A Dictionary of Music and Musicians v4 1890 Stanford

A DICTIONARY oF MUSIC AND MUSICIANS (A.D, 1450-1889) BY EMINENT WRITERS, ENGLISH AND FOREIGN. WITH ILLUSTRATIONS AND WOODCUTS. ‘EDITED BY SIR GEORGE GROVE, DCL. DIRECTOR OF THE ROYAL COLLEGE OF MUSIC, LONDON. IN FOUR VOLUMES. VOL. IV. WITH APPENDIX, EDITED BY J. A. FULLER MAITLAND, MA. Bondo: MACMILLAN AND CO. AND NEW YORK. 1890. , wots [The Right of Translation and Reproduction és reserved.)Az 32 HORACE HART, PRINTER TO THE UNIVERSITYPREFACE. Tue general aims and intentions of the Dictionary of Music and Musicians were stated in the Preface to Volume I, and need not be repeated here. The work now appears before the public in a complete form. The large demand for it, which has gone on steadily increasing, not only in this country and the United States of America, but on the Continent of Europe, shows that on the whole the book has fulfilled the intentions with which it started. Shortcomings there will always be in a work of this description, arising from inexperience, from the progress of the general subject, or from deaths of old musicians and arrivals of new ones; but it is hoped that these have been met by the Appendix promised at the outset. For this very important part of the undertaking the Editor has secured the able co-operation of the gentleman whose name appears on the title-page of Volume IV., and who has been of signal assistance to him in a very trying portion of his work. To Mr. Fuller Maitland, and’to all the other contributors to the Dictionary, who have so successfully and so cheerfully laboured throughout the long course of its publication, the Editor here returns his heartfelt thanks for their valuable assistance; and embraces the opportunity to express his pride and pleasure at having had the aid of so distinguished an array of workers, To the publishers he offers his sincere acknowledgements for much patience, and many a friendly act. It would be invidious to single out special articles in addition to those already mentioned, where all have been written with such devotion and intelligence; but the Editor cannot help mentioning, amongst many others, the long articles on Schumann, Spontini, and Weber, by Dr. Spitta of Berlin; on Sonata, Symphony, and Variations, by Dr. Hubert Parry ; on Song, by Mrs. Edmond Wodehouse; on Scotish Music, by Mr. J. Muir Wood; on Wagner, by Mr. Dannreuther; on the Organ, by Mr. E. J. Hopkins; the Piano by Mr. Hipkins; the Violin by Mr. Payne; and those on Schools of Composition, and other historical subjects, by Mr. W. S. Rockstro. A copious Index of the whole four volumes bas been prepared by Mrs, Wodehouse, and will shortly be published in a separate volume. a9 Brpronp Srazer, Covent GanpEx, Ecater, 1889.LIST OF CONTRIBUTORS. Appisox F, Anprews, Esq., New York . . Cart ARMBRUSTER oe Davin Barriz, Esq, Glasgow .. 2... James R. Srenpate-Bewnert, Esq. .. . R. H. M. Bosaxquzr, Eso. Rev. H, R. Bramuzy Horatio F. Browx, Ese. Dz, Hermann Bupy .. Hoy. Mas. Burren Mas. Watter Carn Wriam Current, Eee, FSA. Avexis Critry, Esq... . os oe = M. Gustave Cuouguet, Keeper of the Museum of the Con- servatoire de Musique, Paris .. .. Arruuez Duxe Coverines, Esg., Barrister-at-Law .. _ Frepenick Conver, Ese., Mendelssohn Scholar, 1875-79 Groror AntHuR CRawForp, Major Wut H. Cumaines, Ese. 7 W. G. Cousins, Ese., Conductor of the Philharmonic es Master of the Music to the Queen Lionex Cust, Esq. 66 Epwarp Danwreuruer, Esq. .. Heer Pact Davip Joan Hunter Daviz, Eso... ALFA. CAL D.B. J.R.8.-B. R.H.M.B. H.R.B. H.F.B. HB. MB. M.C.C. W.C. A.C. G.c. A.D.C. F.C. G.A.C. W. H.C. W.G.C. LC E.D. P.D. J.U.D.viii LIST OF CONTRIBUTORS. James W. Davison, Esa. eee Hany Conus Dzacox, Ese. .. Dz, Aurnzp Dénrrst, Leipzig... Epwarp H. Donkin, Eso... Cuanence Eppy, Ese. .. H, Surnznzanp Epwanps, Ese. Louis Exazn, Esq... Hern Max Frrpinper, Berlin : Huwny Frepenicx Fnosr, Eso., Organist of the Chapel Royal, Bevo J. A. Fourer Marmanp, Esq... J. A. F-M,, or in Appendix’ Joun)T. Fra’se 0) 0) Cuanues Autan Frere, Esq. Barrister-at-Law Da. Franz Gennixo, Viena... SB Goumplse 95 7 J.C. Garris, Ese... Rey. Tuomas HeLmorg, Master of the Children of the Chapels B Royal * Wram Henvenson, Exe. Gxorce Henser, Ese. Da, Ferpmaxp Hintze, Cologne A. J. Harxuns, Esq. Epwanp Jonny Horxiws, Esq,, Organist to the ca Rev. T. Percy Hopson Fraxcis Huzrrer, Eso. A. Hucuzs-Hvcues, Exo. Joun Huttag, Esq, LL.D. W. Huns, Esq. .. or = . Wiuam H. Husx, Esg., Librarian to the Sacred Harmonic Society F. H. Jenxs, Ese, Boston, Mass., U.S.A. Mons, Apotrue Juuiien, Paris J. A. Kappgx, Esq... Morton Latwam, Esg. .. on . James Lecry, Esq. a R. B. Lrrcurretp, Esq. ” - J.W.D. H.C. D. A.D. E.H.D. CE. H.S.E. LE. MF. H.F.F. M. STE CAF. F.G. 8. B.G. J.C.G. T.H. W.H. G.H. AJ. H. E. J.H. T.P.H. FH. A. H.-H. JH. W. He. W.H.H. FB. AS, JAK. ML. IL. RBL.LIST OF CONTRIBUTORS. Henry J. Laxcouy, Ese. we re Sranzey Lucas, Esg., Secretary to the Philharmonic Society Heer Fempmanp Lupwia www Hercutas MacDonwau, Eso... Sm Gzonce ALExanpeR Macrarney, Mus. Doc., Professor of Music in the University of Cambridge, &¢, &. .. Cuartes Macnmson, Ese, FS8. 0. 06. wk Here A. Maczewsxt, Concort-director, Kaiserslautem Juuan Mansnatt, Esq. el Mas. Juuian Mansrazt, SS Busewr Maueay Boy Stenor GIANNANDREA MazzucaTo ay oe o Rev. Jonny Henry Mex, M.A, Mus. Bac. Miss Louisa M. Mippneton .. oe “ - Rav. J. R. Mie on : . Epwin G. Monk, Esq., Mus. Doc., Organist of York Cathedral ‘Mrs, Newmarcn o0 9p co oo Sm Herpest S. Oaxever, Mus. Doc., Professor of Music at the University of Edinburgh Rev. Sin Faepenick A. Gore Oussier, Barz. Mus, Doc., Professor of Music in the University of Oxford. 9... Waures Pannart, Ese, Mus Bac... 6. wk C. Hussar H. Panny, Esq., Mus. Doc. ‘Herr Exnst Paver “ . . oy Epwarp Joux Paynz, Esq, Barrister-at-Law.. an Rev. Huox Pzarsow, Canon of Windsor .. Epwanp H. Pemper, Fsq, QC... Miss PHInuimore . : : Hens C. F, Pout, Librarian to the Gesellschaft der Musik- freunde, Vienna... — Wuuram Pour, Ese, FRG, Mus. Do. .... E, Powonasms, Esa... we Victor pe Ponmiery, Esq... we HJ. L. 8.L. FL H.M.D. GAM. cM. AM. JM. F. A.M. RM. GM. J.H.M. LM.M. IRM. E.G. M. RN. F.A.G.0. W. Pa. C.H.H.P. P. E.J.P. H.P. E. H. P. CM. P. CFP. Ww. P. E. Pi. V. pe P.x LIST OF CONTRIBUTORS. TiecrwaLo Lane Poors Mog ExserngzEr Prout, Ese. .. | o ory a _ Rev. Wiit1am Pouxe - . . oe - Cuantes H. Purpay, Eso... o . o . Luier Riccr, Esq. . oo . . Epwarp F. Ruwsautt, Ese, LL.D. .. on . Siexor F, Rizzeuut - co oe . os . W. S. Rocxsrzo, Esq. .. . . - Dssmonp Luuizy Ryan, Ese... ” Cusr Scnuiz, Ese. wk . ” . Cari Srzewens, Esq. .. - - - _ T. L. Soursaarts, Eso. .. ” ” ” ” ” Dr. Puutaer Srrrra, Berlin: Professor in the University ; Se- eretary to the Royal Academy of Arts; and Managing- Director of the Royal High-School for Music . ‘W. Barcuay Squire, Esq... . oe o Sm Joun Sraiver, Mus.Doc, Oxon... 6. ewe H. A. Srarnam, Esq. .. on . o . Cuantes Epwarp Srernens, Esq, F.C.O., Hon. Member RAM, &. “ ” “ ” ” Sm Roserr P. Srewart, Mus. Doc., Professor of Music in Dublin University eee eee ‘T, L. Sum, Esq, Glasgow .. a. oo Wri H. Strong, Esq, M.D. - “ on J, Srurrarorp, Esq. - ” ” . ” Sm Agruve Szrmour Suuuivan, Esq, Mus. Doc. Principal of the National Training School of Music.. =... Franxun Tayzor, Eso. ee BR Tepper, Es... | Auuxanpen W. Tuayer, Esq, United States Consul, Trieste, Author of the Life of Beethoven... Miss BertHa Tuomas .. . a Som Taomas egg R.L.P. E.P. W. Pg. Cc. H.P. LR. E.F.R. F. Re. W.8.B DLL. R. C. Sch. cs. TLS. PS. W. B.S. JS. HE.S. C.E.S. RPS. TLS. W. HS. J.8d. FT. B.R.T, A.W. T. BT. aT.LIST OF CONTRIBUTORS. xi C. A. W. Tuorrs, Eso. Oe CU Couons, H.: Wane, Public Library, Pe Mass, USA. H.W. Freverick Westiaks, Eso. | fw Mus, Epvonn Wopznouse wee ee AL W J. Mure Woon, Esq, Glasgow... wee MW H. E. Woowwmor, Esk HE. W. TareomoR ooA DICTIONARY or MUSIC AND SUMER IS ICUMEN IN (continued from vol. iii p. 768). While receiving with due reapect the judgment of the ey ‘quoted, we cannot but feel that, in most caves, their authority is weak- ened, almost to worthleamess, by the certainty that "it rests on evidence collected entirely at second-hand. Neither Forkel, de Coussemaker, por Ambros, ever saw the original document; their statements, therefore, tend rather to confuse than to enlighten the enquirer. Still, great as are the anomalies with which the subject is sur- rounded, we do not believe them to be irrecon- cileable. Some critics have trusted to the guid counterpoint of the Rota, as the only to its probable antiquity. Others have laid greater stress upon the freedom of its melody. ‘We believe that the one quality can only be explained by reference to the other, and that the student who considers them stely, and without special reference to the caligraphy of the ‘MS., stands but a slender chance of arriving at the trath, We propose to call attention to each af these three points, beginning with that which seems to us the most im it of all—the character and condition of the MS. 1, The style of the handwriting corresponds so closely with that in common use during the earlier half of the 13th century that no one accustomed to the examination of English MSS, of that period can possibly mistake it. So positis are the indications, on this point, that Sir Fred- erick Madden—one of the most’ learned graphers of the present contury—did not hesitate to express his own conviction, in terms which leave no room for argument. ‘The whole is of ‘the thirteenth century,’ he says, ‘except some writing on ff 15-177 And, in » later note, conn this “MS. with the ‘Cartulary of (MSS. Cott. Vesp. E. v.), he states his belief that, ‘in all probability, the earlier portion of this volume'—i.e, that which contains VOL. IV, Pr, 1. MUSICIANS. the Rota—' was written in the Abbey of Read- ing, about the year 1240.! The present libra- 7iss, Mr, E. Maundo hom unhesitatingly endorses Sir F. Madden's judgment; and the Palmographical Society has also corroborated it, in connection with an autotype faceimile—Part ‘VIII, Plate 125 (Lond, 1878)—referred to the year 1240. Fortunately the MS. is in such perfect pro- servation that the corrections made during ita ion can be distinctly traced, Ina fow places, the ink used for the Antiphon on the prceding page can be seen through the vellum : ut, apart from the spots traceable to this cause, there are a considerable number of evident erasures, clearly contemporary with the original handwriting, and corrected by the same hand, and in the same ink. The second note on Stave 1 was originally an F, The first and second notes on Stave 4 were originally two Ca; the fourth note was s D; and the fifth, a C, Between the sixth and seventh notes, in the same Stave, thore are traces of a D, and also of an F: the D hhas certainly been erased to make room for the present notes; the appearance of the F is produced by s note showing through from the opposite side. ‘The eighth note on this Stave was an E. Over the ligature which immediately follows, there are traces of a C ; and, towards the end of this Stave, a last erasure has been made, for the insertion of the er black square note. The marks which show through the vellum are to be found near the beginning of Stave 3, and in several other places. Neither these, nor the erasures, are to be seen in our facsimile, though traces of both may be found in the autotype of the Palmographioal Society. 2. The mixed character of the Part-Writing hos many an able commentator; for, side by. passages of radest Discant, it exhibite wit 1 fon vot, p38. (nota): and TOD (note). * Compare with facts, vo i p 288.2 SUMER I8 ICUMEN IN, progressions which might well have un- Glorured in the fur inter days of Paleetiua, The 4th, 6th, 7th, 8th, and 24th bars! are in Strict Two-Part Counterpoint of the First and Seoond Order, of i ble purity. But, in passing from the gth to the roth, and from the 13th to the 14th bars, a flagrant violation of tho First Cardinal Role® results in the formation of Consecutive Fifths between the First and Third Cantus Parts, in the one case, and between the Second and’ Fourth Cantus, in the other. ‘The same Rale is broken, between Cantus Ti, and Bassus I, in passing from bar 17 to bar 18; and, in bare 37, 38, 39, ® similar infraction of the Role produces no lees than three Con- secutive Fifths between Cantus I, and Bassus II. Between bars ag and 30, Cantus I and II si ‘Consecutive Unisons ; and the error is repeat betwoen bars 33, 34, by Cantus II and Cantus IIT, simultaneously with wutive Fifths between both theso Parts and Cantus T. Similar faults fare repeated, as the Rota proceeds, with per sistent ity. Now, the smooth ions shown in the 4th, 8th, and agth bars, are as si tly for- Hidden in the ‘Diaphonia of the 11th and 12th centuries, as the Consecutive Fifths in bars 37, 38, and 39, are in the Counterpoint of the 15th and 16th, or even in that of the r4th century. To which of these epochs, then, aro we to refer the Rota! ‘The peouliarity of the Part-Writing clearly affords us no means whatever of answer ing the question, but is calculated rather to mis jad than to throw new light upon the point at a. 3- Turning from the Part-Writing to the Me- lody, we find this pervaded bya freedom of rhythm, ‘merry graceful swing, immoasurably in advance of any kind of Polyphonic Music of earlier date than the Fa-las peculiar to the later deoads of the 16th contury—to which decads no critic has rer yet bad oe to refer the Rota, lowing rhythm is not at {vance FalicSong of quite. unfathomable antiquity. ‘The grace melody is no proof of ite late origin. dates of such melodies are so uncertain, that the eloment of Chro1 may almost bo said to have been eliminat the caster Sra of Natiooal Mie, In mot canes, Poetry and Music owed their origin, in all probability, to the same heart and The melodies were not composed, but If the verses to which they were in- for their existonce were light and trip- they. If the verses were gloomy, naturally \ded with them. their euthors, however unskilled ht be in the Theory of Musio, were in ‘constant, Church Melodies in the Eoclesiastical Modes, they naturally conformed; in moat cae, to the tonal ef tows Reais Beg’ Tey ef from the history of | i SUMER IS ICUMEN IN. venerable scales. We believe the Melody of the Rota to be an inspiration of this kind—a Folk- Song, pur et simple, in the ed Tonian Modo, owing ita origin to the author either of the English or the Latin verses to which it is wodded. Now, some Folk-Songs of great antiquity ‘the rare and very curious peculiarity of FdUmrr—~—sr— old version of ‘ Drops of brandy’ forms a very fair Canon in the unison for two voices. In the days of Madame Stockhausen, three ind t Swise melodies were accidentally found to ft together in the same way, and were actuall: Published in the form of ‘an English Round, ‘which soon became very popular, melody of the Rota—if we are right in beli to bo a genuine Folk-Song—j possean0s this quality in a vory remarkable degree. What more probable, then, than that » light-hearted young Postulant should troll it forth, on some bright May:morning, during the hour of restos: tion t That a second Novice should chime in, a little later? ‘That the effect of the Canon should be noticed, admired, and experimented upon, until the Brethren found that four of them could sing the tune, one afler the other, in very pleasant Harmony! ‘There must have been many « learned tor at Reading, capable of modi- fying » note or two of the melody, here and there, for the purpose of making ita phrases fit the more smoothly together. So learned a mu- ‘would have found no difficulty whatever in adding the pes, as » support to the whole—and the thing was done. Harmony suggested, in the first instance, by a veritable * Dutch Con- cert” becam pela iouee ee] Casces a lied proved, by Mr. Chappell's opportune discovery Of the Latin pun [oce vol i p. 7680], to have boon already fetiine to Rnglsh cares for which Very reason it was all the more likely, in a case ike the present, to have been indebted for ita confection tos happy aocident. The tion is, of course, purely hypothatel "Wo So" not, Rowever; aake with the intention of evading a grave chrono- logical dificulty by a mere idle gues. ‘Tbe influence exercised, by the point we are consider ing, upon the history of Medimval Music in goueral, ani that of the Barly English School in Particular, is of no great imy 30e, that the element of conjecture would be altogether out of place in any chain of reasoning professing to felve the diftoultiee of an enigma which has pus: aled the best Musical Antiquaries of the age. ‘We venture, therefore, to propose no conjectural theory, but simply to ‘epitomise the results of a Yong ‘course of study which has rendared the Reading ‘MS. as familiar to us as our own handwriting; submitting it to our readers with ‘all possible deliberation, as a means of socount for certain peculiarities in the Rota which would otherwise remain inexplicable, It accounts for ‘8 freedom of melody immeasurably in advance of that, attained by the best Pc honiste of She 15th century, whether in the Flemish orSUMER IS ICUMEN IN. Tulian School. It accounts for the transcription, ina handwriting of the 13th centary, of pro- gremions which were not sanctioned by scholastic suthority until the 15th ; and, at the same time, iy the admizture, with thes, of other progres. sn, wih, fa fhe 25th, century, wosld 70 ‘peremy forbidden ; other words, it seobanta for einultancous ‘obedience. to. two etinct Codes of Law diametrically opposed to ach other; two systems of Part-Writing which sever were, and never could, by any possibility by simultaneously enforced—vis. the Law of Coun- leppint, which, in the r4th and 15th centuries, le the approach to a Perfect Concord in Smilar Motion ; and that of Disphonia, which, the 11th and rath, practically enjoined it, by employing no other Extervale than doubled farths, Fifth, sod Oetavee, Tt scoounta forthe erasures to which we have already called attention; placing them in the light of improvements, rather than that of necessary corrections. More: ‘over, it accounts, with still greater significance, fer the otherwise inexplicable absence of a whole amy of familiar ions, conventional forms of ornamentation, Cadences trae, false, plain, diminished, modal, or medial, and of Licences in aumerable, which, after the substitution of Coun: terpoint for Discant, never failed to present themselves, at every turn, in Polyphonic compositions of every kind, produced in every School in Eu- ‘Tope. anomalies have not been accounted for by any critio who has hitherto treated the ipijct. Yet,eurely,those who doubt the antiquity ofthe Rota, on the ground of its advanced construo- ton, owe us some explanation as to the presence of this sdvanced style in certain passages only. We sorely need some information as to how it came to pass that the piece was written in three distinct atyles: two, of part-writing, separated by m interval of two or three centuries, at least ; sod ane, of melody, which, if not the result of an Folk-Song, of remotest antiquity, must tus down to @ period subsequent to the invention of Monodia in the 17th century. Our theory, if admissible at all, explains all these things’ A learned Musician, deliberately in- tending to write » Canon for six voices, would, had he lived in the rath century, have adopted the style observable in bars 37, 38, and 39, as that of the entire composition. Another, flouriahi 5 paseed 8 and Octaves, the earlier one, had he Pomemed sufficient natoral genius to enable him 2 Hae abore the pedantry of the age, would surely have ‘8 groat deal of what he omsidered, and taught, to be loence. Finding ‘that a Popular Melody of the day fitted together, in certain places, in a—to his ear—delightfal smcedon of similar Perfect Conords, he would surely have forgiven certain other passages whic deSed his rales, but, judged by his natural in- Minot, did not “sound bad’ Whether John of Fornscte did really construct the Rota on this Principle, of not, we oan never know for cer- SUPPE, 8 tain: bat, since the accident we have suggested certainly ‘has “happened, and been turned to advantage in other cases, there is not improbable in the supposition that it may have happened before, in that which we are now considering. The fact that no other English Rota of equal antiquity with this has as yet been brought to light, proves nothing. The wonder is, not that we can find no similar examples, bat, that even this one should have the wholesale destruction which devastated our Cathedral and Monastic Libraries, first, during the reign of King Henry VIII,’ and afterwards, during the courte of the Great Rebellion, Moroover, we must not forget that the Reading MS,, though it contains only one Rota, contains no Tees than three Latin Antiphons, two for three Voices, and one for Hfour; and that the Chaucer MS.° of very little later date, containe several Compo- sitions for two Voices, all tending to prove the early date at which the Art of Polyphonic Com- position waa cultivated in England? ‘These suggestions are made for the express Purpose of inviting discussion ; and, should any new light be thrown upon the subject, in the meantime, it will be noticed in » future article on VILLANEELA, (WSR) SUPERTONIC. The second note of the scale upwards, as D in the key of C. It is brought into much prominence in modern music as the dominant note of the dominant key. ‘The strong tend to find the chief balance and antithesis in that Koy, and to introduce the second subjeot of a movement in it, as well as the tendency to make for that point’ even in the progress of a period, necessarily throws much stress upon the root-note of the harmony which leads most directly to its tonic harmony, and this is the domi- ant ofthe new key or rapertono of the eriginal one, It has jwently become #0 familiar, that its major chord and the chord of the minor venth built upon it, although chromatic, are freely usod as part of the original key, quite irrespective of the inferenco of modulation which they originally carried. Some thevriste recognise ‘these chords as part of the harmonic complement of the key, and consequently derive several of the most characteristic and familiar chromatic combinations from the supertonic root. (C.H.H.P,] SUPPE, VON, known as Franz vow Surrs, the German Offenbach, of Belgian descent, though his family for two generations had lived sss ‘Cremona, was born at Spalato, or on board near it, April 18, _ his full bapt name is Francesco Ezecuigue ERwENEcILvo Cavazmaus Surre Daaeitt, His taste for music developed early. At 11 he learned the flute, at B24 SUPPE. 13 harmony, and at 15 produced a mass at the ‘Franciscan church at Zara, His father, however, had other views for him, and sent him to the University of Padua. "But musi amerted iteelf; he learned from Cigale and Ferrari, and wrote incessantly, died, the mother settled in Vienna, where Fran- tuitous post as Conductor at the Josephstadt theatre, ‘This was followed by better engage ments at Prossburg snd Baden, and then at the theatres an-der-Wien, Quai, and ldstadt in Vienna, with the last-named of which ho in still connected. His work at these houses, though for long mere patching and adding, was exalt practice, sod .e gradually rose to more spendent things, In 18448‘ te traum,’ founded on » and by him, is mentioned in the A.M.Z. ‘Der Reimer’ und sein Commis’ followed. In 1847 he was at the Theatre an-der-Wien and (Aug. 7) brought out a piece, ‘Das Midchen vom Lande’ (The country girl), which met with wild success. ‘Ton yearn ‘later “Jan, 8, 1858)» Singwpiel “Paragraph 3," spread his fame into North Ger many, and from that time # stream of pieces flowed from his pen. His works are said by the careful Wurzbach! to a ‘the astonishing number of 2 grand operas, 165 farces, iettas, and vaudevilles, eto., as well as a Mass (‘Missa dalmatica,’ Spina, 1877 juiem produced Zara in 1860 under the ‘title of + L’estremo Giu- dizio’ A list of 49 of his operatic pieces is given by Wurzbach, but a fow otly aro dated. Another list of a1 is given by Batka in Pougin’s tupplement to Fétis, but the titles are French, and it is hard to make the dates agree. Some of the pieces are mere ies, as ‘Tannen- hiuser,’‘Dinorah, oder die Turnerfahrt nach ‘Hitteldorf’ One, ‘Franz Schubert,’ in founded | passing on the Ii ‘of Schubert, and contains five of his The only piecos of Suppe’s known out of Germany are ‘ Fatinitzs,’ produced at Vienna, Jan. 5, 1376; at the Alhambra, London, June 20, 1878, and at the Nouveautés, Paris, March 18 and ‘Bocesceio,’ which was brought out in Lond at the Comedy Theatre, April 22, 1882. Tho overture to ‘Dichter und Bauer,’ the only one of his overtures known in England, must be his most popular work abroad, since it has been for no less than 59 different combinations of instruments, all published by Aibl of Munich, It is a atock piece in the Crystal Palace répertoire. (G.] SURIANO. [See Sontano, vol. fil. p. 638.) SURMAN, Joszrs, born 1803, son of » dis- senting minister at Chesham, became » music ‘copyist, tenor chorister, and clerk at a dissenters’ chapel. On the establishment of the Sacred Harmonic Society in 1832 he was appointed its conductor. In 1838 he became music pub- 1 Blog. Leatkon des Ousterruch, Part 4; 1800 ‘At this moment his father | cond SUSPENSION. Usher, chiefly of sacred music in separate parts, About the same time he was assistant conductor ‘of the Melophonic Society. In 1842 he waa chosen to conduct the Worcester Festival. An inquiry by » special committee into his official juct as agent for and conductor of the Sacred ‘Harmonic Society having resulted in an unanim- ously adverse report, he was removed from his office, Feb. 15, 1848. He then attempted the formation of the ‘London Sacred Harmonic So- ciety,’ but failing to obtain sufficient members carried on concerta in the society's name at his own expense for 7 or 8 years. Surman died Jan. 20, 1871, (W.H.H.) SUSANNA. An oratorio in three parts, by Handel; the author of the words is not known. ‘The overture was begun on July 11, 1748, month after the completion of ‘Solomon,’ and the work was finished on the 24th of the followi month, Tt was produced during the season of 1749. [s.] SUSATO. [Seo Triax] SUSPENSION is the process of arresting the ‘conjunct motion of one of more parts for a timo, while the reat of the components of the chord preceed one stop onwards, and thereby oome to Tepresent a different root, The part which is stayed in this manner commonly produces dissonance, which is relieved by its then passing on to the position it would have naturally occupied sooner had the motion of the parts been simul- taneous. Thus in the progression of the chord of the Dominant seventh te Tonle harmony (a), the part which takes the note (oF seventh) tan be delayed and made to follow into ita position after the rest of the chord has moved, as in (b), thereby producing a fourth in place of a third for » time, Similarly the fifth, or the fifth and ‘ird, can bo suapended, producing » olnth, or 5 ninth and seventh, against the tonic note; and the dissonant effect is similarly relieved by their ‘on to their normal position in the chord ‘afterwards, as in (0). In all such cases the first ‘occurrence of the note in the part whose motion in suspended is called the ‘Preparation,’ as in Oj) © OL, = the first chord of (8) and of (¢); the moment of dissonance resulting from the motion of the other parts, is called the ‘ Peroussion ’ of the discord, and the release of the dissonance, when the part to ite natural place in the harmony, is called the ‘ Resolution.’ ‘Suspension was among the very first methods discovered by the early harmonista for introducing. dissonance into their music. In the earliest times composers depended chiefly upon the different ‘and qualities of consonances—sixths, thirds, fifths, and octaves—to obtain the: effects of contrast between one musical moment, and another. Theo, whoo, in the natural order of things, something stronger was required, it wae found in this process of suspension, But for someSUSPENSION. time fs was used ingly, and com; ree end aoe out their purposes. For a while, more- trey all doors nppeared Seeclyamies 1s n0 more than artificial manipulations of the zation of the parte of this kind, and it was only ty the use of such means that ‘they even learnt to wwe some discards, which are at the present day ooked upon in a totally different light. About the boginning of the 17th century they began to realise that there was a radical in the claracter and constitution of certain groups of discards, and to uso at least one freely as an independent or fundamental combination. From that line discards began to be classified, instinctively, jatodefinite groupe. Certain of the leas dissonant gentnadons have in courae of time been grouped iato a special clase, which is freed from the obli- sation of and thereby loses one tithe moat easential characteristics of suspension. These are the Dominant discords of the minor erenth and major and minor ninths; certain oresponding chromatic chords on Tonic and Sapertonic roots, which have been naturally affi- lated upon the Key; and the chord sometimes known as that of the added sixth. Another class as boum created by some theorists, which is much. more intimately connected with the class of suspen- time; if indeed they are not actually suspensions lightly is "These are the discords which awe arrived at by the same process of staying or tapeading the motion of part, but which ao distinguished by further motion of the other parts simultaneously with the resolution of the discord, ‘there! ing two motions into one; asin (@)and (¢). When treated in this manner the chords are described by some theorists as ‘Pre- pared discords.’ The province of suspensions spears by this process to have been reduced, but what was lost by the process of classification bas been amply made up by the invention of a rest variety of new forms. About the time that composers first began to ‘alle the character of the dominant seventh, ey also began to use # greater variety and a harsher description of suspensions. ‘The earliest eaperiments of note in both directions are commonly ascribed to the same man, namely Monteverde. Since his time the pr has ‘been tolerably constant in one direction ; for the tendency to look for fresh and more vivid points of contrast necessarily leads to the use of sus Peosions of more complicated and harsher char acter, -At the present time the varieties of possible ‘Suspensions are so numerous that it would be slmoat as absurd to endeavour to make catalogue of them, as it would be to make a list of possible SUSPENSION, 8 combinations of sounds, But if the principle be rly understood, it is mot necessary to give Boe illustrative examples; for the fixe rules apply to all; and their kinds are only limited by the degree of harshness considered admissible, and by the possibility of adequate and intelligible resolution. Classical authority not only exists for a great variety of chroma! suspensions, often derived from no stronger basis than a combination of chromatic passing or orna- mental notes; but also for remarkable of dissonance. Beethoven for instance, in the Bb Quartet, op. 130, used the suspended fourth together with the third on which it is to resolve, and put the latter at the top, and the former at the bottom (f); and Bach supplies many examples of similar character. Certain simple rules wo fT SSS tare almost invariably obeerved—such as that the moment of percussion shall fall upon the strong boat of the bar; and that the progression shall not imply a violation of rules against consecutive concords, which would occur if the arti- jcial suspension of the part were removed, as in). Composers early discovered a means of varying the character of the process by {interpolating notes between the sot of the discord ita resolution, aa in (4). Instances are also to o bbe found in which some such forms were used as sufficient to constitute resolution without arrivi ‘at the normal note,—habit and familiarity wit = particular form of motion leading to the acceptance of a conventional formula in place of the actual solution. The following examples from Corelli's 1st Sonata of opera ada and sth of opera 4ta are clear illustrations, @ a ‘This particular device is characteristio rather of the early period of harmonic music up to Corelli's time than of a later period. The following pas- sage from Schumann's variations for two pisno-6 SUSPENSION. fortes is characteristlo of modern uses of combined and chromatic suspension, and also of interpola tion of notes between percussion and resolution, (m) rt Plano, Some theorists distinguish the combinations which resolve upwards from those that resulve down- wards, styling the former Retardations. i Reranpation ; HaRuonr.] (CH. SVENDSEN, Joan Szvxnim, was born Sept. 3°, 1840, at Clrstania, where’ his father wae ‘8 military band.master.” At the age of 11 he wrote his first composition for the violin. When 15 he enlisted in the army, and soon became ‘band -master. ‘Even at that ‘age he played with considerable skill fut clarinet, and violin. "Ho soon left the army, and worked during the next few years in the orchestra of the Christiania theatre, and at a dancing academy, for which he arranged some études i and Kreutzer scraped oe ty Tia nd Ree him, at 21, on a roving tour over a great part of ‘Sweden and North Germany. Two years after, Deing in Lubeck in extremely reduoed cireum stances, he fortunately met with the Swedish- N Consul Herr Leche, whose interest hhe gained, and who shortly stipend for him from Charlee XV. to enable him to perfect himeelf as a violinist; but being soon afterwards attacked with paralysis in the band, lhe was compelled to give up the bow for com: (ion, He came to Leipaig in 1863, and bis ‘works being already known there, he was placed in the finishing olase of the Conservatorium, receiving, however, instruction in elementary theory of muale, which he had never been taught. His instructors were Hauptmann, David, Richter, and Reinecke, of whom he considers that he | owes most to the fim. Whilst in. Leipr| wrote «Quartet in A, an Octet and a Quintet, all for stings; Quartate for male voices; and a | Symphony in, ‘The flowing encodota of ths | is both characteriatio and authentic. that his octet had been played wah | great succoms by tho students, Relnecko asked to see it; he declined, however, to suggest any {improvements in #0 splendid » work, but ro- inarked somewhat sarcastically, ‘The next thi trill bo a symphony, Tauppose’ Barely a week SVENDSEN. after Svendsen laid his Symphony in D before his “On leaving’ Lelpeg tn 186 jeavit in 1 be received the mee ei oe dae ateacee "After great poner fra rk, Bootland, and Norway, Srendaod went in 1868 to Paris “The Frensk Expire was then at its zenith, and his sojourn in the capital of France influenced the com Pome ee eet, erie here, yyed in Musard’s orchestra, and at the Ee ‘and became intimately acquainted with ‘Withelmine Szarvady, De Beriot, Vieuxtemps, and Léonard. He arranged the incidental musio to Coppée’s ‘Le passant,’ in which both Sarah Bernhardt and Agar performed, but on the whole his Paris luctions were few—a Con- certo for violin in A, and orchestral arrangements of studies by Lisst and Schubert ; he also began ‘Sigurd Slambe the overture to » Norwogian drama of that name, Ho left ginning of the war in 1870 for Leipsg, inte Lr S—O™e well-known Euterpe concerts, which however were discontinued, owing to the war. At a great musical festival at Weimar, in the same year, he first met Lisst and Tausig, and ‘ootet was played by @ party containing David, Hoelmeaberger, Gritzmacher,and Hechmann, with ee. approbation, Early in the following year Symphony in D was performed at the Gewandhaus, and his fame as composer esta- lished. ‘He composed in that year his Concerto for cello in D. In the autumn he went to America to be married to an American lady, whom he had met in Paris, and returned the same yenr to Leiprig, where, after the end of the war, he undertook the leadership of the Eut concerts for one year. There he finished overture to ‘Sigurd Slembe,’ which was played ‘at the Euterpe then, and in the following year at the musical festival at Cassel, where Liast ‘was present, and both times with great suocess. This yoar was one of the most momentous in ‘Svendsen’s life, since in it he met Wagner at Bayrouth, and soon became his intimate associnte. He tok the opportunity of making himeel fully ‘acquainted with Wagner's music and ideas. In ‘Wagner's house he met the Countess Nesselrode, who formed a warm friendship for the Norwegian composer, and whoee talents and experience be- ‘came of great benefit to him. In Bayreuth some of his happiest days were spent, and it was during this stay he composed his Carnaval & Paris, a charming composition which depicta with force the varied aspects of the capital of mure. The longing to see his country after cereal of so many years made him. varioue tempting fee and ho let Bayrowts for home, For the next five years he was conductor ee eae ‘of composition, and composed comparative works, which may be explained by the unfor- tunate want of pecuniary independence. The Pieces of this eal _Mumealiee ee Charlee XV; “Zorabas legend for orchestra ; Coronation march of Oscar IT, and a Polonaise inSVENDSEN. E for the same cocasion ; ‘ Romeo and Juliet,’ » fantasiofor orchestra; four Norwegian rhapeodies; arrangements of some No Swedish and Toelandio ballads for orchestra; ‘and his ohef- @ewere, # symphony in Bb. In 1874 his labours foand some from his countrymen in the shape of an annuity granted by the Storthing, and several decorations conferred on him by the king. After five years of hard work, he was enabled once more’ to proceed abroad.’ In 1877 he revisited Leipzig, and conducted » new work at the Gowandhaus ; went thence to Munich, and eventually to Rome, where he spent the winter. In 1878 he visited London for the first Sime, and there met Saraete, who saised him im the performance of his quartet, quintet, octet. ‘From London he went to Paris, where he stayed until 1880, Koger where tho pont of com offered 1° post of conductor was tint by the Musical Amociation, ‘Sut Srendacn, tiania, in which capacity he bas since acted. Daring the last fow year be haa produced only besides arranging for navian ; as well as for an elaborate finish strictly in harmony with the traditions of the great masters. Of these there is, however, only one ‘whose influence can be traced in his compositions, namely Beethoven. He is one of the most cosmo- politan composers of the ago. His printed works are as follow :-— 0.1. bring quartet, a A miner.) 18, Bympbony na tn Bh, 'E Googe formas volecs, "| IE. Carnaval den artists Octet rstrings a Aino. eaten, 4 Bympbeay iD. 1 Bhapeodle Norvégieane 20, i bering quintet inc, "fer orc © Goerrts for violin and! 18, Overture to Romeo and 1 ® distingulshed flute- pares, born in Christiania April 19, 1832, He rat the rudiments of playing from his father, a musician; when 12 years old played the flute fm amall cevbostras; and at 14 was engaged as first flute in the Christiania theatre, In 1851 ho went to Copenhagen, and took lessons from | » ‘Nila Petersen, then a flute-player there, In 1853 he entered the Conservatoire at Brussels, whore he studied for two years, after which he a ‘by Jullien for his Concerts in Lon- don, In September, 1856, he joined the Band w|i SWEELINCK. ? of the Orystal Palace, Sydenham, where he remained till the end of a a In 1861 Svendsen at Her Majesty's Theatre; and since 186; been professor of his instrament at the ‘Acadamy of Music. ‘Ho is well known a0 a olor Payer throughout Balgiam, Norway, Sree, SWEELINOE er or SWELINOK;' Jax Pus mason, the of Dutch was born of a Deventer family in the summer of 1562. His father, * Mr. Pieter, was organist of tho Old Church at Amsterdam, which place disputes with Deventer the honour of ha iven the son birth? Of Sweelinck’s boyhood we know nothing, excopt that ho was taught. by Jecob Buyok (Buchius) the pastor of the Old Church. ‘There ia o tradition that he was sent to Venice to study musio under Zatlino and Gabrieli ; but with this ie connected mistake of old stand= ing, which ‘his birth in 1540, 29 youre too early? ‘Now, as we know that he was in Holland from 1577, st Istest, onwards, it be ‘comes barely credible that the lad of 15 could have followed the instruction of the Venetian masters to any i it extent; and it is likely that the whole story is based upon the close atudy which his works prove him to have devoted to those of * the apostle of musical *soience,’ whose ‘Intitusioni harmoniche” he translated.’ Some time between 1577 and 1581 Sweelinck was ap- ed to tho rganstahip previously held by Either (who ded in 1573)1, and this poet filed atl "hin deatey Goo 16) 6st "Fors eration he was the glory ‘of Amsterdam ams the organ there, says s contem- ‘was @ wonderful concourse every rery one was proud to have known, seen, heard the man.’ And when he died it was the greatest of Dutch posts, Vondel, who wrote his epitaph, and surnamed him ‘Phoenix of8 SWEELINCK. grestest brillianoy, not only for his unmatched ere as an organist, but also for his skill, foe ‘and charming versatilit eymbel.! ‘The town bought him for public service ‘new ‘clavecimpbel’ from Antwerp at a cost of 200 gulden ; and the instrument seems to have travelled with him all over the country? ‘What was published however by Sweelinck in his life-time was entirely vooal music, and in- cludes — besides occasional canons, marriage- songs, otc., his ‘Chansons francaises’ (3. parts, Antwerp, 1592-4), ‘Rimes et itali- ennes” (Leyden 1612), and the great collections of sacred musio on which, with his organ works, his fame chiefly resta, ‘Those are the * Peeaumes mis en musique’ for 4-8 voices (published in several editions st Leyden, Amsterdam, and Berlin), and the ‘Cantiones Sacre’ (Antwerp 1619). A Regina Coli from the latter, 3 Chan- sons, and 8 Psalms in 6 havo been lately reprinted, in score, by the Association for the History of Dutch Music (pts. , v, vii, and vi; ‘Utrecht and Amsterdam, 1869-1877); which has also published for the first time seven of Swee- Tinck’s organ works! (pt. iii.) [VaneExtorxo.) ‘The pealms make an interesting link between the tranquillity of the old polyphonists and the rhythm of modern music, Formally they stand nearest to the earlier style, but the strictness of their counterpoint, the abundance of imitation and fugue in them, does not hinder a general freedom of effect, very pure and full of melody, toa greater degree than is common in works of the time. The are also historically of signal importance, Though they may not justify the claim made for Swoclinck as ‘the founder of instrumental music,’* they at all ‘eventa present the first known example of an independent use of the pedal (entrusting it with a real part in » fugue), if not with the first example of a completely developed organ-fugue. It is as an organist and the founder of a school of organista that Sweelinck had most influence, an influence which made itself felt through the whole length of northern Germany.’ In the next generation nearly all the leading organists there had been his scholars: his learning and method on the clavi- were carried by them from Hamburg to 5. ‘His pupil Seb ‘handed down the tradition to the great Reincko ‘—himeelf a Dutchman— from whom, if we accept a statement supported alike by unanimous testimony and by exhaustive analysis of their works, it turned to find its consummation in Sebastian Bech’ — (R.L.P.] aT. yesh led teppei) mri Soesmanleated by Dr. J. Hels ia the "Bouvvleenea, volt bp aa SWERT. SWELL (HARPSICHORD). The desire for ‘8 powor of increase and decrease on Kk instruments like the harpsichord and organ, 20 aa to emulate the bow instruments, and even the human voice, in that flow and ebb which are at the foundation of form no less than of expression, has led to the contrivance of mechanical swells as the only possible toit. A awell was first attempted on the Organ; the harpsichord swell was introduced by Robert Plenius in» sostenente variety of the instrument, named by him ‘Ly ‘and is described (in 1755) a8 the ‘of » portion of the lid or cover of the instrument by meson of & pola | Kisknan adopted this very simple ‘and we find it ‘also in many small square pianos of the Inst cen- ‘tury, About 1765 Shadi introduced the Venetian swoll, and patented it in 1769. This beautiful piece of joinery is framing of louvres which open or close gradually by means of a pedal (the zht foot one) and thus cause a swell, which may be as gradual as the performer pleases. Shudi bequeathed this patent to John Broad- ‘wood, who inherited it on the death of Shudi in 173. When the patent expired, Kirkman and others adopted it, and it waa fitted to many old harpsichords, and even to pianos, but was soon proved unnecessary in an instrument where Pomer of nuance was the very iret principle. ‘Tho English organ-builders perceived the great advantage of Shudi’s Venetian swell over the rude contrivance they had been using [see Oncam, vol. fi. p. 5564], and it became generally adopted Tor organs, and has since been constantly retained in them as an important means of effect. (A.J.H.) SWELL-ORGAN, The clavier or manual of an which acts upon pipes enconed in & box, such box having shutters, by the opening of which, by means of @ pedal, a crescendo is produced. ‘The shutters aro made to fold over each other like the woodwork of a venetian blind, hence the expressions ‘Venetian Swell’ and * Venetian Shutters’ sometimes found in cations. To the swell-organ a larger number of reed-stops is assigned than to other manuals. The first attempt at » ‘swelling organ’ was made by Jordan in 1712. The crescendo was obtained by raising one large sliding shutter which formed the front of the box. The early swell-organs were of very limited compass, sometimes only from middle © bt more generally taken a fourth lower, namely, to fiddle G. For many years the compass did not extend below Tenor G, and even now attempts are sometimes made to reduce the cost of an organ by limiting the downward compass of the Swell ; but in all instruments with any pretension to completeness the Swell manual is made to CC, cuertensive with the Great and Choir. | [See Oncax, vol. il. p. 596, otc. ; also 604.) — [J.8.] SWERT, DE, Juuxs. An eminent violon- cellist, born Aug. 16, 1843, at Louvain, where his father was Capelimeisisn at the Cathedral. ‘He was grounded in the cello and in music by his father, and afterwards took lessons from Servais in preparation for the Brussels Conser-SWERT. vatwire, After gaining th first prize there, at 15, he went to made the acquaintance of Rowini, and was much applauded. He then began a lengthened tour thro: iam, Hol- and, Denmark, Sweden, South 1y, Switzer- land, oto., in which his embraced both classical and modern pieces. Two, on which he gained greet fame, were cello nta of the violin concertos of Beethoven and Men- delohn. In 1865 he took ‘as loader at Dimeldorf, then in the Court t Weimar, and next at Borlin. Ho did not however retain the last of these long, but gave it up for concert tours, which have since occupied him. In the intervals of these ho has resided at Wicabaden aad Leipzig. His first opera, ‘Die Albigenser,’ ‘was produced at Wiesbaden in 1878, with much mocess. A. second, ‘Dio Grafen von Hammer. stein,’ is announced for publication. De Swert has a Primer for the Cello in preparation for Mears. Novello, He visited England in the spring of 1875, and appeared at tho Crystal Palace on April 24, {G.) SWIETEN, Gorrraren, Banon VAN. A ‘asical amateur of great importance, who rdided st Vienna at the end of last century and beginning df this one, The family was Flemish, and Gott- ffied’s father, Gerhard,! returned from Leyden to Vienna in 1745, and became Maria Theresa's favourite physician, Gottfried waa born in 1734, ‘and was brought up to diplomacy, but his studies were much disturbed by hia love of music, and in 1769 he committed himself 20 far as to com- ose several of the songs in Favart’s ‘ Rositre de Saleucy' for its public production at Paris, In 1771 he was made ambassador to the Court of ‘Prasia, where the music was entirely under the influence of Frederick the Great, conservative ‘and classical. ‘This suited Van Swicten. Handel, the Bachs, and Haydn were his favourite masters; in 174 he commissioned C, P. E. Bach to write six aymphonios for orchestra. He returned to Vienna in 1778 ; suoveeded hia father as Prefect of the Public Library, and in 1781 was appointed President of the Education Commision. He became a kind of musical antocrat in Vienna, and in some respects his influence was very geod. Ho the musio which he ap- ed; had regular Sunday-morning meetings classical music, as well as performances of the great choral works of Handel, and ments to Handel's * Aci % cilia,” and ‘ Alexander's Feast,’ and Starter to do the ‘same for ‘Judas’; translated the words of the « Croation’ and the ‘Seasons’ into German for Haydn; and himself arranged Handel's ‘Atha- Tah” and * Choice of He He supplied Haydn now and then with a few ducats, and gave him » travelling carriage for his second journey to England.’ In his relation to these great artista he seoms never to have forgotten the suporicrity of his rank to theirs; but this was the manner of the time. Van Swieten patron- 1 ridenty not a very wise parton. es Cariyle's *Friedrich* mae drisinger, Blog. Not. 8. SWINY 9 ined Beethoven also [see vol. f. p. 176a]; but such condescension would not be at all to Bee- thoven’s taste, and it is not surprising that we hear very Little of it. His first Symphony is, however, dedicated to Van Swieten. He was the founder of the ‘ Musikalischen Gesellschaft,” or Musical Society, consisting of 25 members of the highest aristocracy, with the avowed object of cresting a teste for good tausio—s forerumer of the ‘Gesellschaft der Musikfreunde,’ founded in 1808. “Van Swicten died at Vienna March 29, 1803. His music has not survived him, but it would be interesting to bear one of the six symphonies which, in Haydn's words, were ‘as stiff as him- elf” (G.] SWINNERTON HEAP, Cuantzs, was born at Birmingham in 1847, and educated at the — School ee ore -— very early age an aptitude for music, on leaving tohuol he was articled to Dr. Monk at York, where he remained for two years, In 1865 he gained the Mendolusohn Scholarship, and was sent to Leipzig for two-and-e-balf years, studying under Moecheles and Reinecke. On his return he became a pupil of Mr. Best at Liverpool, and since 1868 bas devoted himself to professional duties in Birmingham, at the classical concerts of which town he has constantly erpeered ase pianist, and in which district he is widely known 4s a conductor. In 1870 he wrote an exercise for the Cambridge Degree of Mus. Bao., which reduced so favourable an imy ‘upon the Professor of Music (Sir Steradale Bennett) that hhe offered to sooept the work (the 1st part of an oratorio ‘The Captivity’) as an exercise for the Mus. Doo. degree. Mr. Swinnerton Heap ao- ‘cordingly set the 3rd Pealm for the Mus. Bac. exercise, and in the followii Zor Papad reek the degree of Mus. Doc. ncipal works are a Blanoforte trio (performed at Leiprig), « sonata for clarinet and piano, a quintet for pianoforte and wind instruments, two overtures {one produced at the Birmingham Festival of 1879 and afterwards played at the Crystal Palace Concerta), = 'Salvum fac Regem” (performed at Leipzig), & short cantata, ‘The Voice of Spring, and numerous anthems, songs, and organ pleoes. (WBS) SWINY, Owns, frequently called Mac Swiny, ‘a gentleman born in ‘Ireland.’ In « letter,® dated Oct. 5, 1706, and addressed to Colley Cibber, whom he calls in turn ‘puppy,’ ‘his ‘Angel’ (twice), “his Dear,’ and finally “Unbe- liever,'—this sin, describes how Rich had sent for him from his ‘Quarters in the North,’ and how ‘he was at a great charge in coming to town, and it cost him a great deal of money last winter,’ and ‘he served him night and day, nay, all night and all day, for nine months, He had ‘quitted his post in the army’ on the faith of promises that, in return for managing “the playhouse in the Haymarkett under Rich, 2 Griesingr, Blog. Not. 67. 2 inthe wrfiers pomeaton,10 SWINY. he was to havo ‘ ico Guineas per annum Salary, a place at Court, and the Devil and all.’ This was the somewhat inauspicious beginning of ‘Swiny’s theatrical career. Having come up to London, as described, in 1708, he soon found ‘that Rich intended nothing seriously for his advantage; and he announces (in the same letter) that, in consequence of the general discontent of the actors with Rich, and although Rich might have isd the house for £3 or £3 10s. a day, he (Swiny) had taken » lease for seven years at 25,0 day, and meant to begin in a few days. "In 1707 we find him in partnership with Wilks, ‘and Cibber in the King’s Theatre, having taken tho lease from Vanbrugh, and very soon juarrelling with them and petitioning the Lord Gaaiiberiain's interference ‘in his favour, ‘He was mixed up in most of the quarrels and intrigues of the time. In May, 1709, Swiny engaged the famous ‘Nicolini for three years, that great singer baving recently made most successful début in London. Before the completion of this term, however, Swiny appears to have ‘abeented himself from hia creditors’ and become bankrupt. ‘After this, he lived for some years in Italy; but, on his return to England, s place in the cake eee ae for him, and he was PI King’s Mews. While in Italy, with Lord Boyne and Walpole, wrote to Colman (July 12, 1730) from on the subject of engaging singers for the Opera, then in the bands of flandel. Swiny died October 2, 1754, leaving his fortune to Mrs, Woffington. He was the author of several dramatic pieces, vig, ‘The Quacks, or Love's the Physician’ (1705); ‘Camilla’ (1706); + Pyrrbus and Deme- trius” (1709); and ‘The Quacks, or Love's the Physician,” an altered version of the firat piece. ‘Two years before his death, a fine portrait of Swing, after Van Loo, was in mezzotint y J. Faber, junr. It represents him, in black velvet, holding in his band a book, of which the title seems to be ‘Don Quixote.” UM) SYLPHIDE, LA. One of the most famous ballots on reoord:: in acts; libretto by A. Nour rit the singer, music by Schneitehéffer. Pro- duced at tho Grand Opera, Paris, March 12, 1832. The part of La Sylphide was danced by Malle. Taglioni, and was one of her greatest parta, both in Paris and in London, where the piece ‘was brought out at Covent Garden Theatro, for her benefit, July 26, 1832. ‘Thackeray has ‘embalmed it in“ Pendennis’ (chap. xxxvili.) (G.] SYLVANA, accurately Sizvawa, Weber's 3nd opera, composed at Stuttgart, 1810, and juced at Frankfort, Sept, 16, 1810. [See "ALDMADCHEN.] SYLVIA, OU LA NYMPHE DE DIANE. “Bollet-pantomime’ in 2 acts and 3 tableaux; libretto by Barbier, music by Delibes. Produced at the Grand Opéra, Paris, June 14, 1876. [G.] SYMPHONIQUES, ETUDES, i.e.Symphonio Studies. ‘The name of a theme and set of variations in C§ minor by Robert Schumann, forming SYMPHONY. op. 13. The work is dedicated to W. Storndale Bennett, and Mr. Spitta has pointed out that the theme contains # reference to him, inasmuch as it is identical with » of the romance in Marechner's ‘Templer und Judin,’ ‘Du stolses England freue dich,’ in which this country is called on to rejoice in her famous men. wol ili p. 4100") ‘The firet edition was Ty Hasllagor in 1837, Floretan und Cosebios milf Btudon (Esudes Symphoniques) | Thowe lished after that date are entitled “Etudes en e de Variations,’ and have been materiall; altered. (g: SYMPHONISCHE DICHTUNGEN—that is, Symphonic Pooms. A title employed by Liszt for twelve pieces of orchestral music of characteristio, tc, descript , and of various datee—one feature of which is that the movements are not divided, but lead into each other without interruption, 1 Ce quon entend sur Ia mon-) 7. Festhitogn, ‘ere i Birotde fears, ‘mune, iamentoe Troabe, | & Huneara, Leet 12. Hamer 1 Orpheae. If Hunnenseblacbt (Battle with & Proetbean, the Hons Maseppe aie. Of these the following have been performed at Mr. Bache’s annual concerta:—no. 3, May 26, 1871 and twice besides; no. 4, Nov. 37, 733 no. 2, Nov. 27, 73; n0. 6, Feb. 27, 77,and Feb. 25, 79. ‘Nos. 6, 11, and 12 have also been played at the Crystal Palace (Dec. 9. 76; May 1 Apr. 16, 81 respectively) ; and nos. 2, 9 at the Philharmonic (June 9, 1873; Feb. 23, 1882, respectively). Te guiny baa adopted the ttle *Potmen aya phoniques' for 4 pieces :-— 2. Lamooa cOmpbala, | 8 Danso macabre & Panwa. £12 Teunene deals. (G.) SYMPHONY (Sixrowia, Stvvoxts, Sru- PHONrE). The terms used in connection with any branch of art are commonly very vague and in definite in the early stages of its history, and aro ied without much discrimination to different In course of time men consequently find themselves in difficulties, and try, as far as their opportunities go, to limit the definition of the terms, and to confine them at least to things which are not obviously antagonistic. In the end, However, the process of sifting is rather guided by chance and external circumstances than deter- mined by the meaning which theorists seo to be the proper one; and the result is that the final meaning adopted by the world in general is frequently not only distinct from that which the original employers of the word intended, but ‘also in doubtful conformity with its derivation, In the cate of the word ‘Symphony,’ as with ‘Sonata,’ the mesning now accepted happens to be good accordance with its derivation, but it is considerably removed from the meaning which was originally attached to the word. It seems to have been used at first in a very general and comprehensive way, to express any portions of music or passages whatever which were thrown into relief as purely instrumentalSYMPHONY. in works in which the chief intorest wae oentred pon the voice or voices, Thus, in the operas, cantatas, and maanes of tho only part of th 17th centary, the voioes had the most important ihe Work to do, nad the instrament chat ees was to supply simple forins of harmuny ss accompaniment, If there were any little por- ious which the instruments played without the toices, these were indiscriminately called Sym- phonies; and under the same head were included such more particular forms ss Overtures and Ritornelli. ‘The first experimentalistein harmonic music generally dispensed with such independent instrumental passages alt jer. For instance, most if not all of the cantatas of Cesti and Roesi! are devoid of either instrumental introduction or ‘itornel ; and the samo appears to have been the case with many of the operasof that time, There were however a fow independent little instra- mental movements even in the earliest 0 Paris ‘ Euridioe,’ which stands almont at the head of the list (having been performed at Florence in 1600, as part of the festival in connection with the marriage of Henry IV of France and Mary de’ Medici), contains a ‘Sinfonia’ for three flutes, which haa a definite form of ita own and is very characteristic of the time. ‘The use of short in- Srupental paaages, such as dances and intro- actions and ritornels, when once fairly increased rapidly. Monteverde, whofollowedclose upon Peri, made some use of them, and as the ceutury grew older, they became more and more important element in dramatio works, especially opis, The indierninae oe of the word ‘ye ay,’ to denote the passages of introduction to airs and recitatives, eto, lasted for a very long *hile, and got so far stereotyped in common ‘wage that it was even applied to the instra- rental portions of alm, tc, when played by . r ean may eolial dior, site tae ceart's—‘Sio (meaning Strinasscchi) spielt ie Note ohne Empfindung ; sogar bei den infonien spielte sie alles mit Exy fion,’ eto.’ With regard to this so of the term, it is not ‘Recessary to do more than point out the natural coune by which the meaning began to be re- Mtricted, Lolli, Alessandro Scarlatti, and other reat of oporas in the 17th century, Sianded the appendages of ars to proportions ralatively considerable, but there was a limit ‘beyond which such dependent could ot go. ‘The independent instrumental portions, ou the other hand, such as overtures or toc- ‘atas, or groups of ballet tunes, were in different Sreumstances, and could be expanded to a very Ruch greater oxtent; and as they grew in importance the name ‘Symphony’ came by degrees to have a more i The small instrumental appendages to the various aire and soforth were still symphonies in a general sense, but the Symphony par excellence was the in- ‘eeductory movement ; and the more it grew in ae. otha Care Onasch Libray,Oxtord. 3B dane nr play note vthou aelog anderen fn the Bram ‘Paenios played all with expression. = SYMPHONY, n tom the more distinctive was this sp- plication of the term. Tho earliest steps in the development of this portion of the opera are chiefly important as attempts to establish some broad principle of form; which for some time amounted to little more than the balance of short divisions, of alow and quick movement alternately. Lulli is credited with the invention of one form, which came ultimately to be known as the ‘Ouverture & la ma nitre Francaise,’ The principles of this form, aa generally understood, amounted to no more than 0 succession of a alow solid movement to begin with, followed by # quicker movement in a lighter style, and another slow movement, not #0 grave in character as the first, to conclude with. Lulli himself was not rigidly consistent in the adoption of this form, In some cnses, as in *Pereée,’ ‘Thesée,’ and ‘Bellérophon,’ there tare two divisions only—the characteristic grave ‘opening movement, and » short free fugal qui movement, ‘Proserpine,’ ‘ Phaéton,’ ‘ Alceste,’ and the Ballet pice, Le Triomphe de Tamour” are characteristic examples of the complete model. These have a grave opening, which is repeated, and then the livelier central movement, which is followed by a division marked Slontoment’; and tho last, two divisions are repeated in full together. A few examples are ‘occasionally to be met with by less famons comy ‘than Lulli, which show how far the adoption of thie form of overture or symphony became general in a short time, An opera called “Venus and Adonis,” by Deunaresta, of which there is a copy in the Library of the Royal College of Music, hae the overture in this form. ‘Amadis de Greco,’ by Des Touches, has the samo, as far as can be judged from the character of the divisi i Albanius,’ by Grabu, which was licensed for publication in England by Lestrange in 1687, ‘has clearly the same, and looks like an imitation direct from Lulli; and the ‘ Venus and Adonis’ by Dr. John Blow, yet again tho same. So the model must have been extensively appreciated. ‘The most important composer, however, who followed Lulli in this matter, was Alessandro Scar latti, who certainly varied and improved on the model both as regards the style and the form. In his opera of * Flavio Cuniberto"? for instance, the ‘Sinfonia avanti l'Opera’ begins with a division marked grave, whi i simple canonical imi expanses of contrasting keys. The style, for the time, is noble and rich, and juperior to and the last « moderately quick minuct in 68 time. The ‘Sinfonia’ to his serenata ‘ Venere, Adone, Amore,’ similarly bas a Largo to begin with, 8 Presto'in the middle, and » movement, not defined by a tempo, but clearly of moderate quickness, to end with. This form of ‘Sinfonia’ survived for long while, and was expanded at times by succession of dance movements, for which also Lulli supplied examples, and Handel 9 Ms. tn Cate Ohare Lidar.12 SYMPHONY. at a later time more familiar types; but for the history of the modern aymphony, a form which was distinguished from the other as the ‘ Italian Overture,” ultimately became of much greater im ‘his form in principle to be the exact apart ole be the sat divided into three movements, but the first and last were quick and the central one slow. Who e originator of this form was it seems now impoesible to decide; it certainly came into ‘vogue very noon after the Freach Overture, and juickly supplanted it to a great extent, Certain qeiaits in ite structure were better deGined than in the earlier form, and the balance and dis tribution of characteristic features were alike freer and more comprehensive. The a was generally in a square time NHS charadiers tha central ovement aimed st expressiveness, and the last was a quick movement of relatively light character, generally fn some combination of three feet. | The history of its early development seems to be wrapped in obscurity, but from the moment of its appear nce it Las the traita of the modern orchestral symphony, and composers very soon obtained @ remarkable degree of mastery over the form. Tt must have first come into definite acceptance about the end of the 17th or the i of the 18th century; and by the middle of the latter it had become’ almost a matter of course. Operas, and similar works by the most con- spicuous composers of this time, in very great numbers, have the same form of overture. For instance, the two distinct versions of ‘La Cle- menza di Tito’ by Hasse, ‘Catone in Utica’ by Leonardo Vinci (1728), the ‘Hypermnestra,” ‘Artaseroe,’ andothersof Perez, Piocini’s‘ Didone, ‘Tomelli’s “Betulia liberata,’ Ssochini's ‘ CEdipus,” Galuppi’s ‘Il mondo alla reversa’—produced the year before Haydn wrote his first, symphony— and Adam Hiller's ‘Lisuart und Dariolette,’ ‘Die Licbe auf dem Lande,’ ‘Der Krieg,’ ete. And if @ more conclusive proof of the general acceptance of the form were required, it would be found in the fact that Mozart adopted it in his boyish pnt ‘La finta semplice’ and ‘Lucio Billa.’ With the general adoption of the form came also s careful development of the internal structure of each separate move ment, and also a gradual improvement both in the combination and treatment of the instr ‘ments employed. Lalli and Alessandro Scarlatti were for the most part satisfied with strings, which the furmer used crudely enough, but the latter with a good deal of perception’ of tone and appropri of style; sometimes with the sddition of wind instruments, Early in the vighteenth century soveral wind instruments, such as oboes, bassoons, horns, trumpets, and flutes, were added, though not often all together; and they served, for the most part, chiefly to strengthen the strings and give contrasting de- ‘grees of full sound rather than contraste of colour and tone. Equally important waa the rapid improvement which took place simultaneously in SYMPHONY. internal structure; snd in this case the development followed that of certain other ents of musical form. In fact the progress of the ‘Sinfonia avanti Opera’ in this respect was chiefly parallel to tho development of the Clavier Sonata, which at this time was beginning to at- tain to clearness of outline, and » certain maturity of style. It will not be necessary here to repeat what has elsewhere been discansed from different points of view in the articles on Foamy, So- mara, and Surre; but it is important to realise that in point of time the form of this “Sinfonia avanti !Opera’ did not lag behind in definition of outline and mastery of treatment; and it might be dificult, to decide in which form (whether orchestral or clavier) the im it detail first prosonta itself of defining the first and second principal sections by subjects decisively distinct, A marked improvement in various respects appears about the time when the symphony first began to be generally played apart from the opera ; and the reasons for this are obvious. In tho first place, as long as it was merely the appendage to » drama, lees stress was laid upon it; and, what is more to the point, it is recorded that audiences were not by any means particularly attentive to the instrumental portion of the work. The desorip- tion given the behaviour of the Public at somo of the most important theatres in Europe in the middle of the eighteenth century, seems to to the descriptions which are given of the eudience at the Ttlian Operas in ingland in the latter half of the nineteenth. Burney, in the account of his tour, refers to this more than once. In the first volume he says, ‘The music at the theatres in Italy seems but ‘an excuse for people to assemble together, their attention being chiefly placed on play and conversation, even during the formance of & serious opera.’ In another he describes the card tables, and the way in which the * people of quality” reserved their attention for » favourite air or two, or the performance of s favourite singer. The reat, including the overture, they did not regard as of much consequence, and hence the com} had_ but little inducement to put out the best of their powers. It may have been partly on this account that they took very little pains to connect these overtures or symphonies with the opera, either by character or feature. They allowed it to become almost settled principle that they should be independent in matter; and consequently there was ory Hite difficulty in ao- ‘opting thom as independent instrumental pieces. Te naturally followed as it did later with another form of overture. ‘The ‘Symphonies’ which had more attractive qualities were played from the in concerts; and the precedent being thereby established, the step to writing independent works on similar lines was but short; and it was natural that, as undivided attention would now be given to them. and they were no more in » position in connection with the opera, composers shouldSYMPHONY. take more pains both in the structure and in the choice of their musical material. ‘The Sym- phony had however reached » considerable pitch 7 jent before the emancipation took place ; and this development was connected with the progress of certain other mnsical forms be- ‘Stes the Sonata, already referred to, 1s will accordingly be convenient, before pro- cxeding further with the direct history of the Symphony, to consider some of the more important of these early branches of Musical Ar. In the early harmonic times the rela- tionships of nearly all the different branches of composition were close, The ma ‘oven to the. cary Madrigal ‘the ‘Sonate da Chiesa,’ which adopted the or instrumental version of the igal ax s second movement. It was also cheely related to the early Fantasias, as the earlicst experiments in instrumental music, in which some of the technical necessities of that department were » grappled with, It was directly connected with the vocal portions of the earl operas, such as airs and recitatives, and deri from them many of the mochanioal forms of cadence and harmony which for a long time ‘were a necessary part of its form. The solo Clavier Suite had also something to do with it, but not so much as might be expected, As has been pointed out elsewhere, the suite-form, being very simple in its principle, attained to definition’ very early, while the sonata-form, which characterised the richest period of harmonic music, was still struggling in elementary ages. Tho ultimate basis of the suite-form in » contrast of dance tunes; but in the typical early symphony the dance-tunes are almost invariably avoided. ‘When the Symphony was expanded by the addition of the Minuet and Trio, ‘& bond of oonnection seemed to be established ; but still this bond was not at all s vital one, for the Minuet is one of the least characteristic elements of the suite-form proper, being clearly of lees ancient lineage and type than the Alle- mande, Courante, Sarabande, or Gigue, or even the Gavotte and Bourrée, which were classed with it, as Intermezi or Galanterien. The form of the Clavier Suite movements was in fact too inelastic to admit of such expansion and development as was required in the or- hestral works, and the type did not supply the characteristic tochnical qualities which would be of service in their development. The of Bach's Orchestral Suites was somewhat different; and it appears that he himself called ‘them Overtures, Dehn, in his preface to the first edition printed, says that the separate MS. parts i i which the Bach ‘archives at Hamburg, from 16 took that in C, have the distinctive characteristion of the handwriting of John So- and have for title ‘Ouverture pour nd that another MS., probably departments of instrumental music he took the SYMPHONY. 13 French for his models rather than the Italians, In the Suite he followed Couperin, and in the Overture he also followed French models, These therefore appear as attempts to develop an in- ¢ orchestral work to the Symphony, upon the basis of a form which had same reason for existence and the same general purpose an the Italian Overtaro, but = jistinetly different general outline, ‘Their chief connection with the actual development of the modern symphony lies in the treatment of the instruments ; for all experiments, even on different lines, if they have a common guality or principle, ‘must react upon one another in those respects, Another branch of art which had close connection with the early symphonics was the Concerto, Works under this name wore not by ‘any means invariably meant to bo show pieces for solo instruments, as modern concertos are; ‘and sometimes the name was used as almost synonymous with symphony. ‘The earliest concertos seem to have been works in which groups of ‘solo’ and ‘ ripiono’ instruments were used, chiefly to obtain contrasts of fullness of tone, For instance, a sot of six concertos by Alessandro Scarlatti, for two violins and cello, * soli,” and ‘two violins, tenor, and bass, ‘ripieni,” present no distinction of atyle between one group and the other. ‘The accompanying instruments for ‘the moet part merely double the solo parts, and leave off either to lessen the sound here and there, or because the passages happen to go a little higher than usual, or to be a little difficult for the average violin-players of that time. When the intention is to vary the quality of sound as well, the element of what is called instra- mentation is introduced, and this is one of the earliest of that element which can be traced in music, ‘The order of movements and the atyle of them are generally after the manner of the Sonate da Chiess, and therefore do not present any close analogy with the subject of this article, But very soon after the time of Corelli and Alessandro Scarlatti the form of the Italian overture was adopted for concertos, and about the same time they began to show traces of ing show-pleces for great performers, Allusions to the performance of concertos by great violin-players in the churches form « familiar feature in the musical literature of the 18th century, and the threo movement-form (to all intents exactly like that of the symphonies) seems to have been adopted early. evidently pointe to the fact that this form spy to the instincts of composers ly, as the most promising for free expression of their musical thoughts. It may teem curious that J.8. Bach, who followed French models in some important ta of instrumental music, should exclusively have followed Italian models in this, But in reality it ppeare to ha been # matter of chance with him; he always followed the best models which came to his hand, In this department the Italians excelled; and Bach therefore followed them, and left the most important early:u SYMPHONY. jmens of this kind remaining—almost all in 1@ three movement-form, which was becoming the set order for symphonies. Setting aside those specially imitated from Vivaldi, there are at least twenty concertos by him for all sorts of solo instruments and combinations of solo instra- menta in this samo form, It cannot therefore be doubted that some of the development of the symphony-form took place in this depart- meat But Bach never to any noticeable extent yielded to the tendency to break the movements up into sections with corresponding tunes; and this distinguishes his work in a very marked manner from that of the generation of composers who followed him. His art belongs in reality to a different stratum from that which produced th forma of abstract instru~ mental music. “It is probable that his form of art could not without some modification have produced the great orchestral symphonies. In order to get to these, composers had to go to a different, for some time a decidedly lower, level. It was much the same ‘as had ‘been gone through before. After Palestrina » backward move was necessary to make it possible to arrive at the art of Bach and Handel, After Bach men had to take up » lower line in order to get to Beethoven, In the latter caso it was neces sary to go through the elementary stages of defining the various contrasting sections of a movement, and finding that form of harmonic treatment which admitted the great effects of colour or varieties of tone in the mass, as well as in the separate lines of the counterpoint. Bach’s position was 80 immensely high that several ions hhad to pass before men were able to follow on his lines and adopt his principles in harmonic music. The stion that followed him showed scarcely any trace of his influence, Even before be had pamed away the new tendencies of music vere strongly apparent, and much of the elo- mentary work of the modern sonata form of art hhad been done on different lines from his own. ‘Tho ‘Sinfonia avanti I'Opera’ was clearly by thie time sufficiently independent and complete to be appreciated without the opera, and without, either name or programme to explain ite meaning; ¢hin a very abort period the demand for very great, Burney’s tours in search of materials for his History, in France, Italy, Holland, and Germany, were imade in 1770 ‘and 72, before Haydn ‘written any of his greater symphonies, and while Mozart was still 8 boy. His allusions to independent
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