A DICTIONARY -/’ OF - MUSIC AND MUSICIANS. eY (A.D. 1450—1880) BY EMINENT WRITERS, ENGLISH AND FOREIGN. WITH ILLUSTRATIONS AND WOODCUTS. EDITED BY GEORGE GROVE, D.C.L. IN THREE VOLUMES. : T >) MUSIC LIBRARY University of California rkeley wongl 'QRIV UN i Cu reron we " MACMILLAN AND CO. 1880. {The Ripht of Trunstation and Reproduction te resereed,PIL SPO Vide music_— OXFORD: E. PIOKARD HALL, M.A., AND J. H. STACY, PRINTERS TO THE UNIVERSITY. BSN, S716, 493-9 fr rs g, ino v Vaqeo TN fa oeLIST OF CONTRIBUTORS Sim Jutrus Benevict .. 7 Joszex Bennett, Esq. . “ as an J.B. James R. Srernpave-Bennert, Esq. . . “ “. JLR.S.-B. Davip Barriz, Esq, Glasgow. ke D.B. Mrs. Wartere Carr... “ eo - . M.C.C. Wriutam Carpet, Esq, FS.. A ie . . . wW.Cc. Azexis Curtrr, Esq. ie : . . A.C. M. Gustave Caouguet, Keeper of the Museum of the Con- servatoire de Musique, Paris aie . . G.c. Arruur Duke Coteripez, Esq., Barrister-at- Law + 7 A.D.C. Freperick Corper, Esq., Mendelssohn Scholar, 1875-79 .. F.C. Grorce ARTHUR CRrawrorD, Major - ie o G. A.C. Witttam H. Comsnnes, Esq. .. . 5 a i W.H.C. " W. G. Cusrms, Ese. Conductor of the Philharmonic Society Master of the Music to the Queen... “ ee W.G.C. Epwarp Darwrevtuer, Esq. .. ts ” on E.D. Here Pavt Davip o . ory P.D. James W. Davison, Esq. oe . + J.W.D. Epwarp H. Donkin, Esq. . . oe on E.H.D. H. Surner.anp Epwarps, Esq. H.S.E. Henny Frepzrick Frost, Esg., Organist of the ‘Chapel Roy, ay HF. F. J. A. Fourer-Martianp, Esq. .. ne oe ne J.A. FM. Cuagizs Autan Frrre, Esq., Barrister-at-Law cc oH CAF. Dr. Franz Gennine, Vienna .. oe . oe - F.G. J.C. Grirritn, Ese, .. . . J.C. G. Rev. Toomas Heong, Master of the Children ‘of the Chapels Royal T.H. Grorcr Hersert, Esq. . “ . . oe G.H. Dr. Ferprnaxp Hriier, Cologne i i . “ H. A. J. Hirxis, Esq... ae . v ” AJ.H. Epwarn Jonn Horkrns, Exq., Pu to the Temple o. E.J.H. 2 023 MUSIC LIBRARY University cf California Berkeleyvi LIST OF CONTRIBUTORS. Rev. T. Percy Hupson . a ve os TPH Francis Huerrer, Esq. o a ihe ee ed F.g. Joun Huuran, Ese, LL.D... . os i: J.H. Wiuiam H. Huss, Esg., Librarian to the Sacred Harmonic Society W.#H.H. F. H. Jenks, Ese., Boston, Mass, U.S.A. .. oi fe F.EJ. 4 James Lecxy, Esg. oe ae ‘ ee a ee iL Henry J. Lincotn, Esq. ee on . H.J.L. Stantey Lucas, Esq., Secretary to the Philharmonic Society 8.1L Grorce ALEXANDER MAcFARREN, Mus. Doc., Professor of Music in the University of Cambridge, &c., &. i ia G. A.M. Cuartes Macxxson, Esq., F.S.8. ee oe ce fA co. M. Herr A. Maczewski, Concert-director, Kaiserslautern ue A.M. JuuaN MarsHatt, Esq. - . o . ee IM. Mas. Junian MARSHALL oe os oe 7 ee F. A.M. Russe. Marrinzau, Esq. o. o . . RM. Envwin G. Mont, Ese, Mus. Doc. Organist of York Cathedral E. G. M. Sr Herserr S. Oaxerey, Mus. Doc., Professor of Music at the University of Edinburgh a : H.S.0. Rey. Sir Freperick A. Gore Ousexey, Barr., Mus, Doe, Professor of Music in the University of Oxford .. . a F.A.G.0. C. Husesr H. Parry, Esq... . we i o C.H. A. P. Heer Ernst Paver. . . - . ee P. Epwarp Joun Payns, Esq, Barrister -at-Law. . a te EJ. P. Rev. Huon Pearson, Canon of Windsor... ate a H. P. Epwarp H. Peuper, Ese, Q.C. a ie An E. H. P. Miss Pxrniim0Re o .- o C. M. P. Here C. F. Pont, Librarian to the Geeellechatt aul Musi freunde, Vienna .. os i +e oo C.F. P. Wizram Pos, Esq., F.R.S., Mus. Doe. we oe te W. P. Vicror pz Pontieny, Esq... . . “ o V. pe P. Esenzzer Provt, Ese. .. “ . . . E.P. Rev, Wiiuram Puwuine par eta pte vp Rerr tn W. Pg. | Cuarzes H. Purpay, Esq... . oy . o C.H.P. Epwarp F. Rmpavtt, Esq, LL.D. .. . BS ee E. F.R. Luier Rice, Ese. + . . . . o LR. W. S. Rocxstro, Ese. .. oe " oe or ae wW.S.B.LISL OF CONTRIBUTORS. W. Barcray Squrrx, Esq. . . . “ . H. H. Starnam, Esq. .. 7 ee . . Srr Ropert P. Stewart, Mus. Doc., Professor of Music in Dublin University ee . . “ . Wnitam H. Sronz, E59, MB. o on Agraug Seymour Suutivan, Esq., Mus. Doc., Principal of the National Training School of Music... . . Frankuin Tayzor, Esq. oe - .. . ALEXANDER W. Tuaver, Esq., United States Consul, “Trieste, Author of the Life of Beethoven o oe . Miss Berroa Tomas .. . AG . C. A. W. Troyrz, Esq. 7 ac i : Coronet H. Ware, Public Library, Boston, Mass., v. 8. A Mas. Epmonp Woprnovusr one o “ + Tas Epitor . . . + ” . Bedford Street, Covent Garden, ' Oct, 1, 1880. W.B.S. H.H.S. R. P.8. W. HS. F.T. A.W. T. B.T. C.A.W.T. H.W. A. H.W.or MUSIC AND IMPROPERIA, é.e. ‘The Reproaches.” A series of Antiphons and Responses, forming part of the solemn Service, which, on the morning of Good Friday, is substituted for the usual daily Mase of the Roman Ritual. text of the Jmproperia, written partly in Latin, and partly in Grock, is designed to i lus trate he sorrowful remonstrance of our Lard with is people, concerning their ungrateful return for the benefits He has bestowed upon them. The touching words in which these remonstrances are ex) were originally sung to well-known Plain Chaunt melodies, preserved in the Graduale Romanum, and still retained in very general use, both in England, and on the Continent: but, since the Pontificate of Pope Pius IV, they have been invariably chaunted, in the Sistine Chapel, to some simple, but exquisitely beautiful Faux bourdons, to which they were adapted, by Palestrina, in the year 1560. In depth of feeling, true pathos, and ‘adaptation of the music e words, these wonderful Jm- properia have never been exceeded, even Palestrina himself, We may well believe, indeed, that he alone could have succeeded in drawing, from the few simple chords which enter into their construction, the profoundly impressive effect they never fail to produce; an effect 80 strictly in with that of the solemn Ceremony with which they are associated that we can only hope to render the one intelligible by describing it in oonnexion with the other. A small Grucifix having been laid upon the Altar Step, the Clergy, first, and afterwards the people, kneel down to kiss its Feet. While they are slowly approaching the Sanctuary, by two and two, for this purpose, the Improperia are | included sung, very softly, and without any accompani- ment whatever, by two Antiphonal Choirs, which turns, in Greek, and Latin, and sometimes em: ploying the Voices of a few leading Choristers vou. 11, MUSICIANS. only, on either side. After the last ‘Reproach,” and the Response which follows it, the two Choirs unite in singing the firat Veree of the Psalm,“Deus misereatur nostri,’ preceded, and followed, by the Antiphon,‘Crucem tuam adoramus.’ The Hymn, *Pange lingua’ is then sung, entire, with the Verse, “Crux fidelis,’ divided into two portions, which are sung, alternately, between the other Strophes. Xt is the duty of the Matire de Chapelle to tal care that this music occupies exactly the sam time as the ceremony of ‘Creeping to the Cross (as it was formerly called, in Eng! Should there be but fow people present, he is at liberty to omit any portion of it: should there be many, he may causo as much as he considers necemary to be sung over again In either case, when present have kimed the Crucifix, the Candles on the Altar are lighted : a new Procession is formed: tho Blessod Sacrament i carried, ‘with great solemnity, from the Chapel in which it has been reserved since the Mass of Holy Thuraday, to the High Altar, the Choir singing the Hymn, *Vexilla regis,’ as they precede it on ita way: and the Service called ‘The Mass of the Presanctified’ then in accordance with directions con- tained in the Missal, a ‘No printed copy of the Improperia was issu cither by Palestrina himelf,or the assignees of his con, Igino, They were firet published in London, by Dr. Burney; who, on the authority of @ MS. presented to him by the Cavaliere Santarelli, inserted them, in the year 1771, in a work entitled ‘La Musica della Settimana Sante,’ which has now become very scarce. Alfie! also printed them ainong his Excerpta, publi ‘at Rome, in 1840; and, in 1863, Dr. Proake them in the fourth volume of his Musica2 IMPROPERIA, Divina. These three editions differ from each That of Proske, other very considerably. copied from the Altimps-Otthoboni MS. pre- served in the Vatican Library, may fairly be aasumed to represent tho work exactly in the condition in which Palestrina left it: but the| varied readings of Burney (1771), a a 2 w are both valuable and interesting, as records of the abellimenti used in the Pontifical Chapel at the time of their transcription. Burney's version ‘waa reproduced, by Choron, among his examples of the ‘Great Masters, in (1836; and again, in 1840, by Vincent Novello, in “The Music of Hol ‘Week,’ which is still in print, {W.8. RY IMPROVISATION, anequivalent term for Ex- reupors Piatina or Extemporising. Moscheles has left @ curious account of the way in which ‘Mendelssohn and he used to amuse themselves by improvising 4 quatre mains, o feat already mentioned in respect to Beethoven and Wolfil under Exrzurons. ‘We often,’ says he (Life, arp, ‘improvise together on his magnificent each of us trying to dart as quick as lights the suggestions contained in the Harmonics atid to make fresh ones upon them. Then, if I bring in a theme out of his music, he immediately cute in with one out of mine; then I retort, and then he, and so on ad infinitum, like two’ people, at blind man's but against each other,” Nottebohin remarks in his ‘Beethoveniana’ (p, 54) deat of all Beathoven's string quartets st in C$ minor (op. 131) has most thecharacter of an Improvisation, but at the same time he quotes alterations from the sketahbooks (15 of one passage only) which show that the work was the very rover of an impromptu, and the renult of more than ordinary labour and vacillation, thus corroborating the remark made in the article on Beethoven in this Dictionary (p. 174 2) that that the longer he worked at his phrasce, the apparently spontaneous did they become. [G. el! etc.| where he made hia first aj INCLEDON. INCLEDON, Omanzes Brxsaury,—the se- cond of which ‘names he despised and seldom ‘used,—was the son of » medical practitioner at St, Kevern, Cornwall, where he was born, in. 1763. At 8 years of age he was placed in the choir of Exeter Cathedral, where he received his early musical education, first from Richard Lang- don and afterwards from William Jackson. In 1779 he entered on board the Formidable, man~ of-war, under Capt. (afterwards Rear- ‘Kami Clean ‘On the West India siation he hang hi ship for the Raisonable, 64 guns, Captain Lord Hervey. His voice had now be- come a fine tenor, and his singing attracted the attention of Admiral Pigot, commander of the fleet, who frequently sent for him to join himself and Admiral Hughes in the performance of glees -| and catches. Incledon returned to England in 1783, when Admiral Lord Mulgrave, and Hervey gave him letters of introduction to Sheriden and Colman. Failing to obtain an en- gagement from either manager he joined Collins's ‘company and made his first appearance at the Southampton Theatre in 1784. as Alphonso in Dr. Arnold's ‘Castle of Andalusia.” In the next year he was engaged at the Bath Theatre, 109 a8 Belville in Shield’s ‘Rosina,’ At Bath he attracted the attention of Rauzzini, who gave him instruction and introduced him at his concert. In 1786 he made his firat appearance in London at Vauxhall Gardens with great success, and during the next three years he was engaged there in the summer and at Bath in the winter. On Sept. 17, 17: he made his first apposrance at Covent ‘Theatre as Dermot in Shield’s ‘Poor Soldier,’ and from that time for upwards of 3o years held high position in publio favour, singing not only 1¢ theatre and Vaurhall, but also at con- certs, the Lenten oratorios, and the provincial music meetings. In 1817 he visited and made a tour through » considerable part of the United Sint, where he was recived with great ap the latter years of his Eiethe Bavelled Skrouge the provinces under the style of ‘The Wandering Melodist,’ and gave an entertainment which was received with much favour, Early in 1826 he went to Worcester for the purpose of giving his entertainment, where he war brtacked y paralysis, which terininated his existence on Feb. 11, He wag buried at Hampatead, Middlesex. Incledon’s voloe and manner of singing were thus desribed by & con- :—'He had » voice of uncommon former was from A to G, a compass of about fourteen notes ; the latter he could use from D to Eor F, gr about ton notes ‘His natural voice was full and open, neith king of the reed. nor the stri nnd sont for without the mallst was rich, sweet and ‘aly unlike the other. "Hr took it svithout m, according to circumstances either | Rhout D, Bor Fy or pending an octave, whichINCLEDON, vis his most frequent custom ; he oould use it ' with facility, and execute ornaments of a certain clas with volubility and sweetness. Hie shake | was good, and his intonation much more correct ‘than is common to singers so imperfectly edu- Bs bad bold snd manly masner of singing, mixed however with considerable which went to the hearta of hia countrymen. sang like s true Englishman. .,. His forte was ballad, and ballad not of the ‘modern cast of vhining or wanton sentiment}, but the original aly i roy nae, age song-writing, wach an Susan’ and ‘The Storm,’ the bold and cl hunting song, or the love song of Shield, the chaste and simple of genuine English melody.’ All who had CE Taslodon’ singing of "The Storm” (which ‘enng in character se s sallae) were unanimous it unique, both as a v an tublone exhibition. "Of the eonge written ox- for him it may suffice to mention Shield’s "Having the load” aod * The Arothuss, ‘Vwanzio Inctxpon, his eldest son, en in agricultural pursuits, but nd ‘Oct. 3, 1829, appeared at Drury bi 3 1829, a) a Ye & Youn Meadows in ‘Love in a Village,’ thortly afterwards played Tom Tug in Dibdin's ‘Waterman. Meeting however with but very talento miccess he returned to his, former srontion, and, it is believed, emigrated to one of the colonies. (W.H.H.) INGANNO, i. deceptive Cadence, i from the Dominant, to any other note than the nie :— [WSR] INGLOTT, Witttam, born 1554, became or- hedral. @anist of Norwich Cat ‘He’ was distin. Guished for his skill as » performer on the organ and virginal, He died in Dec. 1621 sel, and was buried Dec. 31 in the cathedral, where 1 the west side of the southern pillar adjoining {he entrance to the choir a painted monument to Matoamory was placed June 15, 1622. Neatly © yew afterwards the monument, having became dilapidated, was restored at the expense of Dr, Croft. An engraving of it in its restored tate is given in ‘The Posthumous Works of Sir Browne,’ 1712. (W.H.H.) INITIALS, ABSOLUTE. Though it is not remmary that 9 Plain Chaunt Melody should begin on the Final, Dominant, or even Mediant, ofthe Mode in which it is written, the choice of the first note is not left entirely to the Composer’ ; ‘He can only begin upon one of a ‘series of sounds, selected from the Regular or ‘Tide wes wrtten im 108, during Ineledoo’s absenee Im America. IN NOMINE, 8 Conceded Modulations of the Scale in which he | writes, and invariably occupying the first place In all’ Plain Chaunt ‘Melodies referable to" that Scale, These sounds are called Absolute Initials, ‘Their number varies, in different Modes; no ‘Touality posesing le thar three, or more ‘than ‘them, there area few, which, i, among fe tkough te Srey pe permitted, by law, are, in practioe, "Th the ‘lowing Taba the letters, enclosed in brackets, denote the more unusual Initials: while those printed in Italics indicate that the sounds they represent are to be taken in the lower Octave, even though they should thus be brought beyond the normal bounds of the Mode, Mode XIV, [0] Taye C.[D} The selection of some of these sounds’ may seem, at first sight, » little arbitrary: but, in truth, it is sometimes very difficult to decide upon s suitable first note. ‘This is particularly the case with regard to Antiphons, the first notes, of which exercise a marked effect upon the Tones to which the corresponding Paalme are rung. Tt willbe remembered that the entire Antiphon ia repeated, immediately after the Psalm. ie lows, therefore, that, unlem care be taken to bring the last note of the Tone into true melodic oor first note of the Antiphon, forbidden intervals may arise. By a ‘arrangement of the Abso- Inte Initials, the earlier writers on Plain Chaunt did their best to reduce the danger of introducing such intervals to s minimum. (See ANTIPHON ; ‘Mopes, THE ZOcLEsrasTicaL.] {W.8.R} INNIG. A word used by Beethoven during his German fit (op. 101, 1st movement; 109, last do.; 121 6), and Schumann (op. 12, ‘Des Abends’; op. 24, No. 9; op. 56, Nos. 2 and 4, Manfred muaio, No, 2, etc.) to convey an intensel personal, almost devotional, frame of mind. (ed IN NOMINE. A somewhat vague name, bestowed, by old English writers, on certain kind of Moet, or Antiphon, composed to Latin words. It seoms to havo been used, in the first instance, for compositions the text of which began with the words in question, or in which those words were brought prominently forward : such te the Tntrit, “Tn nomine Joru’; the Pani, “Deus, in nomine tuo’; and other similar cases. Bat, = ification certainly became more ex- for Butler, writing in 1636, commends Rein nominee of Parsons Tye, and Taverner,’ just as we should commend the Madrigals of ‘Weelkes, or Morley, or Gibbons, The name is even employed for instrumental pos4 IN NOMINE, ‘The term, In nomine, is also very reasonably sppliod to s Fague, in which the solmination of answer does not correspond with that of the subject, and which, therefore, is a fugue in name only. {See Hzxacsonp.] {W.S.R.) IN QUESTA TOMBA OSCURA. A song of Begthoven's for contralto, with P. F socom ment, to wor Carpani, written pro! the invitation of Cognit von Recast, an forming one of sixty-three compositions to the same words by various musicians, professional and amatour. Among the most eminent of the oon- tributors are Salieri, Sterkel, Cherubini, Asioli, Righinh Zingarell, Woigl, Dion Weber, Toms: schek, Alois Forster, Paer, Eberl, Czerny. Zinga- velli sent ten versions with quartet accompani- ment. Czerny’s single setting occupied 11 folio Beethoven's was the last in the volume, which has survived. The Allgemeine Musik. Zeitung for Oot. 19, 1808, in announcing the publication, prints two of the settings, by Salieri and Sterkel, and in Jan. 1810, two more by Reichardt. For another joint-stock volume in which Beethoven took part, see Va- TERLANDISCHE KUNSTLERVERELN. [@] INSCRIPTION (Lat. Inscriptio, Ital, Motto). A Motto, or Sign, or combination of both, placed the boginning of» Canon, to indiat , more oF lesa clearly, the manner of ite Rewlution. ‘During the latter half of the 15th century, the founders of the Flemish School—by whom the more abstruse forms of Imitation were aasidu- ously cultivated—seem chiefly to have aimed at ren the solution of their Enimme, or Enig- matical Canons, impossible, Some of their most extravagant conceits are presented ii of Crosses, Circles, Squares, Triangles, Rainbows, ials, and other equally fan- tastic designs, without the addition of any clue whatever to their hidden m (See ex- amples in Hawkins, Hist, chap. 67.) But, more frequently, they are written in a single lino— called, the Guida—headed by some old proverb, or well-known quotation from Holy Scripture, which, though ostensibly vouchsafed for the pur- pose of giving the student some little insight into the secret of their construction, tends rather, as general rule, to increase his perplexity. Head- ings, such as these, are called Tnscriptions : and 90 obscure is their occasional meaning, that even Glareanus calls one of them rs ogeyy0s alvryua, ‘Foremost among the composers of these in- genious works, and high above them all, stands Joaquin des Prés, the refinement of whone scholar- ship is as clearly proved, by the grace of his Molt, an bin quite exceptional genius in by the smooth flow of the Canons to which they are ed. Tn the sooond Agnus Del of hls * Min Ami bandichon, he intimates that the Tenor in to be silent, by the pretty Inscription, ‘ secundum non est cum grege.’ In another oe he veils the same meaning under the prover, Bérpaxer i taigoy, in. allusion ti s Zilian's statement that the frogs on the Island of Seriphos do not croak. Other writers have contenjed themselves with ‘ Vox faucibus hesit.’ INSCRIPTION. ‘To shew that the second Voice is to begin at the end, and sing backwards, Hobrecht sa; plainly enough, * Ut prius, vod diitar re Pierre de la Rue more steruly exclaims, "Fade retro, Sathanas,’ Another quaint old Composer writes, ‘Canit more Hebreorum’; refe j- | the custom of reading Hebrew from right to left. | Jooquin sume up, the whale matter in » single ‘Cancriza, . walk like a crab, Equally terse is the motto prefixed to the third Agnus Dei in his ‘Missa L’Omme armé’; where the omission of all reata, in ono of the parte, is in- dicated by the direction ‘Clama ne cesses. Sometimes he gives us a French motto, as in his ‘Missa de Beata Virgine,' where ‘ Vous jeunerez les quatre temps’ shows that one part is to wait four semibroves, before taking, up the Subject — a direction which is another writer, in the w tically exprensed by re Fuel Tn opidiapeson, Canon in the Octave above, dena potest ‘subjecti corruptionem’ implies that the a may be sung, or omitted, at will, without ajay to the music. ‘Decimas reddo omnia que possideo' shews that the (unwritten) Bass must sing a Tenth below the Discant, ‘Tu tenor cancriza, et per antifrasin canta’ indicates that the Tenor is to sing backwards, and, with all the intervals inverted. Not less oracular is Mouton’s ‘Duo adversi adverse in unum,’ which means that two singers are to stand opposite each other, with the Canon betwoon them, each reading it upside down from the other's point of view—an arrangement which is also dictated by ‘Respice me, mihi faciem tuam.’ More mysterious ais is «Justitia et Pax osculate sunt ’—indicating that the two performers are to begin at opposite ito endo, and meet in the middle. ‘When black notes are to be sung in the time of white ones, we sometimes find ‘Nigra sum, sed formosa’; or, ‘Noctem in diem vertere’; or, “Dum _habetis lucem credite in lucem.’ By “Crescit in duplum’ (or ‘triplum’) we under- stand that the notes are to be sung in Double (or Triple) Augmentation. ‘Tres dent sex ‘yooos’ means, that each of the three written parts in to be doubled, in Canon, so as to form = composition for six Voices. ‘The list of these hard sayings is interminable; and the hardness of many of them is increased by the Signs of Mode, Time, and Prolation, with which they are sometimes socom |. For instance, » Semicircle, a Semicircle with a Bar drawn through it, and » Circle with » Point in the centre, ‘would, if placed one above the other, at the of 's Stave, serve to indicate that one Voice was to sing four Crotchets in a Bar, another, four Minims, and the third, three Semibreves. "In the last Agnus Dei of Pierre de Ja Bue’s ‘ Mises L’homme armé,’ we find « com- bination of no lees than four euch Signs. Following the example of Palestrina, the great Composers of the ‘Golden Age’ cast all these pedantries aside, and wrote their really beautifulINSCRIPTION. Canoas in notation which any singer could resdily understand. Palestrina himself delights in making two Voices sing in Canon, while three or four others carry on the Subject in close Imitation, or complicated Free Fogue; as in the lovely second Agnus Dei of his ‘Missa Brevis,” and many others, equally beautiful. In all these cases, the Voices to which the Canon is committed are ing from single part; but, the sign, &, oF led the Presa—indi- aco St hich the second Veloo i to suse, ®, is placed over the note cawhich it ends. ‘The two Voices can, therefore, sing just a easily from a single part, as from two os. Ty modera editions, the matter fs still farther simplified, by writing out the Canon in full; though, in the best copies, the Inscription is still carefully retained. (7.8.2) of 20,000 at 2859) in ¥ the of Dee. 23, 1 after 1861 the prize should be biennial, and should be awarded to such work or discovery, of the ten years previous to the award, as should be deemed most, rable or useful to the nation, inthe t of each of the five Academies of the Institute successively—t'Académie Fran- gaise, TAcadémie des Inscriptions et Belles Iettres, dea Sciences, des Beaux-Arts, des Sciences ponies ot politiques. ‘The firt prize was ad judged to M. Thiers, as the tative of the Académie iso, in 1861, In 1867 the tam of the Académic des Beaux Arts arrived, sad the prize was then awarded to Félicion Da- Vid, the only musician who has obtained it, the award on the second occasion, 1877, having been made to a sculptor—M. Chapa. (ac) INSTRUMENT (Lat. Jnstrumentum, Ital. Stromento). In , & tool, that by means of which work is done; hence, in music, in practical us at the present day, they form 70) of the immense number to time, Out of nearly 340 different kinds mentioned in a list in Koch's Musikalisches Lexicon (art. ‘Instrument') only 67 are given as being in use at prosent, and some even of these are merely varieties of the same genus, ‘Various causes have contributed to the survival olcertain instraments and the extinction of others. Quality of tone would of course be # powerfull ‘cause, and practicableness in a mechani- eal sense would be scarcely less so; but besides this, the various ways of combining instruments in which prevailed at different periods, INSTRUMENT. 6 had the effect of proving certain of them to be unnecessary, and #0 indirectly tended to abolish them, Thus before the time of Lully it was cus- tomary for the most part to combine instruments of the same class only, and wo read of a ‘Con- cert of Violiny’ ‘Concert of Flutes,’ ete.; this t rendered necessary flutes of deeper compass than are now used, and accordingly we find tenor and bass flutes, extending downwards to F on the fourth line of the bass stave.) So soon however as the combination of wind and stri instruments was found to be preferable, the feeble bass of the flute would be insufficient and un- necessary, andthe larger kinds of futes naturally ‘enough fell into disuse. All musical sounds are the result of atmo- spheric vibrations; and such vibrations are excited either directly, by blowing with suitable force and direction into = tube, or indirectly, by agitating an elastic body, such as » stretched string, whereby it ia thrown into. a state of vibration, and communicates its own vibrations to the surrounding air. One or other of these two is the acting principle of every musical inatra ment. On tracing the history of the two it does not appear that either is of earlier date than the other; indeed tradition with respect to both carries us back from history into myth and fable, the invention of the earliest form of stringed in- strument, the Lyre, being attributed to the ‘Mereury, who finding the shell of a tortoise cast upon the bank of the Nile, discovered that the ints of dried skin which were stretched across it produced musical sounds ; while the invention of the tibia or pipe—the earliest form of which {is said to have boon made (as ita name implies) from the shank-bone of » crane—is variously ascribed. to Pan, Apollo, Orpheus and others, ‘To attempt to describe, however briefly, all the various kinds of instruments which have ‘boon in use from the earlet ages to the present day, would extend this article far beyond its due limits, It will only be possible to mention those hich are ail of practial importance, referring the reader for » fuller description to the articles under the headings of thelr various names, and for the earlier and now obsolete kinds to Hawkins’s History? of Music, which contains copious ex- tracts from the works of Blanchinus, Kircher, ‘Luscinius, and others, illustrated by wood-cuta, In all essential respects, instruments may be divided into threo classes ; namely, wind inatru- ments, the descendants of the pipe; stringed instruments, descended from the lyre ; and instru- ments of percussion. This classification, which in of considerable *antiquity, is not entirely satisfactory, as there are certain modern in- struments which can scarcely be classed under any one of its heads without confusion—for instance the Harmonium, which although played by wind, is not strictly a wind-instrument, since 4 In Lally's ballet ‘La trlompbe de Tamour,’ Parla, 100, there te quartet of Autos, the lowest part of whlch Is only posible oo & Dass fate. 3 Heprinted by Novello and Co. i 2 volt, Bro, 108, 3 Camiodoray, writing 1a "dhe Gch eeotary, gives the ame three a ‘ialons, under the names iafaidia, imsidia, and pereusiowalin8 INSTRUMENT. its sounds sre produoed not from pipes but from elastic reeds, Nevertheless the old arrangement is sufficiently comprehensive, and appears more practical than any other. 1, Wind instrumenta (Ger. Blasinstrumente ; Ital. Stromenti da vento ; Fr. Instrumente @ vent). ‘Those are of two kinds; namely, those in which 1 separate pipe or reed is provided for each note, and those in which the various notos are pro duced from » single tube, either by varying its length, or by the action of the lip in blowing. In the first kind the wind is provided by means of bellows, and is admitted to each individual pipe or reed by the sction of a key. ‘The in- struments of this kind are the ‘Harmonium, Concertina, and Accordion. The only members of this class which differ from the others are the Byrinx or Pan’ (which although it Toipe fr ence sound has neler Lays nor ipe for Sales, but is blown directly with the breath) and the Northumbrian and Irish Bag‘pipes, which are provided with bellows, but have their pipes pierced with holes, as in the flute. Wind- instruments which have but » single tube are made of either wood or metal (generally brass), tad the various sounds of which they are capable ‘are produced, in the case of two of the metal instrumenta—the Horn and Trumpet,—by simply altering the tension of the lips in blowing, while in the others and in the wood instruments this alteration is supplemented and assisted by varying the length of the tube, In brass in- stramenta the length of the tube is altered in three different ways; first, by means of a slide, ‘ene part of the tube being made to slip inside the other, after the manner of telescope; secondly, by valves, which when pressed have tho ett of ola lding a small piece of tube to the Iength of the circuit through which the wind pastes end thirdly, by keys, which uncover holes the tube, and 80 shorten the amount of tube which is available for the vibrating column of air. ‘The brass instruments with slide are the Trom- ‘bone! and Slide Trumpet; those with valves are the Cornet & pistons, Valve Horn, Valve Trumpet, ‘Fligelhorn or Valve Bugle, Saxhorn, Valve ‘Trombone, Euphonium, Bombardon, Bass Tube, nd Contrabass Tubs ; while those with keys are the Key-bugle or Kent Bugle and the Ophicleide. All theto are played with a cup-! mouth- piece. Wood wind-instruments have the tube ierced with holes, which are covered by the or by keys, and the uncovering of the holes shortens the amount of tube available for vibration Flagecle last are fitee seo Tn otharg tho eseni e prodeeed ‘from the vibrations of a split reed, which is d fixed in a frame or mouthpiece, and Bassethorn [see CLARINET], 1 ar, Fort Sideorn high epokan of (ep. Te), bat thas | Soret, par ‘ok 768 come lato INSTRUMENT. or double, consisting of two reeds bound together #0 as to form a tube with the upper end flattened out, as in the Oboe, Cor Anglais or Oboe di Caccia, Bassoon, and Contrafagotto or Double Bassoon, One wind-instrument of wood remains to be mentioned, the use of which is becoming rare, though it ‘is still occasionally met with in military bands. This is the Serpent, whioh pro: | differs from all other wood instruments in having fs cup-ahaped moutpioce, similar to that of tbe trumpet. It is the only remaining member of = now extinct family of German wood instruments called Zinken (Ital. Cornetti), which were for merly much used in the Church service, and wore in use aa Into as 1715 for playing cboralos at the top of church towers* a, Stringed Instruments (Ger. Saiten-instra- mente; Ital, Stromenti da corde; Fr. Instrumente @cordes), Tn all thooe the sound is produced from stretched strings of either catgut, wire, or occa sionally silk, the naturally feeble reeonanoe of which is in all cases strengthened by » sound- board. As with the wind-instruments, some of these are provided with a separate string for each note, while in others the various sounds are obtained by shortening the strings, of which there are now never fewer than three, by pressure with the fingers. Stretched strings are thrown into vibration ia hres diferent way waye—friction, pluck- ing, and percussion. "The mode of friction usually employed is that of a bow of horse-hair, strewn with powdered rosin (gee Bow), and instruments so played are oalled ‘bowed instrumente’ (Ger. Streichinstrumente). ‘They are the Violin, Viola or Tenor, Violoncello, and Contrabasso or Double Bass ; and an humble though ancient member of the same family is occasionally met with in the Huniy-gurdy, in which the friction is produced by the edge of a wooden wheel strewn with rosin and revolving underneath the strings. In this instrument the stopping or shortening of the strings is by means of a series of keys, which are by the fingers of the left hand, while the right hand turns the wheel. [See Honpy-Guapr.) ‘The instrumente played by plucking are {be Harp, in which each note has a separate strin and the Guitar, Mandolino, and Banjo, in w the strings are ‘at by pressure with the fin- gers upon = Tnger beast, provided with slightly. Fuived transverse bare, called freta, In the Cither or Zither, an instrument much used in Switzerland and the Tyrol, 4 of the 29 strings are capable of being stopped with the fingers, while the remaining 3g are played ‘ open,” giving but one sound each, In most of these instruments the pluoking takes with the tipe of the fingers (pizzicato), but in the Zither the thumb of the right hand is armed with a ring bearing kind of metal claw. In the now obsolete Harpsichord and Spinet the vod by plucking, each key be. ing provi mall piece of quill or sti? leather. (Jack.] Only two stringed instruments 2 To 105 was puiubd a Para Thane cing parties, pra og 'H. Lajouna” J, 6. Bash occasionally wee ther in bis ‘Ghures GaotataaINSTRUMENT. «replayed by percussion—the Pianoforte and the Dulcimer ; fn the former the strings are struck by hammers attached to the keys, and in the latter by two hammers held in the hands. 3 Instruments of Percussion (Ger. Schlag- dastrumente; Ital. Stromenti per la percussione; Fy. Instrumente @ percussion). ‘These are of two Kinds, those whooe chief use is to mark the rhythm, and which therefore need not, and in ‘many cases do not, give » note of any dofinite piteh, and those which consist of a series of vibrating bodies, each giving a definite note, 80 ‘that the whole instrument possesses a scale of greater or leas extent. Of the instruments of indefinite pitch, some are struck with drumsticks or other suitable implements; these are the Bass Drum, Side Drum, Tambour de Provence, Gong Tam-tam, and Triangle; others, such as Cym- bals and Castagnettes, are used in pairs, and are played by striking’ them jer; and the Tambourine, or Tambour de Basque, is struck ‘with the open hand. ‘The instruments of per- cumion which give definite notes, and which ‘a therefore musical rather than rhythmical, are the Kettle Drums (used in ‘or more), Glockenspiel (bells used in military bands and cwcationally ‘with orchestra), and the Harmoniom ‘consisting of bere of either glass, steel, or wood, Toning on tvbo cords and strack with » hammer. + are still one or two instruments to be mentioned which are not easily classed in any of ‘he three categories just described, In the Har- onium, which we have socepted as o wind- fasrument, the sound is really produced by the vibrations of metal springs, called reeds, though these vibrations are certainly excited and main- tained by the force of wind; 80 also stretched stings may be acted upon by wind, and of this the Aolian Harp isan illustration. [See Aourax Haxe,) The instrument or organ of Mr. Baillie Hamilton, which is ssid to be a combination of and string, is not sufficiently perfected to be described’ here. spiel fonsooe or, rend may also be played jucking, and this method is employed in te Dale’ Musical Box, in which » series of metal tongues are plucked by pins or studs fixed inarevolving —Another instrument played by plucking, but possessing only a single or tongue, is the Jews-harp. In respect to the pro- teton of ie various nots this instrument differs others. It is played by pressing the fron fanein whic the reed teed inst the teeth, and while the reed is in a state of vibration alterh the form of the cavity of the mouth, by whi means certain sounds of higher pitch than the note may be produced, and simple melodie played. ‘These higher sounds appear to bbe upper ‘partial-tones’ of the fundamental note of the reed, which are so strongly reinforced b the vibrations of the volume of air in the moutl is to overpower the fundamental tone, and leave i just audible as a drone bass.—In the Har- , another mode of sound-production the edges of glase bowls being rubbed by a wetted finger, [See Hanmonica.) INTERMEZZO. 7 ‘For much of the information contained in this article the writer is indebted to Schilling ‘ Uni- versallexicon der Tonkunst.” (ET) INSTRUMENTATION, see OncuzstRation. INTERLUDE (Germ. Zwischenspiel). A short Voluntary, played, by English Organists of the older School, between the verses of a Hymn, oe thirt; good Fifty, or even thirty years ago, a ex- tempore Interlude was Teyarded as 20 unfair test of an Organist’s ability. The late Mr. Thomas Adams had peculiar talent for Voluntaries of this kind: i, at 8. Peter's, Walworth, John Purkis charmed his hearers, at about the eame i, with delightful little effusions which were uently far more interesting than the Hymns between the verses of which they were inter- ted. Of late years, however, the Interlude fallen so much into disuse that it is doubtful whether » ‘one is now to be heard in any Church in In French Cathedrals, a long and elaborate Inferlude in usually played, at Vespers, between the verses of the Magnificat, as well as those of the Hymn: and, at Notre Dame de Paris, S. Bulpice, and other Churches built on the same grand scale, where the Organ in the Choir is ‘supplemented by a larger one at the western end of the Nave, a fine effect is sometimes produced by the alternate use of the two instruments ; the amaller one being employed for the sccompani- ment of the voices, while the larger is reserved for the Interludes alone. Interludes are played, in Germany, not between the verses of the Choral, but between the separate lines of each verso—an arrangement, which, how- ever effective it may be in the hands of an ‘accomplished Organist, is generally very much the reverse in those of a tyro. (Good examples are to be found in Ch. H. Rink’s ‘XXIV Chorale,” op. 64, 1804.) The delicious orchestral Interludes which embellish the Choral, ‘Cast thy burthen upon the Lord,’ in Mendelssohn's ‘ Elijah,’ and on a more extended scale in “Nun danket’ in the ‘Lobgesang,’ were evidently suggested by this old German custom; while the grand of brass instruments, introduced between the of ‘Sleepers, wake!” in the same compose “8, Paul,” illustrates, perhaps, the most striking effect which it has yet been made to produce, [See CHonaLe.} For an explanation of the word Interlude, in its dramatic sense, see Ixtznuezzo. [W.S.R.] INTERMEZZO (Fr. Intermide. Entr’ Acte. Old. Eng. Enterlude). I. A dramatic entertain- ment, of light and pleasing character, introduced between the Acts of a Tragedy, Comedy, or Grand Opera ; either for the purpose of affording an interval of rest to the performers of the principal piece; of allowing time for the pre- paration of a grand scenic effect ; or, of relieving the attention of the audience from the excessive strain demanded by a long serious performance. ‘The history of the Intermezzo a very important relation to that of the Opera; more8 INTERMEZZO, especially to that of the gredual development of which it is very inti- mately connected. The origin of both may be traced back to period of very remote antiquity. It is, indeed, difficult to point out any epoch, in the chronicles of Dramatic Art, in which the presence of the Intermezzo may not be detected, now in one form, and now in another. Ita exact analogue is to be found in the Satire of the old Roman Comedy. In the Mysteries and Miracle Plays of the Middle Ages—those strange con- necting-links between old things and new—it assumed the form of s Hymn, or Carol, sung, either in chorus, or by the Angelo nuncio, to a sort of Chaunt which seems to have been tradi- tional. In a rare old work, by Mi ins, en- titled, ‘Bassarus. Fabula festivissima’ (Utrecht, 1553), some verses, adapted to a melody by no means remarkable for its festive character, are given at the close of every scene, And the wularity of the Tune in ‘sufficiently proved by ite persistent reiteration in other works of nosrly similar date, SS ee These rude ings contrast strangely enough with the highly finished Intermezzi decen- nially presented in the course of the Passion-Play at Ober-Ammergau. But, the Passion-Play is known to have many important im- provements, within = comparatively recent pe- Fiod ; and its cage ia, in every way, 20 exceptional, that it is no easy task to determine its true posi- tion as a historical landmark, Almost all the earlier Italian plays were relieved by Intermezzi, Many of these were simply Madrigals, sung by » greater or leas number of voices, as occasion served. Some- times they were given in the form of » Chorus, with instrumental accompaniment, The most favourite style, perhaps, was that of a Song, or Canzonetta, sung, by a single performer, in the character of Orpheus, In no case was the sub- ject of these performances connected, in any way, With that of the pieces between the Acts of which they were interpolated, Their construc- tion was extremely simple, and their importance relatively small. We first find them sssuming grander proportions, at Florence, in the year 1589, on the occasion of the Marriage of the Grand Duke Ferdinand, with Christine de Lorraine. To this ceremony, Giovanni Bardi, Conte di Vernio, produced » new Comedy, entitled L'Améco Jido, with Intermezzi, 2 grand spectacle, prepared expressly for the festival, Zipressaled with a dogree of eplendour hitherto unknown. For the first of these, called ‘The Harmony of the Spheres,’ the poetry was written by Ottavio Rinuccini, and the music composed by Emilio del Cavaliere, and Cristofano Mal- verti, The second, also written by Rinuccini, and called ‘The Judgment of the Hamadryads? was set to music by Luca Marenzio, For Baffa, with the INTERMEZZO, the third, called ‘The Triumph of Apollo,” vented by Bardi, and written by Rincooini, the music was comy partly by Luca Ma- renzio, and partly, it is said, by the Conte di ‘Vernio himself, "The fourth, entitled ‘The Infernal Regions,’ was written by Pietro Strozsi, and scoompanied by sombre music, composed, by Giulio Caccini, for Violins, Viole, Lutes, Lyres of all forms, Double Harps, Trombones, and ‘Organs of! Wood.’ The fifth—-''The Fable of Arion’—was written by Rinuccini, and set to music, by Cavaliere and Malvezzi. This performance naturally gave an extraordinary impulse tothe progress of dramatio music, Within lew than ten year, it was fol- lowed, in the same city, by the production of the first Opera Seria, at the Palazzo Corsi. ‘Meanwhile, the Intermezzo steadily continued to advance in interest and importance. Guarini (1537-1612) wrote Intermezzi to his own Pastor Fido, in the form of simple Madrigals. In 1623, ‘L' Amorosa Innocenta was produced, at Bologna, ‘scoompanied by Intermezzi della Coronazione di Apollo, per Dafne convertita in Lauro, set to music by Ottavio Vernizzi. ‘This work intro- duces us to » new and extremely important epoch in the history of the branch of Dramatic Art wo are now considering. By di the Intermezzi were made to embody s little oon- tinuous drama of thelr own. Their story- always quite unconnected with that of the principal piece—was more carefully elaborated than heretofore. Gradually increasing in o0- herence and interest, their disjointed mem- bers rapidly united themselves into » consistent and connected whole. And thus, in process of time, two distinct dramas were ted to the audience, in alternate Acts; the character of the Intermezzi being always a little lighter than that of the piece betwoen the divisions of which they were played, and on that very account, haps, better fitted to win their way to public favour, The merry wit inseparable from the Neapolitan School undoubtedly did much ‘for them ; and, before long, they began to enter into formidable rivalry with the more serious pieces they were at first only intended to relieve. ‘Their populaity spread so widely, that, fn 1723, ® collection of them was printed, in two volumes, at Amsterdam ; and so lasting was it, that, to this day, a light Italian Operetta is frequently called an Intermec in Musa, je next great change in the form of the Intermezzo, though really no more than the natural consequence of those we have already described, was sufficiently important, not only to mark ‘the culminating point in ita career, but to translate it, at once, to s aphere of Art ttle contemplated by those who first called it into existence. Already complete in itself, all it now needed was independence : an exist ence of ite own, apart from that of the graver ple to which it owed ita original raison dtr, such an existence was obtained for it, by the simple process of leaving the graver’ piece— 4 Organ dé tana,