George Grove.

A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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)f that depriued, ungarner'd must they goe.

bout the same time Tallys composed his
kable Song of Forty parts, for 8 choirs

voices each, originally set to Latin
is, but adapted to English words about
:,.'■' [See vol. iii. p. 274,] Tallys, like
lonteraporary, the famous Vicar of Bray,
ormed, outwardly at least, to the various
IS of worship which successive rulers
3sed, and so retained his position in the
pel Royal uninterruptedly from his ap-
tment in the reign of Henry VIII until
ieath in that of Elizabeth. From the
Jimstance of his having selected his Latin
its for publication so lately as 1575 it may
ijriferred that his own inclination was toward
older faith. He died November 23, 1585,

was buried in the chancel of the parish
•ch at Greenwich, where in a stone before
iltar rails a brass plate was inserted with an
iph in verse engraven upon it. Upon the
•ch being taken down for rebuilding soon

jl' Mr. H. F. Wilson, of Trinity College, Cambridge, to whom the
^r's best acknowledgments are due.

^ 'Pies are to be found in the Madrigal Society's Library, made by
lilmmyns; the British Museum; the Eoyal College ol Music ;
i<; brary of Sir F. A. G. Ouseley.



after 1 7 10 the inscription was removed, and Tallys
remained without any tombstone memorial for
upwards of 150 years, when a copy of the epitaph
(which had been preserved by Strype in his
edition of Stow's Survey of London, 1720,^ and
reprinted by Hawkins, Bumey and others) was
placed in the present church. The epitaph was
set to music as a 4'pait glee by Dr. Cooke,
which was printed in Warren's collections.
Tallys's Service (with the Venite as originally
set as a canticle), Preces and Responses, and
Litany, and 5 anthems (adapted from his Latin
motets), were first printed in Barnard's Selected
Church Musick, 1641. The Service, Preces, Re-
sponses and Litany, somewhat changed in form
and with the substitution of a chant for Venite
instead of the original setting, and the addition
of a chant for the Athanasian Creed, were next
printed by Dr. Boyce in his Cathedral Music.
All the various versions of the Preces, Responses
and Litany are included in Dr. Jebb's ' Choral
Responses and Litanies,' He appears to have
written another service also in the Dorian mode,
but ' in 5 parts two in one,' of which, as will be
seen from the following list, the bass part only
is at present known. A Te Deum in F, for 5
voices, is much nearer complete preservation
(see List). Hawkins included in his History
scores of two of the Cantiones, and, after having
stated in the body of his work that Tallys did not
compose any secular music, printed in his appen-
ilix the 4-part song, ' Like as the doleful dove.'
Bumey in his History printed an anthem from
Day's Morning, Communion, and Evening prayer,
and two of the Cantiones. Several MS. compo-
sitions by Tallys are preserved at Christ Church,
Oxford, in Queen Elizabeth's Virginal Book, in
the Biitish Museum, and elsewhere. (See the
List.) We give his autograph from the last leaf
of a MS. collection of Treatises on Music,
formerly belonging to Waltham Alibey, now in
the British Museum (Lansdowne MS. 763).

A head, purporting to be his likeness, together
with that of Byrd, was engraved (upon the same
plate) for Nicola Haym's projected History of
Music, 1 726. A single impression alone is known,
but copies of a photograph taken from it are
extant. [W.H.H.]

The following is a first attempt to enumerate
the existing works of Tallys : —

3 By an odd misprint the composer's name is called 'Gallys^ on
Strype's copy.




The earliest appearance is giyen.
Hear the voice and prayer (a In jejunio et fletu. i5. No. 26.

Prayer"). Suscipe quseso. a7. No. 27.

O Lord in thee Is all my trust ('a Ei enim {2da pars), k 7. No. 28.

Prayer'). Miserere nostri. 47. No. St (Haw-

Eemember not. O Lord God (' the kins. lii. 27G).

Anthem'). ,^ . ^ , | (All from the Cantiones sacrse.

If ye love me ( the Anthem ). ^^^^ 1575.)

I give you a new Commandment.i
(All for four voices. Printed in
John Day's Morning and Evening
Prayer and Communion," 1560?)

Alan blest no doubt, 1st tune.

Let God arise, 2nd do.

Why fumeth in fight, 3rd do.

O come in one. 4th do.

Even like the hunted hind, 6th do.

Expend, O Lord, 6th do.

■Why bragst in malice high, 7th do.

God grant with grace, 8th do.

Come. Holy Ghost, eternal God

' First Service,' or ' Short Service '
— in D dor. Venite. Te Deum.
Benedictus. Kyrie, Creed,
Sanctus, Gloria in Excelsis.
Magnificat, NuncDimittis; all

■ First preces.'

First Psalm to do.' (Ps. ciii.)
' Wherewithal,' a chant har-

Second do., '0 do well," do.

Third do. ' My soul cleaveth,' do.
all four ii 4.

(All for four voices, in Jrn Day's! Responses, Lord's Prayer, and

•Whole Psalter' l£6.t? TheStunesI LltanykS.
(in the Tenor part) are in the 8 (Anthem) O Lord, give thy Holy
modes, 1 in each. No. »-aCanoni Spirit. 4 4. (Adapted from
2 In 1, sung upside down-is the' Latin, according to Tudway.)
tune usually sung to 'Glory tOi'With all our hearts, a 5 (Salvator
Thee, my God this night,') Mundi, No. 1). ,,^,.,,

Blessed be thy name, a 5 (JUihl
Salvator mundl, i. B. No. 1 (Bur- autem nimis).

ney, ill. 76). Adapted to 'With j call and cry, a 5 (O sacrum con-
all our hearts,' by Barnard.] vivium).
Also (?) to 'Teach me, O Lord,' Wipe away my sins, ii 5 (Absterge
Oh. Oh., and ' When Jesus," Domlne).2 See ' Forgive me,'

Absterge Domine, 4 5, No. 2 (Haw- MS.

kins. ill. 267). Adapted to (All from Barnard's ' First Book
•Wipe away.' by Barnard J , g^j ^^^^ pj^^^^lj jlu^i 16^ ,
Also to ' Discomfit them,
Lord' (1588?) and 'I look for Litany, Preces, and Responses, 44,

the Lord
In manus tuas, 4 5. No. 3.
Mihi autem nlmis, 4 5. No. 7,

Adapted to 'Blessed be thy

In Kimbault's 'Full Cathedral
Service of Thomas Tallis'; and
Jebb's ' Choral Responses and
Litanies' (1847).
name," by Barnard. Also to Like as the doleful dove, 4 4, In
I^Great and marvellous,' by Hawkins, Appendix.

Motett Society.
Onata lux (Hymn), 45. No. 8.
O sacrum convivium, 4 5, No, &.

Adapted to 'I call and cry,"

by Barnard.
Derelinquit impius, 4 5. No. IS

(Burney. iii. 80).
Sabbathum dum transisset, 4 5.

No. 14.
Virtus, honor et potestas, 4 5,

No. 15.
Illse dum pergunt (Hymn). 4 5.

No. 16 (? has a 2nd part. Rex


Proculrecedant(Hymn),45, No.20,
Salvator Mundi. 4 5. No, 21 (differ-
ent from No. 1).
Facti sunt Nazarei, 4 5. No. 22.

All people that on earth do dwell,
4 4, In Arnold"s Cathedral
Music, vol, i.

Hearmy prayer, 44, In 'Anthems"
and Services forChurchChoirs,
Burns, 1&16. vol. i. 15.

Blessed are those. 4 5. In Motett
Society's Collection, iii. 131.

Great and marvellous. 4 5. Ibid,
iii. 99, adapted from ' Mihi au-
tem nimis,' Cantto 7 ; and
' Blessed be thy Name," in Bar-

Verba mea auribus, 4 .5. In Roch-
litz's Sammliing, A retransla-
tion of ' I call and cry.'

'Come, Holy Ghost, our souls in-
spire." Parish Choir.

Ch. Ch. = Christ Church Library. Oxford. M.S.O. = Music School,
Oxford. R.C.M. = Library of Royal College of Music. Add. MS,^
Additional MSS. British Museum. F.W.= Fitzwilliam Museum.
Cambridge, 0.=Library of Rev. Sir F. A.G. Ouseley. Bt. P.H.^^
Peterhouse, Cambridge,

■ Second Psalms ' to Preces. viz. Adesto nunc, 4 5. Ch. Ch.

Pss. ex. and cxxxii. Probably Ad nihilum deductus. 4 5. 2nd
Chants harmonised. 1 Part of ' Domlne quis." Add

'Third Psalms 'to Preces, viz. Ps. MSS. 5,059,

cxix. 145 — 176. Do. A new commandment (?) 3

(Both these are in a Bass part Arise. Lord. P. U.

book, formerly Juion's, in the Li- Ave Dei patris, 4 3. H,C.M,

brary of St. John"s Coll., Oxford,) [Ave Domini fliia, 4 3. Do.

c».t.... ...r A _. . . . Ave mulieris, 4 3. Do,

ifn I '* "^f'- *™;°°"« Aveplenagr;tia,4 2. Do.

Te VZ' ^°"'"'"'"« '^"' «■ Ave rosa, 42. Do.

ie Deum, Benedictus, Kyrie, ^,

Nicene Creed, Sanctus, Gloria I>'es5ed are those that are unde-

in Excelsis, Magnificat, and] filed, 4 .5. M.S.O.

Nunc Dimittis. Bass part In De lamentatione (Gimel, Daleth)

Juxonbook.St.John's, Oxford.! 45. Ch. Ch. Add.MSROD'

No other parts yet known. ! Deliver me, God. St. Paul's list.

1 Printed by Day with the name of Sheppard ; and given in ■ ParUh
Choir as by Sheppard. See Add. MS. 30.513.

2 Of these four5-part anthems there are transcripts in the Fitz-
'^}}'3m Naseam of 'I call and cry' by Blow and bv Furcell ; of

\V ith all our heart." 'Blessed,' and ' Wipe away,' by Blow only

3 I have not been able to dUcover if this is the same as ' 1 give you
k new commandment.'


Discomfit them, Lord, adapted
(?1588) froin ' .\bsterge Do-
mlne.' Ch Ch.

Domine quishabitabit, 45. Ch.Cb.
Add. MS. 5.059.

Dominus tecum, a S. R.C.H.

Eccetempus,44. Add. MS. 30,513.
Et benedictus, in Lute tablature.

Add. MS. 29,246.
Ex more docti raistico. Add. US.

' Fancy ' for the Organ in A minor.

Ch. Ch.
Felix namque. No. 1, for Virginals.

Virginal Book. Fitzwilliam

Library. Cambridge.
Felix namque. No. 2, for do. Do.
Felix namque. No. 3. 'Mr. Thos.

Tallis Offetary," for do. Add.

MS. No. 30.485.
Fond youth is a bubble, k 4.

Add. MS. 30.513.4
Forgive me, Lord, my sin. CHif-

ford's list. This is probably

only a variant of ' Wipe away

my sins.'

Gaude glorlosa, 4 5. Ch. Ch.
Gaude gloriosa, 4 S. B.CM.s
Gaude Virgo Maria. 4 6. M.S.O.
Gloria tibi Trinitas. 4 4(?) Ch.Oh.
Gloria tibi Domine, 4 6 (?)
Hec deum cell, 4 5. Ch. Ch.
How long, 4 4(?) In Lute tablature.
Add, MS, 29,247 ; 31,992.

If that a sinner's sighs, 4 5. O.
I look for the Lord, 4 5. Ch. Ch

An adaptation of 'Absterge

Incipit lamentatio (.\leph, Beth),

45. Do. Add. SIS. 5,059.
In nomine, 4 4. M.S.O.
In nomine, 44. Do.
In nomine. Lute tablatare. Add.

MSS. 29.'246.
I will give thanks. St. Paul's list.
I will cry unto God. Do.

Laudate Dominum. 4 5. Ch. Ch.
Let the wicked forsake bis way.
Calvert's list.

3Isgnificat anima mea46. Ch.Ch.
Maria Stella, a 3. B.C.M.
Miraculum videte, 4 5. Ch. Ch.
Natus est nobis 4 2. Add. MS.

Nuncdunittis Domine, 46. Ch.Ch


give thanks, MS, by A. Batt

(Jod be merciful. P.H.
thou God Almighty, a 4. Ch.<
praise the Lord. Adapted to

Salutaris.' Bass part in

nard's MS. Coll. R.C.M.
Salutaris, 4 5. Ch.Ch.
O sing unto the Lord (Ps. cilix

5. M.S.O.
thou God Almighty, 4 4. 0h.#|E
Out of the deep. 44. Ch. Ch. ^^
O ye tender babes, 4 4. Add.


Pange llngna (no name), 4 4.
Pange lingua (no name), a 4,
Pange lingua (no name), 4 4.
Per haec nos, 4 S. R.C.M.
Per haec nos, i, 4. Add.

Poyncte. a (for the Virginals), 'r


Quidam fult, 4 6. Ch . CHi.

Salve intemerata. 45. Ch.Ch
Salve intemerata, 43, E CM.
Save Lord and hear us. St. Fa

Solennis urgebat, 45. Ch. Oh, |j[

Te Denm. English, In F, i
Parts for 1st Countertei IB
Tenor, Bass Cant., in Bama i
MS. Collection in R.C.M. *'
Organ part in Ch. Ch.

Teach me, Lord, 4 5, Ch. Cfc*^
adaptation of Salvator Mu
No. 1.

Teach me thy way, 4 4, Ch. C

Tu fabricator. 4 5. Do.

Tu nimirum, 4 4, Add, MS. 29,

Up, Lord, and help as. St. Ft

Variislinguis, 47. Ch.Ch.
Veni redemptor, 4 4. Add

Veni redemptor (No 2), 4 4.
Verily, verily, 4 4. Ely.

Add. MS. 15,166.

When Jesns went into Symon
Pharisee's house, 4 5. Ada'
to * Salvator mundi ' (No
Add. MS. 31,226.

The E(Jitor has to express his sincere thai
to the Rev. Sir F. A. G. Ouseley, Bart. ; Rev
H. Mee ; Rev. W. E. Dickson ; Mr. John Bish
Mr. Bertram Pollock, and several others, for tl
kind help in making out this list. [

TAMBERLIK, Enrico, born March i6, if
at Rome, received instruction in singing fi
Borgna and Guglielmi, and made his debut
1 84 1 at the Teatro Fondo, Naples, in Belli

4 The volumes in the Add. MSS. numbered .10.513 and t
are valuable, not only because they contain works not known
where, but because of the light they throw on the dm
position of music in the 16th century. They are arrangements fo
Virginals— the fashionable keyed instrument of the day— ex
analogous to the arrangements for the Pianoforte of our own ti
and it is startling to find that the sacred choral music of that da;
the favourite music, and that the learned contrapuntal 5- ai
part motets of Tallis, Edwardes, Farrant, Taverner, Byrde, Cre
Ion, Josquin. Orlando Lasso, and others, were compressed foi
amusement of musical amateurs just as oratorios, operas, and <
ettas are now. From Add. MSS. 29.246. 29.247, another thing is p
that these learned compositions were arranged for the Lute so
the top part could be sung solo, and the other parts playe
accompaniment. An example of this may be found in the ' Echi
temps pass^.' where Gibbons's ' Silver Swan ' is set to French vi
(Le Croisij captiO as a solo with accompaniment ; but it will be
to many to find the same practice in the 16th century.

s This and ' Salve Intemerata,' for 3 voices in R.C.M., no. 17S7
pear to be portions of 5-part motets to the same words, redua
8 parts by simple omissions of voice-parts. The same prol
applies to all the 3-part motets in R.C.M. mentioned above ; bat
require investigation.




Capuletti.' He sang with success for several
jrs at the San Carlo, also at Lisbon, Madrid,
d Barcelona. He first appeared in England
jril 4, 1850, at the Royal Italian Opera, as
asanieUo, and obtained immediate popularity
that and in his other parts of the season, viz.
.Uio, Robert, Roderick Dhu, Otello ; April 20,
nenofi, on the production of a version of
losfe in Egitto,' entitled 'Zora'; and July ^25,
Leopold, on the production of 'La Juive' in
igland. He possessed a splendid tenor voice,
great richness of tone and volume, reaching
C in alt, which he gave with tremendous
wer, and 'as clear as a bell.' His taste and
ergy were equal, and he was an excellent
iger, save for the persistent use of the 'vibrato.'
person he was singularly handsome, and was
admirable actor. He remained a member
the company until 1864 inclusive, excepting
e season of 1857, singing in the winters at
kris, St. Petersburg, Madrid, North and South
merica, etc. His other parts included Arnold ;
i-nani; Aug. 9, 51. ^^^°t^ (Saffo) ; Aug. 17,
I, Pietro il Grande; June 25, 53, Benvenuto
iiUini; May 10, 55, Manrico (Trovatore)— on
eduction of those operas in England ; also. May
•, 51, Florestan (Fidelio); July 15, 52, Ugo
pohr's Faust) ; Aug. 5, 58, Zampa ; July 2, 63,
Dunod's Faust — on the revival or production
the operas at Covent Garden, etc. He re-
tpeared at the same theatre in 1870 as Don
jtavio, the Duke (Rigoletto), John of Leyden ;
id in 1877, at Her Majesty's, as Ottavio, Otello,
id Manrico, and was weU received, though his
)wers were on the wane. He is now living at
iadrid, where he carries on a manufactory of
■ms, occasionally singing in public. [A.C.]


)DKINE.] [V.deP.]

TAMBOURIN. A long narrow drum used

Provence, beaten with
stick held in one hand,
hile the other hand plays
1 a pipe or flageolet with
>ly three holes, called a
iloubet. [See Dkdm 3, vol.
p. 466.1 [V.deP.]

roven9al dance, in its ori-
inal form accompanied by

Flute and Tambour de
lasque, whence the name
■as derived. The drum ac-
Dmpaniment remained a
haracteristic feature when
he dance was adopted on the stage, the bass
f the tune generally consisting of single notes
a the tonic or dominant. The Tambourin was
a 2-4 time, of a lively character, and generally
ollowed by a second Tambourin in the minor,
,fter which the first was repeated. A well-
oiown example occurs in Rameau's 'Pifeces
le Clavecin,' and has often been reprinted.
:t was introduced in Scene 7, Entr^ III, of
ihe same composer's 'Fetes d'H^be,' where it

is entitled 'Tambourin en Rondeau,' in allu-
sion to its form, which is that of an 8-barred
Rondeau followed by several 'reprises.' The
same opera contains (in Entree I, Scenes 5 and 9)
two other Tambourins, each consisting of two
parts (major and minor). We give the first part
of one of them as an example. Mile. Camargo
is said to have excelled in this dance.

TAMBOURINE (Fr. Tambour de Basque).
This consists of a wooden hoop, on one side^ of
which is stretched a vellum head, the other side
being open. Small rods with fly-nuts serve to
tighten or loosen the head. It is beaten by the
hand without a stick. Several pairs of small
metal plates, called jingles, are fixed loosely round
the hoop by a wire passing through the centres
of each pair, so that they jingle whenever the
tambourine is struck by the hand or shaken.
Another efl'ect is produced by rubbing the head
with the finger. It is occasionally used in or-
chestras, as in Weber's
overture to 'Preciosa,' and
at one time was to be seen
in our military bands. In
the last century it was a
fashionable instrument for
ladies. The instrument is
probably of Oriental origin, being very possibly
derived from the Hebrew Toph"- (Exod. xv. 20).
The Egyptian form is somewhat similar to our
own, but heavier, as may be seen from the wood-
cut, taken from Lane's ' Modem Egyptians.

The French Tambourin is quite a different
thing, and is described under the 3rd kind of
Drums, as well as under its proper name.
FDrum 3, and Tamboukin.]
'• The modern

Egyptians have
drums {Bara-
bulikeh) with one
skin or head, and
open at the bot-
tom, which is the
only reason for
classifying them
with tambour-
ines. [See vol. i.
p. 463.] The an-
nexed woodcut (also from Lane) shows two
examples ; the first of wood, inlaid with tortoise-

1 This root survives in the Spanish adu/e, a tambourine.



sbell and mother-of-pearl, 1 7 inches high and 6|
diameter at top ; the second is of earthenware,
lo| inches high and 8^ diameter, [V.deP,]

TAMBURINI, Antonio, baritone singer, emi-
nent among the great lyric artists of the 19th
century, was bom at Faenza on March 28, 1800.
His father was director of military music at
Fossombrone, Ancona. A player himself on horn,
trumpet, and clarinet, he instructed his soh, at
a very early age, in horn-playing, accustoming
him in this way to great and sustained efforts,
even to overtaxing his undeveloped strength. At
nine the boy played in the orchestra, but seems
soon to have been passed on to Aldobrando Rossi
for vocal instruction. At twelve he returned
to Faenza, singing in the opera chorus, which
was employed not only at the theatre but for
mass, a fact which led him to devote much time
in early youth to the study of church music. He
attracted the notice of Madame Pisaroni and
the elder Mombelli ; and the opportunities which
he enjoyed of hearing these great singers, as weU
as Davide and Donzelli, were turned by him to
the best account. At eighteen, and in possession,
of a fine voice, he was engaged for the opera of
Bologna. The piece in which, at the little town
of Cento, he first appeared, was ' La ■Contessa di
coUeerboso,' of Generali. His favourable reception
there and at Miiandola, Corieggio, and Bologna,
attracted the notice of several managers, one of
whom secured him for the Carnival at Piacenza,
where his success in Rossini's ' Italiana in Algeii'
procured for him an engagement that same year
at the Teatro Nuovo at Naples. Although his
beautiful baritone voice had now reached its full
maturity, his execution was still imperfect, and
the Neapolitan public received him somewhat
coldly, though speedily won over by his great
gifts and promise. The political troubles of 1 820,
however, closed the theatres, and Tamburini sang
next at Florence, where, owing to indisposition,
he did himself no justice. The memory of this
was speedily wiped out by a series of triumphs at
Leghorn, Turin, and Milan. About this time he
lost his mother, an affliction which so plunged
him in melancholy that he thought of retiring to
a cloister. It is fortunate for the public that his
calling interposed a delay between this design and
its execution, so that it was never carried into
effect. At Milan he met and married the lovely
singer, Marietta Gioja, for whom, as well as for
him, Mercadante wrote the opera of 'II Posto

Proceeding to Trieste, he passed through Ven-
ice, where an unexpected toll was demanded of
him. Special performances were being given in
honour of the Emperors of Austria and Russia,
then at Venice, and Tamburini was not allowed
to escape scot-free. He was arrested ' by author-
ity,' and only after a few days, during which he
achieved an immense success, was he allowed to
proceed.^ From Trieste he went to Rome, where
he remained for two years ; thence, after singing
in 'Mosfe' at Venice, with Davide and Mme.
Meric Lalande, he removed to Palermo, where he


spent another two years. He now received i HI
engagement from Barbaja for four years, durii «'.
which he sang in Naples, Milan, and Vienn
alternately. At Vienna he and Rubini we
decorated with the order of 'the Saviour,' ^
honour previously accorded to no foreigner b
Wellington. Tamburini first sang in London
1832, and soon became an established favourit f,
His success was 'equally great at Paris, where \ |(
appeared in October of the same year as Dandi i
in the ' Cenerentola,' For ten years he belong* ^
to London and Paris, a conspicuous star in tl .,
brilliant constellation formed by Grisi, Persiar -j
Viardot, Rubini, LaMache, and himself, and w: ^
long remembered as the baritone in the famo' l,
'Puritani quartet.' Without any single cor .^
manding trait of genius, he seems, with theexce-
tion of Lablache, to have combined moreattractii
qualities than any man-singer who ever appeare- ,.,
He was handsome and graceful, and a master i jc
the art of stage-costume. His voice, a baritoi , ,
of over two octaves extent, was full, round, sono Ij,
ous, and perfectly equal throughout. His ex. ,
cution was unsurpassed and unsurpassable ; of
kind which at the present day is wellnigh obsolet
and is associated in the public mind with soprar ^,
and tenor voices only. The Parisians, referriu ,
to this florid £sw;ility, called him ' Le Rubini d<
basse-tailles.' Although chiefly celebrated as
singer of Rossini's music, one of his principi
parts was Don Giovanni. His readiness, versat
lity and true Italian cleverness are well illustrate
by the anecdote of his exploit at Palermo, durin
his engagement there, when he not only sang h
own part in Mercadante's ' Elisa e Claudio ' bi
adopted the costume and the voice— a soprar,
s/ogato — of Mme. Lipparini, the prima donna, wl
was frightened off the stage, went through tl
whole opera, duets and aU,Sind finished bydancin
a pas de quatre with the Taglionis and Mile. R
naldini. For the details of this most amusin
scene the reader must be referred to the livel
narrative of Mr. Sutherland Edwards' ' History 1
the Opera,' ii. 272.

In 1 841 Tamburini returned to Italy and san
at several theatres there. Although his powei
were declining, he proceeded to Russia, where 1
found it worth his while to remain for ten year
When, in 1852, he returned to London, his voic
had all but disappeaTed, in spite of which he san
again after that, in Holland and at Paris. Hi
last attempt was in London, in 1859. From ths
time he lived in retirement at Nice, till his deat
November 9th, 1876. [F.A.M

TAMERLANO. Opera in 3 acts; libretto b
Piovene, music by Handel. Composed betweei
July 3 and 23, 1724, and produced at the King'
Theatre, London, Oct. 31, 1724. It comes be
tween 'Giulio Cesare ' and 'Rodelinda.' Pic
vene's tragedy has been set 14 times, the las
being in 1824. [G.

TAM-TAM. The French term for the goi^
in the orchestra; evidently derived from thi
Hindoo name for the instrument (Sanscrit turn
turn). [See Gong.] [Q.



'ANCREDI. An opera seria in 2 acts ; the
etto by Rossi, after Voltaire, music by Ros-
. Produced at the Teatro Fenice, Venice,
». 6, 1813. In Italian at the Theatre des
lens, Paris ; and in French (Castil Blaee) at
Odeon. In England, in Italian, at King's
satre. May 4, 1820. Revived in 1837, Pasta;
T, Viardot; 1848, Albonij and July 22, 29,
6, for Johanna Wagner. Tancredi contains
famous air ' Di tanti palpiti.' [G.]

'ANGENT, in a clavichord, is a thick pin of
3S wire an inch or more high, flattened out
ards the top into -a head one-eighth of an inch
i in diameter. It is inserted in the back end of
key, and being pushed up so as to strike the

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