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