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ou la favorite du calife, opera-comique ;
L'avalanche, do.; Un, deux, trois serpents,
opera-bouffe ; La Sulamite, ballet ; Judith,

oratorio ; Mo'ise au Mont Sinai, do. ; Clovis,
ode-symphonie ; Cantata in E-flat ; Les
noces de Promuthee, cantata ; Stabat Mater,
for chorus, soli, and orchestra (prize, Bor-
deaux, 1871) ; 2 symphonies (do., 1866) ;
Charlemagne, ouverture-symphonie ; Ri-
chard eu Palestine, suite for orchestra ; La
inarche des Francs, Barcarolles, La danse
moresque, all for orchestra ; Septet for pi-
anoforte and strings ; Quintet for do. ;
Quartet for do.; Trio for do.; Sonata for
pianoforte and violin ; Scene romantique,
for do.; 2 romances sans paroles, do.; Suite
for pianoforte and violoncello ; 2 duos for
do.; La Franchise, cantata with soli and
chorus ; Les guerriers de Lucifer, scone-
ballade, for chorus and orchestra ; Les
bateliers canadiens, for do.; Les elfes, do.
(female voices) ; 9 choruses, with orchestra ;
La vague, allegory for soprano, with chorus
and orchestra ; La valse, melody for tenor
and orchestra ; J'aspire a toi, for tenor,
horn, and violoncello ; Choruses for male and
mixed voices, a cappella ; Pianoforte music ;
Songs. Fetis ; do., Supplement, ii. 519.

church composer of the school of Bologna,
where he was maestro di cappella at San
Stefauo in 1720. Works : Litanie concer-
tate, etc. (Bologna) ; Inni sacri per tutto 1'
anno (ib., 1702) ; do. (1705) ; Sacri respon-
sori della settimana santa (ib., 1704) ; Tre
misse solenni (ib., 1705) ; Stabat Mater,
Beuedictus, etc. (ib., 1706) ; Messe a quat-
tro voci (ib., 1709) ; Motetti a otto voci
pieni, etc. (ib., 1711) ; Motetti con le quat-
tro antifone della B. V. ; Motetti a 2 e 3 voci
(ib., 1716) ; Sacri lamentazioni della setti-
mana santa (ib., 1720) ; Quattro messe a 4
voci (ib., 1720) ; Secoudo libro della litanie
della B. V. (ib., 1725) ; Cantate rnorali e
spiritual! (ib., 1727). He left in manuscript
4 masses, with organ, and 3 solemn masses,
with orchestra. Fetis ; Mendel.

SI, MINACCIA, E VINTA, alto aria of
Melo, in E minor, with accompaniment of
violins in unison, and bass, in Handel's
Sosarme, Act L, Scene 6. Published also



separately with the accompaniment filled
out by Robert Franz (Leipsic, Kistner).

SIMON, JEAN HENRI, born at Ant-
werp in April, 1783, died there, Feb. 10,
1SG1. Violinist, first instructed at the mai-
trise de Saint-Jacques, Antwerp, then in
Paris pupil of La Houssaye and Rode on
the violin, of Gossec, Catel, and Lesueur in
composition. He was scarcely eight years
old when he conducted a mass with orches-
tra, by Kraft. Oil his return to Antwerp
he soon attained a distinguished position as
virtuoso, composer, and teacher of his in-
strument. Among his pupils were Meerts,
Jaussens, and Vieuxtemps. Works : Judith,
cm le siege de Bcthulie, oratorio ; Cantatas ;
Motets ; La voix du soir, overture ; 7 con-
certos for violin ; Airs varies and fantaisies
for do.; Trio for 2 violins arid bass; Cho-
ruses. FtJtis, Supplement, ii. 524.

in three acts, with prologue, text by Piave,
music by Verdi, first represented in Venice,
March 12, 1856. A dull libretto caused its
failure. The scene is laid in Genoa in the
15th century. Simone Boecauegra having
been made doge, refuses the hand of his
daughter to one of his supporters, by whom
he is finally poisoned. The libretto was
altered by Arrigo Boito, and the music by
Verdi, and the opera was revived with suc-
cess in Milan, April 12, 1881. Liszt pub-
li>ht il Reminiscences of Simone Boccane-
gra, for the pianoforte.

SDIONELLI, MATTEO, born in Rome,
about the middle of the
17th century, died (?).
Church composer, pu-
pil of Gregorio Allegri
and of Orazio Benevoli ;
was received into the
choir of the Pontifical
Chapel in 1662, and
was afterwards maestro
di cappella of several
churches in Rome. The
elegant simplicity of his style won him the
surname of the Palestrina of the 17th cen-

tury. He left in manuscript many masses,
motets, and psalms, mostly in the archives
of the Pontifical Chapel, where several of
them are still performed. His most distin-
guished pupil was Corelli. Fetis ; Mendel.

SI MOSTRA LA SORTE, aria for tenor
with orchestra, in D, composed by Mozart
in Salzburg, May 11), 1775. Breitkopf &
Hiirtel, Mozart "Werke, Serie VI., No. 11.
Kuchel, Verzeichuiss, No. 209 ; Jahn,
Mozart, i. 418.

SIMPUCIUS, operetta, text by Victor
Leon, music by Johann Strauss, first repre-
sented at the Theater an der Wien, Vienna,
Dec. 17, 1887. It was conducted by the
composer, ami was received with great ap-


chorus in E minor, with double orchestra,
organ, and continuo, following immediately
after the duet So ist mein Jesus nun gefan-
gen, in Johann Sebastian Bach's Passion
nach Matthaus, Part I., No. 33. It is
commonly known as the " Lightning " or
' Thunder" chorus.

SINFONIAEROICA (Heroic Symphony),
for orchestra, in E-flat, by Beethoven, op.
55, first performed in the house of Prince
Lobkowitz, Vienna, in 1805. This, the com-
poser's third symphony, was begun in 1802,
and finished in 1805. The full title is
" Sinfouia Eroica, composta per festeggiare
il sovvenire di un grand' uorno, dedicata,"
etc. (composed to celebrate the memory of
a great man). The first MS. copy, prepared
for the French legation in Vienna, was
inscribed with the name of Napoluou Bona-
parte, whose career Beethoven had watched
with interest and admiration ; but when he
heard that Napoleon had accepted the title
of Emperor, he tore off the title-page.
Beethoven never referred to this circum-
stance until the news of Bonaparte's death
at St. Helena was received, when he said :
"I have already composed the proper mu-
sic for that catastrophe," referring to the


Funeral March. Many sketches are extant
showing how Beethoven's ideas developed
and crystallized into a work of the high-
est beauty and grandeur. I. Allegro con
brio ; II. Marcia f uuebre : Adagio assai ; III.
Scherzo and trio : Allegro vivace ; IV. Fi-
nale : Allegro molto. This symphony was
first given by the Philharmonic Society,
New York, Feb. 18, 1843. The original
score, dedicated to Prince Lobkowitz, is
in the Public Library, Vienna. It was first
published by the Bureau of Arts and In-
dustry (Vienna, 180G) ; afterwards by Has-
linger (Vienna) ; Simrock (Bonn) ; Launay
(Paris) ; and Breitkopf & Hilrtel, Beethoven
Werke, Serie I., No. 3. Arranged as a
nonet by Ebers (Richter, St. Petersburg) ;
for violin, viola, and violoncello ; for piano-
forte, violin, viola, and violoncello ; for pi-
anoforte, flute, and violoncello ; and for
flute, violin, and violoncello, by Hunimel ;
for pianoforte for eight hands, by Hoff-
mann ; for four hands, by A. E. Miiller,
and by Czerny ; and for two Lauds by
Liszt, Hunimel, Kalkbrenner, and Winkler.
Marcia funebre for two pianofortes, and
for pianoforte and organ, by Neukomm ;
for pianoforte and physharmonica ; and for
the pianoforte for two hands by Lickl ; for
pianoforte for two hands by E. Pauer (Au-
gener & Co., London). Leuz, Beethoven,
I. part ii. 285 ; Lenz, Beethoven et ses
trois styles, ii. 130, 232 ; Marx, Beethoven,
i. 243, 286 ; Thayer, do., ii. 244 ; iii. 437 ;
Nohl, do., ii. 176 ; Thayer, Verzeichniss,
No. 115 ; Elterleiu, Beethoven Symphonien,
35 ; Nottebohm, Skizzeubuch von Beet-
hoven an der Jahre 1803-6, 76 ; Grove, iv.
24 ; Wagner, Ges. Schriften, ix. 83 ; Ber-
lioz, Voyage musical en Allemagne, i. 280 ;
Berlioz, A travers chants, 22 ; Oulibicheff,
Beethoven, 180 ; Allgem. mus. Zeitg., vii.
321, 501 ; ix. 321, 497 ; x. 320 ; xvi. 811 ;
Neue Zeitschr., xxx. 16 ; xxxviii. 16, 38 ;
Revue et gaz. mus. de Paris (1857), 53, 97 ;
Upton, Standard Symphonies, 44.

phony), in F, by Beethoven, op. 68, first

performed in Vienna, Dec. 22, 1808. This,
the composer's sixth symphony, was written
in 1808, in the meadows near Heiligen-
stadt. It is an idyllic tone-picture of a
landscape, but more expressive of sensa-
tions than of actual description, as was
Beethoven's preface, " Mehr Ausdruck der
Empfiuduug als Malerei," placed before
the programme for its first performance.
I. Allegro ma non troppo (The cheerful im-
pressions excited on arriving in the country) ;
IT. Andante molto moto (By the brook) ;
HI. Allegro (Peasant's merrymaking), and
Allegro (Thunder - storm) ; IV. Allegretto
(The shepherd's song ; glad and thankful
feelings after the storm). This symphony
was played, and the idea expressed in the
music was illustrated by pantomime with
tableaux, by the Kiiustler Liedertafel, Diis-
seldorf, March 14 and 16, 1874. The origi-
nal score, dedicated to Prince Lobkowitz
and Count Rasumoffsky, and now in the pos-
session of Baron Hiiyssen van Kattendyke,
was published by Breitkopf & Hartel (Leip-
sic, 1S09) ; do., Beethoven Werke, Serie I.,
No. 6. The symphony is arranged as a string
quintet by Fischer ; for the pianoforte, flute,
violin, and violoncello, by Hummel ; for the
violin and violoncello, by Belke ; for the pi-
anoforte and violin, by Peters ; for the piano-
forte for four hands, by Watts, Czerny, and
Mockwitz ; for two pianofortes, by Eber-
wein ; and for the pianoforte, by Hummel,
Kalkbrenner, and Liszt. Thayer, Verzeich-
niss, No. 141 ; do., Beethoven, iii. 57 ; Nohl,
do., ii. 241 ; Marx, do., ii. 190 ; Lenz, do.,
ii., part i. 95 ; do., Beethoven et ses trois
styles, ii. 142 ; Elterlein, Beethoven Sym-
phonien, 52 ; Nottebohm, Skizzenbuch von
Beethoven an der Jahre 1803, 155 ; Oulibi-
cheff, Beethoven, 219 ; Berlioz, A travers
chants, 38 ; Neue Zeitschr., xxx. 65 ; Iviii.
80 ; Allgem. mus. Zeitg., xi. 267, 433 ; xii.
241 ; xvii. 693 ; xlii. 1044 ; Mus. Wochen-
blatt (1874), 238 ; Grove, iv. 26 ; Upton,
Standard Symphonies, 65.

or Choral Symphony), for orchestra, soli,



and chorus, in D minor, by Beethoven, op.
125, first performed at the Kiirnthnerthor
Theater, Vienna, May 7, 1824. This, the
most colossal of all symphonies, was written
in 1823. The form and the theme of the
chorus bear a strong resemblance to the
pianoforte Fantcurie mit Chor, in C minor,
op. 80, written in 1808 ; and Beethoven
describes this symphony as being in the
style of the former work, but on a far larger
scale. For thirty years Beethoven cherished
the idea of setting Schiller's Ode to Joy,
"An die Freude." Sketches for musical
themes to this poem are found as early as
1811, among the sketches for the seventh
and eighth symphonies, and again in 1822
with those for the overture in C, op. 124,
and the Mass in D. The Narnensfeier over-
ture, op. 115, suggests the theme finally
chosen for Schiller's ode, which at one time
Beethoven thought of setting as a chorus
preceded by an overture. In 1822 Beet-
hoven received from the Philharmonic So-
ciety of London an offer of 50 for a MS.
symphony. He accepted the commission,
completed the ninth symphony in 1824, and
sent the MS. to London, where it was first
performed, under Sir George Smart's direc-
tion, by the Philharmonic Society, March
21, 1825. Beethoven was too deaf to con-
duct the orchestra when the work was first
given in Vienna in 1824, but he stood by
the side of Umlauf, the conductor, and
indicated the tempi of the different move-
ments. The symphony was received with
extraordinary enthusiasm. A circumstance
which realized the master's affliction, ap-
pealed to the sympathy of the audience, for
standing with his face to the orchestra, he
did not know of the tumult of applause
until Fniuleiu Ungher, who sang the con-
tralto solos, called his attention to the en-
thusiastic audience. Beethoven has not
used all of Schiller's words, nor employed
them in their regular order. Their selec-
tion and arrangement appear to have
troubled him exceedingly, and also the
manner of connecting the vocal and instru-

mental divisions. A. Instrumental : L Alle-
gro ma noii troppo, un poco maestoso ; IL
Scherzo, molto vivace ; Trio, presto ; TTT.
Adagio molto e cautabile ; IV. Eecitative,
Presto ; Allegro ma nou troppo, etc. ; V.
Allegro assai. B. Vocal : I. Recitative
(Bass) ; IL Quartet and chorus ; Allegro
assai ; HI. Tenor solo and chorus : Allegro
assai vivace, alia marcia ; IV. Chorus :
Andante maestoso ; V. Chorus : Allegro
energico sempre ben marcato ; "VI. Quar-
tet and chorus : Allegro ma non tauto ;
VII. Chorus : Prestissimo. The first move-
ment is a fine example of Beethoven's last
period ; the second, his grandest typical
scherzo ; the third, the greatest specimen
of orchestral treatment of the theme with
variations ; and the fourth, a connecting
link to the choral division, in which the
voices, accompanied by a full complement
of instrumental forces, carry the sentiment
of the poem to the highest point of exulta-
tion. The sketch-books, in the Royal Lib-
rary, Berlin, contain many themes for the
Ode to Joy, accompanied by such expres-
sions as " No, this recalls our desperation ; "
" Oh no, not this : it is something pleasauter
that I want ; " and " Ha ! this is it. I have
found it at last," at the side of the theme
chosen. This symphony was first given in
Fraukfort-on-the-Main in 1825 ; at the Nie-
Ller-Rheiuisehe Musikfeste, Aix-la-Chapelle,
June, 1825 ; in Leipsic in 1826 ; in Berlin
in 1830 ; in Paris in 1837 ; in Dresden in
1838 ; by the New York Philharmonic in
the season of 1845-46 ; and by the Handel
and Haydn Society of Boston, April 2,
1853. The original MS., dedicated to
King Friedrich Wilhelm HI. of Prussia, is
in the Royal Library of Berlin. The score
was first published by Schott (Mainz and
Paris, 1824) ; Breitkopf & Hartel, Beet-
hoven Werke, Serie L, No. 9. Arranged
for two pianofortes by Franz Liszt ; for
Four hands by Czerny, Selmar Bagge, and
Markull ; and for two hands by Kalk-
jrenner, Markull ; Chorus arranged by
Esser ; and a pianoforte score by Rink.


Thayer, Verzeichniss, No. 238 ; Lenz,
Beethoven, ii. Part ii., 168 ; do., Beethoven
et ses trois styles, ii. 184, 234 ; Marx, Beet-
hoven, ii. 302-333 ; Nohl, do., iii. 368-
442 ; Schiudler, do., 139, 165 ; Elterlein,
Beethoven Syinphouien, 69 ; Wagner, Ges.
Sehrifteu, ii. 65-84 ; ix. 277 ; Berlioz, A
travers chants, 52 ; Hoffmann, Prograrnm
zu Beethoven's neunter Sinfonie (Berlin,
1870) ; Neue Zeitschr., xxx. 109 ; xxxvii.
143 ; Ixviii ; 178, 257, 295, 308, 316 ; Ber-
liner mus. Zeitg., iii. 373 ; Cacilia, viii.
231 ; xiv. 315 ; Allgem. mus. Zeitg., xxvi.
440 ; xxviii. 853 ; xlix. 489, 505 ; Revue
et gaz. mus. de Paris (1837-38), 96 ; Mus.
Wochenblatt (1872), 545, 561, 593, 657,
689, 703, 751, 783, 815 ; Grove, i. 206 ; iv.
217 ; Upton, Standard Symphonies, 83.

Brussels, Sept. 25, 1812, died at Ostend,
Sept. 29, 1875. Violinist, first instructed
by his elder brother Charles (1809-67),
then pupil of Wery at the Royal School of
Music, Brussels, where he won the first
prize in 1829. Having for several years
played in the orchestras of two minor the-
atres, and of the Opera Comique, in Paris,
he returned to Brussels and became one of
the first violins at the Theatre Royal, and
in 1839 first solo violin. Afterwards he
was for a short time chef d'orchestre at the
theatre in Marseilles, and in 1852 was ap-
pointed to a similar position at Ghent, later
still at Antwerp, and, after his return to
Brussels, at the Theatre de la Monnaie.
Works : Arseue, ou la baguette magique,
ballet (with Sor), Brussels, 1845 ; 2 con-
certos for violin ; Overtures ; Fantasias on
operatic themes, etc. Fetis ; do., Supple-
ment, ii. 521.

SINGER, EDMUND, born at Dotis, Hun-
gary, Oct. 14, 1831 (Oct. 18, 1830?), still
living, 1890. Virtuoso on the violin, first
instructed in Pesth by Ellinger, then pupil
of Ridley Kohne, and in Vienna of Josef
Buhm, finally at the Conservatoire in Paris,
where lie appeared in concerts with great
success. Ill 1846-48 he was solo violin at


the theatre in Pesth, then travelled success-
fully in Germany until 1853, when he be-
came Couzert-
meister and cham-
ber virtuoso at
Weimar. Since
1861 he has held
a similar position
at S tu ttgart,
where he is also
professor at the
Conservato r i u m ,
and enjoys high
reputation as a
teacher. Works : Morceaux de salon, airs
varies, nocturnes, fantasias on operatic
themes ; Transcriptions of Field's Noc-
turnes, duos (with Billow), etc. Mendel ;
Reich, Ehrentempel (Pesth, 1856), 43.

SINGER, OTTO, born at Sora, near Meis-
sen, July 26, 1833, still living, 1890. He
studied in 1845-51 at the Kreuzschule,
Dresden, and in 1851-55 at the Leipsic
Conservatoriuni ; became later a pupil of
Liszt. In 1860 he settled in Dresden as
teacher and virtuoso, and in 1867 went to
New York in a similar capacity. In 1873 he
removed to Cincinnati, and became, in 1878,
an instructor in the College of Music, in
which he is now professor of the pianoforte
and of theory. Works : The Landing of the
Pilgrim Fathers, cantata, Cincinnati, 1876 ;
Festival Ode, do., ib., 1878 ; 2 concertos
for pianoforte and orchestra ; Several sym-
phonies ; Symphonic fantasia ; Violin sona-
ta ; Pianoforte sonata, and other pianoforte
music. Mendel ; Rieniann.

SINGER, PETER, born at Hiiselgehr,
Tyrol, July 18, 1810, died at Salzburg, Jan.
25-26, 1882. Franciscan monk, organist,
pianist, church composer, and instrument
builder ; son of a bell-founder, and entirely
self-taught. He invented and constructed
a remarkable sort of orchestrion, which he
called Paiisyrnphonikon, and discovered a
new system of harmony. A monument was
erected to his memory at Salzburg in 1883.
Works : 101 masses ; 600 offertories ; About



30 litanies ; Graduals ; Many songs to the
Blessed Virgin ; Pianoforte music. He
published : Cantus choralis in provincia
Tirolensi consuetus (Salzburg, 1862) ; 2
Marienlieder ; 2 Tantuin ergo, etc. ; Me-
taphysische Blicke in die Touwelt, nebst
einem dadurch veranlassten neuen Sys-
tem der Tonwissenschaft (Munich, 1847.
Biogr. Salzburgischer Tonkiinstler (Salz-
burg, 1845), 47 ; Engel, Gedenkbuch (Salz-
burg, 1872), 290 ; Staffler, Das deutsche
Tirol, etc. (Innspruck, 1847), i. 320 ; Wurz-
bach ; Zeitschrift f iir Deutschlands Musik-
vereine (Carlsruhe, 1844), iii. 260.

SINICO, FRANCESCO, born at Trieste,
Dec. 12, 1810, died there, Aug. 18, 1865.
Vocal composer and popular instructor of
choral singing, pupil of Andreuzzi, an or-
ganist, then of Farinelli ; at the age of
twenty-two he became director of the Phil-
harmonic-dramatic Society of Trieste, and in
1843 maestro di cappella in the Jesuits' con-
vent. On his application the municipality
of Trieste erected a singing-school for 80
children, which was placed under his direc-
tion, and there, and soon in two additional
schools for children and artisans of both
sexes, he established courses for choral sing-
ing, after the method of "\Vilhem, with bril-
liant success, performing even oratorios and
masses. Works: I virtuosi di Barcellona,
opera, Trieste, 1841 ; Rosmuuda, Zaira, op-
eras (unfinished) ; Music to Sonima's trag-
'1\ Parisina ; Masses, motets, hymns for
the service in the Jesuits' chapel ; Many
choruses, sacred and profane, for his
schools. Fetis, Supplement, ii. 522.

SIXICO, GIUSEPPE, born at Trieste,
Feb. 10, 1836, still living, 1890. Dramatic
composer, son and pupil of the preceding,
whom he at first aided in his instructive
labors. Works : I moschettieri, Trieste,
1859 ; Aurora di Nevers, ib., 1861 ; Mari-
nella, ib., 1862. He published : Brevo me-
todo teoretico-pratico di canto elenientare,
etc. Fetis, Supplement, ii. 523.

SIRENE, LA (The Siren), opera-comique
in three acts, text by Scribe, music by Au-

ber, first represented at the Opera Comique,
Paris, March 26, 1844. The libretto is the
story of Marco Tempesta, a bandit, whose
sister, Zerbina, plays the part of a siren in
alluring victims to his ambuscade, where he

Gustavo Hippolite Roger.

robs them mercilessly. Mile Louise La-
voye sang the part of the Siren, and Roger
that of Marco Tempesta in the original cast,
which included Henri, Audran, Ricquier,
and Mile Prevost. This opera was given in
Berlin, translation by L. Rellstab, Oct. 15,
1844. Published by Breitkopf & Hiirtel
(Leipsic, 1844). Clement et Larousse, 626 ;
Allgern. mus. Zeitg., xlvi. 425.

LOMBARDINI DE, born in Venice in 1735,
died towards the close of the century. Vio-
linist and composer, pupil at the Conserva-
torio dei Mendicanti, Venice, and of Tartiui
in Padua. She travelled in Italy with bril-
liant success, being spoken of as a rival to
| Nardiui ; married Luigi de Sirmen, a vio-
linist and maestro di cappella at Bergamo,
with whom she went in 1761 to Paris and
played at the Concerts Spirituels. In 17G8
she went to London, but in 1774 accepted
an engagement to sing in small parts in
opera. In 1782 she was concert singer at
the court of Saxony in Dresden. Works :



Six trios for 2 violins arid violoncello (Am-
sterdam) ; 7 concertos for violin. FiHis ;
Schilling ; Mendel.

SIROE, Italian opera in three acts, text
by Metastasio arranged by Nicolo Haym,
music by Handel, first represented at the
King's Theatre, London, Feb. 17, 1728.
The autograph score, in Buckingham Palace,
is signed " Fine dell' opera, London, Feb.
5, 1728." Original cast : Cosroe, King of
Persia, lover of Laodice (B.), SignorBoschi ;
Siroe, his eldest son, lover of Emira (S.),
Signer Seuesino ; Medarse, son of Cosroe
(A.), Signer Baldi ; Emira, Princess of Carn-
baja, disguised as a man under the name of
Idaspe, in love with Siroe (S.), Signora
Faustina ; Laodice, sister of Arasse, general
of the Persian army and friend of Siroe,
and in love with Siroe (S.), Siguora Cuzzoui.
Scene in the city of Seleucia. First pub-
lished by Cluer (London) ; Hiindelgesell-
schaft, Breitkopf & Hiirtel (Leipsic, 1878).
Other Italian operas on Metastasio's text :
by Leonardo da Vinci, Venice, 1726 ; by
Domeuico Sarri, Naples, 1726 ; by Antonio
Bioni, Breslau, 1731 ; by Johanu Adam
Hasse, Vienna, 1733, London, Nov. 23,
1736, Dresden, Aug. 31, 1763 ; by Antonio
Vivaldi, Ancona, 1738 ; by Wagenseil, Mil-
an, about 1745 ; by Cocchi, Naples, 1750 ;
by Gennaro Manna, Venice, 1753 ; by Gio-
vanni Battista Lampuguaui, London, 1755 ;
by David Perez, Lisbon, 1756 ; by Pic-
cinni, Naples, 1759 ; by Hermann Friedrich
Raupach, St. Petersburg, 17GO ; by Giar-
dini, London, 1764 ; by Buroni, Prague,
1765 ; by Pietro Guglielmi, Naples, 1765 ;
by Traetta, Munich, 1767 ; by Baldassare
Galuppi, about 1775 ; by Giuseppe Sarti,
Turin, 1783 ; and by Carlo Ubaldi, Turin,
about 1810. Chrysander, Handel, ii. 179 ;
Burney, iv. 330, 400 ; Gervinus, Gesiiuge
aus Handel's Opern und Oratorien, vii.

SIROTTI, FRANCESCO, born at Reggio,
Italy, middle of the 18th century, died (?).
Dramatic and church composer, was cham-
ber virtuoso to the Duchess of Modena, and

afterwards maestro di cappella at the cathe-
dral of his native city. Works : Zenobia,
given at Modena, 1783 ; II Pimmaglione,
Milan, 1793 ; Aristodemo, cantata, Reggio,
1811 ; Masses, motets, vespers, and other
church music. Ft'tis.

dance-tune of England, from which Addi-
son took the name for his " Sir Roger de
Coverly," in the "Spectator." It is prob-
ably of north-country origin. The name of
its author and the date of its composition
are unknown. The title is said to have
been derived from the Calverley family
of the Yorkshire town of Calverley. Ralph
Thoresby's MS. account of this family de-
scribes Roger as " a person of renowned
hospitality, since at this day the obsolete
tune of Roger a Calverley is referred to him,
who, according to the custom of those
times, kept his miustrells." The tune is
called variously: "Old Roger of Coverly
for evermore, a Lancashire Hornpipe ;"
" Roger of Coverly " ; " Roger a Coverly " in
Gay's opera of Polly; "Roger de Cover-
ly" in Robin Hood; and "Sir Roger de
Coverly " in Fielding's Tom Jones (1769).
A song with the burden, " O brave Roger
de Coverly," is contained in " Pills to purge
melancholy." The first known mention of
this tune is in a pamphlet printed in 1548
(in the British Museum), giving an account
of a quarrel between Sir Hugh Calverley
and Mr. John Griffiths, in the county of
Chester, in which reference is made to a

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