborious undertaking, was the wretched state of tiie colle- giate organ, though it had been constructed no farther back than 1741). Be this as it may, with- out having any teacher, but, ])erhaps, a book to refer to occasionally, he persevered in his labor for nearly thirteen years, and actually accom- plished hLs design of building an organ, .\mongst its tones was piurticularly dt^tinguisiied a bugle horn, which came as near to the original iustru. ment as possible. Nothing was, indeed, wanting to his organ but a vox humana stop, which he had also intended to execute, when he was af- flicted by a protracted illnass, which brought on an induration of the liver and jaundice, and fin- ished his meritorious and active career in 1788, in the sixty-third year of his age. He left an unprinted work on organ building, and also " 2 Salve lieijina d 4 voci, con Ort/ano," 1781) and 1787, which are highly valued lor accuracy of composition. OESTERLEIN, GOTTFRIED CHRLSTOPH, a celebrated lutist, was a pupil of Weiss. He flourished about the middle of the last century. OESTERREKH, GEORG. chapel- ma.ster to the Duke of Schleswig-Holstein-Gottorp. He was born at Magdeburg in 1664, where he went to the free school, and enjoyed the benefit of SchefHer's instruction in singing. In his four- teenth year he was removed to St. Thomas's school at Lcipsic, where he made, in a short time, under the guidance of the celebrated Joh. Schel- le, such rapid progress in sight singing, that he would turn any given piece of music upside down, and sing it with the greatest fluency. Thie procured him, in 1680, an invitation to Hamburg, as tenor singer at the senate cha;)el there ; his acceptance of which was accelerated by the plague, which then began to show it-elf at Leip- sic, where they would not have parted with him, previou.sly, on any account. His agreeable tenor voice was the cause of hLs meeting at Hambxirg with a very kind reception, and of his receiving frequent presents from the opulent merchant* ' there. At the same time he attended at the ■ Johannium, till he removed to the University of I.eipsic, from whence he was subsecjucntly again invited to Hamburg. This last time he remained only three years there ; and although he waj invited to fill the vacant prei-entorship in hii I native citv, he declined it on account of hii 667 OES ENCYCLOPAEDIA OF MUSIC. OLB youth, niul bcf,'iin to attend more to instrumental music. Tliis new study, however, wn-s interrupt- ed hy the uncx;)ected anival ol" Chapel-iuaster Theile, wlio, by the desire ot hiw i)rincc, jirevailed upon Ocsterreich to join, in 1GS(), the Duke of WoU'eiibuttcl's chapol, where he was soon after appointc I pai^e to the duke. It wa.s whilst he was at Wollenbutfel that the principal period of liis musical lame wa.s ti.ied. Here he not only enjoyed, as the chapel-master's inmate, his con- stant ze:ilous instruction in comjjosition, but also the friend-.hip and a.ssistance of the two excellent caslrali sin^cr.s, Giuliano (jiuliani, from Venice, and Vinccntino Antonini, from Rome, who both (klforded him daily opportunity of improving in his siny;inj;. This period, so auspicious for his talents, histed till the year 1690, when he twice declined offers of the situation of chapel-master at Ilolstcin-Oottorp ; hut ou their being made a third time, accompanied with a letter to his pri/ice for his consent, he was at length obliged to obey the call. The Gottorp chapel now improved visibly under his superintendence, particularly as it received, from time to time, no small acces- sion of able artists from those of Dresden and WoLfenbuttel. Though the chapel was reduced in number on the death of his master, yet he re- mained there till his new master also fell in a battle in Poland, in 1702, where he commanded the Swedish army. The hereditary prince being now only two years old, the chapel choir, with the e.vceptiou of himself", was entirely dismissed ; by wliich means finding hiiaself absolutely de- prived of opportunity to practise his art, he solicited leave to reside at Brunswick, till his services should again be wanted. This he ob- tained ; but when, in the sequel, war and pesti- lence began to rage in Schleswig, and his salary continued in arreiu', he was compelled to engage himself member of the choir and precentor at the Palau church at Wolfenbuttel, where he had, at the same time, several young female singers given him to teach, and had commonly to othci- ate for the chapel-master in his absence. Though, in 1719, he was reinstated by the young Duke of Holstein in his former rank of chapel-master, it does not appear that he left Wolfenbuttel again, as he died in that town in 1735. OESTEUREICIIER, GEORG, precentor of Windshcim, was born in 1576. His musical tal- ents rendered him a favorite with the Margrave of Anspach, who well provided for him. In 1621, he accepted the place of precentor at Windsheim, where he remained till his death, in 1633. He published a book of hymns under the title '■ Oesterreicker' s Cantor- BUcMein," Koten- burg, 161.5. (ETTIXGEU. JRIEDRICH CHRISTOPII, counsellor to the Diikeof Wurteraberg, and abbot of a convent, was born in 1702. He wrote a work entitled " 'V\\o Philosophy of Euler and Frick, as it respects Music," Neuwied, 1761. (EUVRE. (F. ; in Latin opus, in Italian opera, a work.) (ienerally used in numbering a composer's published works, in the order of time ; as, tCHcrc ftrcmk-r, the first work, (oeuv. 1, or op.l.) OFFEiiTORIUM, (L.i OFFERTORK), (I.) OFFEUTOIRE, (F.) The of^rtormm, or o/LVN'X. the celebrated violinist, was born in Bor>;en, Norway, in 1810, and spent a. portion of his youth in the moun- tains of liis country, where lie learned the wild mountain music, and during the war between Norway and Sweden, became familiar with gue- rilla warfar(\ His uncle, who was then the only editor in liergen, was a great musical amateur, and soon discovered Ole Pull's musical talent. After studying at the academy at Pergen, he was sent to the University of Christiana, where he received a classical education, and prejiared liimself for the legal profession. His mvisical tal- ent was already wide-spread at the uiiiver.-ity, and, being persuaded to play at a charitable con- ?»rt, on one occasion, he made his lirst d>but be- loie a public audience, and was triumphant. l'"or this, his professors set him back in his exam- ination, and just before his second turn came to graduate, the leader of an orchestra and man- ager of a theatre, who was very ill, sent for t)le Pull, and told him that if he could not procure him to lead the orchestra the coming night, he wa.s a ruined man. The appeal was not in vain ; his sympathy and enthusiasm carried him away ; he left the university to lead the orchestra, and never returned. His father was a celebrated cherai-t, and a pupil of the distinguished Professor Troiusdoiif. He has also a brother, a celebrated chemist, who graduated at Pcri^en, and a younger brother who graduated with distinguished hon- ors at the Polytechnic School at Hanover, Ger- many, receiving the highest diploma over eight hundred students. Pe.ore he was twenty, he quitted his home for Paris, where he became very poor. While thus situated, he lost his trunk, his violin, his all. This was more than the young enthusiast could bear; and after wandering for three days in the streets of Paris, a prey to want and despair, he threw him- self into the Seine ! He was rescued and adopted by a mother who had just lost her only son by the cholera. Tlius he was again enabled to grat- ify his devotion to music, and his performances now beginning to attract attention, he was hand- somely rewarded. At his tirst public concert he gained twelve hundred francs. Ole Bull par- ticipated in the revolution in Paris, in June, 18'i2, and was badly wounded. From there, he travelled through France, Italy, Switzerland, and England, and in 1839 he went to Germany, since which time he ha.s acquired considerable fame as well as money in this country. He had, when in New York, in 1844, two violins of great value. The one on which he plays most fre- quently has a beautiful, clear, brilliant, and sil- very tone. The maker's label on the inner side Ls as follows : — " Joseph Gv\RSt.mv9 fecii, t Cmnotuf, Anno 174'2. L H. S." The other, it is said, which is more -sonorou.'t, Serhaps, is the ^andi^vork of Ga.spar da Salo in irescia, and is beautifully enriched with ara- besques, carved by the famous Penvcnuto Cel- lini, who was bom in Florence in" 1500, and died in ld70. Since the death of the irrird Paganini, Ole Pull has by many been esteemed without a rival in Europe. His power, however, is that of wild. classical in art. The magnetism of the man, the romantic imagination, and impatient air of gen- ius displayed in his loose, and fragra£iit;iry, and fantastic compositions, (which are mostly of the brilliant rirluomi order, calculated for iJfWt, and by classical musicians, therefore, hardly esteemed compositions,) his romantic history, also, and his noble, strong, and healthful phijnu/iic, giving him the air of a true heroic son of Nature and the North, insured for some time the greatest enthu- siasm at his concerts wherever he went ; though he always j)a.ssed for an exceptional artist — a sort of musical meteor, rather than a li.ved star, in the musical centres of Germany. The excitement which he created iji l844-4.i in this country is fresh in the general remembrance; though the 8])ell of such brilliant virtuoiihj was manifestly growing weaker when lie returned to Euroix: in 184.5. Of this seven years' absence bc'ore his re- turn to America, we find the following sketch in the New York " Musical Times," May 2'.), 18.32 :- - " Ole Pull went to Paris, gave concerts there, went through the northern provinces, and gave concerts in Lyons, Payonne, Pourdeau.x, and Marseilles, thence to Algiers, to study military tactics as applied to mountain warfare ; accom- panied his friend General Yusuf in an important expedition in the mountains of Africa against the Kabylles ; back to the south of France; thence to Spain ; gave concerts in Madrid at the celebration of the double marriage of Isabella IL with Fran- cisco de Assiz, and Donna Femniida with the Uuke of Montpensicr ; comi)Osed ' La I 'i-rhciw, rle San Juan ; ' was offered a general's commission by the queen, but declined the honor ; received from the ((uecii a verbena flower, formed of dia- monds and other precious stones; went to the Island of Majorca, and gave concerts in France until interrupted by the revolution of February, 1848 ; collected the Norwegians in Paris, and addressed Lamartineat his head-quarters, (Lam- artiiie's reply is found in his ' Tr.iis Mnis He Pou- vnir ; ') was present at the revolution in Holland ; gave concerts at Amsterdam, and returned to Paris, and was present at the June revolution ; made improvement, after many years' experiments, in stringed instruments ; manufactured contra- bassi of four strings, going down to C, two notes below the ordinary corapa.ss, and increa.scd their strength of tone and facility for execution ; made violoncellos, tenors, and violins on new principles ; (he has, by the way, a s])lendid collection of curious instruments of all ages on his own Island of Amine, in the south of Norway ;) built a thea- tre in Pergen ; brought dancers (peasants) from the interior to rei)resent national dances ; brought an old Norwegian violinist to Pergen to give con- certs, named .\ndu.s.son, who jilaycd an in.stru- raent of peculiar and beautiful workmanship, having eight strings, and who was remarkable for rapid execution and warm feeling ; e-tab- ILshed schools of art, and formed clulis of artist* for the purpose of raising the standard of native art, which was nearly destroyed by the monop- oly (by the Danes) ol all ]ilaces under the gov- ernment. The Danes performed dram.Ts in th« Danish language; but Pull prociirp eoae of hieaaawereatJDsiihnarhigiBtliiii liaaii TMigif ohIt can insnxe pextenanee to mncie. The ain of Olrmpos used in the teaqile of wvisliip dnr- ixif the fiaie of Plntareh. were not nioae anrifa I than the chants oe emito fermo to eoMe of the hrmns o€ the P^""** cfaKreh ; and the ■cio£es ; now son* to many of the hrmns and paahas of [ the Lnthenns and Cahriniets are nirh aa wae applied to them at the thneof Ae irfiawalhrn. Plaio savs, the miiiae of OtrnqMs was ia e par- ttcnlar aaaxmer. adapted to aSeet aad aaiwalr &e hcarets ; Azistatle, that it swdled the aoni with enthnsiasm ; aad Ptntaidi. diat k ampBcitT and effifft. eiui oiha lai known. AccoidiB* to this tnogta^ho^ he was antbor of thecnndesoa^ whiA caased Alexan- der to seize his arms, whea it was petftcaedto him br Antigeaides. To hia maaeal aiilities he | ^--^^j anintet - bam. jained those of poetrr; and. atjtm Jiag to Soidas ! ^^toMwd of fcW and JoL PoQnx. he ceanpoeed d^pMS aad other pawa ; laintrre son^ which were song to die soaad of the finte ; and the melodies of these poeaks were eomnch cddnatedin antiquity iar their frt'**^*' and pfadntxre cast, diat Anstophaae^ ia ti»e be- ginningof lus comedy caDed 'The ir»igfcf,' i^tae he introduces the two geaenls, Demosdwaes aad Nicies, traresded into Talets, and i imniliiaiaj, of their master, makes them say, ** Let as weep aad wail like two flutes fareathiag naae air of (Hnn- pns." nutardi asoibea to hi 03- airs that aie ftequendy mm nliimi d hy anrirar writers: $uch as d:e lUaerra. Ae Harmatiaa. Cofule or Cbaiiot air. and the Spoadeaa or liba- tion air tisto of the past half -Hewasbo»aatClefBrt.iaAePaydeDimf. in JuIt. irst. His faths was a meml-er of the Usmothera] ThM he thoaghhe* ~ Daseic &e violaaeeife, it aftc of MehaTs to'Stiatoaiee' cxeitBd ia fa» that deare of try- ing to exeRKe creative pouct ww^h was oalv to beaDared br his iV n^iaj, Us Efe to the stady aad pendartiim of mnsie. UnEte who wtth coaiplete wuafcs,— i to undertake maaaeal Oidow, we aie aesared by X. FetK^ dm 1 ap aad tailed ™& 'gave oat St Lai M iLiifal a* wefl fcr &e ctmrnher A aad three operas, i-att oae of is partiraluly rtiikia^) '^VA'jtaUt dr ia H •i> Cb^Mrtnvl' aad • I« Aw dr Cmhu* aae the 4 other auiks by bcfioee tte wudd- So OMXES. ^L.^ AH. or an together. A «wd nmftimes n^«d in the old music, instead of ti^tL OXPEGGIASE. or OXDEGGIABE LA MaNO. ^L) An eiLfjffiHiua ajgnifjing that the hand, when raised in *>— «™c t>**k is to be waTed in the air, by way of ■»»»**»{; tibe laot part of the measure. ••The large mass of < fi^wifc^H |iy OncaO'w. wiA It is thBitiuj.ily "**"g ^*»i**M ■!■■■■ ily interesting withaat oecaaoaal vigor; — i in straetare^ — aot alnujii, iti laiied by hag thoaoasUy wcU I the pfatyen^ bom. &e cIumjk.* of \ ica^aess in dialnij.aa. reply, aad i it demaad& During later years — as freqaaady tetthoa^tei OXDEGGIAMENTO. (L^ \in& a wariag. tremulous motton of the souad ; as also, oa the violin. tOMT, &C.., a dJw sAaia. oaly I This may hante ilnar its part ia J the seal aad sympathy of his admjims — tcaoa^ lemaias £roaa his pea to be . to be letamed upi'ia, to be povxiaed OXGLETR. The naaae iiamnlj givea to \ patakea of with phaiaii, sa kag m mmm performers on the hrre, cithara. haip^ lute, aad ' boaoid br its pn-iant lawx aad as those ' guitar; supposed to be dagvadftoua the Fi each cnjor it mma their peeccat eaaams ef ( word orv-V, • Md; becaKC &oee iasarnmeata It would be at, ii tan as to n^ out any of d« •71 OPE EXCYCLOP.EDIA Of MUSIC. OPE ■well-known quintets which have won for Ons- low a European celebrity, or to do more than inention his j)iano-forte sextuor, his piano-l'ortc duets in F major and E minor, liis piano-forte trio in (j major (a singularly sweet and gracious upecimen of his style,) his i)iano-lorte tonaias, with violin, (in (J minor and E major,) and with violoncello, (in F major and umed that it may be followed by some votive honors in the country to which by right of citi/cnship, and more by the manner of his art, he may be said most closely to belong." OPEN. An epithet applied to the string of R violin, guitar, &c., when not compressed with the finger; that is, when, without compression, it produces the very note to which it is tuned. The note so produced is called an open note. OPEN HARMONY. Harmony of which the notes are separated by wide intervals. ONTRASCHECK, JOHANN, first chapel- ma.ster to the Elector of Mentz, was born in Bo- hemia. He died in 1742. OPERA. (I.) A work. The word opera is applied in its literal sense, by the Italians and other nations in imitation of them, to any musical work, and is u-ed by composers in conjunction with the ordinary numbers, to di.stinguish their diflcrent publications ; as. Opera prima, first work ; Opera seconila, second work, &c. OPER.V. A musical drama, consisting of airs, recitatives, choruses, &c., enriched with magnifi- cent scenery, machinery, and other decorations, and representing some passionate action. Kesiccting tlie origin of the o/>era, writers are much divided. Some say that we owe its inven- tion to the Venetians, from whom it passed to the French, and afterward.s from France to England. Father Mcna.stricr informs us that it sprang out of the remains of the dramatic music fonnerly used in the church, and that the Italians first brought it upon the stage about the year 1180. liut, notwithstanding these as.sertions, it is much insisted on tluit the opera was invented by Otta- vio Rinuccini, a native of Florence, about the year KiOO — an oi)inion strongly countenanced by the author's dedication of his "Eundice " to Mary dc MedicLs, consort of Henry the Fourth of France, in which ho says he had written it ' merely to make ■» trial of the power of vocal I music in that fcrrm." The structure of the oper- atic drama was, however, very dUferent, at that early period, from the representation which now bears the same denomination. No accompani- ment of a whole orchestra was then re'^uired. The airs performed by the several singers were sustained by instruments of various kinds, as- signed to each character respectively in the dra- matia pcraourr, the names of wliich we find placed against those of the characters in the printed co])ies ; and the whole was much less regular and dramatic than at present. At the beginning of the seventeenth century an opera was established at Venice, upon the model of which one was also instituted at Paris, about the year 1G60. Soon after this time, a taste for this species of drama appeared in London, and old plays were wrought into the form of operas, and repre.'-ented at the theatre in Lincoln's Inn Fields. Of the.^e, a piece called "Arsinoe," compiled and composed by Claytons, was the first. Addison tells us that it was excellent, and met with great success; but from Ualliard, a much more competent judge than that writer, we learn that it was a very in- different, nay, execrable jjroduction. Other im- perfect imitations of the Italian opera took place from time to time, in all which the words were English, though the music was Italian. At length, a regular Italian opera was established at the theatre in the Haymarket, under the denom- ination of the Royal Academy of Music, which, after a continuance of nine years, broke up. The opera was, however, afterwards resumed, and has maintained itself as an elegant and fascinating species of entertainment to all the lovers of ex- quisite music and fine dancing. And the Eng- lish opera, which owes its existence to that of the Italians, has long proved an attractive vehicle of humor and sentiment, and sers'ed to display to great advantage the talents of the best composers and vocal performers. During the year 1.594, three young Florentine nobles, united by similarity of taste and customs, and by a love of poetry and music, formed the idea of reviving the musical declamation of Greek tragedy. They employed the jjoet Rinuccini to write a drama founded on the fable of Daphne ; and that drama was set to music by Peri, the most celebrated composer of that time. TTie com- position was privately repretented in the Palazzo Borsi. llie singers were the author and his friends, and the orchestra ol this first opera was composed of only four instruments — a harpsi- chord, a harp, a violin, and a flute. No one thought of airs or recitative, if so it could be called ; it was a species of measured intonation, which by us would be considered insufferably languid and monotonous. It is a pleasure to ob.scrve this embryo of the opera, and to com- pare it with the chefs d'wucre of Mozart, of Cima- rosa, of Rossini, and others, executed by such voices and orchestras as we hear in the present day ; but even so suffocating a harmony as that of the former nevertheless produced at that time an extraordinary sensation. Four years alter was represented, on the theatre of Florence, the first musical opera, entitled " F.uridicc," on the occasion of the marriage of Maria de' Medici. The introduction, at that time, of the anacreontic "Cantate," and of a chorus at the end of every act, produced the first imperfect outlines of the airs and chorusea of modern opera. Monteverde, i C72 OPE ENCYCLOP-'EDIA OF MUSIC. OUA •nusician of Creiaonn, brought the rctitative to perfection. lie brouj^ht out the " Aria^ia," music of Iliuuccini, ff>r tlie court of Mtmtua ; aud in the opera of " Jason," by Cavalli and Cicognini, at Venice, 1649, are found the first airs eorre- 8;)onding in sense and spirit with the dialogue. The first regular serious opera executed at Naples was in l')4'>, under the title of "Amor iion ha legge ; " and tlie music was composed by several masters whose names are now unknown. During half of the last century, the opera not only did not improve, but even degenerated. It became in Italy what it was in France a century earlier — a grand sjiectaclc offered to the eyes, in which poetry and mu-iic were the last things considered, wliilst the scenery, the mechanism, and the pan- comime were in the greatest retjuest. Then the money now lavished on the singers was thrown away upon the painter aud the machinist, and hence tlie reason that Goldoni, a long time after, says of o].era at Paris, " It was the paradise of the eyes, and tlie hell of the ears." In Italy, opera has been the leading theatrical entertainment for a long series of years. Its l)leasures are shared as well by the peasant 'as the aristocrat ; it is the evening resort, the gen- eral topic ; her poets have funiished its libretti; the highest musical genius of the country is en- gaged in its composition, painters of acknowl- elged eminence in its decoration ; the noble does not shrink from the office of director, and gov- ernment lends its patronage aud pecuniary aid iu its support. For further account of opera, see article Hib- TOKY OP Music. OPER.\ BUFF.V. (I.) Comic opera. A title applied to intermezzi, musical interludes, and burlettas. OPERA SEMI-SERIA. (I.) A semi-seriooa opera. OPERA SERIA. (I.) A serious or tragio opera. OPERETTA. (I.) The diminutive of opera. A little opera. OPIIICLEIDE. A brass instrument intro- duced about 1840, and little known in this country previous to that time. It has a loud tone and deep pitch, and is much used in military music. It is the largest brass instrument in use, and forms the bass to instruments of the trumpet species. Its compass is from double B b to A b above the line in the bass clef, being three oc- taves. Scale for tue Bb Ophicleibe. ^«i:-.^>'-^ ^^^ i^^=^ grfrT i I — — T^rt 1 i xS i 11111 Z X 111111 1 1 I 1 1 1 1 XX X i 1 1 1 3 1111111 3 2 3 3 X XX S I 1 I 3 1 1 1 3 4 4 4 S 3 NoT«. - Th« flifurtf 1, 3, 3, 4, IK th« ilngtn, find x th« thumb. OPUS. (L.) "Work. See CEUATIE. ORATORIO. A species of musical drama, consisting of airs, recitatives, duets, trios, chorus- es, &c. Originally an imitation of the serious opera ; but the subject of which is generally taken from scriptural story, and can only be treatepreseHtay, one hun- dred and twenty-eight. Another string of half the proportions of this gives another octave above, marked by double the last number of vibrations, or two hundred and fifty-six. So going on halv- ing the proportions of the strings, we get double the vibrations, thus : 64, 128, 256, -5 12, 1024,2048. 4096, 8192. These mathematical projwrtions are conformable to the claims of mu>ic as a science. Tubes measured in the same proportion produce the same results of grave, medium, and acute oc- taves. So, too, the pipe of the human voice. The larger the string, or tube, the graver or deeper the sound, and the reverse Hence the deep voice of man, corapareJ with the high tones of woman, or the piping treble of childhood. Sexual ditferenee-i in voice are ba>ed on octaves. These octaves dirter in pitch, but they are syro- pathetic unisons — an identity with a difference, if the paradox may be allowed. Tl-.e masculine voice, singing a mte or air, gives it actually a» octave below the feminine voice. The differences in the pitch of instruments are simply imitations of the pitch of the human voice, and the valu" 674 ORG ENCYCLOPEDIA OF MUSIC. ORC of an instrument is its resemblance to the expres- sion of the voice. Hence the superiority of the violin family of instruments. Without instru- ments, however, the grand mathematical truths of music could never have been discovered, nor ,he world know that a science as wide as that V, Well calculates an eclipse, or draws a parallax, lies in the tremblings of a violin strin;;. " The instruments of the Creator, the different voices, the bass, baritone, tenor for the miuscu- line, and the contralto, mezzo-soprano, and so- prano for the feminine, are the originals, then, of the orchestra. The orchestral instruments, how- ever, are more copious in mere notes, while so much inferior in tone to the voice. " When a composer wishes to write for the or- chestra, he tnk«-s music paper with a large num- ber of musical staves, or groups of five parallel lines on them. He divides the musical measures, each one of eijual time, by drawing down lijics at right angles to the five line staves. 'Hiis is called scorin/ ; hence the term sojre or full tcore. The various instruments occupy ditter- eiit staves, which sometimes are as many as thirty or forty on a page ; and the labor of the composer, therefore, in writing out the notes of each part may be taken as much more arduous than the work of the literary man. As for the power to combine all the sounds of the instru- ments in his mind's ear, and know beforehand how each one will come forth sepanitily and to- gether — that is a gift, and can never be taught. ITie best mode of grouping the instruments is as follows : first wooden wind instruments — then brass — then pulsatile — then stringed. Ix't the reader imagine the following list of instruments written on a sheet of music paper, each one fol- lowed by its notes, and the whole divided, as described above, by vertical lines, marking the measure, and he will have the score, from which the leader is enabled to tell what each man in the orchestra is doing, and how he is to he di- rected. " Small or ortave flute ; grand flute ; haut- boys ; clarinets ; bassoons ; trumpets, horns ; trombones ; tubas ; kettle drums ; bass drum ; violins ; violas ; violoncellos ; double ba-sses. " When a composer has written out his score, it is the business of the copyist to extract each separate part from the mass, so that the flute player shall only have his part on his desk, the hautboy player only his part, and so on. This often retra seldom over two octaves are used for the double bas«. I'he pitch of the violoncello Is one octave above the double bass ; but as it has four strings, or one string more than the double bass, it rciilly begins on C, four note* above the lowest note of the double bass. It can play three octaves and upwards. The viola is precisely one octave in pitch above the violoncello, «jid gives from C three octaves and upwards. The violins are a fifth above the viola, and give from G three octaves and upwards. The octave flute is one ctave higher tlmn the grand flute, which begins on C, four notes above the lowest note of th« violin, and gives three octaves above. The haut- boy gives two octaves and a half, beginning on the same C. The clarinets be^in six notes lower than the hautboys, and go over three oc- taves. ITie bas.soons have the same pitch as the violoncello. The trumpet begins generally ou the G of the violin, and gives about two octaves. The horns are an octave below the trumpet. The trombones are three — alto, tenor, and bass; an- swering to the contralto, tenor, and bass voice, but with greater compa.ss. The tubas or Sax horns answer in pitch to other brass instnnnent..<. There are some other instruments, such as the English horn, which is a larger hautboy. There is also a bass clarinet, and a double ba-ss bas- soon. The tympani, or kettle drums, are tuned to the first and tifth of the scale, being the inter- vals most in demand. For example, in the scale of C — namely, C, I). E, F, G, A. B — the kettle drums would be { ', G : in the scale of G — naraelv, G, A, B, C. D, E. F— they would be G, I) ; and so with other scales. The wind instruments can give but one note at a time ; but the violin can give two notes, and three or four if the bow be drawn suddenly across the string, when the ra- pidity of the sequence of the notes stands in the place of a simultaneous expression. It is usual in an orchestra to have but two tlutes, two haut- boys, two clarinets, two bivssoons, two trumpets, four horns two or three trombones, one pair of drums : but the stringed instruments to this pro- portion may be forty violins, twenty violas, thirty violoncellos and double basses ; these more or less. -\11 classical music, which means music of a certain age and rank, is so written for the or- chestra since the time of Haydn's later works, except that in them but two horns are written, and the trombone?* seldom. Tlie ability of per- formers to do more and better things on their instruments, h.-us greatly increased during this century. In Handel's time orchestration was miserably poor : his scores, as such, have but feeble interest. Haydn advanced it immensely. Rossini added to its powers. The solo perform- ances of instruments in overtures was never really brilliant up to Rossini's courageous innovation. There is, for example, no prominent solo -vriting in " Don Giovanni," by Mozart; it is smo.>th and elegant generalization. Rossini was th ? first to write for four horns in an overture ; the effect i* surpassing when we use the improved instru- ments, with valves giving all the hall tones. The violin school was vastly roused by Paganini ; and the piano-innoviitions of Thalbcrg and I.iszt are copies of the immense graspings and combi- nations of the great Italian's genius. Beethoven introduced new effects for the violoncello, giving it a singing or pa-ssionate cantabilc expicssion. Clarinets were not introduced into EnglLsh or- chestras till about 1780. Flutes have been much improved, and, indeed, excepting violms, it would be im]mssible to name an instrument that has not been regenerated within a few years. As cities grow in size, and players incrca.se in number, it will be possible to break in upon the old conven- tionalisms of the orchestra more and more. For certain effects there might be twenty tlutes, thirty trumpets, forty clarinets. Sec. Military bands have been improved prodigiously of late years. Besides cornets, tubas, &c., there is t"ie im- provement of numbers ; many of the Austrian 5 ORC ENCYCLOP.TIDIA OF MUSIC. ORG military hnnds now number eis;hty to one hun- dred players. We ont-e heitrd all the l)iinds of Paris jilay together, nl fresco, amounting to 1800 jjerformers. The hands in thLs country arc yet too small, though their irajirovemeiit under Dod- worth and Noll has quite ciiualled our progress in other things. " The orchestra, however, having stringed and bowed instruments, possesses the great point of expression. The reader, ha\'ing followed us through our analysis, may judge of the skill and talent required to direct such a va.st body of mu- sicians, so that they shall speak to the life the thoughts of the composer, observing the nicest points of intonation, and the most flexible require- ments of musical coloring; that they shall at one moment be like an infant's breathing, and the next like a tropical storm ; at one moment like the sigh of love, at the next like the crash of armed hosts ; or that they shall, as the ocean tempest, begin from a cloud no bigger than a man's hand, and, little by little, augmer^* -u in- tensity, — crescendo poco d poco, — until the7 boil over in lyrical wrath — strike, foam, and thunder aloft imtil the concave rings and the ground shake-i; or, that during whole hours they shall follow all the caprices, whims, and zigzag of the singer on the stage ; seconding every word, never too loud or too feeble, but always lieges to musical order and law. So to direct them requires the skill of a JuUien. To appreciate such an orchestra, as the colossal exponent of passion and emotion, of the art of wordless eloquence and celestial purity, will be one of the noblest efforts in the big steps of popular progress. Understood rightly, it will widen the range of our objects of praise both in men and things." A complete orchestra consists of a large num- ber of instruments, and is, of course, only suited to large localities, as theatres, music halls, con- cert rooms, &c. M. Fetis, of Paris, gives the fol- lowing proportions for an orchestra and chorus of three hundred and fifty-six performers. First violins. Second do., Violas, Violoncellos, Double basses, 20 Flutes, Oboes, Clarinets, Bassoons, Horns, Trumpets, Trombones, Bugles, Serpents, Drums and ) cymbals, J Vocal. Soprani, Altos, Tenor, Boss, Principals, 8 178 13.1 43 with an organ of first rate power. The full and complete effort of a number of voices and instruments conjoined depends upon the first proportions in which they are brought together in the orchestra. Often the materials are collected promiscuously ; and too many of one kind, or too few of another, destroy the bal- ance of sound which is ne<-essary to a grand effect. The great defect in most orchestras proceeds from that part, which is the most essential, being com- monly the weakest. This, no doubt, arises from the greater difficulty in procuring these per- formers ; and the usual method of making up the number bv materials more easily obtained, only adds to the evil, instead of diminishing it. We often find a lack of sufficient power and ability in the first violins and violoncellos, whil* we are overpowered by the wind instruments. In the voices, we lament the weakness of the soprani, which are borne down by the tenors. To injure the well going of the chorus, the vocal leaders should be placed in the rear of their parts, in which place they will be better heard : and as it of^en happens that the most experienced musicians have the weakest voices, it is best to couple them with the strongest : these, correctly led, will con- tribute much to keep the part firm and steady. It Ls important that this arrangement be made a condition with the leaders, as they invariably think themselves entitled to a more conspicuous place, and press forward to get into the front ; whereas the place of honor, as in the legioiu of Bonaparte, is in the rear. He always placed his rawest troops in front, and hLs veterans behind. ORCHESTR.VL. An epithet given to. any composition intended for, or any performance by, an appointed or regular band. OUCHE.STRIOX. A beautiful and grand in- strument, said to possess the combined power and variety of a full orchestra. The first one was built in the forest of Schwartzvald, by the well- known artist M. Blessing, of great musical celeb- rity. A similar instrument was exhibited 4t Philadelphia, m 1850, by a German, who said it was a new invention of his. His orcliestrion was capable of producing the tones of a variety of in- struments, either as solos or in full concert. The compass is very extensive, and we have horns, violins, violoncellos, oboes, flutes, bassoons, and all the component parts of a full orchestra, with the swells and diminuendos. It does not occupy nine cubic feet of space. ORDINARIO. (I.) Usual. An epithet ap- plicable to time ; as, tempo orditiario, in the usual time. ORDOGNEZ, PIETRO. A Spanish musician, celebrated in Italy in the sixteenth century. ORDOXITZ, or ORDONXEZ, CARL VON, violinist in the Imperial Chapel at Vienna, after the year 17fi6. About 1780, he published at Ly- ons " Six Qiintiiors pour le violon, Op. 1." Many more of his instrumental compositions are known in manuscript. They are principally sympho- nies. He is also the author of the German opera entitled " For once the Husband is Master." ORGAN. A wind instrument blown by bel- lows, and containing numerous pipes of various kinds and dimensions, and of multifarious tones and powers. Of all musical instruments, this is the most jiroper for the sacred purpose to whiuh it is most generally applied in all countries wher- ever it has been introduced. Its structure is lofty, elegant, and majestic ; and its solemnity, grandeur, and rich volume of tone have justly obtained it an acknowledged preeminence over every other instrument. An organ, when complete, is of threefold con- struction, and furnishe:! with three sets of keys: one for what is called the great organ, and which is the middle set ; a second (or lower set) for the choir organ; and a third (or upper set) for the swell. In the great organ, the chief "stops ar» the two diapnont, the principal, the '.w?''-i, th« 676 ORG ENCYCLOP-EDIA OF MUSIC. OR(J fifteenth, the sesquialtra, the mixture, (or furni- ture,) the trumpet, the clarion, and the comet. The choir orj^au usually contuiiis the stoj) diapa- son, the dulc'iana, the principal, the tlute, the twelfth, the bassoon, and the vox hunuuia. Tlie Hwell comprises the two diapasons, the principal, the hautboy, trumpet, and cornet. Beside-; the complete or^an, there are other organs of lesser sizes, and more limited powers, adapted to church, ( hapel, and chamber use. There is also the bar- rel or hand organ, consisting of a movable turn- ing cylinder called a barrel, on which, by means of wires, pins, and staples, are set the tunes it is intended to perform. The-ie pins and staples, by the revolution of the barrel, act upon the keys within, and give admission to the wind from the b3llows to the pipes. The barrel organ is gen- erally portable, and so contrived that the same action of the hand which turns the barrel, sup- plies the wind, by giving motion to the bellows. The invention of the organ, which is attributed to the Greeks, is very ancient. From a passage in C'assiodorus, who lived about .528 years after Christ, we learn, in his time, that it was an instru- ment of tlie highest estimation for a wliile. It, hv)wever, appears that the use of it afterwards declined. It has been a subject of frequent debate, at what time organs were first introduced into the church. Some writers say, that they were first applied to sacred use in the time of Po|)e Vita- liau, about the year 670 ; others, that they were not employed in the churcli till the ninth century. A learned author has, however, shown that neither of these dates can be just ; and Thomas A(iuinas e.xprossly says, that in his time (about the year 1250) the church did not use musical instru- ments ; and Itingliam athrms, that Marinus Saun- tus, who lived about the year 1290, first intro- duced the use ot them into churches. Ihit if we may credit the testimony of Gervas, the monk of Canterbury, who fiourlshed at tlie beginning of the thirteenth century, organs were introduced moie than one hundred years before his time. Hedc, who died in 735, says nothing of the use of organs, or other musical instruments, in our churches or convents, though he minutely de- scribes the manner in which the ijsalms and hymns were sung ; yet Mabillon and Muratori inform us, that oiyofiv, during the tenth century, became common in Italy and Germanv, and in England, and that about the same time they had admission into the convents tliroughout Europe. OIUI.VX, IILSTORY OF. Of all musical in- struments, the organ is the large-it, the most complicated, the most harmonious, and the most capable ot producijig an almost endlijss variety of combinations and ctfects. It may be called the king of instruments, as it imitates and in- cludes them all. Hence a place has been uni- versally assigned to it in our churches, as being, from its unquestionable superiority, the instru- ment most suitable to the majesty of divine wor- ship. A large and powerful organ in the hands of a master, in one of his best moments of musi- cal inspiration, is inlerior to no source of the (ublime in absorbing the imagination. 'Die rush and concourse of sound has been not inaptly corajiared to the full and even volume of a nighty river, tiowing onwards, wave alter wave, 67 occasionally dashing against some rock, till, sweeping with momentJirily increasing vehemence to the brow of a jirecipice, it rushes down, a wide-spreading and overwhelming fiood. Notwithstanding much laborious research, the origin of the organ is still enveloped in obscurity. Some of the instruments so called were acted upon by the force of water, whilst to others the application of bellows is mentioned. The only difference between them, however, was in the mode of introducing the air into the pipes ; and their common origin may, probably, be referred to the ancient syrinx or I'an's pipe, made of reeds. It must soon have been observed that there were other means of producing sounds from a pipe than by the mouth ; also that the air might be confined in dose cavities, and afterwards emitted at pleasure by means of openings of dif- ferent dimensions. This was a|)plied to united pipes like the syrinx, or to a simple flute ; and subsequently a species of bagpipe was invented. By pursuing this course, they could not fail to arrive at an instrument strongly resembling our organ. Instead of a leatliern bag, tliey used a wooden case to enclo--e the wind; above thii they placed the pipe, the opening of which was closed by suckers, which could be ojieiied or shut at will, in order to produce the embouchure of any one pipe. The descriptions left by authors of difi'ereiit ancient musical instruments, together with their representations on several monuments, prove that the ancients were occupied at dirt'er- ent periods with these experiments. For some time they were constantly emjiloyed in seeking the best means of introducing oir into the pipes. They employed the fall of water, pumi)s, steam, and bellows of different kinds. In these experi- ments, water was most frequently the cause of the motion by which the wind was introduced. They at last stopped at wind bellows, set in mo- tion either by water or human strength. The appli- cation of tliese various means has distinguished two kinds of organ. That moved by water was culled hydrauiic ; that by wind, pneitiiuUic ; al- though there was no real difference in the prin- ciple. It is only by means of air that the pijies can produce a sound. Although the earliest de- scriptions apjiear to belong to the hydraiUicou, of which Ctesibus, of Alexandria, is said to have been the discoverer, about the year 220, yet it seems natural to suppose that the piuiuiiuuic or- gan was the prior invention; and its anti(iuity seems confirmed by the discovery of a monument at iioine.mentioned by Mersenne, in his "Hitriiumie VniturirlU" of which an engraving is given in Sir John Hawkins's " History oi Music," vol. i. p. 4o;i. The earliest account of any instrument of the kind occurs in Vitruvius, book 10, who fiourished above a century before the Cliristian era. llij wa.s an liyiiraulimn. Hut the most ancient notioj taken ot an instrument to wiiich bellows were adapted, is to bo found in the " .Vnthology," lib. i. cap. 8(), which was first <|Ui>ted by l)u Cange, in his *' (Jhtsteror by Georgius, a Venetian presbyter, at Aix- la-ChapeUe, which, says Don Bedos de Celles, was an hydraulicon. Georgius is supposed to have been the father of organ-building in Ger- many, from whence we soon hear of artists in that line being sent into other countries. In the latter i)art of the ninth century, the Germans po>sessed organs, and were able to play on them, /arlino, in his " Supptementi Mii-si- calc," book viii. p. ?90, says that some authors imagine the pneumatic organ to have been first used in Greece ; that it passed from thence into Hungary, afterwards into Germany, and subse- quently to Bavaria. Elleg, Bishop of Wiuchester, procured an or- gan for his cathedral, in 9.51, which was the largest then known, having twentA'-six pairs of bellows, renuiring seventy men to f.ll it with wind. It had ten keys, with Ibrty pipes to each key. Oswald, Archbishop of York, placed an organ in the church at Ramsey, with pipes of brass, and which cost thirty pounds, lliere was also one at Canterbury Cathedral previous to the year 1174. Notwithstanding these early attempts, the or- gan long remained rude in its construction ; the keys were from four to five, and even six inches broad ; the pipes were of brass, and the compass did not exceed two octaves in the twelfth cen- tury, about which time half notes appear to have been introduced at Venice. At Venice, the important addition of pedals was first made by Bernhard, a German, to whose countrymen we owe most of the other improvements in bellows, stops, &c. Several elaborate works, in French and German, on the subject are extant, which are scarcely known even by name in this country. Some idea may be formed of the importance of having a fine organ from the following fact re- lated by Andrew WerkmeLster, in his " Organum Gru)iiiige/ise Redivivum," 1701-5: "The magis- trates of Groningen contracted with David Beck of Ilalberstiidt, to construct an organ in the Cas- tle Church of that city. In the year 1592, arti- cles were drawn up between the magistrates and" the organ builder, in which it was agreed by the former, that, for an instrument, the contents of which were minutely described, a certain stijm- lated sura should be paid to the latter upon its completion, provided it was ai)proved, after trial and examination, by such organists as they should nominate for that purpose." This instrument, in its construction, employed the builder four years ; and in 1596, the most eminent organ- ists in Germany being invited, the name.i of all those who signed the certificate of approbation amounted to fifty-three in number, the whole of which may be found iu the above-mentioned work. Of the organs in England, we find scarcely any particulars from the reformation to the reign of Charles the Fii-st. Camden mentions one at Wrexham, and Fuller, misquoting it, describes its pipes as being made of gold. This shared the fate of organs in 1641. The old York organ (since burned,) was the only one that es- caped the destruction of those times, owing, no doubt, to the protecting care of Lord Faii-lax, a man who was fond of music and antiquities, and who preserved the painted windows of that ca- thedral from the general destruction. Yet Crom- well himself was jiartial to the organ, and caused the one at Magdalen College, Oxford, to be re- moved to Hampton Court. It was restored afterwards to the college, where it remained till about 1700. In 1660, only four organ buildera were to be found in the whole kingdom of Great Britain — Preston, of York, Loosemore, of Exeter ; Thamar, of Peterborough, and Ralph Dallans. This led to the introduction of foreign artists — Iternar^l Schmidt and his two nephews, the elder Harris and his son Renatus Harris. To tliese, succeeded Schreider, Smith's son-in-law, who built the organ at St. Martin's in the Fields, which was a present from George the First, who was elected churchwarden — Bridge, Byfield, Jordan, Swarbrook, Parker, Cranz, Snetzlcr, £ug- 678 OUG ENCYCLOP-EDIA OF MUSIC. ORO land, Avery, Green, Davies, Blythe, Nicholls, Gray, Sen., Hill, Sen., Eilliot, Beviugton, Sen., Bixhop, Hill, Gray, Beviiigton, Uobson, Liiicobi, kc, &c. The following list of artiitts who have written DU the gemral con.struction of the or^un, it-s luech- uiisra, &c., to some readers may be found uiieful. Cams, or (,'iius, Solomon de, 1615, 1616, 1620. Fomer, Christian, 1084. Deeiulin^;, Ernst Ludwig, — Beachreibung de3 Orfielbaiies, .Vc, 1692. Uendeler, Joh. Phil., — Organopoia — Orgel-Dau- Kumt, 173!). UernouUe, Daniel, 1762. Bedos de Colles, Don Jean Francois, — L'Arl du Ftwtcur (rori/iics, Paris, lol, 1761!, 1778. Adlung, Jacob, — Miuica Mechanica Organoedi, 4to., 176S. Sorge, George Andreas, — Der in der Rechen, &c , 1773. Halle, Joh. Sara., — Die Kunst dei Orgelbaues, 1779. Ueber Herrn Abt Vogler's Simplifications, &c., — Mia. /.fitting, vols. iv. v. vi. Schlirabach, G. C. Fi'., — Ceber die Structur, &c., 1801-25. Ferroni. Pietro, — Menufria sulf u»o delta Logis- tica, 1801-7. Vogler, Cieorge Joseph, — Erkltrung der Buck- tlabcn, 180 'i. Vogler, George Joseph, — Vtrgkichungsplan, &c , 1807. Wolfram, Joh. Christian, — Ankitung zxtr KeniU- tiias, 181-). Schneider, Wilhelm, — Lehrbtich, das Orgelioerk kvnnrn.lScc., 182.3. W'ilke, Friedrich, — Article in Mus. Zeitung, vol. xxvi. Bo ttner, Joseph, — Anieeiaiing, iciejeder Organ- ill, &c.. 1827. Keichmoister, J. C, — Die Orgel in einein, &c., 1828. Reichmeister. J. C, — Vnentbehrlich«i Hulfibuch beim Oriie!'>iii, 1832. MilUer, Wilh. Adolph, — Die Orgel, &c., 1830. Topfer, Uottlob,— Die Orgell>au-kiintl, 1833. Topfer, liottlob., — Enter Sachtrag zwr Orgel- \iiiu-kunit, 1834. Werkmeister, .\ndreas, — Organum Grwiingense n-dificuiit, 1704—). Biermann, Joh. Hermann, — Organographia, &c, 1738. Ludwisj, Joh. Adam Jacob, — Gedanken uber die griissen Ot-i;--tii, 1761. Ludwig, Joh. Adam Jacob, — TraiUat, &c., &c., 1764. Hess, Joachin, — Di^positionen der merkicaar-' digste Kerk-OrgeUn, 1774. Tauscher, J. G., — Vcrsuch einer AnUiiang, Sic, 1778. Knock, Nicol. Amoldi, — Ditposilionen der nierkwaarilijfle Kerk-Orgelen, 1788. Trost, Joh. Caspar, — AuafUhrliche Betchrei- iung, &c., 1677. Werkmeistcr, Andreas, — Orgelprobe, &c., 1781, *98. Carutius, Caspar Ernst, — Examen Organ* pneu- uiatici, oiU'r Orgelprobe, 1683. Preus, George, — Grundregeln von der Structur, kc, 1722. Fabricius, Werner, — UnterricfU, wie man ein neu Orgeitrcrk, 1756. ZiUig, J. H., — VoUkommene Orgelprobt, 179&, 1804. The following is a list of foreign works on the history of the organ. Havinga, Gerhardus, — Oorspong en Foortgang der Orgeleii, 1727. Mittag, Joh. Gottfr., — IlistoriscJie Abhundlung, &c., 175(). Schmerbauch,Gott. Heinr., — De Organis, 1770. Sponsel, Joh. Ulrich, — Orgelhiitorie, 1771. Dlabacz, G. J., — Eticas i-o/i ileii Kirchettorgein. VoUbeding, J. C, — Kurzge/iueie (Jeschichte der Orgel, 1793. Giovio Giam , — Del nuovo Orgaiio, 1808. Buhler, Franz, — Etwaa tiber Alitsik, Orgel, SiC, 181.5. Michaelis, Chris. Fried., — Zur Geichichte A' Orgel, 1825. Antony, Joseph, — GeschictUliche DarsUUung, &c., 1832'. Many other excellent works have been wTittcn on the organ, the titles of which may be tound in Dr. Forkel's Allgemeine Litrrntur der Miuik, Leipsic, 1792, 8vo. ; Lichtcnthal's Diziomirii e liibliogrnfiti delta .Vim/cu, Milan, 1826, 4 vols, in 8vo. ; and in Carl Ferdinand Becker's .Si/dienia- tisch-Chrinntofjinche Darstari/ is situated the «/»/jrfr board, which is ])erforated with holes to correspond with those in the under board ; in these holes the feet of the pipes are placed. Between the up])er and under boards are situ- ated the sliders. These are movable slips of wood perforated with holes exactly corresponding to those in the under board over the grooves, and also to those in the upper board ; and which, on being moved backwards or forwards, either open or close at once all the holes belonging to the pipes of any one stop Hence there are as many sliders as there are stops in tlie organ If a stop be drawn, the holes in the slider ex- actly correspond with those in the grooves and those in the upper board, so that on pressing down a key the wind can enter into a pipe and cause it to sjieak. The i)allets belonging to the groores, being jilaced in the wind chest, are kept closely pressed against the bottom of the grooves by means of springs, and are attached to the sound board by a leathern hinge. When the pallets are closed, the wind is ex- cluded from the grooves ; and when opened, by pressing down the keys, the wind rushes in from the wind chest. The icind chest is a long rectangular box, con- nected with the wind trunk, by which it is filled with wind. The wind chest is formed under the forepart of the sound board, and is of the same length, but deeper, though not so broad. It is the reservoir into which the wind passes from the wind trunk. The pallets wliich close the bottom of the grooves open into the wind chest. The movement is a complex piece of machinery, consisting of a system of levers with their ap- pendages, called trackers, rollers, roller board, &c., which serves to transmit the action of the keys to the wind chest, pallets, and sound board. 'Hie tracker is a thin strip or stick of some light wood, varying in length from one to eight or ten feet. At each end of the tracker is inserted a hook made of wire. Trackers have also wire screws at their ends, and, by leather buttons, can be lengthened or shortened at i)lca,sure. The rollers are stout wooden or iron rods ; the former are generally of an hexagonal or octagon- al form ; the latter round. The rollers lie hori- zontally over the keys, and extend from each key to the groove belonging to it. At each end of the roller is inserted a wire, which, being let into a stud, serves as an axis upon which it partinlly revolves. Xear to each extremitv of the roller. G80 3R G encyclop-«:dia of music. ORO and projecting from it, is fastened a small piece of iron, perforutod with nu eye, called its arm ; in each of those arms is inserted one of the hooks belonging to a tracker. One arm of the roller lies directly over the key to which it belongs; the other end directly un- der the groove and pallet which it serves to govern. The roller hoard is a largo, irregularly-shaped board, plarcd perpcndiculnrly over the keys, of the same length as the sound board, and having attached to it as many rollers as there are keys in the set to whicli it belongs. There is a roller board to each set of keys. The hook at one end of a tracker is attached perpendicularly to the middle of one of the keys ; the hook at its oilier end lays hold of that arm of the roller which stands directly over the key. ^Vhen we press a key down, the roller partially revolves on its axis, and in so doing draws down the second tracker attached to the arm at its other extremity. 'ITiis second tracker, by means of its hook and a wire passing through the wind chest, opens the pallet, and thus admits the wind into the groove belonging to that particular key. The movement above explained is the simplest and most usual, especially in foreign organs ; more com))lex arrangements are often met with, but they coincide with the above in all their es- sential parts. In England, for example, a lever called a back fall is connected with each key : this lever, like the key itself, moves on a centre ; but when the key is pifessed down by the player, a small pin of wood or wire attached to it, called a sticker, throws up the near end of the back tall ; the far end of •vhich, as it deL.ceuds, puUs down the first track- er, causing the roller to revolve, and thus, by means of the second tracker, opens the pallet as before. Large organs have three rows of keys ; the middle row for the great organ, the bottom row for the choir organ, and a third row at the top for the swell. lu >ome ot the hirje organs on the con- tinent, there are four rows of keys or manuals. Two of these rows of keys may generally be so connected by means of a draw stop, called the copula or coupler, that they may be both played at the same time. In old org:ins the copula gener- ally connects the choir organ with the great or- gan ; but tlie organs built in the present day con- nect the swell with the great organ : this is con- sidered a great improvement on the old arrange- ment. Occasionally also all the three rows of keys may be connected ; in all casis, however, the keys of the great organ are those which are to be played upon. Organs in which the pedal pipes are de. ached from the keys have a copula for the pedals, which connects them with cither the great organ, choir organ, or both. Tlie peilaU are a set of keys lying under and played upon by the feet of the organist. The arrangement a'i thote keys is similar to that of the other rows ot keys ; except that the peilals com- prise the two low er nciavcs, or an octave and a half, and contain only ba-s notes. The stops belonging to the pedals have their 3wn wind chest ; this lies at the bottom of the organ. 'ITic pedal pipes can only be made to ?t)eak by pressing down the pedals ; never by means of the keys. For, even when there is a copula connecting the keys and pedals, it is only tlie set of keys that is connet-ted to the pednU and made to speak with them, and never the rcTiT-e. Few of the old organs have any pedal jiij^es ; the pedals merely serve to pull down the lower keys of the great organ, and thus to sujjply the place of a third hand. In the large organ'*, the pedals have from eight to ten or twelve stops ex- clusively appropriated to them ; some rct-d-stops, some flue stops. A stop consists of a row or rank of jjipes formed upon one uniform model, and generally placed on the same slider. Among organ stops, some are only treble stops, and some only ba.ss stops : hence some stops have only two or three octaves in compass ; while others extend throughout the entire compass of the in- strument. The pipes belonging to one stop generally stand in the same row or series, though sometimes, for the sake of sj-mmetry, or from want of mom, an exception to this arrangement is permitted. The stops are divided into Jlae slops and reed stops. In another point of view, they are also di\-ided into fotinrlation stops, mtiiation stops, and oom^ pound or furniture stops. A foundation stop is a stop of which the pipes every where give such notes only as we arc pre- pared to e.xpect from the keys that we touch, or at least the octaves above or below those notes. Thus the diapasons, trumpet, &c., are foundation stops, in the strictest sense ; the principal, fifteenth, clarion, doub'e diapason, &c., are also foundation stops, since they arc octaves to those before men- tioned. Mutation stops are those which a.s to pitch do not correspond with the keys that we touch. They are the twelfth, tierce, and their octaves. Compound stops consist of an assemblage of several pipes, three, four, five, or more to each key of the instrument, idl speaking at the same time. Among compound slops are the se.-quial- tera, mixture, comet, Jtc. Compound stops are tuned in octaves, thirds, and fifths to the foundation stops. Draw stopi are situatetl in the front of the or- gan, by the sides of the rows of keys. On the knobs at the end of the draw stops, or occasion- ally underneath or above them, Ls written to what stop each draw stop belongs. The draw stoi>s are connected with a movable lerer, by means of which the sliders are put into motion. If we draw out a knob, the lever revolves and draws back the slider, so tliat the holes which are bored throvigh it exactly coincide with those in the sound board and in the upper board \ipon which the pipes are placeipe9 may be distributed into flue pii>e« and re«l pipes. They are made cither of lurtal or of wooipos is either thot of a cylinder or of a cone, direct or inverteense, large reed pipes are sometimes made of wood. The various qualities of tone in the different raed stops depend chiefly on the shape of the pip«s. 'Vhe wii d, passing through the foot of the pipe and through the narrow fissure already de- scribed, impinges against the narrow edge of the upper lip, and causes it to vibrate. These vibra- tions are directly communicated to the column of air within the body of the pipe, and thus cause it to speak. The pitch of organ pipes depends almost alto- gether on their lengths, very little upon their forms or their diameters, except in very large pipes ; the latter circumstance, however, greatly influences the qualities of tone. The length of the jnpcs belonging to any par- ticular stop is generally governed by the length of that which is necessary to produce the note This note was formerly the lowest note on the organ, and it is still retained as a sort of standard. An open pipe necessary to produce the above note must be eight feet long in its body, as the length of the foot has no influence whatever on its pitch. A stopped pipe producing the same note will only require to be four feet in length, as the vi- brating column of air .strikes against the cap at the top, and is reflected back again to the mouth, before the pipe can speak ; hence the air passes' through twice the distance it would have to go in an open pipe of the same length, and the pipe therefore sounds an octave lower than it would if not stopped. The principal stops may be described as fol- lows : — 1. Open Diapason, ^open unLson.t — This is one of the principal stops, and Ls the foundation and most essential stop in the organ. It is called open from its pipes being open at the top ; the pipes are made of metal, the lower ones frequently of wood, and, in large organs, they are generally placed in front. 2. Slopped Diapason, (stopped unison.) — The pipes of this stop are generally made of wood, and stopped at their tops by square plugs ; though sometimes the pipes in the treble are made of metal. The two diapasons are the foun- dation of the organ. .3. Principal. — 'ITiis stop is tujied an octave higher than the diapasons. It is composed of open metal pipes. 4. Twelfth. — Tliis is an open set of pipes, a twelfth above the unison diapasons, and runs throughout the instrument. It is sometimes combined in the sesguiaJtera, and not a separate stop. 5. Fifteenth. — ThLs stop consists of open met- al pipes. It is tuned an octave above the prin- cipal, and is therefore two octaves above the dia- pasons. It covers tlio twelfth, which should not be drawn without the fifteenth. 6. Sesquialtcra. — A compound stop of three or more ranks of small ojjen metal pipes, which are tuned in thirds, fifths, and eighths, to the foundation stops ; so that every key, when pressed, produces a common chord. The inter- vals which the jiipes form with the diapasons are the seventeenth, nineteenth, and twenty-second. Towards the top of the instrument the pipes be- come so extremely shrill that it is usual to make several breaks or repetitions in the series, by ea- 682 ORO ENCYCLOr.^DIA OF MCSIC. ORG plowing pipes similar to those used in the octaves below, and thus transposing the notes an octave lower. 7. Mixiurp. — This is a compound stop, con- gistin;; of three, four, five, or six ranks of small metal pipes, tuned in tliirds, fifths, and eighths, to the foundation stops. Its tone is shriller than that of the 6csoc. The tubes are narrow and somewhat conical, spreading out at clarinet. This is a half stop from the top. It seldom extends below (c\) v^ and. 18. Claribel. — A stop of modem invention, of • very pleasing qtiality of tone, not unlike the in general, is accompanied with the stoj) diapason bass. Organ builders sometimes combine them both in one, under the name stop diapas'm. 19. Vriiinorne, (commonly, but impro])erly called creinoiM,) from kruiu Aim, or crooked horn is a reed stop, ot a pleasing quality of tone. Thil stop is very useful for solo passages in the rai.gc of the tenor. 20. I'ojc huinana, (human voice.) — A reed stop, in unison with the dia|)asons, the tones of which are supposed to resemble the human voice. Its tubes are cylindrical, with this difference, that blocks are jjlaced within tlie tubes, and the sound issues through holes bored in these blocks, which occasion their peculiarity of tone. The largest pipes of the vox humuiui are not above twelve or fourteen inches. 21. Bassoon, (fagotto.) — A reed stop, tuned in uni.son with tlie diapasons, the pipes of which, like the htintbiy, arc of a conical form. This is only a half stop, and seldom extending above The two following stops belong to the pedal organ. w 22. Double Diapason. — An open set of metal or wood pipes, tuned an octave liclow the diapa- sons. It is the princijjal stop, in general, to the pedals ; and sometimes it is connected with the keys of the organ. 2.3. Double Trumpet (trombone) is the most powerful stop in the organ. The ])ipe-< of this rei'd sto]( are of the same length a.s the double diapason, to which it is tuned in unison. This stop is only used in the jiedal organ. Other stops have been added, by different builders, in imitation of the large tierman and other organs, a-s the Posaunc, Hourdon, Tenoroon Diapason, Doublette, C'orno Trombone, Conio t'larion. Claribel Flute, Oboe Flute, (not a reed,) Wald Flute, Suabe Flute, Echo Dulciana t'omet. Flageolet, Piccolo, (iuint or Double Twelfth, Decima and Duodccima, (from the Frankfort, Seville, and other great organs,) Super Octave, Cymballe, Contra .Shawm, Tenoroon Shawm, Unison Grand Posaune, Super Clarion, Psaltery, AVald Krum Horn, Dulcnun, Cdcstina, Contra Serpent, Corno di Bassetto, Hoiubarde, Ojjhicleidc, Cornctto, Sub Bass, Tenoroon Trumpet, Swiss Cromonie Flute, liohr Flute, Uegal, or Violin Reed, Glockenspiel, Gems-honi, Contra Boui- don. Contra Fagotto, Echo Piccolo, Kcha Dul- ciana Comet, (a stop of five ranks of pipes,) Clar- ion Fifteenth, Clarinet and Chalanicau, Cro- mome Flute, Clarion Possaune. Contra Posaune, Carillons, Echo Trumpet, Tenth, or Double Tierce, &c., which have been added to give weight, power, and brilliancy to very large organs. Many of the stops are, as may be j)erceive H T H T 11 H T H T H T H T Rules cannot well be given for solo plaj-ing on the organ, as much depends on the caprice of the perlbnuer. What relates to the drawing of the stops, singly and in succession, we have already ex- phiincd. To acquire a knowledge of the style most Bj)i>ropriate to the various fancy stops, the student must have recourse to modem volun- taric-i tor the organ, which contain one or more movements expressly calculated to display the power and variety of the instrument. We shall merely insert one or two less obvious combinations, which will be found useful in solo playing. (ireat organ. Open or stopped diapason, or to- gether, for the right hand. Sirell. I'lain and simple chords in the left hand. I'edah. To play the bass by coupling the pedal keys of the great organ. ITiis will be found a very pleasing combina- tion for slow airs and sacred melodies. The fol- lowing combination will also serx'e for the same puqiose : — C/ioir nriian. Stopped diapason and principal in the right hand for the melody ; aicell aud perLils as before for the harmony and bass. Another very elfeotive combination is obtained by coupling the full svell with the diapasons of the great organ. In accompanying voices on the organ, tutti passages, if hurl, must be accomi)nniel on the choir organ ; generally speaking, with the diapasons and principal. So/i passages must be accompanied on the choir organ with the dulciana, or dulciana aud stop diapason. Occasionally, also, we may employ for this pur- pose the swell with the two diajjasons for the right hand, and the choir organ, as bc;"orc, for the left ; particularly if there are occasional obligato passages of accompaniment of a light and elegant character. One of the chief purposes to which the organ is applietl in the Protestant service, is the accom- paniment of the psalms. The melodies to which the psalms are sung are of the simplest and mo.st natural description, as such only arc adapted to be sung by a congregation, or any considerable part of them. The practice of singing psalms in divine wor- ship may be traced back to the times of Moses, David, and Solomon. The earliest Christians introduced psalms and hjTnns in their worship, particularly in the Ea.st- ern and Greek churches. A canticle by St. Am- brose, Archbishop of Milan, is still extant. This is the well-known " Te Deum," still in use in the Catholic church. In the western churches, Pope Gregory the Great, (who instituted the Gregorian Chant,) and, in later times, Luther, Calvin, and otliers, con- tributed largely in various ways to the improve- ment and general dilfusion of this kind of sing- ing. The Germans have bestowed much pains on the improvement of psalm singing ; and also on the divers ways in which those melodies may be accompanied on the organ. Many extensive col- lections of psalm tunes, harmonized by some of their greatest composers, have been published under the name of " Chorale." As these several ways of accompanying such melodies admit of being applied to our own psalm tunes, wc shall explain and exemplify them. T/ie ordinary mantier in four parts. — In this, which is the usual mode of accom])animcnt, the right hand plays three out of the four parts, the melody being always the upper part, while the left hand merely strikes a plain ba.ss. Example. (§^|jUg|.^|^ 6 6 685 ORG ENCYCLOPiEDIA OF MUSIC. ORG ITiLs way is not so well adapted to the nature of the human voice, because the upper parts are too hiffh, too close o one another, and generally too remote from the bass. In four parts iriVA dispersed luirmony. — Tliia, which is t)ie more modern and preferable man- ner, was first introduced by Sebastian Bach ; it Ls much better adapted to the different species of voices. Two parts are generally played in the ri^ht hand, vi/.., the treble and the contralto, w?iile the left hand plays the tenor and bass parts. or the tenor only ; the bass part being played on the pedals. Example. I We have no means (says the Rev. Mr. La- trobe) of ascertaining the exact period when pure instrumental music was permitted to form a part of divine service. The primary use of the organ was undoubtedly to accompany and sus- tain the vocal chant. When, however, it had advanced towards its present state of perfection, it was emjiloycd by the Uomish priests to till up the intervals between the services of the mass, which were generally sung, and thus enable the choir to recruit its powers. For the same reason, it might have been similarly used in the Protes- tant churches, and retained, when found to con- duce to the higher oliject of general edification, even when the discontinuance of chanting seemed to dispense with the necessity. The original character of the voluntary wovild appear to have been purely vocal ; as, between the Rei'orraatiou and Restoration there was little, if any, that could serve as an archetype lor instrumental church music, except such as was intended for the voice. The fugue is the best species of music an organist can employ, provided his subject be lofty and sublime, which it can only be by de- viating from every thing that is trivial, secular, or common. To compose a spirited and regular extemporaneous fugue, is no trivial excellence; and as it is noccssarilr a difficult and intricate species of instrumental music, no one cai com- plain if he meets with correct and effective per- formance. Happily, the musical world is en- riched with many masterly fugues, composed expressly for the organ ; and no player need deprecate the charge of unskilfulness who \\»n modesty sufficient to prefer the works of Ilandel, Graun, Uach, Albrechtsbcrgcr, and others, to his own extemporaneous effusions. The times usually set apart for thLs species of composition are three : at the commencement of the service ; before the first lesson ; and after the final benediction. It is customary for the organist to begin the opening voluntary as soon as the minister enters the church, and pursue his subject during the short interval of time that elapses before he ap- pears in the desk. This introductory voluntary is supposed to have a character of its own. It sh9uld be in a grave and solemn style, abounding in full, close-wrought hai-mony, and inspiring a feeling of reverential awe. The kind of i)iece« best suited for this purpose are short diapason pieces on the full or choir organ, abounding in suspensions, &c., and should be, except those used in penitential time, in the major mode. The middle voluntary, before the first lesson, usually consLsts of pieces lasting about eight or ten minutes in performance, in which fancy stops' are sometimes used, played on the swell or choir organ, and consisting of some devotional subject, selected from the vocal works of Handel, Haydn, Mozart, Beethoven, &c., or pieces expressly com- posed for that portion of the service. The concluding or out-voluntary is that in which the organist generally shows off the full power and effects of the instrument he jjresides over. The pieces best suited for this occasion are those expressly composed tor the organ, consist- ing generally of an introduction and fugue, wherein the pedals may be emjiloyed. 'ITie mas- terly fugues of Handel, Sebiistian Bach, Graun, Albrechtsberger, Eberlein, Rinck, Hesse, and others, leave nothing to be desired in that class of writing, further than an effective pertormance. In this the organist should consider he must use all his powei-s, and consider that it is no child's play that he is about to perform. Nothing can be better than a fine performance of one of Handel's fugues on a large and powerful organ : the deep tones swell and increase in power ; tne volumes of sound that roll throughout the church, reechoed by the arched roof, now and then seeming to die away, then increasing to that ex- tent that every pipe seems employed, produce that feeling of awe, that sense of holiness, which all that have a soul for music must leel, wliile listening to the voluntary. The organ (ogeb,) is frequently mentioneil in the Old Testament, and its invention is as- cribed to Jubal, in Genesis iv. 21, but it cannot have been like our modern organs. I'rom Eze- kiel xxxiii. .31, it seems rather to have been a kind of flute, at first composed of one or two, but afterwards of about seven pipes, made of reeds of unequal length and thickness, which were joined together. It corresponds most nearly to the pipe of Pan which wa^ used among the Greeks, consisting of several pipes of unequal thickness and length joined together, which gave aii har- monious sound when they were blown into by moving them successively under the lowci lip. 686 I DRG ENCYCLOPEDIA OF MUSIC. ORG ORCfAX BUILPINO. The propress of our tountrymen in or);;iu lniile several parts, and took the dimensions and proportions of the pipes and other portions of the interior. All, or most of these, he introduced, at various times, into his own organs ; and, after due trial, ado;itetl such as he deemed the best tor his own future use." " It is highly cretlitable," "i-'ont.nues tlie writer, " to Mr. Goodrich and his pujuLs, that during the whole period of his beng in busine-is, (from 1805 to 1833,1 and notwith.st^mding tbe violent prejudice which existed, for a long time, against American mantifactures, and in favor of every thing that was English, only three church organs were imported into Boston from abroad. Two of these, by Fruin, of Loudon, are said not to be remarkable for excellence. The third, built by Elliot, 01 London, for the Old South Church, in 1822, is considered to be a very superior instil- ment. It cost the society seven thousand one hundred and twenty-eight dollars." Soon after Mr. William M. (Joodrich com- menced business in Boston, hLs brother Ebcnei^er went into hi-t manufactory to learn the business in Boston, finally set up on his own account, and built quite a number of instniments, mostly of small size. About the year 1807, Mr niomas Appleton, who had serveer»ons by the name ot Hayt — under the name of Ila^-ta, Babcock, ,Sc Appleton. l"hey took a building in Milk Street, Boston, and commenced manufsc- M7 ORO ENCYCLOPAEDIA OF MUSIC. ORO turing orgniis and piano-fortes. In the course o!' a year, Mr. Goodrich was induced to join the cuablishnicnt, and attend to tlie voicing and tuning of the instruments — the most delicate iind difficult part of organ building, and a part for wliich tlic greatest amount of mere mechani- cal skill will always be found insufficient if it be not coupled with original genius and taste. The Milk .Street firm, after \indergoing various changes, w.is finally, in 1820, dissolved. Mr. Applcton took a building in another situation, and continued the business on his own account. The first three organs he built were voiced and tuned by Ebenezer Goodrich. One of these was afterwards re-voiced and tuned by Corri, an Englislimnn, who came over with the Old South Ch\irch organ. Corri was employed by Mr. Appleton, in voicing and tuning, for several years, (ind was probably one of the most talented men he ever had with him. Mr. Appleton has built, since he first went into the business, a large number of organs, many of them, undoubtedly, very good instruments. He afterwards, we be- lieve, formed a connection with a young builder by the name of Warren, under the firm of Apple- ton & Warren. Mr. Warren afterwards com- menced business for himself at Montreal, Canada East. About the year 18.31, the art of organ building in America began to receive a new impulse. Messrs. E. & G. G. Hook commenced business in Boston about this time, and they had previously carried on the business in Salem, where they had already built for various persons nineteen organs. The elder Hook was, at the age of six- teen, an apprentice to the celebrated W. M. Goodrich, many of the peculiar qualities of whose mind he seems to possess in an eminent degree — such as great inquisitiveness and ingenuity in mechanics, united with a constant disposition to introduce new features in his method of con- struction, and to seize upon all foreign improve- ments deemed to be of any value. William Xutting, .Jr., formerly of Randolph, Vt., in 18.5:$, opened a large organ establishment at Bellows Falls, Vt. He had previously built a numi er of organs, which have been considered as good as any built in the country. There were, in 1853, in Boston and its imme- diate vicinity, four extensive organ factories, viz. : Appleton's at Reading, Stevens's at East Cambridge, Simmons's (Mr. William B. Simmons was for many years in the employ of Mr. Apple- ton, before commencing manufacturing on his own account) on Causeway Street, and Hook's on I.cverctt .Street. John Mackay was connecled with Mr. Appleton in 1810. In 1812, on account of the embargo whicli existed during the war, a portion of the material, (^tin, zinc, and ivory,) used by organ builders, became so scarce that it could not be obtained, except at an almost ruin- ous e.\pense ; consequently, this branch of manu- facttires experienced a temporary decline. ORGAN" BELLOWS. A well-known pneu- matic machine attached to an organ, and the office of which Ls, to supply the pipes with wind. The general fault in the bellows of organs is their want of capacity, which renders it laborious to the b.'oircr to keep the c/w-it full, and subjects the instrument to continual exhaustion, when performed on in full chords. ORGAN BUILDER. An artir-t whose profes- sion is to construct, and to tune and repair organs. An organ bitiMfi; l)esides possessing a nice, accurate, and cultivated ear, and a sound judgment in the vibratory qualities of wood and metiil, ought to be acquainted with pneumatics, generally versed in practical mechanics, and so far informed in plain counterpoint, and the sim- ple elements of musical composition, as, in some degree, to be capable of trying the difficult stops and combinations of his own instruments, and of deciding for himself on their effects in per- formance. ORGANARII. Ancient organists, who per- formed on the hydraulic organ ; said to have been so called from the word or-jamun, applied to a cer- tain part of that instrument. ORG.\.NIC. The epithet applied by the an- cients to that part of practical music which con- cerned instrumental performance. The organic comprehended three kinds of instruments, viz., wind instruments, as the trumpet, horn, flute, &c. ; stringed instruments, as the lute, lyre, &c. ; and pulsatile instruments, or those which are per- formed on by beating, as the drum, &c. ORGANLSTIC. An epithet applied to music composed for the organ. ORGANIZARE. (L.) To organize, to sing in parts. ORGANIZED PIANO-FORTE. An instru- ment consisting of an organ and piano-forte, so conjoined that the same set of keys serve for both, or for either singly, at the pleasure of the performer. ORGANIZED LYRE. M. Adolphus Ledhuy was the inventor of this instrument. By a very sim- ple mechanism he has so perfected the guitar lyre as to render the sounds of his new instrument sus- ceptible of several different tones or stops, by which the performer may imitate several instru- ments, such as the lyre, the piano-forte, the harp, &c., the instrument being fingered as the guitar IjTe. It has fifteen strings, embracing four com- plete octaves, separated into three distinct divis- ions, bass, tenor, and treble. It has a row of keys which include the extent of three octaves, to imitate the piano-forte ; and it has two necks, each with six strings which are fingered as the guitar IjTe. ORG-A-NIZING. Singing in parts. ORGAN LOFT. The name given to the space between the front of a church organ and the curtains or case which conceals the lower part of the instrument. Tlie area occupied by the organist. ORGAN MUSIC. Concertos, voluntaries, ser- vices, anthems, chants, psabns, hj-mns, and what- ever is cither expressly composed for the organ, or the performance of which requires the accom- paniment of that instrument. ORGANO. (I.) The word organo is found in the scores of oratorio choruses, instrumental anthems, &c., at the beginning of th.-it staff de- signed for the organ, and the execution of the thorough bass. ORGANO, PERINUS, an excellent performer on the lute, born at Florence in 1470, died, as early as 1500, at Rome, where a monument hs* 688 OR. J ENCYCI.OP.liDl V OF MUSIC. OHI been erected to his memory, iu the church Ara Ca-li. ORGAXON. A double or manifold i)ii)o. The shepherd's pipe is at this dny called a mouth organ, and so is the Pandean pipe. ORGAXO PICCOLO. (I.) A smaU or chamber organ. See Okoax. OROANORUM INTAIJULATUR.E. (L.) The general name formerly given to voluntaries, preludes, and all compositions for the organ. ORGAN PIPES. The stiuarc and cylindrical tubes in an organ, from which proceed the various sounds of that noble and complicated instrument. The s(iuare pipes are always made of wood, the round ones of metnl, consisting of a compound of lead and gniin tin. ORGAN STOP. An expression applied to any collection of pipes coming under one general name ; as when we say, " the dulciana sti>p is sweet, the trumpet stop is powerful," &c. ORGANUM, The art of descant, or double pinging. An old mode of singing in two parts, generally in thirds, and first suggested by the or- gan, from the facility that instrument affords of sounding two or more notes at once. This word was also applied by the ancients to a brazen ves- sel which formed a principal part in the hydraulic organ, out of which the air, pressed by the incum- bent water, was forced into the tibi;v, or pipes. OR(iAN POINT. A succession of chords, in gome of which the harmony of tlie fifth is taken iinprepared on the bass as a holding note, whether preceded by the tonic or by tlie hannony of the fourth of the key. ORGELGEHAUSE, organ. (G.) ITie case of an A school or method ORGEL SCHULE, (G.) for the organ. ORGEL STCCKE, (G.) Pieces for the organ. ORGITANO, professor of the harpsichord at Naples, was celebrated as a performer in 1770. He published, in London, a book of sonatas for the harpsichord. ORGITANO, a Neapolitan by birth, died at an early age. He left some works evincing talent. It is probably this Orgitano who composed the j ^^ opera bulla entitled " IJ Infenno a dartr," which ' was performed at the Theatre Fiorcntini at Na- j)los, in 1804, with great applause. ORGO.^INI, HENRY, a musician at the be- ginning of the seventeenth century. He pub- lished " Xiiie Si/iffi-kiiiiaf," JL«ipsic, 1603, in Ger- man and Latin. ORIA. (JIOV. BATTIST.V. A very cele- brated singer in ItJily about the year 1670. ORIENTAL MUSIC. Tlie music of the an- cient Egyptians has survived by tradition, as has also their language — many of the words and phrases which are carved in the phonetic hicro- at the idea of musical notes being represented on paper. Thov are ignorant, and their profession is held in much di-.credit. The use of music is forbidden by the Korai\, although, as if in defi- ance of its own precept, the Koran itself ut chantKd. The history of Arabian music ha^ its marvels and its miracles, like that of all an- cient nations. Cidebrated musicians vihit, i/iooy- uito, at the court of sultans and caliphs : they take a lute, excite at will all the juisnions in the soul of those who hear them, jjlungo them into slec]), disappear as mysteriously ils they came, and are only recogni/.ed after their departure by their name, which they have written on the han- dle of their instrument. Such is the enthusia-sni of the nations of the Ea*t for music, that, to give an idea of its power, they have all had recourse to fiction — yet the jjrofession of musician is con- sidered infamous amongst the Aral)s. Eminent musicians have seized with avidity every opportu- nity of endeavoring to make themselves prac- tically and experimentally accjuaiiitcd with the insurmountable dithculties of the E istern music, and have labored, with not much success, to rep- resent it by the intervals of our scale. The sin- gularity of this music consists principally in this, that each note is divided into three parts : that Ls the progression is by intervals e^ual each to altout one third of a diatonic interval in our scale, so that the octave contains eighteen notes instead of thirteen. The r\inning up their scale has no other effect upon a Western ear than that of a slide of the voice, or such an effect as is pro- duced by sliding the finger along a %-iolin string. M. Fctis speaks of the music of the Arabs as (after the Itiilian system) the most singular, the least rational, which exists in respect to the for- mation of the musical scale and the tonality. A French musician, he continues, discovered that the disagreeable sensation which he experienced from the song of an .\rab proceeded from this catise, namely, that t'le di^-ision of the scale of sounds had no analogy with that to which he was accustomed. TTiis scale, so singular and eccentrij to us, so natural (o the ear of the inhabitants of a great part of Africa and Asia, is divided into thirds of tones, in such manner, that, instead of contain- ing thirteen sounds in the extent of an octave, it admits eighteen. In the notation of the scale, M. Villotcau has tried to represent the position of the notes by broken flats and sliarps ; but ese signs, or any which he might have made use of, would not have enabled him to make us understand the true intonation of these notes, distant from each other by third parts of a tone ; for these intonations do not fall under our musi- cal sense. The succijssion, in the melody, of these little intervals produces, at the first hcaiing, no other effect on the ear than that of a slidin ; of the voice ; the multiplied ornaments, the fre- quent trills, and the little (rem'ii nvn-t of the throat of the singers joined to the snufHing of which they make continual use, complete a mu- sic made to lacerate our ear and to charm theirf It is certain that they have no id'^a of harmon>. "I knew, in Paris,"' says .NL F^tis, " an •\ral" glyphics still lx;ing heard in the mouths of the who was pasnionately fond of the MarseillaiM>, Copts, and even borrowed by their Arab con- ([iierors. Hebrew mvisic could have no other source than from the mu^ic of I^gyjit. The pres- ent practitioners of music in the East have no musical uotalion, and even cxprc^-s astonishment and often asked nie to j'lay that air for him on the i)iano ; but when I attempteed my left hand, and sairl, ' No. not that air ; only the other.' .My lia«» wa« to \\\* ear a second air, which prevented liia hear. 87 csa OKI ENCYCLOPEDIA OF MUSIC. ORL ins; the MRrscilliiLse. Such is the effect of edu- cation on the orf^nne." The ])riiici|)iil instrument in use among these Oriental mur^iciaii.s is tlie kaiumn, described as a Hort of dulcimer. The performer sits upon his haunches, and holds the instrument in his lap; or, when he walks in a procession, it is sustained by a string round his neck, like a Turkey mer- r haul's box of rhubarb. Mr. Lane gives the di- mensions of one rather larger than ordinary, as follows : the greatest length, thirty-nine inches and three tiuarters ; the breadth, sixteen inches ; the depth, two inches and one tenth. The face and back of this instrument were of a fine kind of deal, the sides of beech. The pegs were of poplar wood, inserted in a wrest-board of beech, the bridge of tine deal. The strings were of lamb's gut, three to each note; and the instrument em- braced twenty-four notes. To the jdayer of the S)Tiau kanonn the piano-forte would be an abso- lute object of wonder. The .\rab scale is thus represented ; the fourth and fifth being apparently true, and the second and sixth rather flatter, the third and seventh rather sharper than our notes will show : — ARAB SCALE. To this we may add a native Syrian melody. IKKI BELDOL. Sijrian melodii. •«_•*«• To continue our examples, we give the " Call to Prayer," as it is heard from the minarets of the mosques at Aleppo. This, we believe, was first brought to Europe by Captain Sir Byam Martin. THE "CAM- TO PRAYER." -fT\-r 1 iTs^ As vmd at AUppo. U • la-1 - lah Mo • ham-med nu - - - aoal Al - Uh ! ORIGIN OF MUSIC. With respect to the origin of music, we need seek for no other cause than the natural constitution of man. He is so formed as to receive a mechanical delight from the jicrception of sweet and melodious sounds, whether heard in conjunction or in succession. The causes of this pleasure admit of a philosoph- ical analvsis. The laws of concord and discord, of harmony and melody, are founded in the nat- ural constitution of man ; and the same thing may he said of rhj-thm, pr the proportional dura- tion of length of musical sounds, compared with each otlicr; for in this also (here is a natural re- lation or a principle of comparison deducible from .be fixed and determinate laws of order and pro- portion. Man, therefore, may be said to seek is naturally for the gratification of music as for food to allay his hunger, or for drink to (juench his thirst ; it is the natural delight and pleasure of the ear ; and it has a striking superiority over all the pleasures of sense, in this respect, that it can hardly be indulged in to excess, or carried so far as to jade and impair the power of sensibility. Man, being thus predisposed to take delight in musical sounds, would embrace the first hint that might suggest any method of producing them ar- tificially. The whistling of the wind through a hollow reed might suggest the idea of a flute or pipe, which appears to have been an instrumen of music of great antiquity. The honn of ani- mals, when blown into, produce a j)owerful sound, and have been employed by all savage nations as instruments for martial or some other music. The ancient trumpet was nothin;; but an imita- tion of these horns in metal, and seems to have been invented in the very earliest ages. The o)iIy instruments of music spoken of in ."sorijiture as in use during the patriarchal ages, were the pipe or flute, the trumpet, and a kind of kettle drum, called tympanum, the outside of which was of copper, of an oblong figure, and it was covered with skin only at one end, and beat either with sticks or with the hand. Stringed instrumentf seem to have been a much later invention. It if* not improbable that vocal music, or some kind of singing, was of still greater antiquity than instru- mental. This is so natural to man, that it is prac tised every where, even among the most rude and barbarous nations ; but if a model were wanting to suggest the art, it is provided by nature in the sweetness and variety of the singing of birds ; which might have prompted men to try the melo- dy of their voices, as they are so much inclined to imitation. The inherent laws ot concord and discord would direct them to those inflections and modulations of the voice which alone are capable of affording pleasure to the ear. XnA thus the various scales or modes of musical intonption would be practicall}' made known long before their essential principles and laws were subjected to investigation. ORISCUS. The name of one of the ten notes used in the middle ages. ORISICHIO. A celebrated church composer at Rome, about the middle of the last century. Grctry, who was acquainted with him, states that he was very exact in his composition, and that his music was characterized l)y great truth and expression. Gretry laugh.s, however, at the solemn countenance and consequential air he usetl to assume when performing any of his own works. ORISTAXEUS, JULIUS, organist of the Chap- el Royal at Palermo, was born at Trepano, in Si- cily. He flourished as a composer about the year 1600, and published, among others, the fol- lowing works : •' Mndriyali h o voci," Venice, 1.588, and " Rrsponsoria yativitatis it F.piphanirr Domini, 4 toe.," Palermo, 160'J. ORLANDI, S.VXTI, an Italian composer of the beginning of the seventeenth century, pub- lished " Madriyali a 6 voc ," Venice, 1607. ORLAXDI, pupil of Paer, composed the mt - sic of the opera buffa " I'odesta di Ctuoggia 690 OKL ENCYCLOPEDIA OF MUSIC. OR8 wluch was performed with success nt Paris, in 1806. OKLANDIXI, GIUS. MAR., was an able and famous Hologiicso writer, who furnislied the the- '\tre at Venice with many operas. His composi- tions seem more dramatic and elegant than those of any composer of the Italian school anterior to Ilasse and Vinti. He is said to have been i)ar- ticularly liappy in the composition of intermezzi, a gay kind of music, which was little understood by any other master till the time of I'ergolese. His hymns in three parts are paj-ticularly nat- ural and casj for psalm singers, and other per- sons not very deeply skilled in the knowledge of music. He wrote also cantici or catches, and continued b) flourish from 1710 to 1745. ORLANDO. FERDINANDO, a dramatic composer at Milan, born in Italy in 17S0, was e pupil of Ciraarosa, whose manner he suc- cessfully imitated. The tirst of the following operas was also the first work which lie j)resentcd to the public. He wrote it for the Milan theatre, wliere it was performed with great applause, and showed the admirable genius and profound knowledge of the science which Orlando already manifested in his twenty-second year. The title of it is " // I'odesta ili Chioggia," opera butta, acted in 1801 at Milan. Tlie following year he again brought out an opera, the second act of which did not please, and was therefore obliged to be recast, both by the poet and composer. ORNAMENT AND GRACES IN SINGING. It is an extremely false taste to overload every performance with a profusion of ornament. \Vhcn a piece has intrinsic merit, or when a singer has a fine voice, ornament, if profuse, ha.s more chance to injure it than add to its effect. It is not to he denied, however, that ornament, when judiciously placed, is indispensable to a singer, and will require great care and practice in the actiuisition. All good comjioscrs write such ornaments and graces as are allowable in pinging their music ; they do not leave room for a single appoggiatura ; and no singer ought ever to attempt a grace that is not set down for him, or which is not pointed out for him by a judicious master, nie violation ot this rule, if it procure, by chance, a momentary applause trom a mixed audience, will never insure a lasting reputation, nor lead to establish first-rate excellence in sim- ple execution. ORNEMEXS. (F.) Graces ; as the appoggia- tura, turn, shako, &c. ORNiniOPARCUS. Dr. Forkel not only (.lasses this writer amongst the profoundly musi- cal, but also among the witty authors of his age. Ho published at I^ipsic, in l.il7, a work entitled " MniictP actirrt micrologiu, librU quatiior digestiis, omiiihiu miuicir atudio^i^ non tarn utilis t/iuim iie- tfs3.irin3." It is the first book on music that was printed in Germany, and went through several editions. It was translated into English by I)ow- la:«l, in 1609. OROLOGIO, ALESS.VNDRE. A musician «nd composer in the service of the Emperor of Ger- many, at Vienna, in the beginning of the seven- teenth century. There were published by him " Caiizonciti a Ire voc.," book i., Venice, loHO, and book ii., Venice, \odi ; " IntraUcn," for fire and six voices, Helmstadt, 1597 ; and " MoMti," Venice, 1627. In the last publication lie ii called llorologiiu. ORPII.VRION. An instrument formerly in use, resembling, and by some identified with, the bass viol. ORPHEUS. It is the opinion of some emi- nent philologists of latter times, that there never ■was any such per>on as Orpheus, except in fairy- land ; and that his whole history was nothing but a mere romantic allegory, utterly devoid of truth and reality. Hut there is nothing alleged for this opinion from anti, or, at least, to have been senior both to Hesiod and Homer, and to have died a violent death, most affirming that he was torn in pieces by wo- men ; for which reason, in the vision of Herus I'amphylius, in Plato, Orpheus's soul, passing into another body, is said to have chosen that of a swan, a reputed musical animal, on account of the great hatred he had conceived for all women, from the death which they had inflicted on him. And the historic truth of Orpheus was not only acknowledged by Plato, but also by Isocrates, who lived before Aristotle, in his oration in jiraise of Uusiris, and confirmed by the grave historian Diodorus Siculus, who says, that Orpheus dili- gently api>lied hiinselt to literature, and when lie liad learned the mythological part of theology, travelled into Egypt, where he soon became the greate;-.t profi.'ient, among the Greeks, in the mys- teries of religion, theology, and poetry. Ncithei was this history o! Orpheus contradicted by Origeii, when so justly provoked by I'elsus, who had i)ri'- ferred him to our Savior ; and, according to I^uidas, Orpheus the Tliracian was the first inventor of the religious mysteries of the Greeks, and that religion was thciicc called ThreikfUi, as it was a Thracian invention. On account of the great anti(|uity of Orpheus, there have been numbeileM fables intermingled with his history ; yet ihert apjicars no ro^ison that wo should disbelieve thi existence of such a man. OUSANI, D. FRANCESCO, pupil of I'adr* Martini, church composer, and member of th« Philhannonic Society ut Hologna, was eminent in Itiily about the year 1770. ORSINI, GAETANO. An excellent coun- ter tenor singer in the servire of the emperor at Vienna, where he died in 1 7 to, at a very advanced age. Ho wa.s principal saiger in the opera CVm- Umza e t'orteczit, which was ) erlormcd in the I open air, at I'rague, in 17J3. Francis Benda, in the mciuoirs of Orsiui's lii'e, says that he drew 691 ORS ENCYCLOP-^DlA OF MUSIC. on teaJB from hi* audience, by his pathetic manner ol' hinging in the above opera. OHSLER, or OllSCIILER, JOIIANN (lEORG, born in Silesia, was violinist in the Imperial Cha])el at Vienna, in 17(>(;. He had pievioiisly held the situation of chapel-master to the Prince of Lichtenstcin till, the death of that nobleman. lie left numerous works in manu- hcript, consisting of violin masic and composi- tions for the church. ORSI.ER, JOSEPH. A musician at Vienna, and probably son of the preceding. Under this name the following instrumental works in man- uscript are found in Traeg's Catalogue, Vienna, 1799 : " Sill/on. n 8 ; " "2 Qiuirtelti aV., Vc, Vio- la obi., eD.;" "7 Sinfon. Ai : 2 V.,e Vc. ;" " 2 Ter- zetti a Viola, Vc, e B., e a 2 Vc. e li. ; " and " 4 Sonate A Vc. e li." It would seem by the above music, the composer was a violoncellist. There were, in fact, in 179r), two Orslers (father and Bon) violoncellists, in the orchestra of the na- tional theatre at Vienna. ORTIIIAN. The epithet applied by the an- cients to a dactylic nome, or song, said to be in- vented by the Phrygian Oh-mpus. Herodotus tells us that it was the Orthian uome that Arian sang when thrown into the sea. ORTIIL\N MODE. (Gr.) The Orthian mode, like the Harmatian, was a mode of time ; two down and four up. Plutarch says that it consisted of loud and rapid notes, and was used to inflame the courage of soldiers, previous to battle. It is spoken of in the same manner by Homer, in the seventh book of his Iliad, as also by his commentator, Eustathius. Some cojifound the Ortliian m ith the Harmatian mode. ORTING, BENJAMIN, director of the music at the Church of St. Anne, at Augsburg, was born in that town in 1717. lie was a pupil of Seyiert. His compositions consist of many can- ticles, motets, cantatas, &c., none of which have been published. OR riZ. or DE ORTO, DIEGO, of Toledo, a celebrated contrapuntist towards the middle of the sixteenth century, published, at Venice, " Hymni, Magnificat, Halve, Salmi, l^c, d. 4 J'oc," 1.56.5. The following work has also been at- tributed to him : " PU prima libra, nel qtial si tratla delle ghse .lopra le caden:e, ed attre sorte di punti," Rome, 15.53. Glarcanus, in his Dodecacliordon, eulogizes one of the compositions of Ortiz. ORTOLAXI, SIGNORA. This female singer was a pupil of Galuppi, and flourished at Venice about the year 1770. OSRORNE, G. A., a distinguished pianist and composer, whose duets for i)iano and violin, which he composed with De Jicriot, are favorite concert pieces. OSCUI.ATI, GIUI.IO. An Italian composer, who flourished towards the end of the sixteenth century. Bonometti has preserved some of this master s motets, by publishing them in the I'ar- nasstm Musictis Ferdinandaiis, in 1615. O SI A. (I.) Sometimes written assia. Or else ; as, o sia piii facile, or else in this more easy manner. OSIO, FEODATO. A lawyer at MUan, born there towards the end of the sixteenth century He was first known as a writer of novels, but af- terwards made law and music his principal pur- suits. He left, at his death, the following works : " L' Armonia del nudo parlarc, overo la Mu-tica ra- ff ione dclla voce continua, neUa quale a forza dt Arilhmetiche e di Miisie/te Speculazioni si poni/ono alia prava le regole lino al presenta stabilile darjC osservatori del numero delta prosa e del verso," Mi- lan, 1637, and " Sylva Tiovartim opinioiium," Frank- fort, 1669, part of which treats of music. OSSERVANZA. (I.) A word implying that the movement at the beginning of which it is written is to be performed with scruoulous ex- actness, without adding to or diminishing any of the passages or parts. OSSI, GIOVANNI, a celebrated singer, was, in 1725, in the service of Prince Borghe^e. OSSO^VSKY, STANISLAUS D', an amateur musician at Vienna, has been known, since 1792, through his compositions, which consist of the following printed works : " Douze Variat. pour le Violon et B.," 1792 ; " Der Walzer Augiatin, mit d VertlnderungeJi f. Klav.," Vienna, 1797; and " 12 Meuuettrn f. Klavier," 1798. lie was no longer living in 1807. OSTI. A singer at the theatres in Rome about the year 1736. He rendered himself principally celebrated by the performance of female charac- ters. OSTIANO, VINCENZO. A contrapuntist of the sixteenth century, of whose compositions there is still found, amongst the printed works in the library at Munich, " Camonette Neapolitane d 3 Voci," Venice, 1579. OSTINATO. (I.) Persevered in, adhered to, continued in despite of circumstances. OSWALD, HEINRICH SIGISMUND, privy counsellor to the King of Prussia in the yeai 1790, was previously celebrated as an amateui musician. He published some collections of songs, a trio for the harpsichord and violins, and two cantatas for the harpsichord. In 1802 h€ was still living at Breslau. OT. There were published, under this name, at Mentz, in 1795 and 1796, " 6 Canzomtti Ittil. c. Cemb.," Op. 5, and " 6 Canzoiietti Ital. c. Cemb.," Op. 6. OTMAIER. GASPARD. This German com- poser was born in the year 1515, and published " WeltUche Lieder," Nuremberg, 1551. OITANI, BERNARDO, born at Turin about the year 1748, was chapel-master of the cathedral of that town, and member of the Pliilharmouic Sotiety of Bologna. He studied counterpoint under Padre Martini ; and at the time of the public e.\amination of composers at Bologna, in 1770, he produced a " LaudtUe piu-ri," which, ac- cordin.g to Dr. Burney, was full of spirituality. In 1772 he brought out, at Munich, an opera eu- titlerovincial towns 'u Italy, iind in 177S went to England. Dr. rlurney says, that " the natural tone of Pacchi- arotti's voice was so interesting, sweet, and pa- thetic, that when he had a long note, or iiteian di •ote, he (the doctor) never wished him to change .'t, or to do any thing but swell, diminish, or )>ro- [ Ving it, in whatever way he plea.sed." A great »oiupass of voice downwards, with an ascent to 13 fiat, and ^omct>mes to C in alt., with an un- loundetl lancy, and the power not only ol exe- •;uting the most refined and dilKcult passages of ither singers, btit likewise of inventing new em- bellishment.-', which had never then l)cen on pa- per, made him, during his long residence in Eng- land, a new singer every time he was heaid. To sum up his merits, it may be said that his voice was naturally most sweet and touching ; that he had a fine shako and e.Kciuisitc taste, great fancy, ; and a divine expression in iiathctic songs. In ' the summer of 1779, Pacchiarotti left England i for Italy, but returned in 17H(), and continued princii)al >ingcr at the opera till the commemo- ration of H'Uidel in 1784 He then again went to Italy, and atterwards lived in retirement at Padua. Tlie following ane.'dotc is related of Pacchiarotti. The " Ar:axart of .\r- ; bace-.. During the third reprcentation, at the fa- mous judgment scene, in which the author had i ])laced a short symphony after the words " Epftur • mini iiuio title," the beauty of the situation, the ' music, and the e.xpression of the singer, had so enraptured the musicians, that Pacchiarotti per- ceived, alter he had uttered these words, the or- cliestra did not pro^-ecd with the symphony. Displeased, he turned angrily to the leader, ex- claiming, " What are you about r " The leader, as if awaking from a trance, 8obbe, 8-10 bU 20 coc," Frankfort, 1 f)04 ; " I'aalmi et MoMti, 8 coc ," Franktort, li>07 ; " CaiUhiies Sacra, .5, G, 7-20 roc," Frankfort, 1708; " I'sahiti, Moletti, el Mat/iii/icaf, 4 r.x.," Frankfort ; •' Miulri'jali a 4 voci. Lib. I," Frank- fort; and " Madriya/i A 6 voci, Lih. 2," Frankfort. Some of Pacelli's pieces are also to bo founil amongst t'abio t'uataittini, Scleclie Caiitiuites excti' ' leiiti-isim. Alitor. P.VCELLI, ANTONIO, a Venetian composer, is especially known by a cantata (.Imor tiifrnte published in 172:), and by the music of the drama " // t'liUii Kiiiii," performed at Venice in I'iOS. PACHEI.BKI.. JOIIANN. a celebrated organ- ist and composer, was born at Nuremtierg in tho year lr.,5.i. Discovering in hLs youth a strong in- clination for science, he was proviilcd bv his par- ents with the able-t instructors that could he pro- cured. He studied for some time at .Vltdorf, but finding him.self straitened in circumstances, ho removetl to the (iymnasium Poeticum in RatU- bon. Here he continuetl throe years, prosecuting his studies, jiarticulorly in music, with no much dilii;enco, that the fame of his proticiencv was phony, and all haion by the French, he." At Dresilcn he cntnposed the following operas : " I J'iu>r' tucili," and " Le- unura ," and at Prague, " Suffimi ; " tlie success of which was the more flattering to PaiT, as it his operas, " // Priitcipe di Turanto," " Lelle," a French opeia, and the cantatas " F.loita e Abelardo," •' Safo," and " L'liase e l'ciieloj>e." PaOr died at Paris in 1839. PAftH, MME. KICCAUDI, wife of ths jireceding, was born at Parma. She was con- sidered an excellent sinjjer at Dresden, mid ac- companied her husband to Paris, after which time she principally resided with her fam>lv in Italy. PAtiANEI.I.I, Oil's. ANT., conductor of the chamber music of the King of Spain, was born at Padua. In 17.')'!, he was at .\ui;sburg, and pianist in the orchestra at the tlieatre there. Several of his operas arc known, also some in- strumental music, and a part of the odes of Horace set to music. P.VtJ.VNINI, NICOLO, was born in (ienoa, in February, 178i. His father, Antonio, was by pro.'ession a packer, of Portofranco, and being a lover of music, and having early j)crccived the line disposition of his son for this art, placed him while a child to learn the violin. But Antonio being most of his time in the house, where he established a species of lottery to jirocure small gains, the edvication of Nicolo was severe, as he was obliged to attend to these matters and also to his violin. At the age of eight years, his moth- er, Teresa Bocciardo, dreamed that an angel came to her, and revealed to her that her son woidd be a great performer. At this age, in fact, he composeil, under the direction of his father, a sonata of so dilKcult a nature that none but him- self could execute it. At this time he went three ti'ues a week to perfonn in one of the chxirches, and the next year, at the age of nine, was brought forward for the tirst time at the theatre, on which occasion he executetl some variations of his own composition on the republican French air L'l Car- wiu/iioU, lieing for the benefit of the celebrated soprano Marchesi. He now took thirty les.sons, in six months" tui- tion, under the direction of Costa, the most skilful master of the violin at Oenoa, alter whioh his father took him to Panna, to place him under Uolla. 'Iliis latter being sick, his wife reiitiestcd the son and father to remain in a room near that where her husband was contined to his bed. Young Nicolo, seeing a violin and new concerto lying on the table, played off the jiiece at sight in so beautiful a manner that Uolla would not believe it was jierformetl by a child until he saw him do it witli his own eyes. He then told the young Pagauini he could teach him nothini;, and recommended him to go to PaCr, wlio wa^ then director of the Conservatory of Parma, and who contidcd hira to the care of Giretti, master of the chapel, who gave him three l»>~.sons a week in counterpoint for six months. Pauiinini then composed in the way of study, and without the instrument, twenty-four pieces lur four hands. PaOr then took so deep an intere-t in him, that he gave two lessons of instruction a day. Alter Ras in this city that Mozart composed his chef'» \ lour months of that exercise, V.iCi bvggrtl ol him i'acurii; " Ihii Jiiait," " t'ii/aro," and •' Cl^meiiza di m duetto, which the pupil coiuposetl with onlir* 7\t(." Before PaOr's tirst lurival at Paris, three of I salislaction to the iiiiuiter. 88 697 'AO ENCYCLOPAEDIA OF MUSIC PAa rKsBiiini afterwards visited, with bis lather, nini proposed to give him the income, which he the priiui'pal cities of Northern Italy, where he pave conctrts with great applause. At fourteen he finally escaped from the severe tutelage of his father, luid went with his brother to Lucca, where he gave ii concert with great success. In tact, he created ;i profound sensation. He then travelled from city to city, his own raatiter, and was all the rage. He also exercised himself on the guitar, which he played with rare perfection, though he deemed it an inferior instrument. " I do not like the guitar," he said, " but I esteem it as a conductor of thoughts. I take it sometimes to ])Ut my imagination in exercise, or to smooth down for me some difficulty that I cannot e.xe- cute on the violin." In his twenty-first year he accepted of a permanent situation at the court of Lucca, where he was retained a long time by a love artair. It was at that epoch he commenced his celebiated performance on the large chord. At Lucca, besides directing the orchestra every time tlie royal family came to the opera, he played three times a week at court, and every fifteen days composed a grand concerto for the royal circle, at which was often present the reigning princess, Eliza Racciocchi, the beloved sister of Napoleon. " She never staid," says Pagantni, " to the end of my concerto ; for when I came to the harmonic sounds, she found her nervous sys- tem too strongly excited by them. Fortunately for rae, there was another amiable lady, who was not so much affected, and who never quitted the circle. Her passion for music made her pay Eome attention, and I thought that she would not always be insensible to the admiration which I had for her beauty. I promised, one day, to surprise her in the succeeding concert with a so- nata which would have reference to our attach- ment. At the same time I announced to the court a comic novelty or love scene. Curiosity wa.s keenly excited when I presented myself with my violin, deprived of the two middle chords, so that I had only the G and E. The first was to personate the lady, the second the man. It com- menced with a species of dialogue, which was intended to represent the caprices of an amorous friendship, or the little passions and reconcilia- tions. The chords now gave out moans, sighs, and groans, now sported, laughed, or broke forth into the most drunken madness. The reconcili- ation terminated with a coda brillante. The com- position pleased ; the person for whom I had written it recompensed me with a sweet smUe, and the Princess Eli/.a said to me, ' Since you have done so fine a thing on two chords, can you make us hear something marvellous on onef Smiliiii; at the remark, I proiuLsed to do so, and after some weeks, on the day of St. Napoleon, I executed on the chord C a sonata, which I enti- tled Sajiolmne. It had an eftect so captivating, that a cantata of Cimarosa, which was executed the same evening, obtained scarcely the same ap- plause. This led me to pi-acti-e on one chord only." I'aganini then informs us that hLs pas- Bion for travelling and being independent seized him anew ; his gains amounted already to twen- ty thousand francs, and he proi)osed to give a portion to his parent.s before leaving them. His father was not satisfied, and threatened to kill him if he did not give up the whole, which he thought but a poor compensation for the sacri- ficew l.e had made in educating his sou. I'aga- acceptcd ; and the son went for that purpose to hypothecate the whole by a legal process. After his death, says he, " I took care of my mother — to me a sweet duty." He lent to his sister the sura of five thousand francs, which she soon dis- sipated. The second sister, tlirough the inter- cession of her mother, obtained also a considera- ble sum, which her husband soon squandered in gambling. The life of Paganini presented then nothing remarkable until the year 1813, when he api)eared at Milan, where, for two or three years, his concerts caused an immense sen.sation. His variations called "The Witches" excited the most vivid enthusiasm ; and while director of the Philharmonic Society of Milan, he contended successfully with the violinist Lafont. In 18 IG he gave concerts at Venice, where he met with the Germati violinist Spolu-, whom he considered the first cantaiUe violinist. In 1817 Paganini was at Verona ; in 1818 at Turin and Piacenza ; in 1819 at Rome, Florence, and Naples; in 1821 at Rome; in 1822 at Milan. In the carnival of 1827, at Rome, Pope Leo XII. decorated him with the grand order of the Golden Spur. He was then forty-three years of age, and had not been out of Italy. At Vienna the emperor gave him an honorary title, and the city decreed to him a medal. His travels through . Germany were a triumphal march. The King of Prussia named him master of the chapel. England and France confirmed his unexampled success. The naturally delicate constitution of Paganini had been rendered more feeble by ex- cessive labor, and the privations he endured while a child, and his extreme enthu-^iasm for his art. He was attacked while he was a child with an affection of the chest. He was severely afflicted also with some complaint of his eyes, and underwent an operation which nearly lost him the left eye. Besides which, by his own confes-sions, he indulged while young in every kind of excess. He had to struggle against much ojiposition, and many times lost the entire pro- ceeds of his concerts. A favorite saying of his was, " One must suffer much to make others feel," which was confirmed every time he played the ada- (jin movement. In reference to the extraordina- ry and un])recedented mastery he obtained over the violin, hLs friend Schottky affirmed that Pag- anini possessed a musical secret, by means of which a pupil, in three years, would acquire a conception of the capacities of the instrument. Paganini himself declared it to be a fact that he possessed this secret, and that Gaetano Ciandalli, of Naples, was the only person acquainted with it. " After long and severe studies, and the or- dinary methods, Gaetano," says Paganini, " ar- rived only to a mediocre perlection on the violon- cello. I professed much friendship for him, and gave him my discovery. In three days he was another person. The sounds which he drew from the instrument, and his movement of the bow, were much better than before." Paganini promised that he would one day completely ini- tiate the public into tins mystery. The biograph- ical sketch from which we have taken these inter- esting details thinks tliis mystery may perhaps be explained. He was accustomed to play his pieces in a way and often in a tone written so high that no orchestra could accompany him. This circumf jince explains in part the strange 693 PAG ENCYCLOPEDIA OF MUSIC. PAl by professor Schottky, of PrB(»uc — " Pa/janinC. Leben und Treiben," Prague, 1830. I'AGENDAIIM, J.\C()H, singer at I.vihec. was born in KUfi. He jjronounfed a celebrated oration on music at the time of his ))cinf; appoint- ed to the above situation. He died in 1701. A work of his was published at Lubcc, entitled *' CaiUioiiei Sacrce." P.\GIX, born in 1730, travelloposcd him ; and the ironical ap- plauses that he received at one of the above con- certs decided him not to appear nt any more of them. He was then engaR«l in the suite of the Count of Clermont. In 1770, Dr. llurney heard him in a private party, and admired the exjires- sion and lightness of his execution. He pub- lished sbc souiitas for the violin, Paris, 1748. PAGXUZZI, P. GIU.SEPl'E LORENZO, organist at the convent of the holy mount Dell' Alvernia, in the Florentine states, and member of the Academia Filarmonica at Bologna, was born at Fabrino in 1738, and died at his convent in 1802, where he had devoted thirty years to the science of music ; maintaining, both a* a theoreti- cal and practical professor, but chiefly as an or- ganist, a distinguished rank amongst the first artists of Italy. PAISIDLE. A celebriited flutist and composer for that instrument in England, towards the end of the seventeenth century. He i)ublished " Mu- sick performed before her Majesty and the new King of ypain, three Overtiires." PAISIIJLE, N., A celebrated vioHnist at t' e Concert Spiriliiel at Paris, and musician to t^e Duchess of liourbon Conti, was born in that city in 1745. He was one of the best pu])ils of (iavir.ics, who, charme(M," a cantata for the marriage of Ferdinand IV. with Maria Caroline of Austria ; at Venice, " U Innocente Fortunato ; " at Milan, " Siimano nclMogoUe ;" at Naples, ^^ L' Arabo Curteie" "La Luna habitata," "La Contcsa dci Numi;" at Itome, "La Semiramide," " II Montezuma ; " at Naples, " Le Dardane," " II Tamburro Notttirno ;" at Venice, the same work, with changes and aug- mentations ; at Milan, " L'Amlromeda." He also composed in this city twelve quartets, for two violins, tenor, and har])sichord, for the Arch- duchess Beatrice of Este, wife of Ferdinand of Austria, Duke of Milan. At Turin, " Annihnle in Italia" " I Filosnfi" " U Giocalore ; " at Na- ples, " La Somigliitnza dei Kumi," " L'A.shizie Amoroae," a ma.ss for the dead, for two choirs, for the funeral of the prince royal D. Gcnnaro di Borbone ; " Gli Scherzi d'Amore e di Fortuna," " Don Chisciotte della Mangia," " La Finta Maga," " V Osteria di Mere Chiaro ;" at Modena, " Ales- sandro neIC Indie ; " at Naples, " // Duello Comi- I CO," " Don Anchise Cantpanone" "II Mondo della ' Luna;" at Venice, " Lpatch, with an order to go 'o Paris, and place himself at the disposal of the iin.t consul. Alquier, the minister of France, rmident at Naples, jiressed him on this occasion tn declaro his intention.^ respecting the fees and the treatment he desired. Paisiello rejilied. thai the honor of serving the first consul be considered as a Buthcient recompense. On arriving at Paris, he was ])rovided with a funiishcd ni>artraent, and one of the court carriages ; he was assi-jned a salary of twelve thousand francs, and a present of eighteen thousand francs for the expenses of his stay, besides those of his journey. He was ort'crcd at Paris several employments ; siuh as those of director of the Imperial Academy and of the Conservatorio ; he refused them all, and contented himself with that of director of the chapel, which he filled with excellent artists. He composed for this chapel sixteen 8acree of the learned and of masters. No composer's works could at any time have been more universally ad- mired, sought, applauded, and sung in all the nations of Europe, nor have better deserved the di.stinguished reception they every where met. No individual could have more enjoyed such universal success ; for, placed at the same time among the most delightful authors and among the finest cla.ssics, he personally received the homage of his age. assuring to himself at the same time those of posterity. PAITA, GIOVANNL a Genoese by birth, was a celebrated tenor singer at Venice in 1720. Quanz si)eaks of him as singing an adagio in the greatest possible perfection. He wa* always called the king of tenors. He was like\nse an ex- cellent performer on the harpsichord, and estab- lished a school for singing in his native city, which afterwards became highly celebrated. PAIX, JACOB, of Augsburg, wa.* organist at Lauingen, where he published, in 1.589, a trea- tise " On the Utility of Music in Churches,' Schools, and private Families." The following practical works are also by him : " A Guide to the Organ," 1583 ; " A Selection of Fugues by different Compose!*, for three, four, and more Voices ; "' and some masses, fugues, I'^c, Lau- ingen, 1.588. PALADINI, GIUSEPPE, of Milan, was chapel-master in that city, and composed several oratorios, which were performed there between the years 1728 and 1743. PALANCIA, called- also TO^LVSO GO- MEZ. A celebrated Spanish composer, resident in Italy towards the close of the sixteenth century. PALAVICINO, BENEDEITO. a native of Cremona, and a celebrated musical composer, was chapel-master to the Duke of Mantua about the year 1600. His works consist chiefly of madrigals for five and six voices, and are in general good. They contain, however, no great variety of style, mel- ody, harmony, or modulation. PALAZZOTTI, GIUSEPPE, also called TAGLIAVIA, a Sicilian priest, doctor of di- vinity and archdeacon of Cephaleda, was like- wise a fertile composer, and flourished about the year 164.5. Mongitor, "Bibl. Sicul.," p. 39.5. assures us that Palazzotti published nine practical musi- cal works, of which, however, we can only name " Madrigali Concertati ft 3 roc.," Op. 9, Naples, 1632. PALESTRINA, GIOVAN. PIETRO ALOI- SIO DA. A celebrated Italian composer. His birth has been fixed, with some degree of cer- tainty, in the year 1.524, at Palcstrina. the Pro'- nesle of the ancients. Italy being divided into many independent states, each of which has a distinct and separate honor to maintain, the na- tives are not only very careful in settling a. spot where a man of genius was bom, but of record- ing the place where he was educated, wth th« name of his master ; and as the painters of Italy 702 PAL ENCYCLOP.^JDIA OF MUSIC. PAt are appropriated to difTcrent schools, so are the musicians, and a composer or performer of great ftbilities is seldom mentioiiod without his coun- try ; by which it is known that he is of the Uo- man, Venetian, Neapolitan, Lombard, or Uo- loi^nese school, each of which has some pecu- liar characteristic that enables one intelligent musician of Italy immediately to discover the school of another by his works or pcrforninnce. To the>e distinctions the natives of other coun- tries so little attend, that, when it is known that a musician comes ii-om Italy, no further inciuiry is made. From this ancient custom of naming tte master with the scholar and his country, all Iho writers of Italy, who have given any account of Palestrina, have thought it necessary to say, that he was a scholar of Guadio Mell, Fiaminiio, n Fleming ; by whom they have been generally understood to mean ("hiude (loudimel, a native ot Franchc Comte, and a Huguenot, who was one of the first t'lat sot the translation of the Psalms, by Clement Marot and Theodore Be/a, to music, and who wiis murdered at Lyons in 1572, on the fatal day of the massacre of I'aris. In some miscellaneous p\iblications during our author's younger time, before his fame was es- tablished, we tind him frequently called " (Jianetto da I'alestriiiii." He had this title in the " Seomdo Li'/ro (kUe Muse," a set of madrigals so called, that was printed at Venice, 1.5.5!) ; and in another set, under tlie title of "Amoro^i aniori ai dioersi eccel- teiti Mtuici," as well as in the second book of Cipriano's madrigals, printed likewise at Venice, 1.571, in four parts, where there is a " Canzon di Gmtte'to, sopra di Pace non trovo, con 14 Statize," published about the same time. The few circumstances and outlines of Pales- t. ina's li.e that have been preserved from obliv- ion, and seem the most indisputable, are, that he was born in the year 1.524 ; that having dis- tinguishel himself as a compo:-er, about 1.5.'i5, he was admitted into the Pope's Chapel at Rome ; in 15 12, at the age of thirty-three, he was elect- ed chapel-master of Santa Maria Maggiore, in llie same city, as, upon the death of Giovanni Animuccia, in 1571, he was honored with a simi- Lir appointment at St. Peter's ; and lastly, having brought choral harmony to a degree of perfection that has never since been exceeded, he died in the year \o'.H, at the age of seventy. 'I'he following account of his death and burial was entered in the register of the Pontifical Chapel by Ippolito Gamboce, I'untatore, who at that time had the care of the records : — " February 2, 15.)i. This morning died the most exce'.lent musician, Signor Giovanni Pal- estrina, our dear companion, and maestro di ca- j-e'la of St. Peter's Church, whither his funeral was attended, not only by all the musicians of Home, but by an intinitc concourse of people, when ' LiVra nip, Domine,' was sung by the whole col- lege." To this account Adami adds that of Tor- rigio, who says, " In St. Peter's Church, near the altar of St. Simon and St. Jude, was interred, in consequence of his extraordinary abilities, Pier- .uigi da Palestrina, the great musical composer, and maestro di capella of this church. His funer- al was attended by all the musicians of Koiue, and ' Libera me, Oomiiie,' as composed by hiiu- self, in five parts, was sung by three choirs. Upij I his cittin was tliis inscription : ' Joaiuu* I'eti a Aloysiu) Prublished in 1592, and dedicated to Palestrina by fourteen of the greatest ma.stcrs of Italy at that time ; among these were Pietro Pontio and Costan/.o Porta. "In the year 1581 lie dedicated a work to th« po;;e, Gregory XIII., which, by the originality of treating the subject, and by its depth of concep- tion, elicited approbation far exceeding that of any of his pierious works. This work consists of twenty-nine motets from the ' ."^ong of Solo- mon ' The dedication contains a short synopsis of the life and intentions of the artist. In former years, he says, he threw away his song*, povma of unholy, idolatrous love, and he felt repentant and ashamed of it. For this reason he turned Vi the cultivation of sacred mu.sic, sang the praUe of Christ and hLs virgin mother, and finally se- lected the ' Song of Solomon,' a poem singing Christ's holy love to his bride, the s.iul. This caused him to give a more lively, inspired charac- ter to his music, in order to reach tlie glowing tenderness pervading the whole poem. The truth of this assertion, as those alHrra who know the composition, he has proved throughout the whole work. The agony into which he was jilunged by the loss of his wife here di.--olvod it- self into pure, holy longing, and joyous hope of reunion : the bitterness of his former thoughts on death is now changed to serene earnest- ness." nie following catalogue comprises the princi- pal works of this renowned master : " Miut ii 4, 5, e 6 tJfH-/, Li6. 1," Korac, 1554; ".V/ coci. Lib. 3, ' Home, 1570; " Misse, Lib. 4," Venice, 153.J; " Misse, Lib. 5," Rome, 1590 ; " Mi*st, Lib S, ' Venice, 1596 ; " ilisse, Lib. '," 1594 ; " .l/u*e, Lib. 8," 1594 ; " Misse, Lib. 9," and " .Vi»«, Lib. 11," Venice, 1600; " Mi.tse, Lib. 12," ».-iihout date; "Misse, d t coci," Milan, I'UO; " .ttUlii n 5, 6, 7, e 8 roti," Rome aiul Venice, 15 i'J, loftS, 1589, 159f!, and lr thr plilna. And ahook iht loundlnii irrda, ihrr Uii«hl Ihr avalnt i And Ihu* lh« piix w*i framrd, and lunrful r»«d." 89 PANARMONION. (Gr.) A wind insti iment used by the .nncient Greeks, which, as far as w» are able to collect from Plato, and the Commen- taries of Prochis on that illustrious author, con- sisted of an assemblage of i)i|)e«, and resembled in some degree the modern organ. It is particu- larly worthy ot notice, that every hole of these pipes, or imitations of pipis, as Proclus expressly calls them, was capable of emitting three ditferent sounds, and in some circumstances more than three. It follows that they must have been of a construction utterly unknown to modern instru- ment makers, as it was to those of the time of the learned commentator, who flourished in the fifth century. PANDEAN. An epithet formed from the name of I'an, and ap))lied to any music adapted for pcrfoi-manco bv the h'istulte I'anis, or Pipes of Pan. PANDEAN PIPES. A wind instrument of the greatest antiijuity, made of reeds, fastened to- gether, and tuned to each other ; said to have been invented by Pan, the god of mountains, woods, and shepherds, and the son of Mercury. He is represented as a monster, with horns on his head, and the legs and feet of a goat. These several pipes are bound together side by side, and made to sound as many notes as there arc jiipes. PANDECT, MUSICAL. A treatise that com- prehends the whole of the harmonic science. PANDORA. An ancient stringed instrument resembling a lute, and the strings of which are of brass. Its frets are of copper, like those ot the cistrum ; its back is like that of a guitar ; and the rims of its table, like those of its ribs, are cut into semicircles. The I'nndorn was bor- rowed by the Spaniards from the Moors. PANE, DOMENICO DEL. sopranist of the pontifical chapel at Rome, was a composer whose works are remarkable for their elevated style. He first entered on his office in the chapel in 1654. Amongst the works which he published Ls one entitled " Missep delC Abbate del Pane a tre, a quattro, cinque, sei, e Otto voci," Rome, 1687. This is a collection of masses in the style of Pales- trina. PANECK, JOHANN. The theatrical al- manacs call him chapel-master. Previously to 1791, the operetta " Die ChriMliche Judcnhraut," composed by him, was performed in many Ger- man theatres. It seems, however, that the critics could not agree on the merits of this work, since it was in many places hi.s.scd and hooted ; for instance, at lircraen, it was, in 17'.m;, pronounced to be tra.sh, whilst at Vienna they could not perform it often enough, both at the I.*opold- stadt and at the Carintliian Gate ttieatrcs. PANTALON. (F.) One of the moTcmenta of the quadrille. PANTOMIME. (From the Greek.) A spe- cies of musical enterUiinment, so called becauM it is (i// mimic. There i.s no scenic exhibition, th« music ol which rce perjietually i hancinK, the btu»- tle and business sustainen\trnla con Esentpi di rari Autori t con O.iservaziotii," Venice, 176.5. In Ihis book are to be found specimens of the c/te/s faiirre of the following great masters : Orlando Lasso, Perti, Clari, Palestrina, Caldara, Marccllo, Bernabei, Vittoria, Colonna, Porta, Asola, Fu,\, Buon )ncini, Gonclla, Pacchioni, Handel, Turini, AgoMini, Morales, and Zarlini. This was con- lidered a work of high merit. PAPA, TARQUIXIO. A contrapuntist of the sixteenth century. Some pieces of his com- position are found in '■ Antufuis, Lihro 1, h '2 voci, it dw. Aulnri di Dart," Venice, 158.5. PAPA, CLEMENS NON. See Clemens. PAPAVOIXE. A French violinist in the or- ■ ■>8tr8 of the Thf-fltre Ambigu Comique at Par- is, and afterwards chef d'orchestre of the theatre at Marseilles. He brought out at the Thfcdtre Italien at Paris, in 1760, an operetta entitled " Bnrbacole, ou ie Manuscrit vol!:." PAPE, ERXEST FERDIXAND, director of the music at the Royal Gj-mnasium, and at the Cathedral of Arosen, in Sweden, about the year 1727, is regarded as the author of the " Specimen Academicum de Triade Harmonica," attributed to Westenbladh. PAPPO, FRANCESCO, a professor of phi- losophy and divinity, also preacher at Milan in the year 1000, had acquired so much valuable knowledge in music and compo.sition, that he wrote, in his leisure hours, several musical works, which met with approbation even at Rome. Of these were printed " Moletti h -let n 4 rod," Milan, 1608, and •' Partita delle Canzoni, a 2 e 4 voci,' Milan, 1608. PARA. (Or.) A conjunctive word, signify- ing near ; as, parameae, near the middle chord or string. PARABOSCO, GIROLAMO, was organist of St. Mark's Church at Venice, and, according to Crescimbeni, a most admirable performer. Sev- eral of his motets and madrigals are inserted in the collection that was published about the mid- dle of the sixteenth century; some of which Dr. ' Bumey took the trouble to score, but found in them no subject, and but little desi^'n or contri- vance. And, if his literary abilitie- did not im- pose on the writers who speak of his musical productions, his character as a composer must have been established on works superior to these, which are mere remplism'/e. The compositions of the two Xetherlanders, Jachet Berohera and Ar- chadelt, are infinitely superior to those of Para- bosco. Parabosco died at Venice in 1.587. PARADIAZEUXIS. (Gr.) The name given by the ancients to an interval between two tetra- chords consisting of one tone. The disjunction of the tctrachord synemmcnon and the tetra- chord diazeugmenon was of this description. PARADIES, M.\RIA THERESA, bom at Vienna in 1759, became blind at the age of five years, evincing at the same time such a dispo- sition for the arts and sciences, that, notwith- standing her privation of sight, she soon became capable of playing the harpsichord, (on which she could perform from memory the most diffi- cult fugues and concertos of Bach, Handel, Jtc.,) also to sing, compose, speak several languages, perform the usual operations of arithmetic, un- derstand geography, dance. &c. About the year 1780 she commenced travelling, with her motJier, to the principal capitals of Euro])p, and every where excited etpial interest and admiration. The Empress Maria Theresa, before whom she had performed when only eleven years, gave her a pension of two hundred and fifty fiorins, which she lost at the death of that princtss. About the year 1790 she was in London, when the cele- brated Pitt heard her, and, according to the authors of the French " Dictionary of Musicians," was affected even to tears. Mrny of her com- positions for the harpsichord, and more than one operetta by her, have been publLshed. PARADIES, PIETR. DOM., a celebrated com- poser, was born at Venice. Ho was a pupil of 706 PAR ENCYCLOPEDIA OF MUSIC. PAU Porpora lie went to England towards the close of the year 1746, and produced, in January, 1747, the opera of " rhoJ'ton," of the music of which Dr. lluniey thus speaks : " In examin- ing the airs of this opera, the first seems very in 1482, at Hologna. Von Murr communicated to Gcrber the following remarks on this musician ■. "The title of his work, which is very soju-ce, is " Tractatus tie ^[u.uca," Salamanca, no year named. Dr. Forkol, in his " Literature," p. 'i?'!, common and ill-phrased; nor is there much eslro speaks of two editions of the above work, Ho- or grace in any of his songs that I have seen, noniie. 14S'2 : but these do not now exist. Nicol Indeed, he scenis to have had no great experience liurtius, or Hursio, a professor of the classics at s-i an opera composer, and during his residence in Parma, and who was also a yoct, published at England he acijuired more reputation by the les- Hologna, in 14S7, in opposition to the opinions of sons ho published for the harpsichord, and the Pareja, a work entitled " .\fiuiees Opiisciilum cum scholars he made for that instrument, on which (left-nsione (laidonia Arctini aitcersus qiifmiam Uit- he was an admirable master, than by his vocal panitni V)-ritati% prouncl to the wle, or moat acute tone of tlie am-icnl diapnaon, or fn'tiive. PAKANKTE 1)1 AZKUOMENDN. (Or.) The name hv which the nncicnta di'^tintfuivhed the third ttring of the fourth tetrachord. the lone of which wui cquiTalent to our 1) tinder thi- firat line iu the ljel>le clif. PaRANETKIIVPERBOL.T.ON. (Or.) The name given hv the mncienti to the pt-nnltiiim of the auprf-nu*. or tlfth tetmcTiord, "Thia foniol corre»tMtnderaraeiit. P.\RE.\TI, FR.VNCE.SCO P M., a composer and singing master, resident at Paris from the year 1790. wo-s born at Naples in 17'i4. He was a pupil of the Conservatory of La Piet.i, and studied coi)nteq)oint under Nicolo .Sala, (iiacomo Trajetta, and Tiirantina. He brought out in ItJily the following operas, which were all suc- cessful, especially at Rome: "La Vendcmia," " II Matrimonio per Fanatiamo," " I Viar/(/i'itori Felici." 'ITie above three were comic operas, and the following four serious: " AiUii/one," "II He Paitore," " La Xifeli," and " L' Artaserse." When Parcnti first arrived at Paris, several of his songs were inserted in " Le^ Pitiriiui de la Med/w," perfonned at the Thtati'e Feydeau ; for which theatre he also composed " Les deax Portraits," ill two acts, 1792, " I^s Souliers mordoris," 179.3, " L' Horn me ou le Malheur," in one act, and a few other piices de circonstance. In 1802 he was con- ductor in the orchestra of the opera buffa at Paris. In 1799 he published a work entitled " Recueil d'llymnrs phihsophiques, ciciijiies, ct nio- raujc, augments de la ttote en plein chant d'tipria la miuii/ue des meil/eurs auieurs, pour faciUtrr, sur- toul dans les campa;/nes, la cilMbration des fetes ri- publicaines." He also composed many majwes, motets, and other pieces of church music, alia Palestrina. P.\RF.\IT. (F.) Perfect, in respect to inter- vals or chords. PARIS, NICOLAUS, a distinguished singer at the Chapel Royal in Naples, and afterwards, about the year 1710. in the serN'ice of the Prince of Anspach. PARIS, GUILL.VL^IE ALEXIS, a celebrated conductor of the orchestra at the French theatre in St. Petersburg, was bom in 17.jr>. He accept- ed the above situation in 1799, which he filled with great credit. PARISI, NICODEMO, a composer of the seventeenth century, published " Missr c Salmi h o loci." PARKE, JOHN, bom about the end of the year 174.5, studied under Simpson, the best per- former on the hautlioy at that time, and, for the theory of music, under Banmgartcn. He made such progress in both branches, particularly in the former, that he was, in 1776, engaged h» Smith and Stanley, the successors of Handel, tc 707 PAR ENCYCLOPAEDIA OF MUSIC. PAB jilay the jirircijml liamlwy part at the oratorios iluriii-; Lent, which perlorniaiiccs tlieir majesties then honored every ni^ht with their presence. Here he );ave universal Kntislaction ; and trom tliat time his reputation daily increasinj^, he was en;;a^i(l at Uuncla^h, at whicli jjlace there was a band of the best pertonuers in the profession. This entertainment bein;; but three nights in the week, he jjhiyed at Mary-le-bone Gardens the other three, wliile they were under the direction of I'into, tlie famous performer on tlie violin, who engaged all the best artists at the opera, and then made Mary-le-bone Gardens the grand re- sort of all the amateurs and lovers of music, who could there hear the best music played by the best performers of that day. In 1768, he was engaged to play the principal hautboy at the opera. In 1769, Fischer, the celebrated hautboy- ist from Dresden, went to England, and was al- lowed by all to be the most able performer on that instrument that had been heard, and Parke most cheerfully subscribed to the general opinion. Fischer only played his concerto at a concert, not being accustomed to play in an orchestra, and the j)roprietors of Vauxhall Gardens engaged him to play a concerto every night, at a very lib- eral salary, which he did for two seasons, aiid then resigned. Parke was engaged to succeed him, and did so with the universal applause of the public for a great number of years. The entertainment at that place was, at the period we are speaking of, a regular concert only, by the best singers and instrumental performers. In the same year that J. Parke succeeded Fischer at Vauxhall, they were in great want of a good per- former on the hautboy at Drury Lane Theatre, (iarrick then offered Parke such terms as to sal- ary, together with indulgences to attend concerts, as he thought very much to his interest to ac- cep't ; by which he also won Garrick's friendshij), and they ever after lived on the most intimate and friendly terms, he frequently inviting him to his house at Hampton, &e. Some short time after this, his talent and respectability procured for liim the patronage of the Duke of Cumber- land, the universal patron of music. J. Parke had not only the high honor of his patronage, but of his esteem ; the duke sometimes calling on him in the morning in the most friendly way, and occasionally ordering his band to have some music in a morning at Parke's house ; on which occasions his royal highness always played the tenor. Besides this, the duke had music gener- ally three mornings in the week, either at Cum- berland House or at Windsor Lodge, where Parke tre(niently staid for a short time. To the duke's patronage Parke also owed the honor of being musician in ordinary to the king. It was at one of the concerts of Queen Charlotte, at lUickinghara House, in the autumn of 1783, that ho was so fortunate as to be introduced to the then Prince of Wales, who, being pleased with his performance, did him the honor to desire his presence at Carlton House on the following ;.l^ht; he accordingly attended, with (iiardini, Schroeter, and Crosdill, who were his royal highness's chamber band. Parke was then put on a salary of one hundred jjounds a year, and attached to the Carlton House band. He was in great repute at this time, having to ))er- forra at the Professional Concert, the Ancient Concert, which their majesties honored with their presence every night, besides a great number oi private ones ; he likewise was engaged at all tht music meetings in the country, namely, at Gloucester, Worcester, Hereford, Liverpool, Man- chester, Uirmingham, Chester, Oxford, Cam- bridge, .Vorwich ; and, in fact, wherever there was a gri,'at provincial meeting Le was engaged at it, for the space of near forty years. Having been long in the receipt of a good income, and living prudently, though respectably, Parke at length thought it better to retire from business while in the full possession of his powers, his instrument requiring more application than a m-r it his time of life (near seventy years of age) could agreeably bestow. Parke composed many con- certos for his own performances, but could never be prevailed on to publish any of them. Ht died at London, in 1829. PAHKE. mSS, afterwards MRS. BEAllD- MORE, was the eldest daughter of the preceding,- and among the first orchestral singers and most celebrated pianists. She was instructed both in singing and playing solely by her father. She died at an early age, in the year 18'22, her hus- band surviving her only four months. Mrs. Beardmore published several sets of sonatas, be- sides detached pieces and some son'^s. PARKE, WILLIAM THONL\S, the cele- brated performer on the hautboy, was bom in the yeir 1762, and nt eight years old began to study music under his elder brother, John I'arke. His first instruments were the German flute and hautboy, after which he re- ceived instructions on the piano-forte from Dance and Dr. Charles Burney, and subsequent- ly studied harmony under that profound theorist C. F. Baumgarten. During the first six years he made so rapid a progress, that, at the age of fourteen, he was regularly engaged in the orches- tras of Vauxhall and Drury Lane Theatre. It was at this time (1776) that Garrick retired, and disposed of his theatre to .Sheridan, and his fa- ther-in-law, Mr. Linley. The instrument Parke played, in both these situations, was the tenore; but, during the eight years he remained in Dru- j ry Lane Theatre, his practice on the hautboy, his I favorite instrument, was so unceasing, that he devoted many of those hours which are usually I passed in sleep to the cultivation of it. In the I year 1781, he removed to Covent Garden Theatre, ' and was placed in the situation of first hautboy, I throxigh the recommendation of Shir'd. vho was I then composer to that theatre, and \\ ho jeing an admirer of W. Parke's talent, wrote obligato jiarts for him in all the operas he produced. I About two years after this, upon Fischer (the father of the hautboy, as he was justly termed", going abroad, Parke was engaged to succeed hi.-n at the Ladies' Concert ; and shortly after, when the Professional Concert was in its zenith, he was i- invited to become a member, where he disjilayed I his abilities as a solo performer, under the ' auspices of the Duke of Cumberland, and was honored with the warmest patronage of his royal highness fill his death. He was also honored with the favor of George IV., when Prince of I Wales, wbo commanded his attendance at all his music parties ; ui)on which occasions Parke had the happiness to experience the most publia ap- probation of his royal master, who condescended to permit his dedicating a concerto to him, coni* OS PAR ENCYCLOPAEDIA OF MUSIC. PAU posed for and perlonned at the Professional Con- cert. In the year 1800, W. Parke was solicited to become the juineipul hautboy, and to perform concertos at Vauxhall (Jardens; which he ac- cepted, and remained in that situation till the new proprietors dispensed with the hue concert band which had for many years delij^hted the public, and substituted a military one in its stead. W. Parke, as a composer, acquired con.-iderable reputation. He was employed as such for sev- eral seasons at Vauxhall. and during that period experienced the most flattering success. Among the numerous songs, glees, Jtc, there produced by him, "The Romp," "The Day of Fashion," "'l"he Triple Courtship," and "The Canary Bird," were well known, as well as many others, which we have not space to enumerate. He is also author of many instrumental pieces, some of which were written for the theatre, jiarticuLirly the overtures to " Netley Abbey" (witli some of the songs in the piece) and "Lock and Key," both of which have been ])opular. In speaking of his ])erfonnance on the hautboy, so well known, we will only observ-e, that his tone was remark- ably sweet, his execution rai)id and articuhite, his shakes brilliant, his cantabiles and cadences varied and fanciful, and that his judicious style of playing adagio movements evinced the great- est feeling and expression. We must not avoid mentioning that W. Parke, by his industry and genius, added to the compass of the hautboy, as he played up to G in alt, which was a third higlier than the usual extent of the instrument, E natural having been the highest note. W. Parke was a member of the Royal .Society of JIusicians, and was elected one of the court of assistants, or governor for lite. PARKER, MAITHEW, Archbishop of Can- terbury, and court chaplain to Queen Elizabeth, was born at Norwich in 1504. lie was so good a musician, that he composed the music to Queen ElizalHJth's Liturgy. He also translated the Psalms ; in which work he introduced some in- genious remaiks on the church tones. He died ill 1675. PARI.ANTE. (I.) Literally, speakiuo, lalkin/j. Accented, as if with words, in a declamatory style. Parlaiuto has the same meaning. P.\RMA, XICOLO, a contrapuntist of the sixteenth century, bom at Mantun, published " CaiitioncJi Sacrtr, 5, 6-10 cocum," Venice, 1.580. PAROCIII.VL DUTY, l-he signification of this expression includes the organ .iccompani- mcnt ot a congregation singing in the Psalms, and the perfornumce of voluntaries. PARODI. TERESA, a native of Genoa, was born on the 'JTth of August, 1827, of re- spectable parcnt.H. Her father wa.s a retired and pensioned emp/oi/i of the Sardinian government. She gave early evidence of musical t.dents, which drew upon her the notice of manv lov- ers of art among the first families ot Genoa, through whose i)atronage she enjoyed the ber-t means of instruction which wealth and taste could command. At twelve years ol age she was placed by her parents in the Musical Insti- tute of Genoa, under Maestro felli, from wnich she was removed to the tuition of a pn lessor of sclebrity in the same city, Mbestro De^fola. In 1844 she was taken to Milan to study under Fe- lice Ronconi. In the cajiital of Lombardy she hapjiened to be heard at a private concert by the husband of Pasta, who was so struck by the re- semblance of her vocal gilts to those of his re- nowned consort, that he liurried back to his villa at Como, to tell Pa.sta that he had asard a young singer in whom her voice and drinvatic Hi)irit were renewed. Pasta repaired to Milan, and bci amo at once so impressed with t\» young Teresa that she immediately endeavored to persuade Madame Parodi to consent to place her under her care. This wa.s too advantageous an otter to be declined, and Teresa became the pu])il and adopted daughter of Pasta. Ronconi bitterly complained of being deprived of his |)upil, from whose success he reasonably expected to derive an increase of fame, and liLs entreaties prevailed upon Pasta to remain with Parodi for some time in Milan, imparting her lessons at the same time with the professor. 'ITience she withdrew with her to t'orao, where Parodi remained a year without returning to Milan. Pasta devoted herself to her pujiil con anion; recalling in the young Teresa's voice and form hex own blooming youth, when she reigned the undis- puted queen of song in Europe. The first tests tc which I'arodi's voice was subjected, satisfied hei experienced instructress of her striking adajjted- uesi to the delivery of tho.se great ett'ects whicii had made her own name so famous, and she at once avowed her conviction that her pupil must succeed in her chosen career — an a.ssurance which added new incentives to the ardor of thi young Genoese, ambitious, not more tor her own fame than for a position which would enable h<'r to benefit her aged j.arents and dependent si.sters. It was anticipated that a systematic course of thorough study for two years might prepare the young singer for a dibut, and, in this estiinale of the time requisite, the more than ordinary development of tlie singer was allowed to liave much weight. How wondcrtul, then, must be considered her juogre^s, when, at the close of twelve months. Pasta cmbraretl her pu])il, and addressed her in these words : " My child, God ha« endowed you with a noble voice ! I have done for you all that I can do, or that you now need. You are ready to a])])ear bdore the world ! Go, ray child, and my blessing go with you. I shall live to behold you the first singer of Eu- rope ! " The Fieza di Berpamo, one of those united festivals ot commcrrc and music so peculiar to Italy, presented to Parodi the first opportunity of a dibut, and Pivsta, in dismissing her pupil. conferred upon her all the ornaments she liad woni when enacting the queens of lyrical tra- gedy ; the tiara, zone, and girdle ol Nledea ; the crown, the mantle, and golden sickle of Norma ; and thus armed and encouraged, the young trenoese, to fulfil her destiny, entered at ouce upon the grand opera. She a[>pcaiid tor the first time at the Tcatm Hiccanii, in liergamo, in 184o, in Doni/.etti'it opera " (irmmn di I'enjy." From Ikrjjamo she went to Verona, Her success in l>oth w«h im- mense. .\ud the young rtr.buianle touud herself at ome the idol of the Italian public. t )11eni of engagements reaches for the eight and twenty days which it was to be trained in the county ; but previously to the assembling of the regiment, the colonel received a route from the war ottice to march his men to Whitehaven, in Cumberland. The 6th of June was the day tixei lor the corps to assemble at Denbigh, and on the tcnfti it maiehed off, and remained absent from the principality for ten years. A (ierman wfui master of the band, under whom Parry was placed tor general musical instructions ; but his ma.stcr, being fonder of paying court to Bacchus than to Apollo, sadly neglected hira, although he gave him many striking proofs of his intimacy with thorough bass. In two years' time. Parry was ab e to lead the band, and in 17!)7 was made master of it — a situation which he held for ten 710 years, when he left the Royal Denbigh, and married into a respectable family of Plymouth. During the period that Parry was in the army, he made himself thoroughly ac([uainted with every wind instrument, so that he could take any part, in case of emergency ; he also culti- vated singing, and studied the harp, piano, and violin ; but his principal instrument was the clarinet, on which he used to perform concertos. A circumstance peculiar to liimself ought not to be omitted. He used to play at the mess dinners on two of Bainbridge's patent octave flageolets, and at a concert given by him and the master of the Duke of York's band at Rochester, he actual- ly jjerformed on three flageolets, which were fixed in a stand contrived for the purpose. This feat sounded afar, and he was requested to oblig-e a friend by exhibiting at Covent Garden Theatr* ; this he consented to do, and he made his dibiU for the benefit of Mrs. T. Dibdin, in 1805. He performed the duet of " All's well" on two, and " Viva Tutte," in distinct parts, on three instru- ments. In 1807, he went to reside in London, when the double flageolet was becoming so very fashionable among ladies, that he had as much teaching as he could attend to. Having composed several popular songs, &c., he was invited, in 1809, to write for Vauxhall Gardens. In 1814 he wrote a farce for his friend Lovegrove's benefit, called " Fair Cheat- ing," which was performed three times at Drury Lane Theatre. The plot, dialogue, incidents, as well as the music, were from his pen. While this force was in rehearsal, he formed an intimacy with Arnold, the then manager, and T. Dibdin, the prompter, who requested him to compose the music of that never-to-be-forgotten broad extravaganza, called " Harlequin Hoax," which was performed with un|)recedented succe.ss at the English Opera House. In 1816 he com- posed the music of " Oberon's Oath," a grand spectacle by Thompson, author of the " Stranger," which was performed at Drury Lane. The fol- lowing year he wrote a musical farce, called "High Notions, or a Trip to Exmouth," which was performed with the greatest success at Drury Lane for two and twenty nights. In 1818 he brought out a musical sketch at Covent (Jardeu Theatre, called " Helpless Animals ; " and in 1821, a very successful piece at the Lyceum, called "Two Wives, or a Hint to Husbands," which was performed for twenty-five successive nights. To write a dramatic piece is in itself no easy task ; but to accomplish this, also to wTite the poetry for songs, compose the music, arran- ging the same for a full orchestra, and afterwards for the piano-forte, falls to the lot of but lew in- dividuals. Besides these dramatic compositions, Parry has, in conjunction with others, furnished parts of operas, &c. He adapted the whole of the music in the opera of " Ivanhoe," as performed at Covent Garden Theatre, and he wrote songs, duets, Jtc , for Messrs. Braham, Sinclair, Phillips, Incledon, Pyne, Munden, llarley, C. Taylor, Knight, T. Cooke, Mrs. Dickons, >Irs. Mountain, Mrs. Bland, Miss Stephens, Mi?»s Povcy, Miss Cu- bitt, and a number of very successful ballads lor Collyer. On the emancipation of Holland from the yoke of France, a grand file was given at tne Citj of London Tavern to the Prince of Orange. Parry was requested by the stewards of the day to PAR EXCYCLOP.EDIA OF MUSIC. PAR write an npj)roi)iiato son's;, which he did, with an uiultr-.t«iidiiii; tliat ('. rnylorwas to have sung it. But Uraluim, having been invited totlic diiincr,was requested to sing the song, whicli he did in the most masterly manner, nltliough lie neither saw h note nor a word of it till he entered the room. Brahnm a!-o sang •' Arthur the llrave," written by Parry in comjiliment to the glorious victories oi' the Duke ol Wellington, who condescended to send t!.e author a very gratifying letter of tlianks. I'arry also wrote an appropriate song called " England and her brave Allies," which was sung at the grand festival given to the Ein- peior of Russia, King of Prussia, vVc, vVc, at (iuildhall, in 1814. In 1S09 Parry adapted Eng- lish word-i to a selection of Welsli melodies for which the Cambrian Society presented him with a silver medal. Ho published two volumes of ancient Itritish airs, with beautiful poetry, writ- ten chierty on hLstorical subjects, by Mrs. Hem- ans, of St. .Vsaph. He also conducted the " £V«- tcdilfod," or congress of bards, at Wrexham, in 1820, and at Hrecon in 18'2'2 ; on each occasion he was presented with a handsome piece of ]>late. The meetings of the Welsh bards and minstrels, held in London, were entirely under his direc- tion, as re^'istrar of music to the Itoyal Cambrian Institution. At a Gmaidil, or meeting of Welsh Oards, in 18-'l, a bardic degree was conferred on Mr. Parry, wlio was denominated Bardd Alotp, jr prolessor of music, and master of song. He wrote an historical e-say on the harp, from the earliest period, which was jiublished in the Transactions of the Hoyal Cambrian Institution. Having ^aid so much in detail of Parry's general alent, something might be expected relative to lis abilities as a composer ; on that head we will |uote his own words, written in a scries of let- ters to a I'ricad. " When I went to London I found that I had almost every thing to learn ; I aocordinglv ap- plied mysoli" seriously to study, with a view of turning my work out of hand withoxit many glaring faults. I confined myself to vocal com- positions, diierty ballads, and ea,sy i)ieccs for the harp and puino-forte, also duets for flutes and other wind instruments ; and never attempt note to soar above my sphere, well knowing that there are many musicians in the higher walk of the science much more able to produce erudite com- positions than myself. I understand the genus of every instrument tised in an orchestra ; hence the rare instances of the ncccasity of a second re- hearval oi any of my compositions. I score with uncommon facility and, I trust, tolerably correct ; I know the power of the various instruments, and I endeavor to ascertain the ability of the dif- ferent jierforraers, and write accordingly. I do my utmo^t to walk peaceably through life, in friendship with all my brethren, interfering with no one, and, I trust, bearing the ill will of no man." Parry has published upwards of three hundred compositions and arrangements, and several dra- matic pieces. The following are among his more favorite publications, .\rranged and adapted : " Two Volumes of Welsh Melodies, with Eng- lish words ; " "Two Volumes of Scottish Melo- dies ; " •' Two Volumes of Catches and Glees ; " "Two Volumes of Minstrel Songs for the Flute; " " One ditto, called the Corydou ; " •' One ditto ditto, the Sapphoniau, for the Violin ; " " The 71 Opera of Ivanhoe for the Voice and P. F." Original compor-iiions : " High Notions," a farce in two acts; "Two Wives," a farce in one act. " Helpletis Aninnils," a farce in one act ; " Fair Cheating." a tarce in two acts, written and cora- ])0sed by Parry; " Ilarlcijuin Hoa.x," two acts. A number of ducts and glees ; also the following songs: "The Peasant Boy;" "The Minstrel Boy ; " " Ap Shfitkin ; " " Ix)ve'8 a Tyrant ; " "Sweet Home;" "Little Mary of the Dee;" " The voice of her I love ; " " Beauty in Tears ; " " Orange lloven ; " " Arthur the Brave ; " " Eng- land and her brave Allies ; " " Farewell, my charming maiil ; " "Take a bumj)er and try;" " Adieu to the Cottage ; " " The Sailor's Home ; " " National lilunilei> ; " " Fly, Hy away ; " "I never will dcci'ive thee ; " " O, bring me a bowl ; " "Poor Dicky;" "Mister (ioose ; " ".Still I'll think of thee ; " " The Banner of Battle ; " " The maid I love so well;" "Titste pleasure while you may ; " " As down the vale ot life I glide ; " "The Urotto ; " "The bust word;" "Take a hint ; " " Woman's smile ; " " Donald is now no more ; " "I dinna care to tell ; " " .Smile again, ray bonnie lassie ; " and a vast number of others. Several jjieces for the liarp, twelve familiar ron- dos for the piano-lorte, also popular airs with variations for the piano-forte, and a numl)er of detached i)icces. .V long list of music for the doulile and single flageolet, llute, violin, &c., i>tc. ; also books of instruction for several ii\strunients, and many volumes of military music, jiarticularly " Two .Sets of Welsh -Virs," and the .'Eolian har- monies, consisting of selections from the worku of eminent authors, arranged for wind instru- ments. PARSONS. ROBERT, was organist of West- minster .\bbey. He was a gentleman of the Chapel Royal in the reign of Queen Elizabeth, and was drowned at Newark upon Trent, in \oCi9. Many of his compositions are e.xtant in manuscript, and some of them have been spoken ol in terms of high commendation. PAHSON.S, SIR WILLIAM, doctor of music, was, from a very early i)eriod of his life, instruct- ed in the science ol music. He attained the lirst rudiments of his protessional knowledge in West- minster Abbey, under the tuition of Dr. Cooke. Arduous in the pursuit of hLs scientirtc research- es, he. in the year 17()8, travelled to Italy to com- plete his mu.sical education. We have not learned the exact time of his return to England, but find that, on the death of Stanley, an event which hajjpened in tiie year 1786, Parsons was ap]>oint- ed master and conductor of his majesty's band of musicians. In the year 1790 he received from the University of O.xford the degree of doctor of music. He next went to Dublin, during the ad- ministration of Earl Camden, in the year 179.», when that nobleman conferred ui)on him the honor of knighthood. In the year I7'.1'i he wb< appointed by the queen to instruct the princts.ses in music. In the same year his name was in- serted in the commi■^sion of tlie j>eace for the county of Middlesex ; in consequence of which he sat for several years at the public ofHcc, Bow Street. PARTE. (I.) A part in vocal or instru- mental muiiic. PARTE C-YNTANTE. (L) The aioging ol vocal part. I I' A U EXCYCLOP.EDI.V OF IvIUSIC. PAS I'AIiTIK. (F.) A piirt. I'arlic du vio/oii, a rioliii jiiirt. PAU I'HEXIA. (Gr.) Sougs by a chorus of vir};iiis at iestiviils. PAUTITURA. (I.) The entire draught of » composition in parts. I'artition, partitur, par- tizioiw, are all of the same meaning as purlUura. PARII.MEXTI. (I.) Exercises on thorough bass ; figured basses for the practice of har- mony. PARTS. The names of the melodies of any harmonic composition, tlie performance of which, in union, forms its harmony. Four is the fewest number oi purls with which the chords necessary to elaborate harmony can be completely tilled. .\t the tirst introduction of counterpoint, there were only two parts, one of which was called tenor, and the other descant. At length a third was added, called triplum, and afterwards a fourth, called quadruplum. 'Phere are instru- mental parts, as orr/aii part, violin part, vitiloit-cello part, &c. ; and the paper, or book, on which is separately written the particular melody appro- priated to any single j)erformer, or set of per- formers of the same melody, is called a part. In concert, every performer, except the composer, or conductor, who generally uses the score, sings or plays from his single part. PARYI'ATE IIYPATON. (Gr.) .Xfrt tlir princi,>al. Thp .p- p<>llaliuii u|>plicd by the ancii.ntA to the second note uf their lowest tetrachortl. lieeaiisc it followed the first, or ;*r»fici7.a?. Thii note cor- retiKjnded with our C on the second spuce in the bass. PARTEXIO, GIOVAXXI DOMEXICO, was master of the Conservatory of the Mendicanti at Venice, and born at the commencement of the seventeenth century. The music of his follow- ing operas was much esteemed : " Genserico," 16()9 ; "La Costaiiza Trionfante," 167,3; " Dio- nisio," 1681 ; and " Flavio Cuiiiberto," 1682. PAS. (F.) A dance ; as, pas seul, pas de deux, a dance by one or by two performers ; pas re- doubli, a quick step. PASCALE, FRAXCESCO. a nobleman and amateur musician, born at Casentini, in Italy, lived in the seventeenth century. He published " Madrii/ali a 5 voci," Venice, 1615. Mcrsenne, in his " Harmon.," lib. 8, p. 179, says of one Pasca- lius, " Insigais niathematicus vera; praxeos theorl- am, et infinites proponoduni dissonanliis tUendi modos poUicetur." Judging from the dates, he probably meant the subject of this article. PASI, AXTOXIO, a celebrated sopranist, born at Bologna about the year 1710, was a pupil of Pistocchi He was an excellent singer of an ada- gio, according to the testimony of Quanz, who heard him at Parma in 1726. PASIXO, DOX STEFFAXO, an Italian com- poser, resided, in 1G80, at Conato, and published many works, amongst which we can name the fol- lowing : " Misse d 2, 3, e 4 voci ; " "Motetti Concertati a 2. 3, c 4 voci, con V. se piace, e Salmi d 5 voci ; " and "12 Sonatc d 2, 3, e 4 Stromenti, de quali una t cornpn.sta in Canoiw, et tin altra ad imitattone di rersi che sogliono fare diversi animali brutti," Op. 8, Venice, 1679. PASQUALI. NICOLO, an Italian violinist and cora])oser, was tirst known, about the year )74.'i, in London, wliere he then resided. He af- terwards settled at Ediuburgh, and continued there, as a teacher, to the period of his death, which took place in 1757. He published " Art of Thorough Ba.ss made easy, containing Practi(^ Rules for finding and applying its various Choros with facility, with a Variety of Examjjles, show- ing the manner of accompanying, with elegance. Concertos, Solos, Songs, Recitative, &c.," London ; " Art of fingering the Harpsichord, illustrated with numerous E.xamples, exprcs.sly calculated for those who wish to obtain a complete Knowl- edge of that necessary Art," London; "Twelve Overtures for a Full Band ; " " Quartettos for two Violins, &c.," sets 1 and 2; and " Songs." PASQUALIXI, MARC AXTOXIO, a rele- brated soprano singer at Rome, was engaged, in 1630, in the Papal Chapel, but quitted it again about the year 1643 ; after which time, till towards 1670, he was reckoned, as Doni and Quadrio affirm, one of the first and most favorite opera singers. To these merits he united also a talent for composition ; proofs of which are to be found in several collections of vocal music made in his time. Dr. Burney possessed one of these collec- tions made by Salvator Rosa, iu which a song of Pasqualini occurs. PASQUALIXO. See Bini. PASQUIXI, or PASQUIXO, ERCOLE, a cel- ebrated organist of St. Peter's, at Rome, was born at Ferrara. He flourished about the year 1620. PASQUIXI, BERXARDO,son of the preced- ing, was chapel-master and organist to the Church of St. John of the Lateran, at Rome, where he was born in 1640. He flourished at Rome about the same time with Corelli, and was esteemed the most celebrated amongst the dra- matic composers of his time ; which may be easily concluded from the Theatre de Capranica being opened in 1679 with his compositions, as also from his having been employed in composing the dra- ma which Rome caused to be acted in 1686, in compliment to Queen Cliristina of Sweden. Be- sides these proofs of his celebrity, some of the greatest masters are counted among his pupils ; for instance, Uasparini in 1672, and, subsequent- ly, Durante. Mattheson extols the excellent con- dition of the opera at Rome ui 1690, particularly in respect to the orchestra, where Pasquini pre- sided at the harpsichord, Corelli played the vio- lin, and Gaetani the lute. Of his works Haw- kins and Burney only notice the two following : " Dov' i Amore a I'ieta," an opera, performed at Rome at the inauguration of the Theatre de Ca- pranica, and " An Allegorical Drama, in honor of Queen Christina of Sweden," 1686. PASSACAGLIO. (I.) A kind of chacone. but somewhat graver, and more delicate. See Passacaille. PASSACAILLE. (F.) A kind of chscone, of a tender and slow motion. It is generally writ- ten in three crotchets, and begins with tlie third. There are, however, pnssacaiUes in common time, beginning with the full bar, though they are very rare. See Chacone. PASSAGE. Any phrase, or short portion of an air, or other composition. Every member of a strain, or movement, is a passage. PASSAGGIO. (I.) A succession of soundf 713 PAS ENCYCLOPAEDIA OF MUSIC. PAS forming a member, or phrase, iu a composition. See Passage. PASSAMEZZO. (I.) A slow dance, little dif- "ering from the notion of walking. A movement of the body partaking of the air of walking, and ihe grace of gliding motions. ThLs wa.s un e.ichil- Brating tune. Sir John Falstaff had this music in his mind, when he sent for Sneak, the musi- cian, to entertain his company after dinner. PASSARINI, FRANCESCO, a native of Bo- ogna, was a chapel-master in that city. He pub- lished the following -works : " halmi Concertati a 3, 4, 5, e 6 voci, parte coit vio/ini, et parte aeiiza ; con Litanie della li. V. a cinque voci cm due Violini," Op. 1, 1071; and " Compieta concertata da voci, con Violini Obligati," 1672. Some Ktjrie of his composition are also to be found. PASSEPIED. (F.) A movement written in three crotchets, or three quavers, in a bar ; much resembling a minuet, but of a somewhat more lively character. PASSE'lTO. GIORDANO, chapel-master at the Padua cathedral in the sixteenth century, publi-shed " Madrigali," Venice. PASSING CHORDS. Chords in any piece, ■whose harmonies are too transient for their con- struction to be cognizable. See Transient. PASSING NOTES, in hannony. Those notes m a composition which do not represent the sounds of the cliord, or harmony, but which are only introduced for the purpose of ornamenting and enriching the generiU effect. If these happen on the weak part of a measure, they are termed discords of regular trans id in ; if on the strong parts, discnrdu of irregular traiuition. The latter are properly a;/j>o;/giatura3, which in the perform- ance nie dwelt upon ; the former, after notes, which are pa--8ed over slightly. PASSING NOTES, in melody, are notes intro- duced between two others, for the purpose of iot'teiiing a distance, or melodizing a passage, and which notes are not calculated in the har- mony. PASSING SHAKE. A short trill, made en pwuani, in flowing passages of quavers or serai- quavers, without breaking the tune, or interrupt- ing the natund course of the melody. PASSIOXATO, or CON PASSIONE. (I.) Impassioned, with pathos. PASSIONE. (I.) The pas.«ion, or seven last words of our Savior, set to music. PASSION MUSIC. The music composed in Italy, and other Roman Catholic cotintries, ex- pressly for Piv-sion week. P.\SSIONES. (L.) Compositions intended 'or Passion week. PASTA, GIOVANNI, poet, composer, and ul- timately master of the band in an Italian rcj^- ment, was born at Milan in 1604. He wiig also for some years organist of the Church of St. Ales- snndro, at Bergamo, then became a canon of St, Maria Falrorina, and then again joined the army in his firmer capacity. He died in 16 i6. -\raong tis works is " Dii$ Sorell'-, .Uimkyi et I'ltesia mnccr- Me in Arie Muaicali, Parte 1 e 2," Venice. 90 713 PA.STA, GIUDITT'A. IliiH distinguished singer was born at .Milan in 17i)9, and made her first appearance on any stage at the King's Theatre, in 1817. She was then only iu her eighteenth year ; and though she could not, at so early au age, and without any musical ex])erience, com- jiete with the two admirable female singers, Fo- dor and Caraporese, wlio perfonued in tlie same season, yet she showe and 1777, with prodigious success. He nl.so publUhe«l " 8 Fughe sec-mtio t'Ordine dei T:ni F^clesiastiri perl ' Urgano o Clarice mhttlo," Vienna, 1792; "8 Fitghe ttcondo fA, B, C di ifiui<->i prr r Organo o Car.," Op. 2, Vienna, 1702 ; " S Am<7*» pa- tOrgatm," Ac., Op. 3t Vienna, 1702 ; and n mnon, " 7> quuqui* amnt, A 4 roci." In upcaking of his fugues, Oethar PAS EXCYCLOP.IilDIA OF MUSIC. PAU iiiys, " This erudite musical professor has afford- | ed a coiiviiicinij proof that the true Ncicncc of counterpoint and fusuc \va.s not lost in Germany | at the close of the eighteenth century ; for in hw works nre found fuf^ucs on single and double themes, all treated, arransed, and analyzed in a masterly, and, at the same time, duent manner." PASTICCIO. (I.) An opera, the music of i which is not the uniform production of one mas- ter, but selected from a variety of composers. This sjiccics of dramatic music, in which the ■words arc written to the melodies, instead of the melodic^ beinj; composed to the words, has long been adopted, both in Italy and En;^land ; but rarely witli that consistency and force of effect derived from the original efforts of one composer of genius and feeling. PASTOR.\L. A musical drama, the person- ages and scenei'y of which are chiefly rural. This species of the drama, which formed one of the earliest attempt* in rausicid representation, and the projjcr characteristics of which are sweet- ness and simplicity, has in all ages been heard with delight, and has given exercise to the finest poetical and mu-sical talents of the civilized na- tions of Europe. A pastoral is also any lyrical production, the subject of which is taken from rural life; and the Italians give the same name to an instrumental composition written in the pastoral style. PATETICO. (I.) Pathetic. PASTOllAL MUSIC, which is rustic or rural. Music the style of PA.STOUALE. (I.) An epithet applied to Boft rural movements, generally written in twelve quavers, and moving by alternate crotchets and quavers, like the Sici/iaiio. PATHETIQUE. (F.) Pathetic. PATOX, MISS. See Wood, Mus. PATRASSI, MICHEL, a distinguished alto Binger, was, in 1782, manager of an Italian com- pany of actors at Brunswick. PATRICIO, FRANCESCO, professor of phi- losophy and Bishop of Gaeta, was born at Clissti, in Dalmatia, in 1.529. He published a work en- titled " Del/a I'oetica," Ferrara, 15S6, part of which treats of the music of ancient Greece. He died in 1597. PATRICK, NATHAX. An English church composer, at the commencement of the last cen- tury. Dr. Boyce, in his " Cathedral Music," quotes some of his compositions. PATZELT, JOHAXX. A German violinist and composer, both for his instrument and the piano-forte. He was a Bohemian by birth, was first in the imperial artillery, but bought his dis- charge, and travelled to seek his fortune by his instrument in 17>S8. He is said to have played in a most masterly manner. Traeg (juotes in his "Catalogue," Vienna, 1799, the following raanu- Bcript compositions by Patzelt : " Concerto d I'c. princip. c. 8 Strom.," and " 2 donate i I'c. e D." PAUKE, pi. PAUKEX. (G.) The kettle drum. PAUL, P. DUTREIH, bom at Lyons, was the son of Jean Baptiste Dutreih, a physician in that town. He rei-'cived a good education, but afterwards could not resist his inclination for a theatrical life. After performing as an amateur in his native town, he went to Rouen, and, under the name of Paul, was engaged, during two years, in the Opera Comique there ; he was thes invited to Paris, where, in 1804, he made hLs M- hut at the Theatre Feydeau, in the part of Azor. He since became one of the most favorite acton and singers of that theatre. PAUL.\TI, AXUREA, an eminent composer, produced at Venice, in 1713, the opera " / Vert Ainici," which was again revived there in 1723. PAULL P. ARCHAXGELO, a Carmelite, born at Florence, published at Rome, in 1699, " Directurium Chor.," &c. PAULI, G. ALBERT, wrote a Latin treatise in favor of vocal and instrumental church music, which was printed in 1719. He died in 1745. PAULI, JOHAXX ADAM FRIEDRICH. precentor at Graitz, in Voigtland, left, at his de- cea.«e, two annual courses of church music of his own composition, comprising several corona- tion anthems, dirges, and psalms, for a full or- chestra. He also left several more volumes of annual .services by Hasse, Graun, Telemann, Ho- milius, Geo. Benda, AVoLf, Doles, Reichardt, Tag, Krebs, &c. P.\ULIX', a French composer about the year 1700, published a collection of his own motets. PAULO, GIOVAXNI BATTISTA, an emi- nent Italian contrapuntist, flourished at Xaples about the year 17(30. PAULSEX, CARL FRIEDRICH FERDI- XAXD, organist of .St. Mary's Church at Flens- burg, was born in 17G.3. He entered the above situation in the year 1781, and seems to have subsequently applied himself to the composition and publication of vocal melodies. The follow- ing are the titles of some of his printed works : " K/avier und SiiigatUcke," Flensburg, 1794 ; " Lie- der mil Melodien, Ite Sanniil.," Flensburg and Hamburg, 1797 ; and " Dersclben, 2te Sammi,," Flensburg and Hamburg, 1798. PAUSA, (I.) A rest. PAUSCH, EUGEXIUS. Bom in 1758. A Cistercian monk, and church composer at the convent of Walderbach. Of his works, he print- ed " 6 Kurze doch solenne ^fessen, 7 Motetten, und I Requiem, mit 4 getcOhrilichen Siitgstimmeii, 2 /'., 2 Waldhorn, Orgel, und li.," Augsburg, 1790 ; " Te Dcum solenne d 4 roc-, ordinar., 2 V., 2 Hobois obi., 2 Cornibus non obi., 2 Clar., et Timp. obi., Organo ct Violone," 1791. PAUSE. This character is now generally called a hold, and shows that the note, measure, or rest under which it is placed, may be pro- longed at the ])lcasure of the performer. Tlie character used for the pause is a curve line with a dot, thus : — u :3Pe: W f P \ ^ ■t-f ^?=E m 714 The more ancient paute is, lik* the Md, ■ 'AU ENCYCLOPAEDIA OF MUSIC. FED iiark, or cLariicter, consisting of a curve drawn Dver a dot, and sif^nilying that the note, or the n-a/, over which it is placed, is to be prolonged beyond the regular time. The exact length of the pause is not dictated by any stated rule, hut left to the judgment, taste, and feeling of the jjerformer, wlio sometimes is licensed by the words (1(1 lihituin to introduce whatever extem- pore embellishments his imagination may sug- gest. PAUSE GKNERAI.E. (F.) A pause for all the instruments, singers, &c. PAUWELS, J., composer for the theatre at Hi-ussels, was born there in 1771. His father was a musician, and the son evinced an early talent for music, in which he made rapid prog- ress, being considered, when a boy, an excellent violinist. At the age of eighteen he went to Paris, where he soon procured an engagement in the orchestra ot the Thciitre Feydeau. After a residence of three years in Paris, he returned to liis native city, when his playing, which had been highly improved under the be«t masters in France, excited the admiration of his country- men, lie was appointed Hr.-t violin in the or- chestra of the IJrussels theatre, and subsefjuently conductor. From that time he devoted many of his leisure hours to composition, and brought out much music for his instrument, as well as for the horn, the flute, and the piano-forte; also several songs, sung at the Brussels Concert, of which l:e was the founder, and three ojx;ras for the Brussels theatre, "Iai Maisonnette dans le Hois," " L'Aut' tir mnliirtt liii," and " Leonlinc et Fonrosc." The last opera, which is in four acts, is con^ideretl his c/ief-iCnuire ; the other two were likewise suc- cesslul. Pauwcls died in his thirty-third yeai. PAVAN, or PAVANE. A grave, stately dance, which took its name from pavo, a peacock. It WHS danced by princes in their mantles, and by ladies in gowns « ith long trains, whose mo- tion resembled tliat of a peacock's tail. It was followed by a lighter kind of air, called a yal- liiird. The modern minuet is derived trom the I)avan. Sir John Hawkins says, " The method of dancing it was anciently by gentlemeu dressed with a cap and sword, by those of the long robe in their gowns, by princes in their mantles, and by ladies in gowns with long trains, the motion whereof in the dance rctiembled that of a pea- cock's tail." This dance was invented by the •Spaniards. Every paean has its galliard, a lighter kind of air, made out of the former. PAXTOX, WILLIAM and STEPHEN. 'ITiere were two brothers of this name, one of whom was celebrated as a violoncello perfonner, and dietl jirevionsly to the year 1718, and the other rnnkcd high as a composer of glees. Probably the following works may be deemed of their united composition. Instrumental : " Six Duets for Vc," Op. 1 ; " Eight Duets for V. and Vc.," Op. 2; " Solos for V'.," Op. 3 ; " Four Solos tor v., and two Solos for Vc," Op. 4 ; "Twelve easy Lessons for Vc, in which are introduced several favorite airs," Op. G ; " Six easy Solos for theVc," Op. 8. Vocal : " Collection of two Songs, Glees, »nd two Catches," Op. 7 ; " Glees," Op. 5. Amongst the most favorite part songs by the Pax- tons, we may name " Go, Damon, go ; Amarillis bids adieu," four voices ; " Blest power," four voices ; " How sweet, how fresh," four voices " Uound the hapless Andre's urn ; " " \Vher« grass and ttowers," four voices ; and " Breathe solt, ye winds," four voice*. 'ITie eighth and ninth masses in Samuel Webbc's collection are also by one of the Paxtons. PEALS. I'he name given by ringers to the several settled successions of sounds produced by bells ; melodies composed for bells. PEAlt.SON, or PIER.SON, M.MITIN. wm master of the choristers at St. Paul's. He took his degree of bachelor of music in the year 1()1.3, and about sixteen years afterwards published a work with the following singular title : " Mot- tects, or grave Chamber Musi(|ue, containing Songs of Five Parts, of several Sorts, some ful, and some Verse and Chorus, hut all tit for the Voyces and Vials, with an Organ Part ; which, for want of (Jrgans, may be performed on Vir- genals. Base Lute, Bandora, or IrLsh Har|)e. Also a Mourning Song of Sixc Parts, for the Death of the late Kight Honoiuable Sir F. Grevil, Knight." He died about the latter end of the year 1»>.50. PECCI, TOMASO, of a noble family at Sien- na, published there, about the year IfiOO, several operas of madrigals, which were much admired, and of which he had written both the words and music. PECCI, DESIDERIO, a composer in Italy about the beginning of the seventeenth century, called // Ohiiibizzosn, (the deep one,) published of his works " Le Musuhe sopra tAdone," Venice, 1619. PEL)., or PEDAL. The wooden rest for the foot under a piano-forte, by the use of which the dam])ers arc raised from the strings, thus allow- ing them their full vibration. PEDALS. The judicious and tasteful em- ployment of the pcdids is productive of the best effects. Care should be taken not to use them too frequently, or prolong their iuHuence when the harmony of a phrase or passage happens to change. In all well- written piano-forte mu.sic, the swU pedal, or that which raises the dampers from the strings, allowing their vibration to continue, is indicated by the abbreviation prd., or the sign ^ and its relinquishment by the mark or asterisk ^. When the soft pedal Ls used, which is placed under the left foot in grand piano- fortes, upright ditto of all kinds, and grand squares, it shifts the action so as to strike only one string; the clavier, or key-board, also is moved a little to the right. The sudden use of this pe_,' I 1- a^ I &c Stringed lD8t<. in uniaon executing the Pedal. No. 2. DouiNAM Pedal fob 20 Ik8Tbumen« *y The 1 I :«sr :t •!»■ m The Flutea an octave liigher. kc. ■ - — o — a — ■ Bassoons M^ &c. gS^^ '■^ A. :ts:z:s^-: ^ Uoms & Trombones. i&c. a^- Kettle drums. T^sr. I — a_ i Th«M Io»trua)(DU ar« added to .trrosihrD Uic P«dftl. u double b«Mei ftiooe would b« inaufficiecl to cite It with effect. &C. Double basses. &c. PED ALE, or PED. (I.) An epithet applied to a tixed or stationary bass, during which the superior parts evolve through various harmonies, independent of the pedal note. PEDALI. (I.) The pedals in piano or organ music. PEDAL KEYS. That set of keys belonging to an organ which are played on by the feet. PEDRILLO flourLshed at Naples about 1700, as one of the first Italian violinists. PEGADO, BENTO NUNES, a Portuguese chapel-master at Evora, was one of the celebrated pupils of Antonio Pinheiro, and flourished about the year 1600. The following of his works ar« still preserved in the Royal Library at Lisbon : " I'arce Domitie, a 7 Vozts, Motite para a Qitarii- ma;" " Hei mihi Domine, d 6 1'ozes, Rexpon.sorio de Defuntot ; " " Hi sunt qui cum tnulieribus, Motet« do$ Sanios Innocentes ;" and "Ad le suspiramus, Motete a A'. SenJiora." PEGRINS. BENETON DE MORANGE DE, a French writer about the middle of the eigh- teenth century, inserted in the " Mcrciire da /■Vonce" (1740) an article entitled "Dissertation de I'Origine ct de VUlitti des Chansons, particu- liiremenl des Vaudeviiles." PEKEL, B.VRTII., vice chapel-master to the Chapel Royal of the King of Poland in 164.3, in- serted in the " Cribnun Musicum," of Marco Scao- t-EL ENCYCLOPAEDIA OF MUSIC. PET jhi, a chef- (F ecu r re of his composition, in which three canons can bo sung at the same time. PELI, FRANCESCO, an Italian singer about ,he year 1720, estnblishiHl a singing school at Moclena, which ntterwards became very cele- Dratcd. lie brought out at Munich, in I7''i7, an opera entitleil " La C'ostanza in Trionjo." PELLATIS. PADRE AXGELO, organist at Treviso, published at Venice, in 1667, " Compen- dia per i/iipare le Uiyole dul CaiUo Ferino." PELLEGRINI. VINCENZO, canon at Pesaro, in the pa])al states, and ultimately chajiel-master of the metropolitan church at Milan, published several of his works, amongst which are to be noticed " Miiaarum, Lib. 1," Venice, 1604 ; " Con- cert i d 1, 2, 3, 4, 5, e 6 voci, con una Missa A 6 voci; " and " Motetti," Venice, 1619. In the '• Ber- gaineno Parnassus J/imic. Ferdin,," Venice, 1615, some of his works also occur. PELLEOUIXI. VALKRIO, a singer in the service of the King of Spain, flourished about the year 1700. PELLEGRINI, FERDINAND, a mxisician at Naples, published several works, the tirst of which appeared at Paris in 1754, and contains several sonatas for the harpsichord, with a letter on the rondo. In 1768 he brought out his ninth opera at Paris. It consists of six concertos for the harpsichord. PELLEGRINI, PIETRO, was, in 1770, chap- el-master of the Jesuits' Church at Brescia. He was celebrated as a performer on the harpsichord. Amongst his works is an opera entitled "Cirene." PELLI flourished as chapel-master at Rome in the latter part of the last century, and publishetl some musical works of taste. See Leveque's " Tableau de Rome," 1792. PELLIO, GIOVAN'NI. A composer of the si.xteenth century. Of his works we can men- tion only " Canzoni Spirituali a 5 voci. Lib. 2," Venice, 1597, and " Canzoni Spirituali d 6 voci," Venice, 1584. These may still be found in the library at Munich. PENNA, LORENZO, of Bologna, a Carmelite monk, and a professor of music, was the author of a work entitled " Alhori ilusicali," printed at Bologna in 1672. ITiis he divided into three parts. The tirst treats of the elements of the canto fiyurati) ; the second of counterpoint ; and the third of thorough ba-»s, or the art of accom- paniment. In thi.-i, which Ls one of the best Italian works on the subject, the scale of Guido, with the use of the syllables and clefs, and the nature of the mutations, are explained in a very concise, intelligible manner, as are also the char- acters employed in the cau/iu menturabilis. Of his ^ule^ of counterpoint little can be said, further than that they are perfectly consistent with tlie laws of harmony. The third part of the work is taken from the writings of Luzzaschi, Morula, Frescobaldi. and other celebrated Italian organists. A continua- tion of the " Alhori .Miuicali " was published at Venice in the year 1678. In 16S9 Penna pub- lished at Modena a " Directorio del Canto Fermo." PENNA, FRANCESCO, of Bologna, pub- lished a treatise on music at .\ntweq) in 1633. Dr. Burney quotes this work in his Travels, vol i. p. 39 ; but, as he had not himself seen it, ft may probably belong to the preceding article. PENNA, L. A professor of music, and proba- bly of the piano-forte, at Paris, (^f his pub- lishetl works mav be noticed, " Trois Soiuitcs pnur le Clav. arec K.,' Op. 2, Paris, 1791, and " Ho- mancta pour I'iatto-forte," Paris, 1787. PENTACHORD. (Or.) Thli word, wltti llie inHrnU. •nmi^ tlinrf ■iniiiflffl an Initrumrnt cnntnining flTcatrhifr*. Btid •oinrtiinrt an onlrr. or •v«l.-in. of rtrr iounfl*. PENT.\TO.NO.\. (Ur.) The namr of Ouit Inlrrral In tht an. dent muiic which w»j thr lamr with our luprrfluoui aixth, ronai't- Ing of Tour tonri. ■ major •ctnitoiii*. and a minor i hrncr it ri:cvirc« the name of jttntatiinum, or A W lunel^ PEPUSCII, JOHN CHRISTOPHER, one of the greatest theoretical miisici.ans of modem times, was born at Berlin about the year 1667. His father, a minister of a Protestant congrega- tion iu that city, discovering in his son an early propensity to music, employed at the same time two diflerent masters to instruct him, the one in the theory, and the other in the practice. At the age of fourteen he was sent to court, and by accompanying one of the ladies who sang before the queen, so recommended himself, that he was immediately appointed to teach the prince on the harpsichord, and on that day gave him a lesson. Pepusch quitted Berlin, and on going to Eng- land about the year 1700, was retained as a per- former at Drury Lane. It is probable that he assisted in adapting the operas for the stage that were performed there. The abilities of Pepusch, as a practical com- poser, were not likely to become a source of wealth to him ; his music was correct, but it wanted variety of modulation ; besides which, Handel had got possession of the public ear, and the whole kingdom were forming their taste of harmony and melody by the standard of his compositions. Pepusch, who soon became sen- sible of this, wisely betook himself to another course, and became a teacher of mu.sic. In the year 1713, at the same time with Croft, Pepusch was admitted to the degree of doctor in music in the University of O.xXord, and continued to pros- ecute his studies with great assiduity. About the year 1722, Signora Margarita de I'Epine having quitted the stage with a large sum of money. Dr. Pepusch married her. The fortune which Margarita had acquired was estimated at ten thousand pounds, and the possession thereof enabled the doctor to live in a style of elegance, to which, till his marriage, he had been a stran- ger. This change in his circumstances was nn interruption to his studies ; he loveil music, and he pursued the knowledge of it with ardor. He, at the instance of Gay and Rich, undertook to compose, or rather correct, the music to the "Beggar's Opera." Every one is aware that the music to this drama consists solely of Imllad tunes and country dances; it was nevertheless necessary to settle the airs for performance, and also to compose basses to such as npi-de.1 them, lliis Pepu-sch did, prefixing to the opera an over- ture, which was printed in the tirst, and has l*cii continued in every succeensorios da Se- mana aanta a 8 T'o2e.»," " Respoiisorios de Officio dos Defantoi a 8 I'ozea," " Li<;oens de De/toUos a 4 Voz.," " Conjitebor d 8 Voz.," '• Laiidale, ptieri , Dom- inuni, a 8 Voz.," " Latulaie Dominutn, omnes ffenlcs, di I'oz.," and " I'ilhaticicos e Moteles a 4, 6, e 8 Voz." PEREIRA, MARCOS SCARES, royal chapel- master at Lisbon, died in IG.i.'j. Many of his works for the church are to be found in the Roy- al Musical Library at Lisbon. PEREIRA, ANTONIO, a Portuguese regular ecclesiastic, born at Macao, in the bishopric of Guarder, in the year 172o, became rector of the Conventual School, and published, besides school books, much music for the church. His works were, however, all destroyed by fire in 17.55. PEREIRA, TOMA.SI, a Jesuit and Portu- guese mL-isionary, enjoyed great power at the court of the Emperor of China, between the years 1680 and 1692. He was appointed ambas- sador from Portugal, and in that quality con- cluded a peace with the Chinese, re^eri'ing a right of free exercise of the Christian religion throughout the whole Chinese empire. It is said that it was princijmlly through his profound knowledge in music, that he became so great a favorite with the Chinese court. PEREZ, DAVID, of Spanish extraction, was bom at Naples in 1711. lie owed his musical education to Antonio Gallo and Francesco Man- cini. His progress in composition was rapid, and he discovered an uncommon genius. On leaving the Conservatory, he did not observe the usual custom of travelling throughout Italy, but re- paired to Sicily, where he tilled the functions of chapel-master in the Cathedral of Palermo. The Sicilians are not less sensible to melody than the Italians ; perhaps they are more so. It is certain that their ear, their tact, and their musical taste are as much practised as those of the Neapoli- tans ; for all the operas composed at Naples are performed in their theatres. Perez composed his first operas for the theatre at Palermo from 1741 to 1748. They were greatly esteemed by the Si- cilians, who admired his learning no less than the spirit and fascination of his style. While in Sicily, this composer obtained great reputation. He returned to Naples, and soon after his arrival gave his opera of " La Ckmenza di Tito," at the theatre of San Carlos. Thus work had as much success at Naples as his preceding compositions experienced in Sicily. l"he I'ellow-citizens of Pe- rez acknowledged in his style that of the great ' masters of their school. His reputation in- creased ; and he was invited to Rome by t)io manager of the great theatre, where he imme- diately became very celebrated. j His first work was the ojiera of " Semiramide ; " that of " Farnace " soon followed, and the Ro- mans confirmed by their plaudits the approbation [ of his countrymen. From Rome he proceeded to ' the other Italian cities, and successively composed ! " Didrtie abbandonata," " Xenohia," and " Ales- ' sandro ncW Jndie " which sustained a comparison 18 PER ENCYCLOPEDIA OF MUSIC. PKM with the operas of the best mnsters of the mort felebrated schools of Itiily. Whilst most of the Italian cities (lisputed the possession of Perez, Joseph, King of Portugal, invited hira, in 17o2, to Libbon, as his chapel-master ; and the suf- frages of the Portuguese were added to those of the Italians, when they heard " Demnfoonte," the o;'era in which the nvUhor first discovered to them his talent and his style. Uizzicllo was the inincipnl soprano, and Kaaf, the tenor, two very celebrated singers. In 17.5.5, on the occasion of the (jueen's birthday, Perez com- posed a march in the manege, to the grand i)as of a beautiful horse. On this occasion the King of Portugal assembled the following great sing- ers : Elisi, Manzoli, Caffarclli, (Jizziello, Veroli, I'abbi, Luciaiii, Raaf, Rnina, and (iuadagni. 'ITie compositions of Perez had therefore every ad- vantage execution could bestow. Ilis operas " L>emfliinano" enjoye=, lose their consonant character. PERFECT INSTRUMENTS. It may be eaid with much reason that the only perfect instru- ment,s now in use are the violin, the violoncello, the double bass, the tenor, and one or two others. On these, any tone of which their compa-ss is capable can be produced in every po-sible va ricty of execution. liie piano-forte, delightful a.s are it-" powers, cannot produce a gliding sound from one note to the other ; neither can it prolong a note for any length of time without losing at its termination the vigor with which it produced the tone at its commencement. In addition to these disadvan- tjiges it lalwrs under another, which is comraou to all iriiid instruments. It can ])roduce full tones, diatonic semitones, and chromatic semi- tones, but it cannot yield an enharmonic tone. On the piano-forte, on the harp, and on all wind instruments, ( with the exception of th.e organ in the Temple Church, London,) O fiat is F sharp ; -V flat is O sharp ; E sharp is F natural : B sharp is C natural ; E fiat is D sharp ; and so on. The difference is so nicely arranged as svarcely to strike the finest ear; but it is undoubtedly an obstacle in the way of perfection which will most probably be overcome by and by. The organ in the Temple Church, in I/mdon, which we have made an exception to the above complaint, is a I curious specimen. The black notes are split, in order to provide for the production of enharmonic tones, and the effect on a nice car is very agiecable. As the majority of organs are not made on the last-named principle, they must be cln^-ed among the imperfect instruments. At the same time, it is believed that general opinion unites in ascrib- ing to the organ the first place amoni: instru- ments. It is capable of prolonging sounds, of producing multiplied chords, ol mod ilating and swelling its tones at the option of the j^erformcr. of Rupj)ressing or expanding its volume, and, in a j word, of doing every thing which any other in- strument can perform, except of gliding from one note to another. (.See Ei'hakmo.mc Oioivn.; 1 PERFORMER. A practical vocal or instru- mental musician. PERGOLESE, or PER(H)LF,S1, (HOVAN- NI B.VrriST.V, WIS born at Jc-•! l'or,r, i>i t;ieiu I CnVo, which has been since suppresscerformcrs than those for whom he had been hitherto employed, and hapj)y in having the exquisite poetry of Metastasio's " Olimpiailc " to set, instead of the Neapolitan jargon, went to work with the zeal and enthusiasm of a man of genius, animated by hope, and glowing with an ardent passion for his art. The Romans, how- ever, by some unaccountable fatality, received his opera with coldness ; and the composer being a young man but little known, they seemed to require to be told by others that his music was excellent, and would soon, by the admiration of all Europe, make them ashamed of their injustice and want of ta.ste. To complete poor Pergolcse's mortification at the ill reception of his opera, " Scroiir," composed by Duni, the next that was brought o\it on that stage, had very great suc- cess. Duni, a good musician, and a man of can- dor, though greatly inferior in genius to Pergo- lese, is said to have been a.shamed of the treat- ment which he received ; and with an honest indignation declared, that he wtvs out of all pa- tience with the Roman public, ffreitelico contra il ouhlico lljmano I He even tried, during the short life of Pergolese's opera, to make a party in its favor among the professors, who were captivated with the beauty of the music : but their efforts were vain ; the time was not arrived when judg- ment and feeling were tj unite in its favor. Pergolese returned It Naples with the small crop of laurels which had been bestowed on him by professors and persons of taste, who in every country compose but a very incnnsiderahle part of an audience. He was, indeed, extremely mortified at the fate of hLs opera, and not much disposed to resume the pen, till the Duke of Matelon, a Nea- politan nobleman, engaged him to compose a ma-ss and vespers for the festival of a saint, which was about to be celebrated at Rome with the greatest magnificence. Though Pergolese had but too much caase to be dissatisfied with the Roman decree;-., he could not decline the duke';; proposi- tion ; and it was on this occasion that ho com- posed the mass, " Dixit," and •' Laudate," which have since been so often performed and transcribed by the curious. They were heard tor the first tima in the Chiirch of San Lorenzo, with general rap- ture; and if any thing could console a man of gen- ius for such unworthy treatment as he had late- ly experienced at Rome, it must have been such hearty and unequivocal approbation as he now re- ceived in the same city. His health, however, dai- ly and visibly declined. His friencLs had perceived, by his frequent spitting of blood, for four or five years l;efore this period,that be was likely to be cut otf in his prime ; and his malady was still increased by his la.st journey to Rome. His first patron, the Prince of Stegliano. who had never with- drawn his protection, advised him to tiike a small house at Torre del (ireco, near Naples, by the sea- side, almost at the foot of Mount Vesuvius. It is imagined by the Neapolitans, that persons afflict- ed with consumption are either speedily cured or killed in this situation. During his last sickness, Pergolese composed his celebrated cantata of " Orfeo ed Enridice," like Purcell, who, under similar circumstances, produced " From rosy bowers," retaining his fac- ulties in full vigor to the last moment of his ex- istence, and, to complete the jiarallel, cut off like- wise in the prime of life. At Torre del Greco, he also composed his " Stabat Mater," whence Iio u.sed occasionally to go to Najjles, to have them tried. Tlie " Silve lieyinn," which is printed in England, was the la.st of hLs productions ; and he died very soon after it was finished, in 17.36. The instant his death was known, all Italy manifest- ed an eager desire to hear and possess his pro- ductions, not excepting his first and most trivial farces and intermezzi : not only lovers of elegant music, and curious collectors elsewhere, but even the Nea])nlitans themselves, who had heard them with indifference during his lifetime, were now equally solicitous to do justice to the works of their deceased countrjinan. Rome, now sensible of her (ormcr injustice, as an amende hnnorablf, revived his opera of " Olimpiade ;" a mark of re- spect which had never been before conferred on any composer of the eighteenth century. It was now brought out with the utmost magnificence, and that indifference with whicli it had been heard but two years before was now converted into rajiture. Pergolese's first and principal instrument was the violin, which was urged agaii-.st him by envious rivals, as a proof that he w.as unable te compose for voice."*. If this objection were ever 720 TER ENCYCLOP.EDIA OF Ml'Sll". 1 ER In force with rensonnble and cniuUil judges, it rau8t hiive been much pnteebled, not only by the suc- cess of l*eri;oleso in vociil compositions, hut nlso Dy Saochini, whose iirincipal study nnd i)riietico, luring; youth, wiis likewise bestowed on the vio- 'in. There iloes not appear to be iiny foundation for the report tluit the premature death of Por- »o1psc was occasioned by poie!'ore passeil several years of his youth, and at which place he remained. His |)rineipal instrximents were the organ and jiiano-forte ; for the latter of which he eomi)ose(l and arranged some plea-sing music, esjwcially the three airs, " Scots wha hae," " Ah, jH-rditna," and " My love is like the red rose." PERRY, GEORGE, a very ingenious musi- cian, and leader of the band at the Norwich Theatre. In the year 1S17. an oratorio of his composition wits performed in London, entitled " Elijah and the Priests of liaal," and was al- lowed to be a work of talent. He has also pub- lished a recitative and air, entitled "The high- bom soul ; " this song is for U bass voice, and has been much admired. PFJI.SIANI, MADAME, one of the most cel- ebrated operatic singers of this century, is the daughter of the famous tenor Tacchinardi. She was born about the year 1800. She hos been di->- tinguished for the almost unrivalled flexibility of her high soprano voice, and for her graceful ex- ecution of the most Horid ItaUan music. In the winter of lSo2 she was engaged in the opera at St. Petersburg. PERSUIS, L'OISEAU DE, bom at Aviffnon, was, in 1811, chef d'orch,$fre at the Academy of Music, and in Napoleon's chapel at Paris. About the year 1780 he produced at the Cotictrt Spiriti4el several motct-s of his own composition, and an oratorio entitled " l^ I'attape de la Uri Rotuje," all of which had great success. In 1807 he brought out at the Academy of Music, in conjunction with Ixssueur, " l^ Triom/the de Tra- is a mass for a full orchestra, perlormed at the I jaa," and at the ThiAtre Feydmu, " Fanny Uor na," in three acts, 17'.t9; "A* Fruit D^/indu," in one act, 1800; "Mtrctl," in one act, 1801; "La Suit de Grenade," 1792; and " /'Aonor it ^Lf Church of St. Gervais at Paris, being the fir»t mass that was heard tliero after the troubles of the revolution, i'crne wa* also a profound theo- rist in muaic. 91 731 PER ENCYCLOl'-EDIA OF MUSIC. PET I'ERTI, (JIACOMO AXTOMO, born at Bo- logna in 1056, was one of the greatest professors of the ancient school ol music in that city. His :;ompositions for the church are considered as classical. He was first in the service of the princes of Tuscany, and from thence was invited by the Irajwrial Court to Vienna, in which city he resided nearly the whole of his life He formed many eminent pupils, at the head of whom may be jilaced the celebrated Padre Mar- tini. According to Quadrio, Perti was living at Bologna in 1744, when he must have nearly at- tained his ninetieth year. His pupil Padre Mar- tini published, in his " Safjyio di Conlrapunto," seven chefs-d'oeuvre in sacred composition by his master Perti ; and Paolucci, Padre Martini's pupil, also published four sacred i)iece8 by Perti, in his " Arte Praiica di CotUraputUo." Dr. Bur- ney was in possession of a scientific mass for eight voices, by this composer ; and among the manuscripts at Traeg's, in Vienna, is a piece by Perti, entitled " Adoramtm d 4 voci da Cantarsi net Tempo deW Elevazione il Venerdi Santo." The following list contains his principal operas and two of his oratorios : " Atide," 1679 ; " Mar- zio Coriolano," 1683 ; " F/avio," 1686 ; " Rosaura," 1689; " L' l7icoroiia:ione di Dario," 1689; "L'ln- ganno acnrpoto per Veiuktta," 1691; " Brentio in Efeso," 1690; " Furio CamiUo," 1692; " Nerone fatto Cesare," 1693; "II lie Infante," 1604; " La- odicea e Berenice," 1695; " Apollo Geloso," 1798; " Le Premier Acte d" Ariovisto," 1699; "II J'en- cetlao," 1708; '• Lucio Vero," 1717; " Gieau al Sepolcro," oratorio; and " Morte di Giesti," ora- torio, 1718. PERVIN, JEAN. Author of " Chansons a gnatre, cinq, six, lept, et huit Parties," Lyons, 1578. PESAXTE. (I.) With importance and weight, impressively. PESCETTI, GIOVANNI BATTISTA. A cel- ebrated Venetian composer and pupil of Lotti. Immediately on the completion of his education, he composed a grand mass at Venice, at the beauty of which Hasse, who was present, was much surprised. " Nature," said Hasse, " has shortened for him the road to his art." About the year 1737, he went to London, where he re- sided two or three years. There his opera of " Dcmetrio " was performed at the King's Theatre, and had a run against Handel's opera of " Gius- tina," which was brought out at the same time at Covent Garden. He also produced in Eng- land a screnata called " Diana ed Endimione," which was sung at the King's Theatre in 1739. He in the same year published " 9 Senate per il Cembalo." Among his other operas we can name "II Prototipo," 17'26; "La Cantatrice," 1727; "Dorinda," 1729; "/ Tre Difensori delta Patria ;" " Alessandro neW Indie," 1739; " Tullo Ostilio," 1740; and ".Brio," 1747. PESCH, C. A., concert master to the Duke of Brunswick in 1760, gave his prince instruction Dn the violin. In 1767 he followed the duke to London, where he published " Three Sets of Trios for the Violin," Op. 1, 2, 3. He also pub- jshed, at Offenbach and Lcipsic, some music for nis instrument. He died at Brunswick in 1793. PESENTI, BENEDEITO, is named by Cer- reto, in 1000, as one of the best contrapuntisf of that period. PESENTI, MARTINO. an instrumental com- poser, was born at Venice in 1640. He wm blind from birth. Many of bis works were pub- lished, amongst which we can name " Capricci Slraiaganti," Venice, 1647; " Misse d. 3 Voci," Venice, 1647; " Motctti a 3 Voci," Venice, 1647; and " Correnii alia Francese, Balletti, Gagliarde, Passemezzi, parte Cromatici, e parte Enarmonici, a 1, 2, e 3 Strom. Lib. 1-4," Venice, 1C47. PESTALOZZIAN SYSTEM. This system of teaching music is now considered, by amateurs as well as instructors, as incomparably the best system extant. It presents to the student a most perfect and beautiful analysis and synthetical arrangement of the elements of music, calling his attention to one character after another, just as fast as his progress demands it, and no faster. It flings away most of the technical encum- brances which have so puzzled young beginners, and makes the whole subject so simple that a child sLx years old can understand it. It is called the Pcstalozzian system, because it is the indttctive mode of instruction, and because it was prepared by, and first applied to, music under the patronage and direction of a wealthy Swiss gentleman by the name of Pestalozzi. Professor Mason, of Boston, claims to have introduced it into this country — he having had it translated from the German of Kubler. This method of teaching was adopted by the Boston Academy of Music, and it has since been introduced into common schools very e.\tensively. PESTEL, JOHANN ERNEST, a celebrated court organist at Altenburg, was born in 1659. He was a pupil of the great organist Johann Ernest Witte, and afterwards of the younger Weckmann. On the completion of his studies he was appointed organist at Weida, in Voigt- land, from whence he passed to the same situa- tion at Altenburg; finally, in the year 1687. being appointed court organist. He was living in 1740. He composed much music for the organ, and many sacred pieces, none of which, however, were printed. PETERSEN, P., a flutist at Hamburg, was considered, towards the close of the last century, second only to Dulon on his instrument. He composed much music for the llute, some of which may be found in Plant's " Erato and Eu- terpe," Hamburg, 1790. Petersen also, after much j.atient investigation and a variety of trials, was so successful as to invent a piece of mechanism for the improvement of the flute, which, from its effect and simplicity, is equally valuable and praiseworthy. It is a small lever, one inch in length, which can ea-ily be moved by the thumb of the left hand. By means ol this, the pitch of the flute is in an instant raised or depressed the eighth of a tone, and, while playing, the crescendo and decresccndo are main- tained perfectly pure. With the assistance of a small fine-wormed screw, which, from its effect, is called the pitrh-scnic, the flute may be tuned with very little trouble, and without disturbing the effect of the lever. The who'.e arrangement is in the highest degree simple, and, with, respect to its construction and duration, i.s far preferabU to the kcv. M. Petersen adds, that the knobs m 722 PET ENCYCLOPAEDIA OF MUSIC. PET I)rojectioTis which are necessary to receive the metal and pins of the keys, are injurious to the tone of the flute ; that the pins will necessarily give, in course of time and friction ; and that the stoppers, being thus disarranged, will yield the tone with less purity. In his tiute, the two lower pieces are united into one ; the middle piece has but a very trifling projection, and is not to be separated from the mechanism above de.'Cribed^ which is affixed to both parts. Next comes the headpiece, which is free from all metal, and only tour inches in length, on which is the mouthhole. This is affixed to it in the fame manner as the mouthpiece of a clarinet. Uy means of these improvements, M. Petersen's flute attained a degree of perfection unknown in this instrument before. PETIT, MLLE. A remarkable little pianiste, who arrived in this country in 1851, accompa- nied by her father, M. Petit, the composer and clarinetist. This diminutive phenomenon, who is eleven years of age, is a protigie of the royal family ot Holland, and has repeatedly per- formed before them some of the most difficult music written for the piano. She sits down to the instrument with all the aplomb of a full- grown artist, and her little fingers sweep over the keys with a skill and precision that seem like magic. Iler style is brilliant, rapid, thorough, clean, and correct. PETIT, ADUIEX, called also COCUCUS, a musician of the sixteenth century, and pupil of Josquiu Depris, published in loo2, at Nuremberg, a musical work, in which he treats, first, on the manner of singing with taste ; secondly, on the rules of counter])oint ; and thirdly, on compo- sition. PETIT CHCEUR. (F.) The little choir. A sacred composition in three parts is said to be d petit chccur. PETIT, N., a clarinet pupil of Charles Duver- noy, performed with great success on that in- strument, in the concert of the pupils of the Conservatory at Paris, in the year 1802. PETITE MESURE A DEUX TEMPS. (F.) Two crotchet time, marked 2. PETRI, GEORG GOTTFRIED, singer and conductor of the music at Gorlitz, was bom in 171.1. He published in I7ti.5 a dLsscrtation, in Latin, to prove that the conjunction of musical with other studies is not only useful, but necea- tary to scholars. He also published the following practical works : " Cantatas for all the (iospels of Sundays and Holidays," 1757; "Musical Amusements," in two volumes, 17t)l and 17fi2 ; and •' The three Men in the Furnace," a musical drama, 1765. He died at Gorlitz in 1795. PETRI, JOHANN S.VMUEI-, singer and pro- fessor at the gj-ranasium at Kaudissin, was bom at Sorau in 1738. He published in X'"^! " .■In- Icitung zur prattisfArn .\l113ik," (Introduction to practical Music) In 1772 he was nominated to 1 is place of singer. His work, it is said, might «cr>-o as n model of the didactic style. It treats, first, of music in general ; secondly, of thorough- bass ; thirdly, of the organ ; fourthly, of the harpsichord ajid other keyed instruments ; fifth- ly, of the violin and *.«nor ; nxthly, of the riolon- I cello and double bass ; and seventhly, of the flute. PETRIDES, (the two brothers.) Joseph was bom in the year 1755, and his brother Peter in 1766, at Prague. Their father was a respectable organist, and the sons verj' early followed th« same profession. Joseph, however, when in col- lege at Klosterbruk, in Moravia, had not an op- portunity of priuti-iing the organ, but was obliged to learn nearly all other instruments, jwrticularly the French horn. As there was music in the church every day, he of course soon made prog- ress on that instrument, so that he could, in a few years, play tolerably well the concertos of Punto. His brother Peter, at that time in Prague, having taken a fancy to the same instrument, Joseph, when he returned to Pn\gue, studied, with his brother, the double concertos composed for Balzar and Thirsmid by Ito.sctti. and they soon began to perform in public; after which, being encouraged by success, they travelle8 vanity, to visit Italy, particularly as they had good recom- mendations for Venice, Florence, liome, and to the Queen of Naples. In 1793, when at Naples, and the day already fixed to play before the court, the fatal news arrived, that the King of France was guillotined I The queen, on this, sent the Petrides a present of twenty-tour ounces, and retreatetl to Casserta. Soon after this, under the patronage of Count Esterha;ry, Austrian am- ba8.--ador, of the Chevalier and Lady Hamilton, &c., Jtc, the Petrides had a public and successful concert at the theatre Dei Fiorentini, under the direction of that kind and great composer, Cima- rosa. In a few weeks they set out for Rome, with many letters of recommendation. There they played before several of the cardinals, re- ceiving many benedictions, but no monev, except I from Cardinal Herzan, Austrian ambassador, I Duke Ceri, and Prince Giustiniani. j At the basilic of St. Peter, they had the honor ; to kiss pubUcly the feet of his holinei^s Pius VI., and had the papal benediction for it. Hut this benediction seems to have availed them little; for within two days after that epoch, Jo- seph was attacked with a dangerous putrid fever, and hLs brother with the same, the day after. It was in the month of July, when the heat was excessive, and the danger was consetjuently im- minent ; bleeding, plastering, &c., See, were con- tinued, till poor Joseph was reduced to a skeleton. At length, after seven weeks, they began to l)e a little better, and as they intended to go from Rome to Florence, they resolved, for the pur|)Ohe of avoiding the expenses of a land journey, to go from Civita Vecchia by sea, j)articularly abo as the physician recommended it to them for the benefit of the air. They accordingly embarked at Civita Ve<-chia for Leghorn, when, in the fol- lowing night, so violent a storm came on that the tiiij) and all on Ixmrd were considered as lost, and before daylight they were wre,keor but charitable sailors, swimming to their relief 23 PET ENCYCLOP.^DIA OF MUSIC. FED carried them hnlf dead to the shore. The trunk of the I'etrides, with their clothes, mu>iic, their boxes with iiiMtrumeiit*, all their little property, was under wiiter. With threat diliiculty, how- ever, they recovered the next day some of their thinfjs, but all either dama^^ed or completely ruined. The poor Pctrides, in bad health, and under these sad circumstances, were reduced to the last extremity : they could not understand how it was possible, that, after so many benedic- tions as they had received at Rome, so many dis- asters should immediately befall them ; but 80 it wa.s ! At last they got to Leghorn by land ; but Joseph, from so much suffering, was again worse, and obliged to keep his bed during six weeks. At last he recovered so far that they could at- tempt a public concert, which succeeded tolerably well. From Leghorn they set out for Geneva, where, after another successful concert, they em- barked for .Spain, but again, in the(iulf of Lyon, encountered a terrible hurricane, which drove them to the little Sardinian island of St. Peter, where, after two months' delay, the ship was repaired, and they embarked again, and landed iu 1794 in Barcelona. Here they also engaged at the Italian opera, and produced some songs ol their own composition with horns obligato, which had a good effect, and procured them two very profitable benefits at the same theatre. In this city they met M. Sor, who, then only fourteen years old, had composed an Italian opera, called " Calipso," which surjirised and pleased every body in that place. There being now war nearly throughout all Europe, the brothers resolved to rest for some time in the delightful climate of Spain ; but after the peace of Campo Formio be- tween France and Austria, they dotennined to travel in Fiance. There they gave concerts in nearly all the principal towns. At Paris they played twice at the amateur concerts, and twice at the Theatre Louvois between the acts. Soon after, war between Austria and France being again declared, they were obliged to return a uecoud time to Spain. In the year 1799 they were at Madrid, and were engaged for eight oratorios, to play every night a concerto or solo at these performances : their echo concertante had great success. The)' were also invited to different pri- vate conceits, and at last were commanded to play before their Catholic majesties Carlos IV. and the Queen of Spain. As the king was one of the best tempered of men, and a passionate amateur of music, he took himself the part of primo vio- lino, and led with M. Vaccary (well known in London ) tho music of Petrides. At the end of the concert, tlie chamberlain of the kiug handed the brothers a present of 9000 reales, or 7oO pe- zos duros, all in gold. -V few days after, they were recalled a second time to play before the royal family, and received two gold watches, one set in pearls, another with small diamonds, also gold chains to both. Besides these gifts, the (jueen was so benevolent a-s to present them with u letter of recommendation for the Princess of Brazil, afterwards Queen of Portugal. Soon after they left Madrid for Lisbon, where they were ad- vantageously engaged at the Italian opera ; tiiey also were engaged to play between the acts, BOmetimos a concerto, at other times a solo or ooncertantr con ecco, lor which they received at the •ame theatre two very productive benefits. For- tunately for '■.he Petrides, it hapijcned that, just at that epoch, his royal highness. Prince Augus- tus of England, afterwards Duke of Sussc x, was at Lisbon, who heard the brothers play o )ligato at the theatre, and soon after sent for thera to his palace, where they had the honor to play fre- quently before his royal highness. The prince wa-s then so kind as to give them four letters if recommendation for the royal family of England; and when the Petrides, after some months, went to London in 1 802, these letters were of the great- est advantage to them, and directly procured them many engagements. Their first Mbut at London, was for the benefit of Salomon, at Willis's rooms, where they played, in the first act, a double con- certo, and in the second an echo concertantf, which was universally applauded and encored. Three days after they were offered the engage- ment of the Italian opera, which they accepted for the subsequent season. They had soon many private concerts, and shortly after the principal engagements, as hornists, at London and in the country. Thus, after a wandering and eventful life of fifteen years over the greatest part of Ger- many, all Italy, Sicily, Malta, France, .Spain, and Portugal, the Petrides settled in London ; and they declared that they soon found England to be the best, the most generous, and most hospita- ble country under heaven. PETRINI, chamber musician and harpist jof the Chapel lioyal at BerUn, died in tliat city in 17.50. PETRIXI. FRANZ, son of the preceding, and born at Berlin about the year 1744, was consid- ered a more able performer on the harp than his father. In 1765 he was at the court of Mecklen- burg-Schwerin, and from thence went to Paris, where he died in 1819. He published many works for his instrument, as also " Syatime de I'Harmonic," Paris, 1796. PETRIXO, JACQUES. An Italian contrapun- tist of the sixteenth century. Among his works is one entitled " Jac. Petrino Jiibilo di S. Bernardo, con alcuiie Canzonctte Spirittiaii a Z et i voci," Parma, 1.589. This work is still in the Royal Library at Munich. PETROBELLI, FR.INCESCO, chapel-master of the cathedral church at Padua, published " Motelti," Venice, 16.57 ; " Salmi Dominicali A 8 voci," Op. 19, Venice, 1686 ; and " Psalmi breves, 8 vocibtts," Op. 17, Venice, 1686. PETRUCCI, AXGELO, an Italian composer, brought out at Mantua, in 1766, the opera of " La .XMeti." PETSCIIKE, ADOLPH FRIEDRICH, was, in the year 179.5, a theological candidate a"d director of the Royal Saxon Institution for the Deaf and Dumb, in which city he was bom in 17.59, and where he published the two following musical works: " Anhany zu Mcerbacl>-i Ctavicr- schule," 1784, and " Vemich eiiivs Cnli-rricfUs zum CtacierspUleii," 178-5. He died in Leipsic in 1822. PETTtlA. (Or.) The la»t of the three p»n« Into which the mcloiHtia of the ancient< WM •uMividetl. According to Ariitidee QuiuliliiK. it WM the irt of ucrrtunlns the •nuiidi which ought, oi oufiht not, to Ih? u»ed j th<»tc which should be mere or IcM frvquenlly introduced, and those witli which the strain ought to conclude. PETrO. { I.) The chest ; as, roce di petto, tht chest voice. PEU. (F.) A little. 724 PEV ENCYCLOPEDIA OF MUSIC. PHI PEVERNAGE, ANDREAS, chapel-master of Bt. Mary's Church at Antwerp, was considered one of the best composers of his time. lie died in that city in 1589. Amongst his numerous works we can name " C/iaiisoits A 5 part.," .\nt- werp, lo-t7 ; " Vantinnen Sac-r. (i, 7, et 8 voc," .Ant- werp, 1578 ; " Chansons >pirilue/les a 5 part., Liv. 1 et 2," Antwerp, 158!) and 1590; "■ ChaiiMmi Spirit, d 5 part., Liv 3 et 4," Antwerp, 1590 and 1591 ; " Minsa 5. 6, et 7 voc. ; " .Misste, under the title " Laiulei Vtspertiiue Maria, Hymni Vt-ncrahilii Surtiment., llymni nive ('antioiies Xatalitie of the seventeenth century, lie published many musical works in the Latin lauguage, between the years 1074 and 1(!S6. PEZOLD, CHRISTI.\X, professor of the har])- sichord at the Chapel Hoyal, and organist of the I.uthiTvn Church at Dresden, was, in the opinion of Matthcson, a skilful performer, and one of the most agreeable composers of his time, (iraun, who was his pujiil, fully confirms this testimony. Some persons afhnu that he was living in 1739, whilst by others it is said that his death took place in 173'!. PEZZAXA, an Italian musician, was consid- ered eminent in his own countrv about the year ISOO. I'EZZE. (I.) Fragments, select detached pieces of music. PFAFF, MAKTIX. Master of the band of a (ierman infantry regiment in garrison at Frey- burg in 1795. lie composed the music of the folliwing operettas: "Die Li/raittcn," and "Die KoiiiOdianteit ton Uuirlewitach." PFAFFKXZELI.ER, F. B., a composer at Mu- nii-li, pul)lished " DeuUrfi^ Lieder," Ingolstadt, 1797, and " .Vi'i«" Lieder, zireytcr Theil," Augsburg r.nd .Munich, 1799. rFEFFIXtJEll, PII. J. This musician was born at Strasburg. Having, from his infancy, evinced a strong disposition for music, his first steps in thav nrt were directed by Ph. J. Schmidt, under whom he made rapid progress on the piano and in counterpoint. In the year 1790 he was nominated, by the senate of Strasburg, chap- el-master of their city, and dire tor of the ratisic at the I'fiiiple Xruf. .\t this ])eriod he formed an acquaintance vntU Plcyel, who was then chaj>el- mast-r ot the cathedral, and in the following year lie accompanied Plcyel to London, where he re- mained six months. It was in that metropolis th'it he had the ojiportuiiify of becoming known to the i:nmortal Haydn : there, also, he accjuired k tiv.tc for the study of Handel, being charmed with the oratorios of that great master, as per- I formed in London. Pfeffinger publishe i about eighteen works, some for the piano-fcrld and others vocal. He also composed for tho Itoya. Academy of Music, in I'aris, the opera of '• Xairt," [ words by Voltt cen- tury. Among his works are " Si.\ English and Six Italian .\riettcs," first book, London, 1789; " SLx English and Six Italian Ariettes," second book, London, 1789 ; •' Sonnte il 4 iiutius. It y a da la malice dedans," Manheim ; " 11 Miu'siro k Sr>- lare d 4 «».," Manheim; "Three Pieces and One Concerto for the Harpsichord, with Fl. and Vc, " London, 1789; and '■' Douze petita Piices caractir. pour le Clav." PFEIFFER, TOUI.VS FRIEDRICH. profess- or of music at Dusseldorf, was born near NVei- mar, and was for many years an actor in that town. In 1789 he brought out, of his own com- position, at a private theatre in Leipsic, a musi- cal interlude, entitled " Die Frcudcn tier Itediichen." Previously to the year 1801, several of his works for the piano-forte, and a cantata, had been pub- lished. PFEILSTUKER. F. Under this name were published at Augsburg, in 1800, " 12 Lieder mit licyleit. des Klav." PFEILSTUCKER, X., a professor of the clari- net, probably resident at Paris, published thers, in 1802, " Concert, pour Cluriiuille princip." PHILHARMOXIC SOCIETY. A rausic.i. subscription society in London, of long and re- spectable standing. It consists of directors, as- sociates, conductors, and regularly engaged per- formers ; and, in the oratorios, openis, glc<'s, ducts, songs, overtures, concertos, preludes, stud- ies, SiC, which form its 6iYi« of fare, gives the finest specimens of vocal and instrumental exe- cution. Philharmonic Societies also exist ill many of the principal cities in Europe and Amer- ica. Their music is principally orchestral. PHILH.VUMOXIC H.VLL.at Liverpool, built in 1840. In its general architectural plan, it re- sembles the hall at llirmingham, but ditlers in being divided at the sides into shallow compart- ments or recesses, somewhat resembling the boxes of a theatre. Within the podi\im, or main body of the house, the length is one hundred and six feet ; the width is sixty-four feet, and the height sixty-five feet. It has a flat ceiling, with deoji panels, and a coving ; it is lightcil, at evening, by a series of gas juts placeove the level of thetloor It will seat two thou- and two hundred i>IL"SICAL. An epithet applied to any conntrr. city, town, or tfu^ietv, wliich love0, cultivatci, and encoura/.«9 the inusi^iu art. PHILOMATHES, "\\T:NCESLAUS, bora in Bohemia, flourished at the beginning of the six- teenth century. His principal works are " Mu.iica plana" Vienna, 1512, and Strasburg, 1543 ; "■Li- ber Miisicorum quartus de regimine xUriusque catUus, et modo canlandi" Leipsic, 1518 ; " Compendium Musices," Wittenberg, 1534 ; and " Wencest. Phi- loinathis, de nova Domo, ilusicorum Libri 4, eoni- pendioso carmine lucubraii," Strasburg, 1543. PHILOXENUS. This celebrated poet nnd musician was a native of Cythera, and author of a great number of IjTic poems, which are en- tirely lost. His mnovations in music are stigma- tized by Plutarch and the comic i)oets of h« own time. He was so great an epicure, that he is soid to have wished for a throat as long as that of a crane, and all ])alate, in order to prolong the relish of the delicious morsels he swallowed. He wa.s, however, as much celebrated for his jests as his gluttony. Being served with a small fish, at the table of Dionysius of Syracuse, and seeing an enormous turbot placed before the tyrant, he put the head of the little fish close to his mouth, and pretended to whisper to it ; then placed it close to his ear, as if to receive the answer more distinctly. Upon being asked by Dionysius foi 726 PHI ENCYCLOPJ£DIA OF MUSIC. PI A an explanation of this mummery, he said, " I am writing a ])oem, sir, upon Galataea, one of the Nereids, and as I want information concerning several particulars relative to her father Nereus and the watery element, which are quite out of my ken, I was in hopes of obtaining some satis- faction from this fish ; but he tells me that he is too young nnd ignorant to be able to satisfy my curiosity, and refers me to tliat grown gentleman before your majesty, who is much better ac- quainted with aquatic affairs." The tyrant un- derstood him, and had tlie complaisance to send the turbot. But though, from this instance, he appears to have been high in favor with Dionys- ius, he atterwards proved so awkward a courtier, that he preferred the labor of caiTving stones from a quiirry to the disgust of praising the bad verses of his patron. PHINOT, or FINOT. DOMINIQUE, a com- poser of sacred and profane vocal music, chiefly published at Venice and Lyons, between the years 1547 and loG4. l*MONASC(ts. (Gr.) The nmne given by the ancienU to one wIki tiititflit ttie nitnntremfiit of the Toice. I'ilONlCS. The art of treating; aiiil iMmbining miutcal *oun(U. I'llDKIIKIA (tir ) A oerlniii liaiulagi- uieil hy the ancieut vo- cil iK-rfoninTit. C«llc#i. See that wonl. I'HOKMINX. ((jr.) A atrin^ed Itistrunient itfreiniite antiquity, •inutai I" tile eithajm, or lyr«, but f uppo»ed to have been or luperior tone unci (inwvr. PIIOTINX. lOr.) The name (rfTen by the nndenti to their crooked flute. lt« «htt|>e Mas that of a bull's hitrn.ai may be »een in many genu, niediil«, antl remain! of nnrient •culiiture. The ancient Egyptian* also hud a dutc to which tliey gave tike aame name. PHR.\SE. Any regular and symmetrical course of notes which commence and complete the intended expression. PHRASES MANQUEES. (F.) Certain im- perfect and unsymraetrical passages, or phrases, sometimes introduced by injudicious comiwsers, by which the melody is maimed, and the expres- sion destioyed or weakened. PHRYGIAN. An epithet applied by the an- cients to that of their modes which held a middle place between the Lydian and Doric, so called because supposed to have been invented by the Phrygian Marsyas. The Phrygian mode was one of the most ancient in the Greek music. Its character waa bold, impetuous, and vehement to a degree perfectly terrific. In this mode the trumpets and other military instruments were used. The lowest note in tliis mode corresponded with our E natural, on the third space in the bass. PIIRYXIS, of Mitylcne, was the first who, at the Panathenaean games, obtained the pri/e on the cithar:i, about four hundred and fifty-seven years be.'ore Christ. According to Suida.s, he was originally King Hiero's cook ; but this prince, chancing to hear him play on the flute, placed him under the instructions of Aristoclides, a de- scendant of Ter{)andcr. Phryiiis may be re- garded as one of the first innovators upon the cithara, in antiquity. lie is said to have plaved in a delicate and effeminate style, which the comic poets Ari^tophanes and Pherecrates ridi- culed upon the stage. PIACERE. (I.) Will, pleasure ; as, o /.ia«r«. at the pleasure of the performer. PIACEVOLE. (I) In a pleasing style. PIANGENDO. (I.) Plaintively. PIANGEVOLMENTE. (I.) .\ terra imply, ing that the movement to which it is prefixed, or the passage over which it is written, is to bo perfonued iu a soft, doleful, and complaining style. PIANISSIMO, or PIANISS, or P P. (I.; Very soft. The superlative of piano. PIANIST. One who plays on the piano- forte ; a professor of that in-strument. PIANO, or PIA., or P. (I.) Soft. A word used adverbially iu opposition to J'orle, loud or strong. PIANO A QUEUE. (F.) A grand pianc forte. PIANO CAIUIE. (F.) A square piano-forte. PIANO-PIANO, or PIU PIANO. (,I.) More soft, or very soft. PIANO-FORTE. (I.) A well-known stringed and keyed instrument, of German origin ; so called from its equal command both of softness and strength. The cliief beauty of this instru- ment, and which, indeed, constitutes its principal advantage over the harpsichord, is its capacity of obeying the touch, so as to enable the perfonner to vary and accommodate the expression to all those delicacies, energies, and striking lights and shades which so greatly characterize the more refined compositions of the present day. The piano-forte, though of recent invention, has received both in Europe and thLs country many useful and invaluable improvements ; and in that state in which it assumes the name of grand piano-forte, and ia furnished with its additional keys, is not only qualified to give brilliancy of effect to sonatas, concertos, and all pieces of ex- traordinary execution, but forms an expressive accompaniment to the voice, and is one of the noblest and most elegant instrumeutj in the whole compass of musical practice. The piano-forte, above all other instruments, i.s best calculated to form a musician ; it is the epito- me of an orchestra — an abridgment — a miiituni in parro, which can enable the performer not only to conceive, but express, all possible harmonious combinations by himself, indcjicndent of theaid of others ; the degree of his surces.s, of course, being in proportion to his capabilities of developing the almost inexhaustible powers of the instru- ment. Even if he be not able to render them adequate vindication, he can arrive at a better notion of harmony or counteq)oint by tlie help of the piano-forte, and in less time too, than is pos- sible through the means of any single- voiceil in- strument. TTie piano-forte has fieen the means of developing the sublimest ideas of the coin- poser, and the delicacy of its touch ha-s enabled him to give the lighte-it shades a.s well as the boldest strokes of musical expression. It is, of all instruiuents prec-ininenlly the best for the accompaniment of the voice ; and no performer, however skilful, can so well sujiport the singer as he who is able to vent his fecling-s in the power of song. If the piano-tnrte cannot show itself to ad- vant:\ge amidst a crowd of instruments, it play* in part well in private. On what instrument ran we find the icore or pirtiiinn of a composition in all its /iiianau, its delicate shados of moaning. ( in con.Htructiou as well as expression,) so well in 727 PI A ENCYCLOPAEDIA OF MJSIC. PIA terpretcd together, ns on the piano-forte, when it is under the mnpjioal finders of a Ilcusclt or a Chopin, or is awakened into ahnost conscious musical existence at the Promethean touch of a Liszt ! \Vho tliat ever heard this last-mentioned mar\'el sitig Schubert's Serenade, or itutrumeiU Rossini's mnj^nificeut overture to " GuiUaume Till" on the piano-forte, was not enraptured to the hit,'hest enthusiasm which the musical art can awaken in a sensitive mind r No hautboy or ror Aiif/lai.i ever expressed the " Ranz desVaches" in that delicious overture, withmort soul-breath- ing tenderness or soshnulo < And yet we are told by some that the piano-forte Ls incapable of sentiment, because neither the glissade nor the Irill (close shake) of the violin tribe of instruments can be ett'ected upon it. AVith resiject to these latter cajjabilitics, when used (as generally they are) to excess, they produce a disated of a key, and what was called a jack, which was a jiiece of pear tree, ■w.th a small movable tongue of holly, through which a cutting of crow-quill was passed, to touch the string when the jack was in action. He it remembered, that this was the instrument on which were developed some of the finest in- spirntions of Handel, Haydn, Mozart, Scarlatti, the Hachs, dementi, iVc. ; and for that circum- etan -e it is entitled to some veneration, although its tone has been wittily but .-.everely comparetl to "a kind of scratch with a sound at the end of it." The spinet, which was nothing more than a square harpsichord, was constnicte.l upon similar principles. TTicro \\ as, however, a pecuhar kind, which was called sordino, on account of the com- parative softness of its tone. The clavichord, harpsichord, and spinet con- tinued to be used till towards t)ie end of the last century. Hut the tone of tlie;.c several instru- ments f eing one and all more or less harsh and disagreeable, induced many ingenious men to experiment in the hope of improving it : ac- cordingly we find, as related by some, that a manuiacturer in Tariii, named Marius, pre>cn:ed to the inspection ot the AcaJcmie (tea \u-iice4 of 92 729 • that city some specimens of hari)sichord8, in which he substituted small hammers in the ]>lace of quills, &c. Shortly afterwards, Chri.stofcro, a Florentine, advanced this discovery so much, that his instrument (the first called piano) raaj be said to have been the model on which all sub- sequent imiirovcment was based. Others assert that it was the invention of a (jerman mecliiinic, named Viator, about a ceittury ago, who, from some cause or other, failed in realizing hi» project. Again, wo are told that it was the discovery of a musician of the name of Schroder ; and la.stly, that we owe it to Chri.stofoli, a harpsichord maker of Padua. He this as it may, it appeiirs that the new modifications received no decided public approbation till about the year 1700. when a manufacturer in London, named /tumpf, commenced such a successful c;ireer in the con- struction of them, with additional improvements, that he realized in a short time a considerable fortune, with which he was enal)led to retire. Such was the incontestable superiority of the English piano-fortes at this period, that the con- tinent continued to be supplied with them for a considerable time. At length, Herr Silberniann, in Germany, commenced a successful rivalry, which, in the year 1776, was much encroached upon by the pretensions of MM. Krard, (brothers,) of Paris, who were the first to construct pianos on the improved plan in France. Still the Eng- lish, for some time, enjoyed an almost exclusive fame for this manufacture. The piano-fortes of Ztumpf, Kirkman, Longman and Broderip, Uroadwood, Stodart, Tomkison, Clcmcnti and Co., Rolfe, Astor, and a host of others, con- tinued to be sought for all over the world, scarce- ly a year passing without some important ad- dition or imi'rovement being made in them. The grand pianos of £rard (Paris and London) have long been e-stecmed unsurpassed. Also Pleyel, Pape, Herz, and other makers in Paris are much celebrated. Excellent pianos arc manufactured in Vienna and other parts of (icrmany. Tlie upright piano-forte was doubtless taken from the upright harpsichord, and was the inven- tion of an Englishman of the name of Hancock, a musical instrument maker, resident in some part of NVe;, and gave it the name of PIA ENCYCLOPEDIA OF MUSIC. PIA the cabmet piano-forte. The name still remains in use. The uiii(|uc i)iiino-foite was introtratc<:l this inten- tion. He practised lor .some time in secret, and wa.s, oy Bci i lent, discovered to have made consider- able jirogvess in the art, before hi.s father could be prevailed with to let him have a master. In 1742 he was placed in the Conservatory of San Onofrio, under the direction of Leo, and after his death, under Durante. Piccini spent twelve years in study before he left the Conservatory ; he then began his professional career at the Floren- tine Theatre in Naples, with a comic opera, en- titled " Ac Donne Dispettoae." In 17.58 he was invited to Rome, wheie he comjiosed ",-1/cj- sandro neW Iiulie." 'ITiis opera, besides sev- eral airs which are truly excellent, contains one of the tinest overtures that ever was composed. Two years afterwards, his comic opera of " hi Bttona Figliaola " had a success that no previous drama could boast of. It was no smmer heard at Rome than copies were multiplied, and there was no musical theatre in Europe where this burlettti was not freleur and strength of harmony. A musical war wivs excit- ed, which, for a while, divided and exasperated all Paris. Whilst this war was nt its height, Berton, the director of the opera, made an at- tempt to put an end to it by reconciling the two chiefs. He gave a s|)lcndid 8upi>er, at which Piccini and (iluck, alter crabraring each other, aat down together, and conversed with the greatest cordiality during the whole evening. They parted good friends ; but the war went on with as much fury between their respective partisans a.-* l>el'or«. The opera of '• KiJm« violiiachn'ie," Vienna, 1800. This is a modernized edition of the VioUnschiUe of Leopold Mozart. He has left in manuscript eighteen trios for two violins and bass. PISARI, PASCALO, singer in the Pontifical Chapel at Rome, and a celebrated contrapuntist, re>ided in that city in the year 1770. Dr. Bar- ney heard, at Rome, a very learned mass by this master, for sixteen voices. PISAROXL BENEDETTA ROSAMOXDA, was born at Piacen/a in 17'.>3. After learn- ing music under the direction of an obscure master of her native city, she took lessons in singing of the famous Marchesi, who taught her the principles of the beaudtul school of the eighteenth century. ^V^len she made her dt.but. It the age of eighteen, in the roles of the (iri- ^da and the Camilla of PaOr, Mme. PLsaroni had a high soprano voice. ..\fter a severe illueos, which ■he had towards the year 181.1. she lost several notes in the upper register, while the low tones acquired a powerful and unexpected sonorous- ness. Then she found herself obliged to sing the jiarts written for the contralto, and became one of the greatest singers of her time. PISEXDEL, JOIIANN OEORG, boni at Carlsburg, in Franconia, in 1087, was entered, at nine years of age, as a chorister in the (•hai)cl of the Margrave of Anspach, under PLstncchi and Corelli; from the latter of whom he lenrnetl the violin, and made such progress, that, at fifteen years of age, he was nominated violini-t of the chapel. In 1700 he went to Leipsic to attend some of the lectures ii\ that university. In 171'i he was engaged for the chapel of the King of Poland, and was subsequently attached to the suite of the hereditary Prince of .Srtxony, whom he accompanied into France and Italy. Finally, after the death of Volumier in 17.50, PL-ondel was made concert master at Dresden, and. in 1731, was nominated chef d' orchiitre of the theatre there, to which the celebrated Ha-vse was com- poser. These situations he held, with the great- est credit, till his death, which took place in 175.5. PISTICCI, ATANASIO, a monk and church composer, flourished in the early part of the seventeenth century. Amongst other works he published " Mote/ti," Venice, 1633 ; " Moirlti d i e 3 I'oci," book iii. ; and " Salmi d 4 loci." PISTOCCHI, FR. AX-T. This musician, con- sidered by the Italians to be the father of the modem school of singing, was bom at Bologna about the year 1660. He first devoted hLs talents to the stage ; but meeting with little success, on account of his disagreeable pergonal appearance, and the want of power in his voice, he quitted that pursuit, and cntcre lished. PLACIDAMENTE. (I.) "With placidity, quietly. PLAGAL. An epithet used in opposition to authentic, and applied to the oct;ive when arith- metically divided. When a melody is so con- structed as to lie between the two extremes of an octave, making iiajinal on one of those extremes, the mode is said to be authentic ; but if the Jinal be on the dominant, the mode is called phigal. These distinctions have, however, long since ceased to be noticed, and now are or.ly known in the old music of the church. PLAGAL CADEXCE. A form of final ca- dence in which the harmony of the key note was preceded by that of the subdominant. PLAGl.VRIST, MUSICAL. A composer who purloins or borrows from the productions of others. 726 PL A EXCYCLOP.EDIA OF MUSIC. ri.^ PLAIN SOXG. Tl'.e nam<» given to the old ecclesiastical chant, when in iUi most simple state, and without those harmonic appendages with whirh it has long since been enriched by cultivated science. PLAIN CHANT. See Plain Sono. PLAINTIVO. (I.) Expressively, plaintively. PLANELLI, knight of the order of Jerusn- feni, at Naples, published there, in 1772, an ex- cellent work entitled " DeW Opera in Mtuica." PLAN TADE, N., a French composer, and pu- pil of Langle, was born at Pontoise. He was for several years chapel-master to the King of Hol- land, and afterwards returned to Paris. Among his numerous works are the following : " Ru- maiiceji, w. Ace. de Clac, Cahier 1, 2, 3, 4," Paris, 179G; " Trois Duos pour le ChaiU, avec Ace. (it Ilarpe on Ctat." Op. 8, Paris, 1796 ; " Recueil de Romances et Chaitaont, avec Ace. de Clar.," Op. 6, Paris, 1790 ; " Le Jatoux malffri lui," operetta, Paris, 1703 ; " Les deiu iitcura," Paris, 1791 ; " Le3 Sou/iers modiris," Paris, 1793 ; " Palma, ou le Voyage en Grice," Paris, 1799; " Romaijnesi," Paris, 17'.I9 ; "Au pliu brave la plus belle," Paris, 1799; " Zoi, Ou la pauvre Petite," opera, in one act; " Rtcueil de Romances avec Clac.,'' Op. 13, Paris, 1802 ; and " Esther," op. ser. of Kacine, Paris, 1803. PLAQUES. (F.) Struck at once, in speak- ing of chords. PLARR, GOTTLIEB IMMANUEL. A mu- sical amateur, born at Dresden in 1748. He published " Six Quadril'.es pour le Clav.," Dresden, 1791; " Kleine KUivierstUcke in Musik gesetzt," )resden, 1792; " .Sij; Polonoises pour le Clac," Dresden, 1793 ; and " Srchs Polonoisen fUrs Kla- vier," Dresden, 1795. PLASMA. (Gr.) A term used by the an- cientji ; sometimes to signity a florid, and at other times a soft and delicate modulation of the voice. PLATANIA, IGNAZIO. A dramatic com- poser at Rome, between the years 1783 and 1791. ITiis Ls probably the Platania mentioned in the French " Dictionary of Musicians." PLATEL, N., a French violoncellist in the latter years of the la,st century. He published some music for his instrument. PL.\TES. Quadrilateral sheets of copper, or pewter, on which music is stamped, or engraved, in order to be prijite.l. PL.VfNER, .\UGUSTIN. a composer at the t>eginnin^ oi the seventeenth century, published, among other works, " Missractice, and understood the rules of composition well enougli to write good hannony. Of this ho ha» given proof in a great numl)cr of songs in two, thr«e, and four ports, printed in the ■■ Musical Com- panion," and also in his " Psalnts and Uymn*,'' 93 737 PLA ENCYCLOPEDIA OF MUSIC. P. B in four parts, nnd in the collection entitled " The whole Hook of PHalms, with the usual Hymns and Spiritual Songs, composed in three I'arts." I'lavlord lived to the age of eighty, and died, as is generally supposed, about the year t'JO.'J. lie was succeeded in his business by his Bon Henry, who, in 1701, published what he called the second book of the " Pleasant Musical ('ompai.ion, being a choice Collection of Catches for three and four Voices ; publislied chicHy for the Encouragement of Musical Societies, which will speedily bo set up in all the Towns and Cities in England." The design of this work was to give to the public a scheme for instituting musical clubs in different places, with certain rules mentioned in the preface, and to afford them also a useful collection of music. It seems to have had some success in promoting the prac- tice of catch singing in Ix)ndon and Oxford ; but it does not appear to have had that extensive influence which the compiler expected. It is conjectured that Henry Playford surt-ived his father but a very few years ; for we meet with no publication by him subsequent to the year 1710. PLAYHOUSE TUXES. The general name by which, in the seventeenth century, all melo- dies first introduced to the public by the theatres were designated. Of these, for a long time, the principal in Great Britain was that of " Gen- ius of England." PLECTRUM. (L.) The quill formerly used, instead of the ends of the fingers, in agitating the strings of various instruments. PLEIXJEU. (F.) Full organ. PLEIGXIERE, M. DE LA, a French musi- cian, published, about the year 1783, a work entitled " Milhode pour exicutcr les Variations d' Ilanjwnie acec Us Clavecins ordinaires, sans 6ter les Mains de dessus le Clavier." PLEYEL, IGXAZ, was bom near Vienna, in 1757, and was until the age of twenty a favorite pupil of riaydn. In 1777 he was appointed chapel master to the Count Erdody, but his eager- ness to vitiit Italy did not allow him to remain long in that position ; the count at first opposed, but furnished him the means, and he set out for Naples. He had already composed his first set of quatuors, wliich were admired for their grace- ful melody and individuality of manner. Hut, strangely enough, Haydn had taught him nothing about the laws of rhythm. Arrived in Italy, Pleyel became acquainted with all the distin- guished artists there from that time forward. Clmarosa, Guglielmi, Piiisiello became his friends ; And his taste was fonned by hearing singers like Marche-si at Milan, Guadagui at I'adua, the Ga- brielli, Pacchiarotti, and many others. He heard and admired Xardini, Pugnaui, and many more who were the glory of Italy. Although his talent led him to instrumental music, yet he had a desire to try his powers upon the stage, and he eomi)Osed for the grand theatre at Xaples the o^ta, " IJijenia," wliich was successlul. Keturn- ing to (iermany in 17H1, Pleyel remained there a short time, and then made a shorter journey to Italy. In 17iS.'J he became adjunct chapel-master •with the old Uiclitcr to the Cathedral of Stras- burg. Here he wa.s obliged to write music for he church ; he com^ o eJ acrcral inas-^cs and 7. motets, which were liked, but unfortunately were consumed in a conflagration. The ten years from 1783 to 1793 were the period in wl.ich Pleyel composed most of his works. His violin quartets and piano-forte sonatas had an almost unex- ampled popularity. Editions were multiplied in infinitum, and copies scattered most profusely throughout Vienna, Berlin, I>eipsic, Paris, Lon- don, and Holland. About the year 1795 Pleyel'a fame eclipsed that of all the other musicians, and no other music was in demand. He had composed symphonies, too, which had hardly enough grandeur for tliat form, but were distin- guished tor agreeable melodies, clearness, and fa- cility of execution. Towards the ejid of 1791, he was engaged, by the directors of the Profes- sional Concert in London, to write some sympho- nies ; thb was to offset the rival enterprise of Salomon, who had performed, with great success, twelve symphonies composed for him by Haydn. Pleyel accordingly went to London. The first concert was given on the 13th of February, 1792. ITie success of Pleyel's mvisic was prodigious. He surpassed himself', and showed himself wor- thy to contend with his illustrious master. ITie symphonies were three in number. Unfortu- nately, the Professional Concert was dissolved a few years after, its library dispersed, and the sjTnphonies lost forever. With the proceeds of his London engagement (£200) and some other savings he was able to buy an estate near Stras- burg, where he succeeded Richter as first chapel- master of the cathedral ; but the revolution threw him out of this emplojTnent, and he re- tired to his estate. Even there he was not un- disturbed. His place was classed as aristocratic ; seven times he was denounced in the year 1793, and he only escaped death by flight. Returning to see his family, he was arrested m the middle of the night, and conducted before the luunicipal officers of Strasburg. Interrogated about his opinions, he declared himself a citizen ; but they required, in proof of his sincerity, that he should write the music to a sort of drama for the anni- versary of the 10th of August. He was allowed to do it in his own house, under guard of two gensdarmes and the poet (a Septentdriseur) who had written the text, and gave him iivstructions. After an uninterrupted toil of seven days and nights, the work was finished, and the author re- turned to Strasburg to .direct the execution. In it he had employed seven bells on the seven tones of the gamut. These bells had been taken from various churches and hung in the cupola of the cathedral. The first sound whicii they ut- tered, and which was a j)erfect chord, produced such an extraordinary effect, that Pleyel fainted. The inhabitants of Strasburg have preserved th<» memory of this fine work, and the score is still preser\-ed in the family of the composer. Dis- gusted by this e.\.porience of provincial life, Pleyel sold his property and removed with his family to Paris in 179.3. The continually grow- ing success of his music suggested to him the idea of becoming his own publLsher. and securing to himself the profits made upc>u it by the music dealers. He established a music store, to which he alterwards added the manufacture of pianos. These establisliments prospered, but the care which they rey whieh 'the ancients distin- ffuished ei^rtiiin flutes, inventeil, as some authors assert, by a woman named Polymneste: but accordiog to other*, by Polymnciltu, son of Colophunittu Melca. Bumey, printed, in 1588, his " Itu'iiinutnu'iUi di Mwiica ; " probably, however, tlie two above- mentioned works are the same, but with different titles Amongst his practical publications ure " I'salmi l'i»jM.ritrum toliu.n Anni i vociiiii," Ven- ice, 1578 ; " Lib, 1, Misaitriiin, 4 roc," "Lib. '2, MUsaruin, 4 v<>c.," Venice, 1585 ; " 6 Miase a 8 cdci," Venice, 15'J0 ; and " Mm/niJUatt, lies uiul 'Ilea liuch." PONZIO, (rlUSEPPE, a Neapolitan dramatic composer, brought out at Venice, in 17i>f), th( serious opera entitled " Artaserse." According to the Milan " lurlire He S/iettac. Teatr." ioT 17'J1, Ponzio was then still livint;. POLYMNESTRS, of Colophon, in Ionia, was a composer for the Hute, as well as an improver of the lyre; and it appears to have been no un- common accomplishment for those ancieut musi- cians to perform equally well upon both those instruments. Polymuestes is said to have in- vented the hyper- Lydian mode. This mode being half a tone below the Dorian, which was the lowest of the five original modes, was, per- haps, the first extension of the scales, down- wards, as the mi.xo-Lydian was u])ward3, Plu- tarch, who assigns to him tliis invention, says, , „„^„^^ Ambasciatore ai Miux'loai: that he relaxed and tightened the strings more , than had been done belbre ; that is, altered their | PORPORA, NICOLO. The celebrated pupil tension by new tunings, rt'la.xing them for his ; of Alessahdro Scarlatti, born at Naples in lt)87. new mode ; and on the contrary, when he played , He was placed, at an early age, under his t;reat PORDEXONE, MARC. ANTONKJ. A com- poser of the sixteenth century. One of his works is entitled " Mailrigali d 5 voci. Lib. 1 e 2," Venice, 1567. PORFIRI, DOM. PIETRO, a good Venetian I composer, towards the close of the seventeenth ! century, brought out, in 1687, the opera of " Ze- in the old modes, tightening them again. POLYODIA. (Gr.) A tenn applied by the Greeks to any conjunction or combination of sounds, whether rude or dissonant, unisonous or ill octaves. (Gr.) A combination of POLYPHONIA. many sounds. POLYPHONIC. (Gr.) An epithet applica- ble to all compositions consisting of a plurality of parts, but generally confined to instrumental music, as concertos, overtures, accompanied so- natas, &c. POLYPLECTRUM. A kind of ancient spin- ct, said to have been invented by Ouido ; so called from its strings being agitated by a r. um- ber of quills. POLYTHONOUM. (L.) An instrument used hy the ancients, and so named from its con- taining many strings. Its tone was soft and ef- feiuinatc, 'ind its scale between those of the lyre H'.id the saiubuciu POMPOSO. (I.) A word implying that the movement to which it is prefixetl is to be per- formed in a grand and dignified style. PONCINI. Cbapcl-master and church com- poser at Parma in 1770. PONCTUATION MUSIC ALE. (F.) Mu- sical punctuation or phrasing. PONDEROSO. (I ) AViightily, heavUy. PONTICELLO. (1.) llie bridge, in speak- ing of the violin, guitar, &c. PONTE, AD.VM DE. A composer of the six- teenth century. Several of his motets may be touiid in the tirst book of the " The-faurus Musi- tut," Venice, 1586. master, and, by his rapid progress, provcil him- self worthy of the care and lessons of such an in- structor. He le;t the Conservatory rich in all the principles and gifts of the school. After the ex- ample of his master, he commenced by travelling, and gave " .4/(a;ic e Ti-.ieo," his first opera, at Vi- enna, in 1717, with such success that it was j)er- forracd in the theatre at Venice in 17"27, and in London in 17;)4. Previously to this, however, he was living at Vienna, in the reign of C'harlcs VI., poor and unemployed. His music did not plea>e the imperial connoisseur, as being too full of Irilla and mordcnti. IIa.sse wrote an oratorio for the cmi)eror, who asked him for a second. He entreated his majesty to let Porjjora execute it. The emperor af first refused, saying that he did not like that capering style ; but touched with llasse's generosity, he at length complied with his request. Porpora, having reoeivtxl a hint Irom his friend, did not introduce a single trill in the whole oratorio. The emperor, sur- prised, continually repeated, durin.^ the rehearsal, " 'Tis quite a different man ; here are no trills I " But when they came to the fugtie, which con- cluded the sacred composition, he observed that the theme commcncecr- haps for the first time in his lile. In France, the land of pleasantry, this might have ap|>oarfd mis- placed ; but at Vi"nna it was the commenceraent of Porpora's fortune. 'ITie suffrages of one of the first courts of Germany, and tho-e of a public enthusiastically devoted to music, at len;;th en- couraged Porpora to fre^h and greater effort*. His first work was acknowledged to possess lorco 741 pon ENCYCLOPEDIA OF MUSIC. pot originality, dejith, and that inspiration which incessantly invents and creates, but which is not always accompanied by iierfcction. In 172G he gave his opera of " Si/are," at Venice ; but, less fortunate than at Vienna, his success was conle<-ted by those rivah'ies which, when not continual and inflexible, arc useful rather than prejudicial to genius, but when they assume the hateful garl) of envy, retard, if not destroy, its jjrogrcss. Leonardo Vinci, a classical corajjoser, was at Venice at the siime time with Porpora, and rcjiresented his opera of " Ciro " at another theatre, which, either from its greater merit, or from the superiority afforded by a more dram- atic subject, met with better success than that of Porpora ; but the latter did not consider himself de.catcd. llis ardor increased, and, by a succession of operas given in the same city, the Venetians were enabled to appreciate his talents as they deserved. lie, in his turn, obtained that applause which had been before granted to Le- onardo Vinci. Satisfied with this triumph, Por- pora left Venice for Dresden, wliere his growing reputation had preceded him, and where he was engaged by the elector as chapel-master and singing master to the electoral Princess Marie Antoinette. Dresden was the Na])les of Ger- many, as far as regards music ; Porpora was therefore excited to make a brilliant^display of his abilities, which was particularly necessary, as Hasse. the Saxon, menaced him with even a more formidable rivalry than he had experienced from Vinci at Venice. He exerted all his courage, and wrote several operas, which were represented, and saw his efforts and hLs works crowned by the applause of the court and the public, notwith- standing the reputation and the presence of his rival. lie even obtained a second victory, not less flattering than the first. He presented to the public liis pupil, the young and beautiful Mingotti, who became one of the greatest singers in Europe. He opposed her, with success, to Faustina, the celebrated wife of Hasse, who had long been unrivalled in Germany, Italy, and Eng- land. In 1773 Porpora was engaged by the English nobility to compose for and direct an Italian op- era they had established in opposition to Handel. His efforts were neither unworthy of hi« courage nor abilities ; but he could not resist the force of public opinion, and although assisted by the great Farinclli, his o])eras were heard with an indifference which almost amounted to contempt. Porpora therefore quitted England, and returned to Italy ; but such was his disappointment at the reception he had experienced, that he ceased to compose. He was for some time principal master •t the Incuiabili Conservatory at Venice. He retired late in life to Naples, where he died in great poverty in 17<")7, at the age of eighty. This misfortune arose more from the generosity of his disposition than from any imprudence. Porpora was particularly distinguished as a singing master. Farinelli, Mingotti. Catfarelli, and many other theatrical singers were his pu- pils. Their celebrity sufficiently attests the ex- cellence of his instructions. He was also an ad- mirable performer on the harp.sichord. As a com- j)oser, he was considered as a model of style in re- citative. He e.M'cllcLl, also, in the canfabilo, and his cantatas have been always highly esteemed. Dr. Burney remarks, that " perhaps the art is more indebted to Porpora for having polished and re- fined recitative and measured air, than for en- riching it by the fertility of his invention." He is said to have composed fifty operas, besides sacred music. The theory of sounds was also known to him ; and, proceeding from effects to their causes, he analyzed his art as a musician and as a philosopher. He was called, by his fel- low-citizens, the Patriarch of Harmony. Porjjora has been represented as a man of wit and repanee. Passing one day through an ab- bey in Germany, the monks requested him to assist at the office, in order to hear their organist whose talents they greatly extolled. 'Die office finished, " Well, what think you of our organ- ist: " said the prior. "Why," replied Porpora, "he Ls a clever man." "And likewise," inter- rupted the prior, " a good and charitable man, and his simplicity is really evangelical." " O, as for his simplicity," replied Porpora, " I per- ceived that ; for his left hand knoweth not what his right hand doeth." PORUECTUS. (L.) The name of one of the ten notes used in the middle ages. PORRO, N., a composer and editor of music at Pans, published a periodical work entitled " Journal de Guitare," and much separate music for the same instrument, between the years 178^ and 1799. PORSILE, GIUSEPPE, of Naples, the son of Carlo Porsile, who composed tb.c opera of " A'e- roiie" for that city in 1686, appears to have been in the service of the emperor at Vienna, in 1720. Between that period and 173.5, he composed sev- eral dramas for the theatres of Italy. His favor, however, was permanent at Vienna, as he was employed there, in 1733, to set the oratorio of " Giuseppe riconosciiUo," by Metastasio, which Hasse publicly declared to be the finest music he ever heard. Some of his other operas are " Si- sara," 1719; " Meride e SeUnutUe," 1721; " Ro- boaiuo e Geroboamo," and " Spartaco," 1726. PORTA, COSTANZO, a Franciscan friar, and a native of Cremona, is highly celebrated among the musicians of the sixteeenth century. He was a pupil of Willaert, and fellow-student with Zarlino. In the early part of liis life he was chapel-master at Padua ; afterwards of the cathe- dral church of Osimo, a small city on the river Musone, near Ancona, then at Ravenna, and lastly at Loretto, where he died in the year 1691. He left behind him motets for five voices, printed at Venice in 1.346, and otlier works of the same kind, printed also there in 1566 and 1.580. These are all excellent and elaborate compositions. PORTA, ERCOLE, a Bolognese composer of the seventeenth century, published, at Venice, a work entitled " Lusinghe d' Aniore e Canzomtti a 3 voci." PORTA, FRANCESCO DELLA. a celebrated organist and composer, and chapel-master of St. Antonio's Church at Milan, was a pupil of G. B. Ripalta. He died in 1666. Amongst his works are " Iticercate d 4 voci," Milan, and " MoMli, Lib. 1 e 2," Venice. PORTA, GIOVANNI, a learned Venetian composer in the early part of the last century, was at first chapel-master to Cardinal Ottoloni, 742 POR ENCYCLOPEDIA OF MUSIC. POS and subsequently entered the service of the court oi Bavariii, in which country he died about the year 1740. He com])osed several operas, also some church and instrumental music. G. Porta was one of the most able masters of his time, uniting learning with invention and tire. POKTA, UERARDO, pupil of Mngrini. who was of the school of I,eo, was bom at Rome about the year 17G0. He was at first chapel- master and c/iif d'oi-cheslre at Tivoli, where he composed several operas, some oratorios, and in- strumental music. In 1788 he went to Paris, where he brought out the following among other works. For the theatre : " Le Diable A guatre," 1788; " Patjamin, ou le Culendrier des VieiUarils," 1792; '• Laitre/teait Vil/ai/e," 1792; and "La Ri- union du 10 Aout," 1794. Instrumental: " TroU Trios d troia Fl.," Op. 1, Paris, 1793, and " TroU Trios d trois Ft.," Op. 2, Paris, 1798. PORTAFERRARI, DOM. CARLO ANTO- NIO, of Hologna, published at Modcna, in 1732, " Regole pi-r Cnmo Fermo Kcclesiaatico," PORTAMENTO. A term applied by the Italians to the manner or habit of sustaining and conducting the voice. A singer who is easy, yet firm and steady in the e.\ecution of his passages, is said to have a good poriamento. The word is sometimes used in the same sense as legato. It Ls a ghding of the voice, and is u^ed only in slow movements to connect tu>> notes separated by an interval. It consists in gliding the voice quickly and continuously from the former of the two notes to the latter, and by this means antici- pating it in regard to intonation. Examples. Adaoio. —=^^- As written. At auDg. i If the portamento is applied to an ascending interval we must gradually pass from a soft to a loud degree of tone, with a smooth and gentle impulse of the throat ; and the contrary if the in- terval descends. 'I'he portamento or glide is one of the greatest beauties in singing, if applied with moderatiou p.r.d propriety ; but wo must carefully avoid a slow, heavy, and dragging manner of sliding the voice up and dowii, so as to give it the appe.irance of stopping, with affectation, on each intermediate point of the inter\-al through which it has to pass. This must be more partic- ularly observed in descending intervals ; as other- wise the effect produced will be either that of a heavy groan or a long yawn. PORTE I)E VOIX. (F.) An appoggiatuni. PORTEE. (F.) I'he staff on which the notes are written. PORTER, WALTER, was a gentleman of the Chapel Royal of Charles I., and master of the choristers at Westminster. He was patronised by Sir Edward Sj^ncer, and was killed in the rebellion. His works are, " Airs and Madrigals for two, three, four, and five Voices, with a Thorough Pass for the Organ or Theorbo Lute, the Italian Way," printed in 1039 ; " Hymns and Motets lor two Voices," in 1().37; and "The Psahus of Geortre Sandys, set to Music for two Voices, with a Thorough Bass for the Organ," printed about the year 1()70. PORTINARIO, FRANCESCO, an eminent contrapuntist, flourished at Padua about the middle of the sixteenth century. Amongst his works we can name " 11 Terzo l.ihro di Mudri'jali, d. 0 e 6 vuci, con tre Dialoyhi d 6, el una a Otto," Venice, l.i57. PORTMANN, JOHANN GOTTLIEB, bom near Dresden, in the year 1739, was a singer io the court cliajel at Darmstadt. He published several didactic works on sin^;ing and music in general, also a collection of psahus. He died in 1798. PORTO, PEDRO DE, chapel-master at Se- ville in the year 1600, was born in Portugal. A motet of his composition, commencing with the words, " C'lamabiU autem Jesus," is considered by his countrymen as one of the very best works of its kind. PORTt). An Italian bass singer, engaged at the King's Tlieatre, London, in the season of 1824. PORTOGALLO, MARCO ANTONIO. A cel- ebrated dramatic composer, formerly in the ser- vice of the Portuguese court at Lisbon. The following are amongst the operas composed by him: "II Molinaro," op. butfa, Breslau, 1792; " La Somii/liaiiza, ossia i Gnhbi," Dresden, 1793 ; this piece was performed at Vienna in 1794, under the title of " Le Conftisioni delia S>mi>ilia>iza ; " " Lo Spazza Cammino," op. buffa, Dresden, 1794 ; •' La IVrfoco Raogiratri'.«," op. butfa, Dresden, 179o ; " La Donna di Genio f'oltiMe," op. butfa, Dresden, 179S; " Le Donne Cainbmte," au inter- lude, Dresden, 1799; this opera was given in Gennany under the name " Drr TcuJ'el ist los ; " " Xon irritar le Donne," op. butfa, 1801; " Ar- geiiide e Serse ; " " Fernando in Mexico , " and " //O Mirie di Mitridaie." POSATO. {I.) Quietly, steadily. POSAUNE. (G.) The trombone. POSCENTIO, PEREGRINO, an Italian com- poser, published, in ItjoO, " Canzoni d 2, 3, e 4 S:romenti." POSEMENT. (F.) A very slow time ; adagio. POSITION. (F.) A position or shift on thp violin, or any otlier iiistrument. POSITION OF THE MOUTH, in singing. Bernacchi says, "Without a jjroper jjosition of the mouth, it is impossible to produce a i;ood tone. The under jaw must fall from the upper so l,ir that one can see the tongue. The under jaw and the li[>8 must not twist to the rii;ht or left, but fall perjientlicularly. The lips must not be brought into a round form, or placed in an ui\natural po- sition, but must be opened easily and witliout constraint. Tht tongue must be level, and lie •o that its tip just touches the under teeth ; it should not stand up or roll itself into a hall ; the tongue is an unruly mrmlier, and will not always take the proper ponition without force. It may therefore be pushed down by means of a sticit cut in the right shape, or by the handle of a silvei 43 108 ENCYCLOPEDIA OF MUSIC. por •poon. Tins must be persevered in until all traces of the eWl habit have disappeared. The lips must not be totally withdrawn from the teeth, else a shrill, di>iagreeable sound will fol- low ; the proper position of tlie mouth must be taken Ixiforc commencing a tone ; the contrary will rause a sort of howl. The position of the mouth must not be changed during the emission of a tone. In repetition of the same word, the position of the mouth must not be altered, else the same vowel will have ditferent pronunciations." POSITIF. (F.) POSITIV. (G) The choir «)rgan. POSITIVE. An appellation formerly given to the little organ placed in front of the full or great organ. POSSIBILE. (I.) Po.ssible; as, .7 /.m/orte ooasibile, as loud as possible. POSSIX, JOHN SAMUEL CHARLES, bom in 1755, wa.s a native of Berlin, and held some tigh musical appointments at the Pru-ssian court. He went to England in 1792. Possin was a man of very singular habits, and never would put his name to any of his works. He adapted foi Salomon the twelve symplionies which Haydn composed expressly for that gentleman, and M'hich are admirably done ; indeed they were the first adaptation of orchestra music worthy of notice. He also added a thorough bass accom- paniment to them. Possin suffered under a long and painful disorder, that enfeebled his powers for several of the latter years of his life, and finally terminated Ms existence in 1822. He died worth upwards of ten thousand pounds, and leit a will, some parts of which were as curious as the gen- eral tenor of his life. He devised to Mr. Saust all his manxiscript music, ( mostly vocal, ) desiring that it might not be published. Po.ssin was pro- nounced, by Haydn, to have been one of the best musical theorists of his day. POST HORX. (G.) A sort of bugle; also a movement suited to and imitating the notes of such an instrument. Post Horn, Scale in Bb. .^^iA± 1 0 1 A B C 0 D E F 0 0 A B C 0 D E 0 P G 1 0 1 1 1 I 1 1 1 1 1 1 2 2 2 2 2 2 2 1 2 33 3 8 83 3 3 3 3 1 3 B| C D 1 0 0 1 ll 1 1 1 E . - - , , .... 0 1st Talre, .... 1 id valve, 2 (d valTv, 8 The above U also the scale for the poin h»m in D b and C. POST POSITIOX. The putting a discord i recei)tion of his compositions determined him to upon the accented part of a bar, followed make a pecuniary sacrifice, and travel for a year by a concord on the next unaccented part, but or two to Germany and Italy. At Vienna he not prepared and resolved according to the rules , renewed his studies in counterpouit and corapo- for discords. sition under Forstcr, Beethoven being kind ' enough to peruse and correct his wortis during POTTER, CIPRIAXI, born in London in the his stay at Vienna. After having visited the year 1792, began to learn the piano-forte at the principal towns in Germany, he made a tour in age of seven, under his father, who was a re- Italy for the purjiose of becoming acquainted spectable professor and teacher of that instru- ment. AVhilst speaking of his family, we may observe that his grandlather was the inventor of the patent German fiute ; his grandfather on the mother's side was a German professor of the bassoon, and was first bassoon at the o])era, the celebrated Holmes having been his pupil. At an early period Cipriani Potter showed a dispo- sition for composition, and commenced learning counterpoint under Attwood, from whom he re- ceived the greatest attention and gratuitous in- struction for some time : he then continued his theoretical studies under Dr. Calcott and Dr. Crotch. On the arrival of Woclfl in England, he received instructions in composition in a gen- eral manner from him, during the term of five years. At the age of fourteen C. Potter wrote violin quartets, symphonies, and piano-forte so- natas. He already showed a preference for Beet- hoven's music, which, however, was rather ■idiculed by the proiession, on the presumption lliat he was too young to appreciate its ijceuliar merit. His first performance in public was at the Philliarmonic, when he played a sestet of his own composition, and met with more encourage- ment ns a performer than as a composer ; the same season an overture of his was jjerfonued, %vhich was but tolerably received. Tiiis cold with the pure Italian style. On his return to England, the remarks on his compositions were, by some, that he was a servile imitator of Beet- hoven, by others, that he sacrificed too much for originality ; in short, not being acknowledged sufficiently as a writer, he did not venture upon performing his own music, and at the Philhar- monic and other concerts played several of Mo- zart's and Beethoven's concertos with great suc- cess ; though his zeal for composition was not quite destroyed, as he generally i)roduced each season a sj-mphony for the Philharmonic trials. It is remarkable that C. Potter's works have been highly spoken of in the MusHalitcAe Zci- tiiiuj, published at Leipsic, and other German publications, when in London they were not no- ticed by critics, at other times mentioned with cold approbation, and in one instance abused. The following Ls a list of his principal works. Unpublished : Violin Quartets, .'Symphonies, Octaves, Sonatas, Concertante.s, &c. Published : " Sonata in C," London; " Sonata in E minor," I^ipsic ; " Sonata in I) m.ijor," Leipsic ; " Duet for two Pianos," Vienna ; " Fantasia and March," Vienna ; " Rhenish Song, with Variations," Bonn; "Toccatta in G," London; "Second Toccatta in B fia^" Leipsic ; " Rondeiiu in C," London ; " Fin ch' han, with Variations," I on- 744 POT ENCYCLOPEDIA OF MUSIC. ri)\v don ; " Placidith Andante," London ; " Rondeau in F," Leipsic. POTTIIOF, a celebrated Dutch organist, was born in Amsterdam in 1726. He lost his night from the small-pox ut the age of seven. Dr. Bar- ney heard him perlonn in 1772, when he played, amongst other music, two fugues of great diHicul- ty ; and thougli e:ieh key of his organ required a weight equal to two pounds to press it down, he went through the piece with as much skill, and apparent lightness of finger, as if he had been playing on the harpsichord. POTl'IER. MATTHIAS, an ecclesiastic and composer at Antweri), is named on one of his works, Ilaliie Mu.si<:(ts II. D. MuHh. Poltiei; Cathe- dralis Ecrlcsice R. M. Antcerpiensis Phonascus. He published " Ftorea selpctisnimarum Missarum, 4, 6, et 6 Vocum," Antwerp, 1500, and " Miasee 7, 8 Voc," Antwerp, IGIO. POTPOURRI. (F.) A medley. A capric- cio or fanta»ia, in which various melodies and fragments of musical pieces are stning together and oddly contrasted. POUILLAN, MLLE., an excellent performer on the harpsichord at I'aris, published there, in 1783, " Troia Sonatea pour Clavicin, acec V. et Vc," Op. 1. POUL.\IN. Organist of St. Leu at Paris, about the yeor 1750. POULE. (F.) One of the movements of the quadrille. POUR LA PREMIERE FOIS. (F.) A phrase sometimes written at the end of a strain, to signi- fy that the passage over which it is placed is to be omitted in the repetition of that strain. POUSAM, FR. MANOEL, a Portuguese Au- gustine monk and composer, was chapel-master of a convent in Lisbon, where he died in 168.3. He composed, amongst other music, " Liber Pua- aionitm et eonim, qiM a D )minica Pa/marum uaque ad Sabbatum Slea6ed, that he expressed a wish to have it entered in the choir, wliich was accordingly done. Powell was also requested by the lord lieutenant to perform at some of the concerts at the castle. He also played several times in public at the Rotunda. Powell played his first concerto on the vio.oncft.- lo to the English public, at a concert in the Hiy- market Theatre, for the benefit of the Choral Fund ; the concerto was hLs own composition, and was received with great appl.nn^e. After that period he was indefatigable in practi.sini; his favorite instrument, and his style of playing be- came to be very like that of the celebrated B. Romberg. We have further been given to un- derstand, that Powell, though he has never sung in public since his manhood, had a fine bass voice, the compass of which was very extraordi- nary, as he could with ease sustain the double B flat, and also take the upper F, in the ba.ss clef, being a compass (in his natural voice) of two oc- taves and a filth, besides which he had five notes higher, (with the falsetto,) touching the D fiat, on the fourth line of the treble clef, making in the whole a comjjass of three octaves and a tliird. We are tild that when he discovereil the extraor- dinary compass of his voice, he exercised it reg- ularly for some years, and that he brought it to a very great degree of strength and flexibility, having also a perfect shake, (seldom met with in a bass voice.) which he could sustain for some time. He had also the i)Owcr of sinsjing ra; id jjassjiges with as much ea.se and flexibility as a tenor. The fiiUowing singular anecdote happened to Powell, wliilst pa.ssing a week at Glasgow. Walking in a field near that town, he met with some colliers working at a coalpit, when, his curiosity l>eing e.xcited by the ba.skets ascending and descending, sometimes with coals, and at others with men, he felt a w-ish to make an arrangement with the master for his own descent to the regions Ix'low ; but the conversation concerning this intended trip was soon put an end to, his attention being arrested by four distinct sounds, which continued in regular time and tune, and were produced by the crane which was then working by .•.team From the peculiar circumstance by which these sounds were produced, and a cert;iin pleasing effect in them, Powell was desirous to comi'osc a piece of music founded on these same note^, and accordingly did write an overture for a lull or- chestra, in eighteen different parts, commencing with the four notes in question, thus : — the allegro and the whole of the piece he'mn af- terwards htrouijly marked with them, in the dif- ferent degrees of counterpoint, and various other effects. The two la-st pa.s.v»ges in the slow move- ment of this piece are said to be characterLHtio, the ascending and descending scales to(;ethei conveying to the mind an ides of the ba.->ketl 91 746 POW ENCYCLOP.EDIA OF MUSIC. PRA Mccndiiig ftiid descending at the same time in the coalpit. The allc(i;ro be^jins with the four notea above written. The foramencement ol the over- ture (which is very (slow) has also the same notes, only that the E Ls made flat instead of natural, which produces the minor key. This composi- tion is one of the best of the author, and is a Btrikiii;,' ])roof that the greatest powers of the i-umrtn mir.d are frequently produced from causes apparently most trivial and purely accidental. ITiere is another musical anecdote of Powell, which shows his readiness and power as a violon- cellist. Tliere was a concert at the Haymarket Thi'Stre, to which he went in the bo.\es with a paity of friends, arrivin;.; half an hour before the commencement. After his party were seated, he left them for a short time to sec what was going forward on the stage ; and had scarcely entered behind tlie scenes, when a gentleman (who, we believe, was one of the committee for the con- cert, and to whom he was known) addressed him, and Siiid they were in great distress, as Lindley, who was to perform, had only just informed them, that, in consequence of a bad finger, he could not attend ; he then requested Powell to take Lindley's part, which would essentially serve the interests of the concert. It was near seven o'clock. Powell was at a loss to know how to decide, as of course he had not his violoncello with him, and had two miles to go for it : wish- ing, however, to render every assistance in his power, he consentel. There beuig no time to be lost, he immediately sent for a coach, (forgetting at the moment his friends in the box,) and pro- ceeded home for his instrument ; where seizing it for a lew minutes to e.\ercise his fingers a little, he returned to the theatre just in time for the piece. On his entrance in the orchestra, his friends, who were quite ignorant of the circum- stance, and displeased at his long absence, did not at first recognize him, and there were different opinions e.^pressed as to who it could be, until he began to play. After the piece, in which he had to take au obligato part, had commenced some little time, Powell's solo began, and he had several rounds of applause. On leaving Dublin, Powell visited Edinburgh, where he met with great professional success. He has composed several pieces for the violon- cello, as also for the piano-forte. The following list comprises his best compositions, both pub- lished and manuscript. For the violoncello, not published : " Fitteeu Concertos," fantasia. Op. 21; •' Kinloch, with Introduction and Varia- tions ; " " Potpourri, Introduction and Itondo," Op. 22 ; " Rousseau's Dream, with Introduction," Op. 2) ; " Capriccio," Op. 24 ; " Introduction and Polaccrt," Op. 25. Pul)lished for the violoncello : " Three Duets for Violin and Violoncello," Op. 1 ; " Three Duets for two Violoncellos," Op. 2 ; " Three Duets for two Violoncellos ; " " A Grand Duet for Violin and Violoncello." For the vio- lin, not published : " A Duet for the Violin and Violoncello;" "Blue Hell, with Variations;" " A Concerto ; " " Three Ducts ; " "Three Trios Concertaiiti for two Violins and Violoncello ; " " A CJuartet, ' Hope told,' with Variations," (pub- li.shed. ) For the piano-forte, not published : " -\ Grand Trio, with an Ac.'om])animent for a Violin »nd a Violoncello Obligato ; " " Introduction and Fug\ie lor the Organ," as performed at Christ Chiuch and St. Patrick's Cathedral, &c. ; " Li- ' troduction and Fugue for the Organ;" "Over- ture for a full Orchestra ; " " Overture for a full Orchestra," as performed at Vauxhall Gardens ; " Grand Overture," as composed from the foiu notes given in the above anecdote ; " A Polacca, with Introduction." For the piano-forte, pub- lished : " Sonata, with Violin Accompaniment," Op. 1 ; " .Sonata, with Violin and Violoncello Ac- comijaniment," Op. 2 ; " A Set of Grand Sonatas, with Violoncello Accompaniment, (obligato,)" Op. 4 ; " Grand March and llondo," as performed by the military band at Vauxhall Gardens ; " La Campanella, a Rondo ; " " 1* Troubadour du Tage, with Variations." For the harp, published : " A Duet for Harp and Piano-forte ; " "A Duet for Harp and Piano-forte ; " " Haydn's Surjmse, with Variations lor the Harp or Piano-forte," 1809 ; " Kinloch, with Variations ; " and some vocal pieces. POZZ.A.BOXELLO, FRANCESCO, of a noble Italian family, wrote a work entitled " Dithyram- bus puUu Cythara tnodulaiiis." He died at Home in 1623, in the flower of his age. POZZI, an Italian musician, who resided sev- eral years at St. Petersburg, published, amongst other works, " Qiuituor p. Fl., V., A., et I>.," Op. 1, Petersburg, 1795 ; " I'oltmoisc a grand Orch.," Petersburg, 1796; " ArUttes hat." Op. 3, Peters-, burg, 1797 ; and " 6 ArietUs Itaiienncs," Op. 4, Petersburg, 1797. PR-A.CHT, AUGUST WILHELM, a musician, resident at Konigsberg in 1793, i)ubliiihed " LU- der zum Siiiffen beym Klaviere," Zerbst, 1796; "6 K!eine Klavier-Sonateii fur Licbfuthcr, \sler Theil," Zerbst, 1797 ; and " Sonate pour le Clav. acec I' Ace d-uH V. ObL et Vc." Berlin, 1798. PRACTICE. Performance for the purpo.'se of improvement ; that active e.\ertion of the pupil, without which the greatest genius, aided by the ablest instruction, cannot insure future excel- lence. PRACTICE OF THE SCALE. Of all ex- ercises in singing, that of the scale is the most necessary and the most difficult. By it, when well directed, we form, develop, and strengthen the voice. By this exercise, also, we are enabled to remedy, or at least to palliate, any natural de- fects in the voice, or in the organs by which it is formed. In practice, let the singer stand in an ujiright, natural, and dignified attitude, without any effort or stiffness. Let him keep his head upright, but without bending it back ; for. if the muscles of the throat are too much extended, they cannot act with freedom. Tlie mouth must assume the same position as in smiling, and be kept sufficiently open, so as, without any subse- quent alteration, to pronounce the vowel to which the notes of the scale are to be sung. This position is very favorable to clearness of articu- lation, and to the obtaining of a full and round quality of tone. If the mouth be opened too wide, the voice becomes hollow and scpulchraL Indeed, guttural, dental, and nasal qualities of tone depend, in a great measure, upi n the mouth being opened too much or too little. I'he student must take care that, it opening his mouth in the manner described, his counte- nance does not assume any unpleasant expression. Ho must also avoid making any grimaces with r46 PR A ENCYCLOPEDIA OF MUSIC. PH^ those features of the face which are capable of movement. Occasional practice before a looking glass will be found very useful to correct bad habits of this kind. The tongue must lie behind the bottom teeth, without, however, pressing against them. Before the emission of a sound, and while the student disposes his mouth in the manner indicated, — a position which must remain unchani^c'd throughout 'ho whole duration of the note, — he must take breith copiously and with promptitude. The scale, both ascending and de- scending, must be practised on the vowel .V, ])ro- nouncod as in the tkotiI fat/ier ; that is, with the Italian pronunciation. After a while, the scale may be practised upon the same vowel, pro- I ounced as in the words ma!e, female, &c. As soon as the student has taken breath, he must attack the noie he ijitends to sing firmly, and not as if it were jireceded or followed by an ap- poggiatura. On its first emission the sound must be very soft ; it must then be made to increase gradually in intensity of tone, till it becomes as hull as the voice will conveniently allow; the tone must then be gradually diminished to the end of the note, where it must seem to die away insensibly. All this must be managed without any movement of cither the mouth or tongue, or the smallest jerk or concussion of the chest. This manner of sustaining a note Ls called, by the Italians, the mes.ta di vice, or putting forth of the voice. It must have a beginning, a middle, and an end. The mesta ili voce must be practised on every note of the scale within the compass of the voice, taking breath between each note. 'Yhe forte should tail exactly in the middle of the duration of each sound. In this manner let the student daily sing two or three notes in the ascending ■calc, and as many in the descending scale, and he will soon ascertain the natural compass of his Voice, equalize it as to power and quality of tone, and ti\ the limits within which he will be able to execute a melody without effort or fatigue. This practice must be conducted with modera- tion, so as not to injure the chest. The practice of swelling and diminishing a long note in the same breath is absolutely neic-sary to acquire ex- prcsMon and the power of giving the true accent to mu^ical sentences. The mcssa di voce is gener- ally indxated by this character <>, placed over any long note. The scale may also be practised with the voice sustaining each note in the same degree of forte or piano throughout, carefully avoiding any unsteadiness or tremulous and un- dulating movement in the tone ; or each note may begin forte, and diminish gradually m quaji- tity of tone to the end ; this is generally indi- cated by the character > : or, again, each note may begin piano, and be swelled gradually to the end ; tlus Ls indicated by <. The scale may be practised with the notes detached by separate emiftsions of the breath, or smoothly connected m one continuous emission of it. In practising the scales do not attempt any notes higher than the voice can conveniently reach ; nothing is so like- .y to spoil the voice as forcing it beyond its natu- ra. limits. Nor must we too far try the breath during the exercises, as it Ls only by degrees that we can accustom ourselves to sing notes of very long duration. PR-^DIIEU, LOUIS BAllTIIELEMI, pro- fessor of the piano-forte at the Conservatory in Paris, was born in that city in 1781. He run fre- quently termed the Cramer of Paris, and was equally celebrated as a pianist and composer. He was teacher to some of the royal family of France, and was in what may be termed the zenith of fashion. -\8 a ]dayer he was especially distin- guished by a vigorous and spirited style of exe- cution. Pradlier commenced hLs studies in music at the age of ei;;ht years, at first under the direc- tion ol' his uncle Lelivre, and subse<|uently under (iobert, a i)rofeisor of the Koyal .School, to which he was attaclied as a pupil. This school having been sui)i)re8sed at the ejmch of the rrvolutiim, Madame de Montgeroult, directed by the govern- ment to form two ])iano pupils, chose I'radlier for one, and gave him instructions during two years and a half. The Conservatory being then established, Pradher was elected a pupil of it, un- der his first ma.ster,Gobert, and in the two first pub- lic exhibitions of the pupils obtained the timt and second prizes for piano-forte playing. He studied harmony under Berton ; but in the middle of his course quitted the Conscirntory, and married Mile. Philidor, daughter of the celebratetl com- poser of that name. About a year alter this, a professorship becoming vacant at the Conserva- tory, by the death of Hyacinthe Jadin, Pradher obtained the situation, after a comjietition with several candidatesi, on which occasion he per- formed, at first sight, some 'uanuscript fugues of extreme ditHculty, and whicli had been comjOTsed expressly for this competition. He has since formed many excellent pupi's, some of whom have gained the first and second prizes ; the prin- cipal of these, up to the year 1811, were Mes- dames Pamont, Herse, and lijivel, and Messieurs Chancourtin, Dubois, McLsemberg, and I.jimbert. Pradher has publLshed a considerable number of musical works, consisting, up to t'se year 1811, of thirteen collections of romances, and a great number of detached pieces of the same kind, many of which had brilliant success ; such as, for instance, " Le Bouton de Hose," and " Le Vrin- terns ; " also several vocal rondos ; " Two Piano- forte .*»onatas," dedicated to Herton ; " > Cirand Sonata," dedicated to Mehul ; " Two Pvti.our- ris ; ■' " A Romlo aUa Polacca ; " " Fantasia on the Air ' Du point de jour i A Fanta,sia on an Air of Lambert ; " " A Variation for the Piaiio-forto on the Uoraance of Helena ; " and " -V Piano-forte Concerto." He had composed, up to the same period, for the nu-atre Feydeau, three operas, namely, " La Folie MiuicaU;" " Le C/iecalier d' Jn- duatrie," and '^ Jeune el Vieille." PR.ESCLE. (L.) Females hired by tl« ancients to sing over the dead at funerals. PRALL-TUILLEK. A passing shake, of passing notes ; as, — m r-ir- *" tr tr tr tr tr tr tr PR.ETOUIUS, MICHAEU a native of Creiu- berg, a city on the River Wcna. in Thuringio, be- longing to the Duke of Saxe-Kisenach, wi-s horn in the year 1.571. Ha\-ing made great proiiciency in music, he wa« appointed by Henry Juliua, Duke of Brunswick, chapcl-ma.ster and chamber organist of his court, and also private M^^ttMrj 747 VB.JE ENClCLOP^DIA OF MUSIC. PRE ,0 his consort Elizabeth. Ueiiig an ecclesiastic by jirofoision, he al'tcrwards became prior of the BeiiC'.Uotiiic monastery of Uinghelm, in the bish- 0])rie of Ilildesheim. He was also, but in what )-nrt of his life it is not known, chapel-master to the Klcctor at Dresden. He died at Wolfen- buftel on the day of his nativity, lO'il, having just completed his Kftieth year. The musical compositions of I'netorius are numerous, and consist of motets, masses, hymns, and other cliurch offices. He wrote also a treatise, intended to consist of four volumes in quarto; but only three were printed, entitled " Si/iita;rma Musicum." This work contains a history of the progress of fccclesiastical music, from the period of its origin to his own time. PR.ETOIIIUS, GODESCALCUS, or AR- ID IAS, professor of philosophy at Wittenberg, was born in 1.528. He is said to have perfectly mastered fourteen different languages. At the time he was rector of the school at Magdeburg, he formed an intimate acquaintance with the musician Martin Agricola, and being very partial to the science of music, undertook, conjointly with Agricola, to publish a work on singing. Agricola, however, dying before the work was completed, Pnctorius tinished and publL-hed it alone, under the title " Melodia Scholastics sub Jlorarum Intcrcaliis DecaiUanda, (tc. In usum tchola Maydebergensis." Pnctorius died in 1573, and an edition ol the above work, probably the Bccond, is dated Magdeburg, 1584. PK.ETORIUS, or SCHULTZ, HIERONY- MUS, a celebrated organist and composer at Ham- burg, was born in that city in 1560. His father gave him his first lessons in music, which he sub- Bcquently studied at Cologne, and with such zeal that he was nominated, in 1580, chorister to the town of Erfurt. He died in 1629, having suc- ceeded his father, in 1582, in the first-mentioned situation. Among his works are a " Te Dcum " for sixteen voices ; the " Canticles of Luther and others, with many original Melodies ; ' ' •' C(ni/i<>iiei S7 he went to Paris, and composed .here an ojjcra for the TIddtre de I' Opera Comii/ue, entitled " L' lUvIe de la Jcunesse." From I'aris he proceeded to St. Petersburg, where he wa« eminently successful, and at length returned to his native country, where he composed at Flor- ence his opera of " Ifiyenid," which was greatly admired. It is even said that, after its first representation, the archduke purchased the work, and withdrew it from public perfonnance, that he might have the pleasure of being its sole possessor. Others of his operas are " Armirlc Abbandonnata," Munich, 1785; "La Seniiramide, ossia la Vendetta di yino," a melodrama, Florence, 1785; " Olimpia," Naples, 1786; and " iJeoio- foonte," Venice, 1787. He also composed much chamber music for the harpsichord, harp, flute, &c., and several collections of Italian and French canzonets. He died at Ferrara in 1788. PRATTICO. (I ) The appeUation given by the Italians to a practical musician, who per- forms, but does not study the science or theory of composition. PRA'IT, JOHN, a native of Cambridge, and son of Jonas Pratt, a music seller and teacher of several instruments, was at the age of eight years admitted a chorister in the choir of King's College, and continued as such till his voice broke, when he became a pupil of Dr. Randal, (who was then the organist,) and for whom he officiated as deputy, until the time of the doc- tor's death, which happened iu the month of March, 1799. He was then appouited, by Dr. Sumner, provost of King's College, organist to that society, and, on the 21st of September fol- lowing, was appointed, by the vice chancellor, organist to the university, and, in the year 1813, succeeded Paris, as organist to St. Peter's College. The only work of importance which he pub- lished is a selection of ancient and modern psalm tunes and hj-mns, in one volume, entitled " I'salinodia Caiitabrii/ieiisis." He has composed several services and anthems, which are freiel Sudor di Sangue del Redeiitore in Getsenuini ; Oratorio d 3 Voci," Mes- sina, 1701; " I Miracoli della I'rovidenza ; Ora- torio a 5 Voci," Palermo, 1703; II Tripiulio delle XiiiJ'e ni'lla piaggiti di Mare Dolce ; Senerata d 3 I'oci, c piu Nromcnti," Palermo, 1704; " // 6'jm- dizio tli Salomone nella Contesa delle due Madri ; Sacro Trattenimeiito artnonica," Palermo, 1705; ■•' La Figlia unigenita di Gefte, aacrijicata a Dio dal Padre; Dialogo d 6 Voci," Palermo, 1705; "La Virlii in Gara; Trattenimento armonico d4 P'oci," Palermo, 1706 ; and " II Latte di laele, Figura dell' Eucharialia tacroaanta, e dell' immacu- Uita Puritd di Maria Virgine ; Oratorio d 6 Voei, » piu Stromenti," Palermo, 1700. PRESTEZZA. (L) Rapidity, quickness ; as, con pnntezza, with rapidity. PRESTISSIMO, or PRE.STISS. (I.) The •uperlative of preato. A word denoting the tnost rapid time. PRESTO. (I.) A word implying that the noTcment at the begiuuing of which it is placed the (luickest, time. PRP:TI. ALFONSO, published his first book of madrigals at Venice, in 1687. PREU. FRIEDRICIL .Musician at lx;ipsic in 1781. He had much talent, but was unfortu- nate, which determined his friends to print, in 1781 and 1785, for his benefit, by subscriijtion, two volumes of his songs. Besides these, he composed the following works : " Ailraite" a German opera; "The Wildfire," ditto; "Bella and Fernando, or the Satyr," ditto, 1791 ; and " ITie Milliner," operetta. PREUSS, CARL, court musician at Hanover, published at Cassel, in 1778, " 'Hirec (Juatuors for the Harpsichord, two Violins, and Violoncello, Part I. ; " and, in 1783, a volume of " Odes and Songs." PREVO.ST, EUGENE, bom in Paris, in 1806, and pupil of Lesueur, has composed a number of popular pieces for the Opera Comiquc. PREVOST, GUILLAUME. Contrapuntist of the sixteenth century. Lechner, in his " Motetta Sairtr," has preserved many pieces of this master's composition. PREYSING, HEINRICH BALTHASAR, chamber musician at Gotha, has been known in Germany, since the year 1780, by several com- positions for the violoncello. He died at (!otha in 1802, leaving two sons, both eminent perfonn- ers on bow instruments. PRIMA DONNA. (I.) The principal fe- male singer in the Italian opera. PRIMAVERA, GIOVANNI LEONARDO, called Deir Arpa, from his eminence on the harp, flourbhed at Naples in the middle of the sixteenth century. He was also a poet and composer. Amongst his works are " Madrigali (i 5 e 6 I'oci," Venice, 1565 ; " Canzonette Neapolitane h 3 Voci, Lib. 1, 2, e 3," Venice, 1570; and "Madrigali A 6 Voci," Venice, 1573. PRIMA VISTA. (L) At first sight. PRIMA VOLTA. (I.) First time. PRIMITIVE CHORD. ITiat chord, the low- est note of which is of the same literal denomi- nation as the fundamental bass of the harmony. The chord, taken in any other way, as when its lowest note is the third or the fifth of the funda- mental bass, is called a derivative. PRIMO. (I.) First; as, primo violono, first violin ; primo flatUo, first flute. PRIMO BUFFO. (I.) First comic actor and singer. PRIMO MUSICO. (I.) Principal male singer. PRIMO TEMPO, or PRIM. TEMP. (I.) In the original time. An expression urckI after a retardation or acceleration of the time, to signify that the_/frj< motion of the measure is resumed. PRINCIPAL. A word used adjectively to signify the leader of a band ; as the principaJ vio- lin. Also applied substantively to a certain stop in the organ. Scje Stop. PRINCIPALMENTE. (I.) Principally. PRINO, JACOB, JOSEPH, and LS.V.\C. There were three brothers of this name, who were eminent as professors and vocal corapowors in England. Joseph Pring was organist of th* 749 PRI ENCYCLOPEDIA OF MUSIC. PUl satliedtal nt Bangor, and lAaac settled at Oxford, us prolessor and organist of New College there, whilst Jacob Pring resided principally in Ixindon till hi< death, which took place in 1799. Jacob Pring was one of the first founders, with Dr. Cal- rott, .Samuel Webbe, Mr. Horslcy, &c., of the so- ciety called Conceiitores Sodales. PRIXTZ, WOLFCJAXG CASPAR, was bom at Waldthurn, a small city in the Upper Palatinate, in the year 1041. His father was a magistrate, «nd a receiver of the public revenues there, till, on account of his religion, he (juitted his station, and removed to Vohenstraus, a small town in the territory of Farstenburg. Young Print/., dis- lovering a taste for music, was instructed in the princi])les of composition, and the practice of the har])sichord, violin, and other instruments. He ■n-as admitted a student in the university at Alt- dorff, where he continued, three years ; and from thence he was taken into the service of Count Promnitz, at Dresden, as director of his music and court organist. With this nobleman he trav- elled through Silesia, Moravia, and Austria. On the decease of the count, Printz was invited to the office of chanter in the church of a town named Triebel, where he married ; but, after a year's continuance in that employment, being called to the same office in the church at Sorau, in Upper Saxony, he entered upon it in the year 160.5. Some years afterwards he was appointed to the direction of the choir in the same church ; and, a'i it is supposed, continued in that station until the time of his death, which took place in the year 1717. Ilis works are numerous. Among them there is a history of vocal and instrumental music, which was published at Dresden, in the year 1090, with the title of " Historische Bcschreibung der edden Sing uiid Klingkwist." I'his is WTitten in chronological order, and the author begins it with an account of the invention of the harp by Jubal. He has delineated the Hebrew instru- ments chiefly from the authority of Joannes Schutterus, the author of " Collectanea Philolo- tfica." The Grecian and Hebrew music are treated at some length, aud the history is con- tinued through all the later writers to his own time, concluding with an account of himself and his i-tudies. He dates the invention of music in consonance from the year 940, and ascribes it to St. Dunstan, who, he says, composed songs, in 'liffcreut parts, for bass, tenor, descant, and va- cant, or alt. He asserts, however, that St. Dun- fctan proceeded no farther in it than to the con- U.ipiintus simplex, and that it was not till some years after its invention that the practice of sing- ing in consonance became general. Printz ap- pears to have been an able man in his profession, tnd to have bestowed great pains on the compo- lition ot his work, the brevity of which Ls its only fault. Another work by him has been mentioned, " Dc Inalrtinuiiitis in Mo Orbe Musicia," wluch is Baid to have been written only a short time be- fore hLs death. PUIOLI. GIOVANNI, chapel-master to the Empiror Ferdinand II. at Vienna, at the begin- ning of the seventeenth century, published, among many other works, " I'ars I, Concenluiini Sacronim," Venice, 1618; " Mit3e A 8 e 9 roc," *enice, 1624; and " Delicie Muiicaii," Vienna, 625. PROBE, (G.) PROVA, (I.) A rehearsal PROCII, IIEINRICH, bom in 1809, at Vi. enna, first became distinguished as a ^'iolinist He was afterwards chapel-master in Vienna, and is well known by his songs with instrumental accompaniments, such as piano, violoncello, and horn. He has also written masses, overtures, violin quartets, &c. PROCKSCH, GASPARD. A good German clarinetist, and composer for his instrument. Some of his music was published at Paris about the year 1779. PRODUCTION OF SOUND. It has been proved beyond all manner of doubt that sound is produced by certain undulations of the air, (and is not, as was supposed by ancient philosophers, a thing that would be, if no hearing animal existed;) but how these undulations produce sound, is, and ever musj; be, a matter of doubt. Some have thought the drum of the ear so peculiarly constructed, that, after recei'N-ing the impulse from the motions in the air, it would cause undulations still to pass on within, until they should arrive at the brain, and thus give the sensation of sound. l"he ca\-ity intervening be- tween the external air and the inner chamber ap- peared to these anatomists to have no other use than to allow a free motion to the little piston that is employed to agitate the air within the labyrinth, and, as the piston condenses on a very small surface, consequently the agitations iHat are very gentle when received, being rendered more dense by this process, have greater effect when they reach the powers of perception. The gravity or acuteness of a sound is as to the quan- tity of air displaced, the force with which the string is moved signif j-ing very little. The degrees of acuteness are according to the specific den- sity of the substance which emits the sound. The strength of a tone is as the moment of the par- ticles of air ; the moment of these particles is as their velocity, and the velocity of these particles is as the velocity of the string which sets them in motion. In a still night the voices of workmen at the distillery at Battersea may be heard at Westminster Bridge, a distance of three miles. The watchword at Portsmouth, it is said, can be heard at Ryde, in the Isle of Wight, a distance of four or five miles. The echo in Woodstock Park is repeated seventeen times by day and twenty by night. The artillery at the siege of Genoa by the French was heard at Leghorn, a distance of ninety miles. The firing at the battle of Waterloo was heard at Dover, at a distance, in a direct line, of one hundred and forty miles, of which one hundred and ten were over land, and the remainder over water. PROFESSORSHIP, MUSIC.\L. That staUon in a university which entitles the professor to confer musical degrees, give public lectures on the harmonic science, and compose for, and con- duct, all musical performances ordained by, or connected with, the academical regulations. The professorship was instituted at Oxl'ord at the be- ginning of the seventeenth century, by Dr. Wil- liam Ilcyther, under the title of a music lecture- In order to promote the practice of which he himself was a graduate, the learned founder presented to the University Music School a harpsicoi^ a chMt 60 PRO ENCYCLOPEDIA OF MUSIC. I'SA of viols, and a variety of manuscript and printed music. PROGRAMME. A list of pieces to be per- fonned in a concert, oratorio, opera, &c. PROGRESSION signifies a succession of tri- ads, or perfect chords, which are confined to the tonic. Although a change of any note implies partial modulation, yet in all cases where the new tonic remains undei'ided by the omission of the leading note, tlie original tonic continues a pre- dominant sound, and the term progression is re- tained. PROGRESSIVE. An epithet properly ap- plied to lessons expressly composed for the pur- pose of practical improvement, and that are so sonstructcd in point of increasing execution as to lead the practitioner, by insensible degrees, to those dilficultics which he could not well en- counter without such preparatory exercises. In music, as in all the arts and sciences, the path to improvement has been greatly smoothed, and the labor of the tutor much abridged, by those simple introductory precepts and practical exam- ples wliich som'! of the first professors have deigned to furnish ; and excellence has, in con- sequence, been more generally attained than in former ages, when the early advances of the juve- nile pupil were less consulted by the learned and ingenious. PROGRESSIVE NOTES. Those notes which succeed each other, either in ascent or descent, by those degrees, the settled order of which con- stitutes the key of the composition, or of the movement, or the passage in which they take I lace. PROLAllON. A method, used in the old music, lor determining the power of semibreves and minims. The maik of prolation was placed alter the clef, and sometimes after the sign of the mode, by a circle, or semicircle, punctuated or unpunctuated, according to the foUo'wing rules : the prolation was divided into perfect and imper- fect, and each of these into major or minor, in the same manner as the mode. The perfect prolation was for tl.e ternary measure, and was marked by a point in a circle when mn, or nntr for nitte, rRDSl.AMIlANOMEXOS. The n«rne ylren hy the inrlent Grreki In lh<- lowf.t noli In Ihilr jvntom, nnrt which w«» i qulTiliM.I t.i i.iir A on Ilif llr«l iliore In the hntt. Thil linlr. w'-clee of nnmf, or air, eunfi In honor of MArti and Iht Inrcniion of which wu altrihuted to Ulympui. PROSODY. A term, partly grammali<-ftl and partly musical, relating to the accent and metri- cal quantity of syllables, in lyrical com])osition. A just prosody is so indispensable to genuine mel- ody, that a respectable Italian author has defined it the (;uid<- of sony. lliat prosody formed an important part of the ancient music Ls indeed evident, as well from the oriijin of the word as from numerous passages in the Greek and Rninan classics. Prosody was also a kind of nnme per- formed by flutes, and peculiar to the cantics which were sung by the Greeks at the entrance of sacrifices. Plutarch attributes the invention oi prosodies to Clonas, of Tegiea. PROTA, GIUSEPPE, bom at Naples in 1699, was distinguished both as a teacher and com- poser. Prota first studied in the Conser\-atory Dei Poveri di Giesu Cristo, and afterwards in that of l>a Piet;\, under Alessandro Scarlatti ; but from the rank of a pupil he soon rose to that of a master, and was named director of the latter of these establishments. Prota is amongst the last of those whose time was chiefly absorbed by in- struction. We know of none of hLs compo •itions ; but as his reputation Ls somewhat extended, it is probable that it is due both to his labors as a com- poser and a professor. His style is said to have been full of truth and expression. PROTESIS. The name jiTen by the ancient Oreeka to a certain pau.i- in their innlic PRO roPSALTES. The naine of that of the two prinripal ling- er* in the patriarchal church of Constantinople, who is stationed on the right eido of the choir. PROVEDI, FRANCESCO. Author of an Italian treati>e entitled " Paragone delUi Musica Aniica e delln Modcnui." I'his is to be found in the first volume of the " Rnrcolla d'OpusaiU Scien- tijici e FiU:loyici," Venice, 1754. PRUDENT, EMILE, bom in 1820, lives in Paris. He is a distinguished pianist of the schorl of 'llialberg, in whose footsteps he also follows aa a composer. PRUDENTIUS, BERTRANDUS, a monk ot Poitou, left, at his decease, a manuscript poem entitled " L'FJnrie He la Miui as well as males bore a part in such jierfonnances, legislators and proph- ets were the national bards, and judges and kings condescended to handle the harp and the lyre in the service of their God. An instance of the happy and elevating effect of music, employed in this manner, is recorded in Kxodus ; when, at the glorious triumph of the Lord over his enemies in the Red Sea, " Miriam the prophetess took a timbrel in lier hand, and all the women went out after her," and the praises of the Deliverer of Israel were celebrated in the presence of the assembled camp. The company of singers whom David employed in the i)r.cr>-icc jin-servetl in itf most solemn fonu ; the schools lor music con- nected with all cathedrals were relaine*! ; and by a report published and sanctioned wiih regard to the state of ecclesiastical affairs, it appears that choral music %vas ordered to be earned on, " re- duced, nevertheless, to that state of purity and ■33 PSA ENCYCLOPAEDIA OF MUSIC. ¥SA liinplioify from which it had deviatod." In the micpcedins reigns, Edward VI., Mary, and Eliza- beth M-ero nil practical musician's, and cherished ft great fondness for the art. The latter qneen, esi)ecially, with the help of Archbishop Parker, a man preeminently skilled in music, was enabled to effect considerable improvements in this part of the divine service. But the progress of sacred melody was soon interrupted by the effects of the usurpation, and the sullen character of those unhappy time*. Music was not only banished from the church, but in a great degree also from private families. Ry an ordinance made in the year 1014, organs in churches and chapels were ordered to be taken down ; and the fury of the populace was not less conspicuous in the demoli- tion of these instruments, than in the imjiious xeal with which they disfigured and destroyed whatever else had been used in the sers-ice of God. On the restoration of Charles 11., and the return of the clergy to the station and property of which they had been despoiled, the next meas- ure, after the establishment of the liturgy, was the revival of sacred melody, and the choral service of the church. Tliis work was attended with peculiar difficulty, in consequence of the dispersion of all persons who had previously been engaged in this service. And when, at length, the instruments of music were replaced, few per- sons could be found who were capable of leading and sustaining the parts of the pious song. The two universities, particularly that of Oxford, used most diligent endeavors to meet these wants. Books of instruction were written, and services and anthems composed, to supply the place of those which were lost ; able persons were ap- pointed to teach and conduct the choir ; and by the help of the musical taste and science of the sovereign, and the direct encouragement given by him to the work, this portion of the service of God was ultimately established. It has already been remarked that the custom of singing the praises of God, after the manner of psalms, was expressly sanctioned and practised by our Lord himself; and there is no reason to suppose that this devotional exercise was ever wholly superseded by choral harmony ; although the notices of history may be more numerous and express upon that department of Christian wor- ship. Certain it is, that the reformers were well aware of the power of psalmody, as well as that of the higher and more cultivated kind of church music. Singular instances, indeed, are on record of the zeal and devotion with which the earlioist martyrs of that age delivered themselves up to cruelties and death, singing psalms and the praises of God. The disciples of Wickliffe in England, during the fourteenth century, and those of John IIuss and Jerome of Prague in the fifteenth, were celebrated psalm singers: and Lu- ther eagerly availed him.-elf of this kind of mel- ody for carrying forward those purposes, which have already been described. He employed some persons to versify the psalms and h\-mns in tlie German lani,'uage, and others to set them to mu- sic ; rendering the rao.st valuable assistance him- self in both these undertjikings. His own modest and simple account of this proceeding we read in the following words : " I, and some others, to give a beginning, and set the example to such as ■re more capable, have collected some spiritual songs, to further and bring int( use the sacred gospel." And s])eaking of the tunes, he adds, " They are arranged for four voices, for no othej reason than that I am anxious that young people, who should and micst be educated in music and other good arts, should have wherewitU to get rid of their lasciviousness and carnal songs, and instead of them, learn something salutary, and receive what is good with pleasure, as to youth is meet." About this time a Frenchman, named Clement Marot, completed a version, in his native language, of about fifty psalms; and, after his death, the remainder of the work was supplied by Theodore Beza, his friend. This version was rccived with the greatest approbation, and led to some further and very successful measures on the part of Cal- A-in to render psalm singing acceptable to the people. From an act of devotion appropriate to the church, the use of singing was now carried into the camp and the field of war ; and in the frequent acts of resistance made by Protestants against their persecutors, a devotional psalm, shouted forth with energy by four or five thou- sand men in array, served as the signal for battle. An example of a similar kind may be found in the one hundred and forty-ninth Psalm, which is thought to be an ode sung when Da^-id's army was marching out to war against the devoted nations. For the most part, however, the plainest melo- dy, and the most monotonous, was found in the Genevan church. In other parts of Switzerland, and in France and Flanders, a style more harmo- nious, with the tunes arranged for several voices, and generally accompanied by musical instru- ments, was approved and introduced into the churches. That the singing of psalms generally prevailed at the earliest periods of the reformation is cer- tain ; though the practice was not expressly countenanced by public authority till the year 1.548. Under the sanction of a license granted at that time, several persons attempted to render the psalms into English verse, and the musical taste of Archbishop Parker, together with the influ- ence he possessed, was of the greatest value in forwarding this pious work. An entire version of the Psalms was not, however, published till 1562, when it appeared for the first time as an ap- pendage to the Book of Common Prayer. ITii* is the well-known version of Stenihold and Hop- kins, wliich is more valuable as a close transla- tion from the original Hebrew, than on account of any merit in the versification, even making am- ple allowances for the state of English poetry at the period when it was composed. The tunes of this edition, comprising the mere melody, were chiefly taken from the books of the I^itherans and Cal- vinists ; and it is highly gratifying to the pro- moters of popular psalmody to know, that one principal object proposed by this undertaking was to supply the common people with a set ot songs calculated at once to occupy their leisure, to reform their manners, and to elevate their de- votional feelings. The title page of this work (as it is still published with the Book of Com- mon Prayer) declares that it was " set forth and allowed to be sung in all churches of th» people together," — " and moreover in private houses for their godly solace and comfort, laying apart all ungodly songs and ballads which- tend only to the nourishment of vice and the :omipt- 754 PSA ENCYCLOPEDIA OF MUSIC. PSA ing of youth." Further attempts were iifter- wards made towards the perfection of this work, the express object of which was to render ])sal- mody a popular exercise, and enable " the unskil- ful, by small practice, to attain to sinj; that part (of the harmony) which is fittest for their voice." Many other publications on this subject answered the design with which they were written ; and, amonj^st the rest appeared the celebrated work by Thomius llavenscroft, 13. M., containing a mel- ody for every one of the one hundred and fifty psalms. Several of these compositions are still in use, and form the most popular tunes for con- gregational worshi]) at the present day ; such as Windsor, St. David's, Canterbury, York, Hoches- ter, and many others. It may be interesting also to remember, that John Milton, the father of t'i'.e celebrated poet, was among the number of those who assisted RaTenscroft in this important work. The p«alm books of this period were commonly ju-ei'aced by instructions in the theory and prac- tice of vocal music ; but it does not appear that any other more particular or erticacious plan was adopted for introducing the art into common no- tice, either among the young or old ; and indeed, at that period, the education of the people had been so little attended to, that it is probable the instructions in music prefi.xed to the psalm books were intelligible to very few persons, except the clergyman of the parish and the clerk. The lat- ter person, it is to be remembered, in that age, was of a sujjerior cla.ss to his successors. lie was literally a clerk, (clericiis,) an assistant to the cler- gyman in the ministerial duties of his office. As an ecdesia-stic, his education was suitable to the nature of that calling ; and a knowledge of mu- sic would, as we have seen, necessarily form part of it. Henry III. granted a charter of incoqiora- tion to these persons, which was confirmed by several succeeding kings ; and they a|)pear to have attracted to their fraternity people of the first quality, lovers of music, and such as de- Ughted in singing ; and the occupation was in high esteem with those who had a taste for this gjicred work. TTius far, then, there were facilities of an unusual kind for promoting the cultivation Thus parochial psalmody degenerated. It i« said, indeed, that the accidental settlement of people from Flanders, for the jjurposes of tni Ic, in Gloucestershire, Somersetshire, and Wiltshire, has preserved a somewhat better state of harmony in the congregations of tho.se districts, and that other causes have operated in the same favorable manner in Birmingham and its vicinity ; and it is certain that the jjcople of Lancashire are such proficients in the art of singing, as to supply the choru.ses of the most celebrated concerts of the metropolis, and other parts of the kingdom, with valuable assistance. It may, therefore, be inferred that the spirit of psalmody has not departed, though it is obvious that efforts of more than a common kind are neces.si\ry to raise and establish the art in that degree of excellence which the service of God reiiuires and demands. Tliose who are conversant with the history of church music in this country will not need to be told that great changes have taken place in this department of music during the la.st half century, or even quarter of a century. These changes re- spect not only the manner of conducting thin branch of public worship, but the character of the music employed, and the intelligence of the people in regard to the act of singing. As a nation is musically educated, so in the same ratio shall we find its intellectual develop- ment. The savage celebrates his exploits by vocal entertainments, and makes night, as well as day, hideous with sounds more inharmonious than the growl of the bear, or the yell of the hyena. Ascend a step, and these rough accents are modulated to greater euphony. Here, in- struments of wood are rudely manufactured by the ingenuity of unlettered men, while another pace, and the mine yields its treasures to human cunning, to be wrought into fantastic shapes, and adorned with curious devices. l/ook where we will, wherever we find a highly mu.sical people, the arts are cultivated, intellect stretches its gigantic arms into the misty regions of dis- covery, and the kindly courtesies and charities of life cluster around the domestic hearth. Ger- many has for ages been the favored land of music. In no part of the world are its charms more of sacred song. But in a short time, the same \ highly appreciated, or more closely studied, "as cause which had interrupted the choral service ' of the cathedral entirely disturbed the progress of this lower and more popular branch ol ma-ic. AftiT the turbulwit period which followed the days of King Charles I., the office of clerk was never held in the high esteem it had obtained be- fore ; and with the reputation of this office the art it.sclf lost ground. To this cause, in a great measure, may be traced the inharmonious and "-ontemptible minstreLsy which has been found in English churches in more modern days. The vil- lage musicians, unable to enjoy the beautiful sim- plicity, and produce the happy efieot contem- plated by Uavcnscroft and his assistants, proceeded in an opposite direction, adopting altogether a diH'erent plan, and attempting far more than their imper:ect skill could possibly enable them to licrform. Fugues and other elaborate pieces of music were introduced by such musicians before the village congregation ; entirely uusuited to the place, even if they were well jierformed, but, in tlie hands of such ignorant, self-taught prac- titioners, calculated only to deaden piety and azcite contempt. exemplified in the stirring melodies of her mountains, or the rich harmonics of her acade- mies. To her composers are we more indebteil than to those of any other country, Italy not e.xcepted, for combinations of sound that portray with fidelity every modification of emotion. The gentle feelings of humanity are breathcil forth with witching softness, whilst the harsher pas- sions find in more startling and broken cadences o fitting representation of their overwhelming force." Mirth is made to speak in lighter meas- ures, and grief in more tender strains than else- where. And Germany has also been the birth- place of genius and the home of art. The leanieted sacred words to it, as lie did to many other eimilar airs, which were jjopuiar in his lime. An Eni;lish version of the Psalms of David was male soon after that made in France, by Thom:i8 Stcrnhold, {;room of the robes to Henry Vin., and John Hojikins, a scliooliuasler, assi-t- ed by William Whittynf;ham, an Kni^lisli divine of considerable learnin^i. S.cmhold and Hop- kins's version of nineteen psalms was ])rintcd by Edward Whit Uurche, in 1549, and was entitled "Certaync Psa.mes chosen out of the Psalter of David, and drawcn into English Metro by Thom- as Sternhold, Urome of yo Kyniies Slajestics lioobes." A second edition, containini; thirty- seven " Psalraes of David, drawen into English Metre by Thomas Sternhold," with "seven addi- tional Psalraes, translated by John Hopkins," was " imjirinted at London, by Edward Whit- churche, anno Domini lo.il," in l(imo. >Soon alter the publication of this version, vocal |i8almo- dy was introduced into the church of England, either by permission or by tacit connivance ; since the accurate ecclesiastical historian Strype states that in the month of September, 1.J59, " be^an the new morninp; prayer at St. Antho- lin's, London, the bell be;;iuning to ring at live ; when a psalm was sung after the Geneva fashion, all the conj;re;;ation, men, women, and boys, singin;' together " Several musical manuals now soon appeared, for the purpose of facili- tiUing the practice of vocal psalmody in England ; among the authors and publishers of which, no one was more assiduous than John Playford, whose " Introduction to the Skill of Musick, or I'salms and Hymns, in four piirts, on the Com- mon Tunes," and other publications of a similar nature, entitle him to he con>idere pa-Til-ion S>c« : ^-^^^-^^S; U'lio nball li dnell-vr bv, witb-iu tby uiiuint ofsaoc-ti-tie ! Ainsworth's Psalms were brought to this coun- try by the Puritans, and used by them until the introduction of jirinting and the publication of the Hay Psalm Hook. .\s early as l.i'.tO, Henry Ainsworth was a distin:;uished leader among the iJrownists. He was a native of England, and probably retired to Holland in l.jil't — the period of the general banishment ot the UrownLsts. He lived at Amsterdam, where he was porter to a bookseller. He died in 1622, and. as some sup- posed, from violence. His version of the Psalms I •cems to have been prep«re«l and pviblisbes seem common to both ; and arrange- ments of Ainsworth's melodies would j)robnbly have much the same effect as do the arrange- ments of the (iregorian chant, when the .latter has the old form i)reservcd. Until about 1812, the reading of our teachers was confined, at best, to a few such books as those published by Holyoke, and .Swan, and Jenks, and Harmon ; and the style of perform- ance was formed by copying that of some favor- ite teacher who had preccdesari- ly progressive, and, with the advance of othci departments of art in .Vraerica, music has also progressed. Now, if music lo elevating in its nature, the higher the style of music the more impressive it.s efleot upon the character. The same framoof mind induces pleasure in listeninii to the Te Deum as in lintening to Old Hundred. PSA ENCYCLOPEDIA OF MUSIC. PSa Not timt nil cnn nt once or to a similar extent enjoy the inimterpieocs of art." In 1()20, on. the «th day of December, the Pil- prim Fitthers worshipped (iod with prayer and the shrfini/ of p.ia/iti.s, near Plymouth, Massnehu- (ictts, where, soon alter, lliey landed on the rock now snored to their memory. December 9, 1G20, was the first Cliristian Sabbath in New Enj^land. The Mayflower liad cros.sed the ocean, it had reached the bleak shores of the new world on Sat- urday ; the Lord's day wa,s approachinsr — a day which the l'il;;rims rc<»nrded as holy ; and on this day they devoutly raised the /frit son;/ of praise and thanksgiving ever sung on this continent. Psal- mody wa.s first introduced in the ret'onucd religion by the dissenters, and was more used by tliem than by the established church. But their great aver- sion to every thing resembling poetry caused them to abandon every kind of what was then called '• curious si>i(/inf/," and they did not then know the use of musical instruments. The history of psalmody, psalm singing, and psalm writing, forms a portion, and by no means an unimpor- tant portion, of the history of the reformation. The metrical psalms of Sternhold were first in- troduced by the Puritans. Metrical psalmody was also adopted by Calvin ; austere as he was, he introduced sinqing of psalms, in opposition to reading them. lie expelled pictures from the church, mutilated the statues, and dashed the painted glass in pieces ; but the congregation were allowed to iing. The Pilgrims, when they came to this country, brought with them, from the mother country, the style of singing prevalent there when they left, and the book they used was " Ainsworth's Psalms," which was published at Amsterdam, in 1612. In tlje preface to this versification, Mr. Aiusworth says, " Tunes for the psalms, I find not any set of God : therefore, all people may use the most grave, decent, and coinlbrtable manner of singing that they know." Ainsworth's ver>ion was the first used in this country, and was used by the first church, at Plymouth, and by all the congregations in the New England colonies, until 1640. The book had this title: " The Book of Psalms : Englished both in Prose and Metre. With annotations opening the words and sentences, by conl'erence with other Scrip- tures. By Henry Ainsworth. Bee yee filled with the Spirit ; speaking to yourselves in Psalms, and Hymns, and Spiritual Songs : singing and mak- ing melodic in your hearts to the Lord." A copy of this version is preserved in the Massa- chusetts Historical Society. The Psalms were Englished in prose on the left side of the page, and the nietre on the right hand side. The United States of America, especially those which are oommonly tenned the New Enghmd States, were colonized principally by non-con- formists, and used, with Ainsworth, the version of Sternhold and Hopkins to some extent. To tliis kind of music they became strongly attached, and until the day of Billings they adhered to this style of music. It was such a:« fitted the men and the time ; and now there is to the sged, and some of their descendants, more pathos, more heart-thrilling e.Kjjression, in some of the aid |)salm tunes, feelingly displayed, than in a whole batch of modernisms. The strains go home, and the " fountain of the great deep is sroken up' — tlie great dcoji of unfathomable feeling that lies far, far below the surface of the world-hardened heart ; and as the unwonted, yet unchecked tear starts in the eye, the soft- ened spirit yields to their influence, and shakes off the load of earthly care, rising, purified and spiritualized, into a clearer atmosphere Strange, inexplicable associations brood over the mind " like the far-off dream of paradise," mingling their chaste melancholy with musings of still, subdued, more cheerful character. How many glad hearts in the olden time have rejoiced in these songs of praise — how many sorrowful ones sighed out their complaints in those plain- tive notes that steal sadly, yet sweetly on the ear — hearts that, now cold in death, are laid to rest around that sacred urn, within those walls they had so often swelled with emotion ! In 16.32 an attem))t was made in Scotland to supersede the old English version of the Psalms, which had been in use since 1.564, by that of King James I. But while the Scottish divines withstood the introduction of the king's version, they appear at the same time to have taken measures for obtaining a version of which they could entirely approve. In England, the old version was used until 1696, when there appeared the " New Version " of the Psalms. The old version of the Psalms fell gradually into disuse after the publication of , " A New Version of the Psalms of David, fitted to the Tunes used in Churches. By Nahum Tate and Nicholas Brady. London, 1696," iuduodeci- m*. It was preceded by a specimen, " printed for the Company of Stationers," in 1695, also in duodecimo, and entitled " An Essay of a New Version of the Psalms of David, consisting of the first Twenty ; fitted to the Tunes used in Chun li- es." This new version was introducd to the public under the sanction of an order in privy council, by King William lU., dated December 3, 1696. The " New Version " of Tate and Bradv is now used in most of the churches in England and in Ireland, as well as in the chapels of the Episcopal communion in Scotland, and in the British colonies. It has also been adopted by the Protestant Episcopal church in the United States of America. Nicholas Brady versified some of the psalms in 1692, and in the same year wrote an Ode for the Feast of St. Cecilia, which was set to music by Purcell. This ode was performed in London, by the Purcell Club, November 22, 18-52. In 1636, a committee of ministers of the Con- gregational or Independent churches was appoint- ed, who, in 1640, completed from the Hebrew a metrical version of the Psalms, which was subse- quently referred for improvement to the Uev. Henry Dunster, principalof Harvard College, Mas- sachusetts, who was aided, as to the poetry, by Mr. Richard Lyon, an English gentleman, at that time resident in Harvard College. Between the years 175.5 and 17o7, this translation received a very careful revision from the Uev. Thomas Prmce, M. .\., rector of the South Church, Bos- ton ; whose revised edition was published in Oc- tober, 1758, and was introduced into the South Church on the Sunday after his funeral. The early settlers of America were religious men ; they were men of high intellectual attain- ments — leaning, it is true, to the useful, rathei than the ornamental literature ; b it that conuec- 753 PSA ENCYCLOPEDIA OF MUSIC. PS A tion which must subsi'^t between all sciences, that " commune vinculum," led them in a con- siderable degree to the latter. We must consid- er their iiinuiremonts, not in rcliition to the pres- ent models of literiiture, but in relation to the times m which ihev lived. Many ol them were distinguished lor their talents, and held in high repute. Their first attempts in the de|>artment Ot bell«s lettres were undoubtedly rude, when eompare0 the publication of music from en- graved plate^i, made in this country, commenced ; and it is generally supposed tliat a collection of psalm tunes, ii\ two aitd three parts, was, during this year, en.;raved and published ; but wo have not been able to obtain certain knowledge of this tact. There are to be found, in some of the old libraries, versions of the psalms, with tunes " pricked with pen and ink," or, as we would now say, copied upon blank leaves inscr(c- ;^ii And we ihoulil nuw writs th«m thas : In 1712 Rev. John Tufts, "by the great desire of his many Iricnds and the concurrence of many divines," was inducenoiU/u in the porch of the church Iwlorc it wa.s unpacked. At length, however, in 1714, it was put up, and wa-i regularly used in that church ^ which, after the reign of Uueen .Vnne took the name of tha King's Chapel) until 1756, when it was sold to 769 PSA ENCYCLOP.IIDIA OF MUSIC. PS4 St. Paul's Church, Xewburyport. It was used there cii^hty yonrs, niid in 183G was sold, nnd put up at St. John's Church, in Portsmouth, New Jlampsliire. The oriKiiml pipes and wind-chest remain in pcrlect order to this day ; nnd this aged orj;an, tlie first introduced into New England, 'in