1468 ! are DICTIONARY OF MUSIC AND MUSICIANS (A.D, 1450—1880) BY EMINENT WRITERS, ENGLISH AND FOREIGN. WITH ILLUSTRATIONS AND WOODCUTS. EDITED BY GEORGE GROVE, D.C.L. IN TWO VOLUMES. VOL, I. London: MACMILLAN AND CO. 1879. [The Right of Translation and Reproduction te reserved.)MUSIC 100 G883 Nol OXFORD: B. PICKARD HALL, M.A,, AND J. H. STACY, PRINTERS TO THE UNIVERSITY.PREFACE. ‘Tars work is intended to supply a great and long acknowledged want. A growing demand has arisen in this country and the United States for information on all matters directly and indirectly connected with Music, owing to the great spread of concerts, musical publications, private prac- tice, and interest in the subject, and to the immense improvement in the general position of music which has taken place since the commencement of the present century. Music is now performed, studied, and listened to by a much larger number of persons, and in a more serious spirit, than was the case at any previous period of our history. It is rapidly becoming an essential branch of education; the newest works of continental musi- cians are eagerly welcomed here very soon after their appearance abroad, and a strong desire is felt by a large, important, and increasing section of the public to know something of the structure and peculiarities of the music which they hear and play, of the nature and history of the instru- ments on which it is performed, of the biographies and characteristics of its composers—in a word of all such particulars as may throw light on the rise, progress, and present condition of an Art which is at once so prominent and so eminently p Bsive. This desire it is the object of the Dictionary of Music and Musicians to meet. It is designed for the use of Professional musicians and Ama- teurs alike. It contains definitions of Musical Terms; explanations of the forms in which Musical Works are constructed, and of the methods by which they are elaborated, as well as of the origin, structure, and successive modifications of Instruments; histories and descriptions of Societies and Institutions ; notices of the composition, production, and contents of important works; lists of the principal published collections ; biographies of representative composers, singers, players, and patrons of music—all the points, in short, immediate and remote, on which those interested in the Art, and alive to its many and far-reaching associations, can desire to be informed. The limit of the history has been fixed at a.p. 1450, as the most remote date to which the rise of modern music can be carried back. Thus mere archeology has been avoided, while the connection between the medieval systems and the wonderful modern art to which they gave rise has been insisted on and brought out wherever possible. While the subjects have been treated thoroughly and in a manner not unworthy the attention of the professional musician, the style has been anxiously divested of technicality, and the musical illustrations have been taken, in most cases, from classical works likely to be familiar to the amateur, or within his reach. ne The articles are based as far as possible on independent sources, and on the actual research of the writers, and it is hoped that in many casesvi PREFACE. fresh subjects have been treated, new and interesting information given, and some ancient mistakes corrected. As instances of the kind of subjects embraced and the general mode of treatment adopted, reference may be made to the larger biographies—especially that of Haydn, which is crowded with new facts; to the articles on Auber, Berlioz, Bodenschatz, Bull, Cristofori, David, Farinelli, Finck, Froberger, Galitzin, Gibbons, Hasse ; on Additional Accompaniments, Agrémens, Arpeggio, Arrangement, Fin- gering, Form, and Harmony; on Académie de Musique, Bachgesellschaft, Breitkopf and Hirtel, Bassoon, Carmagnole, Choral Symphony, Conserva- toire, Concerts, Concert Spirituel, Copyright, Drum, English Opera, Fidelio, Grand Prix de Rome, Handel and Haydn Society, Handel Festivals and Commemorations, Harpsichord, Harmonica, Hexachord, and many others. The engraved illustrations have been specially prepared for the work, and will speak for themselves. In an English dictionary it has been thought right to treat English music and musicians with special care, and to give their biographies and achievements with some minuteness of detail. On this point thanks are due to Colonel Joseph Lemuel Chester for much accurate information which it would have been almost impossible to obtain elsewhere, and which he has afforded in every case with the greatest kindness and promptitude. Every means has been taken to procure an adequate treatment of the various topics, and to bring the information down as near as possible to the day of publication. Notwithstanding the Editor’s desire, however, omissions and errors have occurred. These will be rectified in an Appendix on the publication of the tinal volume. The limits of the work have necessarily excluded disquisitions on Acoustics, Anatomy, Mechanics, and other branches of science connected with the main subject, which though highly important are not absolutely requisite in a book concerned with practical music. In the case of Acoustics, sufficient references are given to the best works to enable the student to pursue the enquiry for himself, outside the Dictionary. Similarly all investigations into the music of barbarous nations have been avoided, unless they have some direet bearing on European music. The Editor gladly takes this early opportunity to express his deep obligations to the writers of the various articles. Their names are in themselves a guarantee for the value of their contributions; but the lively interest which they have shown in the work and the care they have taken in the preparation of their articles, often involving much time, and laborious, disinterested research, demand his warm acknowledgment. ag Beprorp Srazzr, Covent GaRvex, Loxvoy, April 1, 1879.LIST OF CONTRIBUTORS Sir Jus Benepicr Joseex Benner, Esq. J.B. Srennpaue-Bennerr, Esq. Davip Bartiz, Esq., Glasgow .. Mas. Watrer Carr Wnisam Cuarrent, Esq, FSA. M. Gustave Cuovguet, Keeper of the Museum of the Con- servatoire de Musique, Paris Artuur Duxe Couzninex, Ese. Barrister-at-Law Wis H. Commies, Ese. Epwagp Dannrevrues, Esq. .. Here Pavt Davip James W. Davisor, Eso. Epwarp H. Donkin, Esq. H. SurHERianp Epwarps, Eso. Cuares ALLAN Frrre, Esq., Barrister-at- a Dr. Franz Genrine, Vienna Rav, Taowas Hxtatone, Master of the Children of the Chapels Royal Grorcr Herpert, Esq. De. Ferprnanp Hitzer, Cologne A. J. Hirgms, Esq. z Enwarp Joun Horxtns, Esq., Orgenist to the Temple Rev. T. Percy Hupson e . Francis Hurrrer, Esq. Joux Hutiax, Esq, LL.D. : Wau1am H, Husx, Esq, Librarian to the Sacred Harmonie Rociety F. H. Jenks, Ese., Boston, Mass., U.S. A. Henry J. Laxcoty, Eso. Caries Macxzson, Esq., F.SS. B. J.B. J.R.S.-B. D.B. M.-C. C. W.C. G.c. A.D.C. W. H.C. E.D. P.D. J.W.D. E.H.D. H.S.E. CAF. E.G. T.H. G.H. A.J. H. E.J.H. TPE FH. JH. W. HLH. F.BLJ. HJIL CM.viii LIST OF CONTRIBUTORS. Herr A. Maczewski, Concert-director, Kaiserslautern . A.M. JuuiaN Mansnaut, Ese. - a .- « IM. Mrs. Junian MARSHALL FAM Epwin G. Moxx, Esq, Mus. Doe. Onganist of York Cathedral E.G. M. Sim Hersert S, Oaxezey, Mus. Doc., Professor of Music at the University of Edinburgh ae fee H.S.0. Rev. Sin Furpenice A. Gone Ovseiny, Bast, Mus, Doe, Professor of Music in the University of Oxford .. 9... 0... AGO. C. Huserr H. Parry, Esa... 0 w. wee os C.H.H.P. Herr Eanst Paver. paces esate P. | Epwazp Joun Pavnz, Ese, Pernt te ILE II EGP. | Epwarp H. Pemser, Eso. QC. fe Spiceeatereeere E.H.P. Miss Paruimore ee 7 ee se oM.P. Herr C. F. Pout, Librarian to the Gerellschaft der Musik- freunde, Vienna ..: at set ite CFP. Wit1am Pots, Ese, F.RS., Mus Doe. - Victor pz Ponticny, Esq. .. ae oe Exenzzer Provr, Esq. .. i . + Rev. Wiurzam Punune Cuar.es H. Purpar, Eso. Epwarp F. Riweavtt, Ese., LL.D. W. S. Rocksrno, Esq. .. - H. H. Sratnam, Esq. Sip Roserr P. Stewart, Mus. Dal Professor of Music in Dublin _ University os Wii11am H. Sronz, Esq., MD. oy AgtHurR Seymour Suuuivan, Ese, Mus. Doc. Frankuin Taytor, Esq. ALEXANDER W. Tuarer, Esq., United States Consul, “Trieste, Author of the Life of Beethoven ©. A. W. Trorre, Ese. i: i 7 Cotons, H. Wane, Public Library, Boston, Mass, US. A Tue Epitor Bedford Street, Covent Garden, April 1, 1879.DICTI MUSIC AND ‘ing, im tho viola and violoncello the first, and the contrabasso generally the third. A is also | of four clarinets in the AARON (correctly Axon), Prerzo, bom st Nloremee im the latter of the rset century. t Jerusalem, and devoted the study of counterpoint, 2 the ‘and science of music (for * which see Becker, ‘Musik Literater,’ Leipsic, $36) were 9 Printed ‘at ‘Venice and Milan. By bpe Spel hhe was admitted into the Bana at Boma, which obtained much reputa- ‘He became « canon of Rimini, and died 1533+ (C.F. P.] ABACO, Evarrsto Feuics patt’, born at erona, and renowned as performer and com| ithe violin; in 1726 concert-meister in the Kurftirst Max Emanuel of Bavaria. Died 1749. Compositions of his for church and cham- F were printed at Amsterdam, [C.F P] A ONARY oF MUSICIANS. A BATTUTA (Ital., ‘with the beat’), An indication, mostly uved in recitatives, where after the free declamation of the singer the strict time is resumed. It is thus equivalent to A TEMPO. ABBATINI, Arrorto Manta, was born at Tiferno, or at Castello (Baini), in 1595 or 1605, and died in 1677. Was auoousively Ma- catro di Cappalla at the Lateran, the Church of the Gesi, and San Lorenzo in’ Damano, and three times held the ict Maria Mage giore; was alo, for a maestro at the Siumch of Loreto, Was ofered ud by Pope Urban VIII the task of rewriting the Hymnal; but ‘refused to ou the music of Palestrina by any of his own. His published works consist books of Psalms and three books of Masses, some Antifone for twenty-four voices (Mascardi, Rome, 1630-1638, and 1677), and five books of Mottetti (Grignani, Rome, 1635). ‘He is named by ALLAcct as the composer of an opera ‘Del male in bene.’ The greater part of his Productions remain unprinted. Some soademical by bim, of much note in their time, mentioned by Padre Martini, do not seem to have beam preserved. He assisted Kincuzs in his ‘ Musurgia.” {E. HP.) ABBE, Prez Prearz pe Sr. Srvow and Prange pe Sr. Stvix, two brothers, violoncellists, were music-masters of the parish church of Agen carly in the last oantury. Tt wooms doubifal whether they were actually ordained priests, or merely in consequence of their office had to wear the ecclesiastical dress. From this cironmstance however they received the name of Abbé l'ainé— orsimply 'Abb—and I'Abbé cadet, reepectively. They gave up their connection with the churek and went to Paris, where they obtained engage- ments at the Grand Opéra. They were both excellent players, but the younger, brother seemsa ABBREVIATIONS. to have been the more celebrated of the two, and to have been specially remarkable for his heautful tone, It is said to have been owing great messure to the impression produced by his ploy! ing that the viola di gamba more and more fell into disuse and the violoncello was more extensively introduced. (Batistin) [T. P. H.] ABBEY, Jony, a distinguished organ: bade; was born at Whilton, a Northamptonshire village, Dec. 22, 1785. In his youth he was employed in the factory of Davis, and subsequently in of Russell, both organ-builders of repute in their day. In 1826 Abbey went to Paris, on the in- Vitation of Sebastian Erard, the celebrated harp and pianoforte maker, to work upon an organ which Erard had designed, and which he sent to the Exhibition of the Productions of National Industry in 1827, and also to build an organ for the Convent of the Legion of Honour, at St. Denis, He also built an from Erard’s de- tsign for the chapel of the Tuileries, which, how. ever, had only # short existence, being destroyed in the Revolution of 1830. Having established himself as an organ-builder in Paris, Abbey be- came extensively employed in the construction, renovation, and enlargement of organs in France . Amongst others ‘be builé choir yying voices for the cathe- drals Sin ot het jew Nene ‘Versailles, and Evreux, and for the churches of St. Eustache, St. Nicholas des Champs, St. Elizabeth, St. Medard, St. Eti- enne du Mont, and St. Thomas Aquinas, in Paris; and large for the cathedrals of Rochelle, Rennes, Viviers, Tulle, Chalons-sur- Marne, Beyeux, and Amiens, and for churches, ‘convents, and chapels at St. Denis, Orleans, Caen, Ctalons, Piepus, and Versi, | He repaired and enlarged organs in the cathedrals of ‘Moulins, Rheims, Evreux, and Nevers, and in the churches of St. Htienne du Mont, St. Philippe dtu Roule, The Assumption, and St Louis @? An tin in Paris, He also built many organs for Chili and South America, In 1831 Abbey wae employed, at the instance of Meyerbeer (whe introduced the instrument into the score of his opera ‘Robert le Diable,’ then about to be produced), to build an organ for the Grand Opera ‘at Paris, which instrument continued to be used there until it was destroyed, with the theatre, by fire in 1873. Abbey was the first who intro- dled into French organs the English mechanism tnd the bellows invented by Cummins, His ex- ample was ly followed by the French fom that period may be dated the Improvements. in building which have raised the French builders to their present eminence. His work was well finished, ally satisfactory. He died at Veruailles, 1899, Ho left two sons, E-and J. Abbey, who now carry on the business of organ-builders in ‘Versailles, ABBREVIATIONS, The abbreviations em- ployed in music are of two kinds, namely, the abridgment of terms relating to musical ex- pression, and the true musical abbreviations by ABBREVIATIONS. the help of which certain chords, ete. may be written in « curtailed form, to the greater convenience of both composer and performer. Abbreviations of the first kind neod receive no special consideration here; they consist for the most part of the initial letter or first syllable of the word employed—as for instance, p. for piano, erese. for crescendo, ob. for oboe, cello for violoncello, fag. for bassoon (fagotto), timp. for drums (timpani); and their meaning is every- where sufficiently obvious, ‘Those of musical pas- sages are indicated by signs, as follows. ‘The continued repetition of @ note or chord is expremed by = stroke or strokes across the stem, or above or below the note if it be = semi- breve (Ex. 1), the number of strokes denoting the subdivision of the written note into quavers, semiquavers, etc., unless the word tremolo or tremolando is added, in which case the repetition in as rapid as possible, without regard to the exact number of notes played. On bowed in- struments the rapid reiteration of a single note is easy, but in pianoforte music an octave or chord becomes necessary to produce a tremolo, the manner of writing and performing which is shown in Ex. 2,ABBREVIATIONS. Tn the abbreviation expressed by strokes, as above, the to be abbreviated can of course contaln mo note of greater length than & quaver, but itis possible also to divide « long note into crotchets, by means of dota placed over it, as in Ex. 3. ‘This is however seldoin dono, as the saving of space is inconsiderable, When & Jong ot han © be repeated in the form of triplets or tix, the figure 3 or 6 is sBeally ples ver it in addition to the stroke acrou the stem, and the note ia sometimes, though not necessarily, written dotted (Ex. 4). 3. ‘Tho repattion of a group of two. uoten is ab- Droviated by two white notes (minims or semi- breves) connected by the number of strokes or- dinarily used to express quavers, semiquavers, ete., ing to the rate of movement intended (Ex. 5). The duration of the whole passage should be at least » minim, since if a crotchet ‘were treated in this manner it would present the of two quavers or semiquavers, and would be unintelligible, Nevertheles, » group of demisemiquavers amounting altogether to the value of a.crotchet is sometimes found abbreviated asin Ex, 6, the figure 8 being placed above the notes to show that the value of the whole group is that of a crotchet, and not # quaver. Such abbreviations, though perhaps in certain cases, are generally to be avoided ss ambiguous. Jt wil bo obeorved that ing for ‘the value of one minim requires two minims to ‘express it, on account of the group consisting of two notes, ABBREVIATIONS, 3 viated by the repetition of the cross strokes with- out the notes aa many times as the group has to be repeated (Ex. 7); or the notes forming the group are written as chord, with the number of strokes across the stem (Ex. 8). In this case the word simili or segue is added, to show that the order of notes in the first group (which bane be written Pes oe Lyd re , to vent ibility of mis- ‘aking the effect intended fof that indicated in x rand 2, tr Another sign of abbreviation of » group con- sists of an oblique line with two dote, one on each side (Ex. 9); this sorves to indicate the repetition of m group of any number of notes of any length, and even of # passage composed of several groups, provided such passage is not more than two bars in length (Ex. 10), 9. A group of three, four, oF more notes is abbro- abbreviating the re- petition of a passage of the length of the above is to write over it the word bis (twice), or in some cases ter (three times), or to enclose it between the dots of an ordinary repeat fh ‘Passages intended to be played in octaves are often written as single notes with the words con otadi or con Bei placed sbove or below them,4 ABBREVIATIONS. according as the upper or lower octave is to be added (Ex. 11). The word 8¢a (or sometimes 8pa alta or fa basea) writen above s pastage = not add octaves, but merely tage an octave higher or lower: so ‘Mo in clr net music the word chalumeae is used to signify that the passage is to be played an octave lower than written (Ex. 12). All these alterations, which can scarcoly be considered abbreviations except that they spare the use of ledger-lines, are counteracted, and the passage restored to ita ‘usual position, by the use of the word Loco, or in clarinet music by clarinette, 11, Con Bot. dd gets = In orchestral music it o%en. that cer- tain of the instruments play in unison ; when this is the case the parte are sometimes not all written in the score, but the lines belonging to one or more of the instrumenta are left blank, and the words coi violin’ or cot bamwa, ete., aro added, to indicate that the instruments in question have to play in unison with the violins or basses, as the case may be, or when two instruments of the same kind, auch as first and second violins, have to play in unison, the word unisono or col primo jn placed insted of the nots in the line belonging the socond.—Where two parta aro written on one staf in a eoore the niga’ @ 2° denotes that both play the same notes; and ‘a 1’ that the second of the two is resting.—The indication ‘a3’ ‘a4’ at the head of fugues indicates the number of parts or voices in which the fugue is written, ‘An abbreviation which is often very trouble- some to the conductor occurs in manuscript scores, when a considerable part of the composi- tion is repeated without alteration, and the cor- responding number of bars are left vacant, with the remark come sopra (as above). This is not a4 met with in printed scores, ! ABEL, There are also abbreviations relating to the theory of music, some of which are of great shri are eepemc by figure ed he saber chords are ex] of several modern theoretical’ works have in- vented or availed themselves of various methods of shortly expressing the different chords and intervals. Thus wo find major chords expressed by large Roman numerals, and minor chords by sinall ones, the particular number employed de~ noting the degree of the scale upon which the chord is based. Gottfried Weber ts an interval by a number with one or two dots be- fore it to express minor or diminished, and one or two after it for major or augmented, and André makes use of a triangle, (\, to express = common ciiord, and a square, [, for a chord of the seventh, the inversions being indicated by one, two, or three small vertical lines across their base, and the classification into major, minor, diminished, or augmented by the numbers 1, 2, 3, 0r 4, placed in the centre, TT] ABEILLE, Jom. Ca, Lupwio, bom at Bayreuth Feb. 20, 1761, composer, pianist, and organist. Studied at Stuttgart, and in 1782 be- came a member of the private band of the Duke of Wiirtemberg. On Zumsteeg’s death in 1802 he succeeded him as concert-meister, and was shortly fterwards made organist in the court chapel ad Cateye offical music. Ta. 3852, wing com; ‘= period years! service, he received the royal gold medal. and 8 ponion, shortly after which he died, in, his seventy-first year. Abeille's concertos and trios for the harpsichord were much esteemed, but his vocal compositions were his best works. Amongst them are several collections of songs (c.g. ‘Eight Lieder,’ Breitkopf and Hartel) which are remarkable for sim) simple natural gras sod 8 touching vein of melody. Some of those still survive’ in tmusicsohoels, Hie Aah-Wednoedlay hymn for four voices, and his operettas of ‘Amor und Payche,’ ‘Peter und Annchen,’ were well known in their day, and were published, in forte score, by Breltkopf and Hlirtel(C. ABEL, Ctawon Huwnion, bora in Woet- phalia about the middle of the 17th century, chamber-musician to the court of Hanover. His work ‘Enilinge Musialischer Blumen’ appeared first in three vols, (Frankfort, 1674, 1676, and 1677), afterwards united under the title ‘Drei opera musica’ (Brunswick, 1687), (M.C. C.] sgABEL, Kame Buonicn, one of the most us viol-da-gam! la) at in 172%. Ho was brooght up at tho Thomas school at Leipsic under Sebastian Bach. In 1748 he obtained a post under Hasee in the court band at where he remained ten years, In 1759 he visited London, and gave his first concert on April 5 at the ‘grest room in Dean-street, Soho,” when, in addition to the viokde-gamba, he per~ formed ‘a concerto upon the barpsichord, and a piece composed on purpose for an instrument newly-invented in London, and called the penta- chord the wnoto of the pieces in the programmeABEL, being of his own composition. His facility was remarkable: he is reported to have performed more than once on the horn, aa well aa on ‘new instrument never heard in public before.’ From the year 1765 however he confined himself to the viol-da-gamba. He was appointed chamber. musician to Queen Charlotte, with a salary of £200 a-year. On the arrival of John Christian Bach, in the autumn of 1762, Abel joined him ; Mrs, square, on January 23, 1765, and they were maintained for many yoars. ‘The Hanover-square Rooms were opmnod gn, Feb. 1.1775 by one of ‘these concerts. Haydn's Symphonies were firat performed in England at them, and Wilhelm jer the violinist, father of J. B. Cramer, made his firet ap there. ‘After Bach's i positions were much per- fred, od be Kall il played oon in appearance was at Mra, Billi concert on May 21, 1787, shortly afer whi = June 20, he died lethargy or sleep of hree daye' duration. ‘His death was ach spoken of in the papers, Abe's eymphonies, overtures quartets, concertos, and sonatas were esteemed, and many of them were pabtiaged by Bremner of London and Hummel of Berlin. ‘The most favourite wore ' A. fifth set of six over. tures, op. 14° (Bremner), and ‘Six sonatas, op. 18. Abel's playing was most remarkable in slow movements. ‘On the violda-gamba,’ says tho aropenn Magazine, 1784, p.366,+he is 2 truly exeallent; and no modern as been beard to play | 5 sn Adagio with greater tate and fecling! ney's testimony is to the same effect, and he adds that ‘his musical ecience and taste were so com- plete that he became the umpire in all musical controversy, and was consulted like an oracle.’ ‘He was accustomed to call his instrument ‘the king of instruments,’ and to say of himself that there was ‘one God and one Abel.’ Among his mupils both in singing and composition were STB. Cruner, Graaf, and Brigida Giorgi (Sig- nor Banti). "His friend Gainsborough pain ai painted ‘= three-quarter-length portrait on the vil-dacgambey dietingnisbed by ‘tact ‘execution, sty of colous an expres- son, It was bequeathed by Mie Gaiustore to Mr. ‘and was sold in London in 1 Geinstorongh also exhibited « wholelength of Abel at the Royal Academy in 1777, and » very powerful portrait of him by wu is to be found at Hampton Court, (C.F. P) ABEL, Lropouy Avoust, born at Cithen 1720, death unknown ; elder brother of the pre- ABOS, & coding, violinist, and pupil of Benda. He pla; in the orchestra of the ae heatee ce perk ieee a rar rocomraly sondactor of the court bad to the Prince of Schwarsburg-Sondershausen (1758), the Mangrave of Schwedt (1766), and the Dake of Schwerin. He composed six violin concertos mentioned in Bohme’s catalogue, but never rose to the reputation of his brother, (M. C. C.] ABELL, Joux, a celebrated alto singer and former on the lute, was born about 1660, eheat i panic by rl 9, and botwoen the ty, tween Fears 1079 and 1688 received "bounty money" mounting to no lees than £740, (Seo Moneys received and pald for secret sarvices of Charles II and James II'—Camd. Soo.), Charles II sent him to Italy to study, and after his retum Fyvelyn thus describes meeting him: ‘Jan. 24, 1682-3. ARer supper came in the famous treble, Mr. Abel, newly returned from Italy, I never heard » more excellent voios, and wo whimsical, s0 that when ‘oF not upon. the stage are things very dips but he certainly end all creatures upon earth, and I have often both abroad and since he came posi "Citerary Relics, 1792, . 322). in 1701 Abell published two works, +A Collection of Songs in Several ? which he dedicated to William IIT, and ‘A collection of Songs in English.’ The latter contains = ery curious poo of some length, addresed to +All lovers of Musick,’ in which he describes some of his doings on the continent, His death is not recorded, but it was after 3736, when he gave concert at Stationers’ Hall. (Hawkins, Hist. ; Cheque-Book Chap. Roy., ete.). ABOS, Grnowimo, born at Malts in the be- ginning of the 18th century, died at Nay about 1786, oomponer of tho Newpaitan ston, and pupil of Leo and Durante, He was a Fhe Conservatrio of "La Picth’ ‘st Naples, and trained many eminent singers, of whom Aprile was the most famous. He visited Rome, Venice, ee 1756) London, where he held the post of mnestro al combalo at the opere. His are “La Pupilla ol Tutore,” "La, Serva pr and “Livigenia in Aulide’ (Naples),6 ABOS, ‘L'Artaserse’ (Venice, 1746), ‘L'Adriano’ (Rome, 1750), ‘Tito’ Manlio,’ and ‘Creso’ (London, 1756 snd 1758). His church musio includes ‘seven Masses, two Kyries, and several Litanies to the Virgin, preserved in manuscript in Naples, Rome, Vienna, and the in Paris, ‘The style of his composition somewhat resembles that of Jomelli, (M.C. 0) ABRAMS, The Misses Hannter, Taoposta, and Euiza, were three sisters, vocaliste. Harriet, the eldest, was s pupil of Dr. Arne, and first appeared in public at Drury Lane theatre, in hor master’s musical piece, Ma a 28, 1775. She and at the of the Concert of Ancient Music in 1776, Harriet possossed © soprano, and Theodosia a contralto voice of excellent quality. Tho youngest sister, Eliza, was socustomed to join with her sisters in the pieces which were ‘sung at the Ladies’ Catch and Glee Concerta, ‘The elder two sang at the Commemoration of ‘Handel, in Westminster Abbey, in 1784, and at ‘the principal London concerts for several years afterwards, when they retired into private life. They both attained to an advanced age; Theo- desi, (then Mrs, Garrow) was living in, 1834. Harriet Abrams composed sev eslng songs, two of which, ‘The Orphan's and ‘Crazy Jano,’ aided by the oxpromive tng- ing of her sister, Th became very popular, She published, in 1787,‘ A Collection of Songs and ‘A Collection ‘of Scotch Songs harmonized for three voices,’ besides other pieces at later dates, (W. HH.) ABT, Franz, born at Eilenburg in Prussian Saxony, Deo. 22,1819. Hi man, and Franz, though d profession, received » sound musical education, and was allowed to pursue both objects at the Thomas-School and University of Leipsic. On his father's death he relinquished the church as ion and adopted music entirely. His first revidenoo wae at Zilrich (1841), where he acted as capellmeister, occupying himself more especially with men’s voices, both as composer and conductor of several sucieties, In 1852 he entered the staff of the Hof-theater at Brunswick, where since 1855 he has filled the post of leading capellmeister. ‘Abt is well known by his numerous songs for one or more voices, which betray sn easy fluency of invention, couched in pleasing popular forms, but without pretence to depth or indi- vidunlity. Mam of his songs, as for instance ‘When the swallows,’ were at one time univer sally sung, and have obtained # more or less ent place in the popular repertory. Abt js o member of a group of composers, embracing his contemporaries Truhn, Kicken, Gumbert, ‘and others, who stand aloof from the main course taken by the German Lied as it left the hands of Schubert, Schumann, and Franz,—which aims at the true and living expression of inward emotion. In reference to this the co! Guevion av somewhat in th backgrounsy bukit, ACADEMIE DE MUSIQUE. cannot be denied that in many dilettante circles Abt is a favourite for his elegance and easy ‘ately. His greatest succerses in Germany and Switzerland have been obtained in part-songs for men’s voices, an overgrown branch of composition unfortunately devoted to the pur- suit of the mere superficial cajoymect of ewoet sounds, and to » great extent identified with his name. The list of Abts compositions is enormous and contains more than 400 works, consisting chiefly of Lieder” of the most various kinds for one, two, or three solo voices, as well ss for chorus, both female and mixed, and, as already mentioned, especially for men's voices. Of the solo ‘ Lieder,’ a collection of the lese-known ones has been published by Peters under the title of ‘Abt-Album, The part-songs are to be found in many collections. in the early part of his life Abt composed much for the pianoforte, chiefly jeces of light salon character. These have never Toye sce popularity with his vocal works, and are now virtually forgotten. [Mj ABYNGDON, Henny. An English eccle- siaatic and musician, He succeeded John Ber- nard as subcentor of Wells on Nov. 24, 1447, and held that post till his death on Sept. 1497, when he was succeeded by Robert Wydewe. (Beckynton's and Oliver King's registers at Wells.) In addition to the succentorship at Wells Abyngcon held the office of Master of the Song" of the Chapel Royal in London, to which he was appointed in’ May 1465 at an annual salary of forty marks, confirmed to him by a subsequent Act of Parliament in 1473: (Rimbault, ‘ Cheque-book of Chapel Royal,” He was also made Master of St. Catherine's Hospital, Bristol, in 1478. (Collinson, ii, 283.) ‘Two Latin epitaphs on Abyngdon’ by Sir Thomas More have been preserved (Cayley's ‘Life of More,’ i. 317), of which the English epitaph quoted by Rimbault from Stonyhurat is an adaptation. In these he himself is styled “nobilis,” and his office in London ‘cantor,’ and he is said to have been preeminent both ‘as a singer and an organist :— «Millibus in mille cantor fait optimus ille, Practer et haec ista fuit optimus orgaquenista,” More's friendship is evidence of Abyngdon's sbalty and goodness, but the acquaintance can we been slight, as More was but seventeen when Abyngdon died. None of hi works are known. {G] ACADEMIE DE MUSIQUE. This in- stitution, which, following the Gequently changed palitcal conditions of France noe 1791, has called in turn Royale, Nationale, and Im- ériale, has already entered ite third century. fa royal letters patent were granted by LV to the Abbé Perrin, Hobert Cambert, mike ‘Marquis de Sourdéao, for the eatablish- ment of an Académie wherein to present in public ‘operas and dramas with music, and in French verve,’ after the manner of those of Italy, for the space of twelve years. Nearly # century priorACADEMIE DE MUSIQUE. to this, in 1570, similar privileges had been accorded by Charles IX to » Venetian, C. A. do Baif, in respect to an academy ‘de poosie vt de musiqua’ but it scheme does not appear 10 havo included dramatic representation. In any case it failed utterly. The establishment of the existing institution was however also preceded, and therefore facilitated, by © series of per- formances in Italian by Italian artiste, beginning in 1584 and continued with little interruption till 1652, and by rarer though not less important ones by French tite, bazinning from 1625, ‘when ‘Akébar, roi du Mogol,’ was produced The palace ofthe bishop of Carpentran, This bas frequently been spoken of as the earliest veritabl. French opera; but that title is more justly due to the ‘Pastorale en musique’ of CaMBEnt—the subject of which was given to the Abbé Perrin ‘by the Cardinal Legate of Innocent X—firt performed at Iney in 659, Two. year afer bert followed this opera by ‘Ariane,’ and in the following year by ‘ Adonis.’ ‘The Aondémie ‘was opened in 1671 with an opera by the same master, ‘Pomone,' which attained an enormous success ; having been repeated, apparently to the trelusion of every other work, for elght monthe successively. The ‘strength’ of the company engaged in its performance presents an interesting contrast with that of the existing grand opera, and even of similar establishments of far less pretension. The troupe consisted of five male and four female principal performers, fifteen horas singers, and an orchestra, numbering | wit thirteen! ‘The career of the Académie under these ite first entrepreneurs was brought to an end by the jealousy of an Italian musician then rising in court favour, J. Baptists LULLY, who, through his influence with Mime. de Montespan, succeeded in obtaining for himself the privileges which had been acoorded to Parria and Cambert. \don | and the frequenters of the Foire the first master of the situation, remaining to the time of his death, in 1687, the autocrat of the French lyric drama. In the course of these fourteen years he produced, in concert with the poot Qumracur, no fewer than twenty grand operas, Desides other works. ‘The number, success, and, more than all, the merit ofthese entitle Lally to be regarded as the founder of the school of which Meyerbeer may claim to have proved the most ed alumnus ; though, as we have seen, ita foundation had been facilitated for him by the labours of a the couse of his autocracy, lov 01 rousical form inf application to aramatio a et added considerably to the resources ot ‘the archerta ; though, in comparison, with, thove cof more recent times, he left them still very meagre, He is said to have first obtained iasion, though in spite of great opposition, the appearance of women on the stage; but ACADEMIE DE MUSIQUE. ? tas the troupe of his predecessor Cambert in- cluded four, his claim to their first introduction there needs qualification. Probably he got probibition which had eeasod to be operative exchanged for avowed sanction. ‘The status of the theatrical performer at this epoch would seem to have been higher than it has ever been since ; seeing that, by a court order, even nobles were allowed, without t prejudioe to ther rank, to appear as dancers before sudienoee “who, paid, for simiosion to their performances, What it was somewhat later may bbe gathered from the fact thet, not to mention innumerable leas ished instances, Christian burial was refused (1673) to Molitre and (1730) to Adrienne Le Couvreur. Lully’s scale of pay- ment to authors, having regard to the value of money in hie time, was liberal, ‘The composer of a new opera received for each of the first ten representations 100 livres (about £4 sterling), and for each of the following twenty repre sentations, 50 livres, After this the work became the oper of of the Académie, Tho theatre was opened tic performance three men a eck throughout thd year. On great festivals concerts of sacred music were given. The composers contemporary with Lully (many of them his pupils) could’ only obtain ‘ovens to the Académie by: to his style and working on his principles. Some few of Shee however, whose im of the Lullian eepotin deprived them ofall chance ofa hearing in its walls, turned their talents to account in the service of the vagrant troupes of the Foire Saint-Germain; and with such success aa to alarm Lully both for his authority and his receipts, He obtained an order (more suo) for the suppression of this already dangerous rivalry, wrtieh however proved itself far too supple for legislative manipulation. ‘The ‘vagrants’ met each new ordonnance with a new evasion, and that of which they were the first practitioners, ns, subsequently grew into the most delightful, ieee! the most traly natura, ofall French tho Opéra ue. The school oh Troponon established by Lully did not die with its founder; nor for many years was any serious violation’ of his canons permitted by his adopted countrymen. Charpentier (1634- 1702), & composer formed in the school of Carissimi, was unsuccessful in favour for the style of his master: Campra (1660-1744) was somewhat lees se ; while Marais, Desmarets, Lacoste, and: Monteciair wore gradually enabled to give more force, variety and character to orchestration. The Inst of these (1666-1737) first introduced the three-stringed double-bass, on which he himself was s performer, into the orchestra, But condition of an art on the whole so stagnant as this was sure eventually to become insupportable, if not to the publio, to the few who at all times, consciously or unconsciously, direct or confirm its inclinations, Their impationce found expression in the Abbé Raguenots ‘ Paralléle dos Italiena ot des Francais,8 ACADEMIE DE MUSIQUE. ui regarde Is musique et les opera’ (1704), ono of considerable number of essays which assisted in preparing the way for s new style, should = composer present himeclf of sufficient + genius, culture courage, to introduce it. Such an one at length did present himself in Jean Punters RawEAv, whose arrival in Paris in 1721, at the somewhat mature age of forty- ‘two, forms an in the history not merely of French opera but of European music. In the face of much opposition this sturdy Burgundian succeeded first in obtaining « hearing from and eventually in winning the favour—though never to the same extent as Lully the affections—of ‘the French people, Between 1737 and 1760, irrespective of other work, he set to music no Jess than twenty-four dramas, the majority of ‘them ‘The production of these at the Académie he ly superintended ; and some ides of his activity and influence as « director may be gathered from the fact that in 1750, fourteen years before the close of his career, the number of performers engaged at the Académie had risen to 149; 8 number doubtless to some extent renderol necoemry by. the’ increased craving of the public ear for intensity, but more by the varieties of musical effect of which he himself had been the inventor. In 1763 the theatre of the Palais Royal, built by Lemercier, 20 long resonant with the strains of Lully and Rameau, was destroyed by fire. The ten years which connected the death of Rameau with the arrival in Paris of Guucx were marked by the production of no work of more than secondary rank, On April 19, 1774, the ‘Tphigénie on ‘Rulido” of this master as heard for the time. The production of this eon was followed by that of a series of others from the same hand, one and all characterised by a direct application of musical form and colour to dramatic expression before unknown to the French or any other theatre, The arrival in Paris shortly after of the sdmirable Proomar brought Gluck into relation with » master who, while not unworthy to cope with him as musician, was undoubtedly his inferior as a diplomatist, Between these two Frcat compones the parte of the typical, “rusd talian’ and the ‘simple-minded German’ were interchanged. The latter left no means untried tomar the sucoees of the former, for whose genius he openly professed, and probably felt, high ad- miration; and in the famous war of the Gluckists and Piccinnista—whose musical knowledge for ‘the most part was in inverse ratio to their literary skill—the victory which fell eventually to the former was the result no less of every species of chicanery on the part of Gluck than of genius enpeialy adapted to captivate » people always more competent to appreciate atic than musical genius. In 1781 the second Palais Royal theatre, like its predecessor, was burnt to the ground. The Académie, for many weeks without a home, at length took temporary refuge in tho Salles dee Menus-Plaisirs, Meanwhile the architect Lenoir completed the Salle de la Porte Saint-Martin in the short space of three ACADEMIE DE MUSIQUE. months. Tho result of this oxtravagant speed was that, after the first performance, said to have been attended (gratis) by 10,000 persons, the walls were found to have ‘settled’ two inches to the right and fifteen lignes to the left. In 1784 an Boole Royale de Chant et de Deciama- ion, afterwards developed into the Conservatoire, twas grafted on to the Acadomie, ‘Ta 781 the Académie troupe is said to have consisted of 350 ersons—an increase of 100 on that of Rameau. Fire unfortunato Loula XVI took great interest in the Académie, and even gave much personal attention to ite regulation. He reduced the working expenses by nearly one-half; not at the coat of the working member, but by the sboli- tion of sinecures and otber incumbrances on ita income. In 1784 he established prizes for brett, and im 1787 lerued several. wel, for the regulation of fhe ertablishment Bet fom 1789 the thoughts of the ill-starred king were exclusively occupied by more wrelghty ‘and more difficult subjects. On April 20, 1791, the royal family ‘the Académie for the last time, The opera was She “Castor ot Pollux’ of Rameau, Shortly ser this ‘protection,’ or exclusive right of formance of grand opera, was withdrawn ym the Académie and the liberts des théatres proclaimed. ‘Hitherto tho names of the artiste concerned in the Académie performances had nover been published. ‘This rule was violated for the first time ja the alice ssnouncing “1! Offrande & Ia Liberté,’ an Gardel and Goesee. ‘The history ofthe J Realémns during the next few years is a part of the history of the sige Revolution, and could an be be mede int by details out of all wrihour pase The socsairen eu publ aoe rete largely cocupied in lending the charms ot of which th they * cre Tee Peles dela wi were ive—to ‘Fétes de " ‘Sqna-Culottides,’ and more lately ‘Hymnes & 1'Etre Supréme,’ alike unmeaning, {ndacont, o¢ Diagphemons, In many of theee the talents of the illustrious Cherubini, who had taken up his residence in Paris in 1788, were employed. ‘The cal ‘Notice’ of his compositions, which he himself drew up (Paris, 1845), contains the titles of s large number of productions of this class—‘Hymne & ls Fra- ternit’ “Chant pour le Dix Aott/ “Le Balptize Reépublicain,’ and the like. In 1794 the Académie was transferred to the Rue de Richelieu, @ locality (the site df the Hotel Louvois) chosen it was said by Henriot, convinced of ‘the ine utility of books,’ in the hoge that an establish ment 20 liable to conflagratfon as a theatre might lead to the destruction of the Bibliotheque Nationale contiguous to it! In ite new abode the Académie took a new name—Théatre des Arte, Here for the first time the cae rovided with seats, In the four or five this aoe ‘Roadin became weary ccortant timate refercace tof é, ates er egalité. The old operas, subjected always toACADEMIE DE MUSIQUE. democratic purification, were again heard. In 1799 Gluck's ‘Armide’ was revived. During the consulate no new works of importance were brought forward at the Théatre des Arts, eventu- ally the woene of two conspired would have altered seriously the subsequent history of Europe. On the occasion of the first of these the ‘Hornces’ of of the second the ‘Creation ' of Haydn were ed, the latter for the first time in Paris, ing the ten years which follow 1804 Freich pers was tavch developed through the labours hot of foreign and of mative composers; the former, ‘Spontini, Rodolphe ‘Kreutzer, and Cherubini; among the latter Lesueur and Catel. the most important of their works were ‘ ica’ of Lesueur and ‘La Vestile’ of Spontini—the latter an enormous success won ition. To cocupied Paris, and the Emperor of Russia and ing of Prussia assisted at a performance of ‘La Vestale’ on April. On May 17 following ‘dipe & Colone’ and a Ballet de Circonstance were played before Louis XVIII, On April 18, 1815, Napoleon, witnessed performance of “Le Vestal and on Suly 9 ofthe same year again” performed iar s XViL, ‘the Emparor of Aumtzia, and of Prussia, ‘The assassination of the Dac de on the evening of Feb. 13, 1820, interrupted for several months the performan cen of the Académie, The act and its consequences is attended by eat, Ing, surrounded by his weeping family, separated only by » thin partition from an tadionce, unconscious of coure of the tragedy in progress behind the scenes, convulsod wit laughter at the antics of Polichinelle! ‘The last sacraments of the church were administered to the duke on condition—exacted, it may be presumed, by the clergy in attendance—that the building in which these horrors were being enacted should be forthwith demolished. On May 3, 1821, the Académie troupe renamed ta performances in the Salle Favart, with an Opes de the combined work of Berton, Boieldieu, Kreutzer, Cherubini, and Paer, in honour of the infant Duc de Bourdeaux. In tho next year the Académie was again transforred—this time to the Rue Le Peletier, the salle of which was destined to be for many years ite home, and the scene of even glories than any it ad yot known, About this time a change of taste in music, mainly attributable to » well-known critic, Cestil-Blaze, showed itself among the opera habitués of Paris. French adaptations of the German and Italian operas of Mozart, Rossini, Meyerbeer, and even Weber, were ‘produced ACADEMIE DE MUSIQUE. 9 in rapld succession sind received with great favour. The ‘Freischiitz’ of the last master was performed at the Odéon 387 times in suecestion. The inevitable result aoon followed. The foreign composers who had so effectually terved the Académie indirectly, were called upon to serve it directly. The career of Mozart, alas ! ‘ad many year before come to an untimely end, and that of Weber was about to prove scarcely more extended. But Rossini and Meyerbeer, though already renowned and jenced. had not yet reached the age when it is impossible or coven very difficult to enter on a new career. They became and remained French composers. Mean- while Hénoup, Aupes, and other native musi- cians, had made themselves known by works of more than promise ; and the services of a body of operatic composers, foreign and French, un- Precodented in number and ability, were made Te contribute at the same time tothe pleasure prize | of single city and the prosperity of s single institution, By a fortunate colneldence t00, there flourished during this pay ‘Augustin Eughne Scribe, who, deepite bi impossible, must be regarded as the oui master the theatre has known of that most dificult and thankless of li product, the libretto. ‘The two years immediately and the eighteen ing the revction of July form the period during which the Académie attained its highest excellence and success. Not to speak of » large number of works which in other times might have deserved special mention, this period includes the composition and pro- duction of the ‘Comte Ory’ and the ‘Guillaume Tell’ of Romini, the ‘Muette’ of Auber, the “Robert le Diable’ and ‘Hnj * of Mever- beer, the ‘Juive’ and ‘Charles VI" of Halévy, the ‘Favorite’ of Donizetti, and the ‘ Benve- nuto Cellini’ of Berlioz. ‘These works were performed almost exclusively by native artists, whose excellence has especial claims on our admiration from the fact that, fifty years before, inging as an art can scarcely be said to have existed in Franoo. . Writing from Paris in 1778, Mozart says—‘ And then the singers !—but they do not deserve the name; for they do not ai but scream and bawl with all their might through their noses and their throats.’ With the times, like many other things, French singing had certainly changed in 1830, Transi- tory a4 is the reputation of the average vocalist, the names of Cinti-Damoureau, Falcon, Nourrit, Levassour, and the later Duprez, are as little Uke to be forgotien as thote of the admirable masters of whose works were the first interpretre, | Since 1848 the lyric dramas pro- ‘at the Académie hold no place besides {ine of etiier date. Fow of hore thin athe Dest of testa—have been performed with any fuccem, of even at all, out of France, The ite’ of Meyerbeer and the ‘Vépres Siciliennes’ of Verdi present all but the only exceptions; and the composition of the former of these belongs to an earlier epoch. In 1861, when the second empire, was, or seemed to be, Be