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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4, 5 namlicb einer. zwo. dreien Vocal- und zweien Instru-
i-Stimmen . . . Opus Decimum. Dresden, 1647. Dedicated to
an V. of Denmark. Contains 27 pieces. German words.
lusicalia ad Chorum sacrum. Geistliche Chor-Musik mit 5, 6,
nen. beides Vocaliter und Instrumemaliter zu gebrauchen.. .
ndecimum. Dresden, 1648. Dedicated to the Biirgermeister
Leipzig out of respect for the Choir of the Thomas-Schule.
m29 Motets to German words.

rmphoniarum Sacrarum Tertia Pars. Deutsche Concerte mit
8, nSmlich 3, 4. 5, 6. Vocal und zweien Instrumental-Stim-

Opus Duodecimum. Dresden. 16.tO.
Mticum B. Simeonis. German text of Nunc Dimittis, 2 set-
re voices. (Xot perfectly preserved.)
JfOlf Geistliche Gesange a 4. FQr Kleine Cantoreien. Opus

KimTertium. Dresden, 1657.

Bistoria der Freuden- und Gnaden-reichen Geburt Gottes und

iSohnes, Jesu Christi . . . Vocaliter und Instrumentaliter in
<ik versetzt. Dresden, 1664. A Christmas Oratorio, but only
ictly preserved.
5-, II. "WOKKS UNPUBLISHED IN LIFETIME.

jiBIeben 'Worte unsers lieben ErlOsers und Selipmachers Jesu
so Er am Stamm des heiiicen Kreuzes gesprochen. ganz
Jich gesetzt . . . Parts In manuscript preserved in the Library
j«l, discovered in 1855 by O. Kade, and fir^t published in
jad adapted for modern performance by Carl Biedel. Leipzig,

?toria des Leidens und Sterbens unsers Herrens Jesu Christi.
» dem Evangelisfen St. Matthaeus. 6. Nach St. Marcus.
■ St. Lucas, d. Nach St. Johannes. An older form of the
es Passion exists in MS. 1665. Of the four Passions together
lists only a copy made by J. Z. Grundig in 1690, now in the

, Stadt Bibliothek.

lirlous single motets and concerted pieces, enumerated by

« M.f.M.G,, xviii. pp. 62, 67—70.



SCOTISH MUSIC.



ni. WORKS LOST.



791



1. ' Daphne.* Opera, performed 1627. German text by Opitz, after
the original by Einuccini.

2. A Ballet with Dialogue and Recitative, composed for the mar-
riage of Johann Georg II. of Saxony, 163i (Another Ballet. ' Von
Zusammenkunft und Wirkung VII. Planeten,' existing in MS.. Ix
conjeciurally ascribed to Schutz in Eituer's List, 3L f. M. G. xviii.
p. 69.)

All fchiltz's MS. remains at Dresden were destroyed by fire, 1760.
The same fate befel in 1794 what he may have left at Copenhagen.

IV. NEW EDITION IN SCORE.

Begun on the Tercentenary of the composer's Birthday, 1885.

Heinrich Schutz, Sammtliche Werke, edited by Friedrich Chry-
sander and Philipp Spitta. and published by Messrs. Ereitkopf *
Hiirtel, Leipzig. Seven volumes have been issued up to the present
time, of which the contents are as follows:—

Vol. 1 contains the 'Resurrection' Oratorio, the Passions-Musik
after the four Evangelists, the Seven Words from the Cross, and in
an .Appendix the imperfect Christmas Oratorio, and the older form
of the Johannes-Passion.

Vols. 2 and 3 contain the Psalms and Slotets of 1619.

Vol. 4, Cantiones Sacrae, 1625.

Vol. 5. Symphoniae Sacrae, Part T. ]6'29.

Vol. 6, Geistliche Concerte of 1636 and 1639.

Vol. 7, Symphoniae Saciae, Part II. 1647. fj. R.M.I

SCHULHOF, Julius. Correct name to

SCHULHOFF.

SCHUMANN, Robert Ai-exander. P.
390 &, 1. II from hottoia, for Zuccainaglio read.
Zuccalmaglio. P. 404 a, 1. 11, for now read
afterwards. P. 409 b, 1. 6, for poem read story.
P. 413 a, in the first musical example the pause
should be over the last note, not the last note
but one. P. 4136, I. 5, for trombones read
trumpets. Add that a complete edition of the
works of Schumann has been undertaken by
the firm of Ereitkopf & Hartel, who are also
issuing a ' Volksausgabe ' of the same at a very
moderate price.

SCHUMANN, Clara Josephine. P. 423 a,
1. I, add that she came to England in 1885,
18S6, 18S7, and 1888.

SCHUND, Joachim, one of the oldest known
organ builders, made the organ of St. Thomas's
at Leipzig in 1356. [V. de P.]

SCHUPPANZIGH, Ignaz. In the musical
example on p. 424 b, the time-signature should
be 6-8, not 6-4. In the first bar of the fourth
stave of the same, the treble clef should be re-
stored before the word ' Wir.'

SCHWARBROOK, Thomas, a German, was
in the employ of Renatus Harris, the or-gan
builder. Early in the 18th century he left L(m-
don to live at Warwick, and built many noble
instruments. His masterpiece was the organ of
St. Michael's, Coventry, built in 1733, which
cost £1400. The latest mention of him is in 1752,
when he improved the organ of Worcester Cathe-
dral. See vol. ii. p. 596a. [V. de P.]

SCORDATURA. In the second musical ex-
ample it should be mentioned that the player
reads the music as if the scoidatura had not
been introduced, so that the first phrase sounds
in the key of A. Line 4 below the example,ybr
(a) read {c).

SCOTISH MUSIC. P. 451 h, at the bottom
of the column should be added a notice of the
excellent set of twelve Scotish songs arranged
by Max Brucb^ and published by Leuckart of
Breslau.

3F3



792



SCEIBE,



SCEIBE, Eugene. In the list of librettos,
correct date of 'La Fiancee ' to 1829.

SECHTER. P. 455 6, 1. 13 fr'^ni bottom,
add [See vol. iii. p. 353 a.'].

SEE, THE CONQUERING HERO COMES.
P. 457 a, 1. 2, for 1747 read I'J^S.

SEGUIN. Add that Mrs. Seguin died in
New York, in August 1SS8.

SEIDL, Anton, born May 7, 1850, at Pesth,
was entered as a pupU at the Leipzig Conserva-
torium iu Oct. 1870. Early in 1872 he went to
Bayreuth, and was there employed by Wagner
to make the iirst copy of the score of the Nibelun-
gen tetralogy. He also assisted at the festival
in Aug. 1876. In 1879, through Wagner's re-
commendation, he obtained the post of conduc-
tor at the Leipzig Opera House, and retained it
until 1882, when he went upon a long tour
through Germany, Holland, England, Italy, etc.
in the capacity of conductor of Angelo Neu-
mann's 'Nibelungen' opera troupe. The jier-
formances were not altogether faultless : it is
true that the vocalists were good, but the great
music drama was reproduced in a sadly mutilated
condition. Yet Seidl proved himself to be an
energetic conductor, and was personally success-
ful. In 1883 he became conductor at the Bre-
men Opera House. Early in 1885 he married
the well-known soprano singer, Frl. Kraus, and
in September of that year accepted the post of con-
ductor at the New York German Opera House,
which post he has now satisfactorily filled for
three successive seasons. [C.A.]

SENNET. It should be added that the name is
probably derived from Seven, and may indicate
a flourish of seven notes, as suggested in Stainer
and Barrett's ' Dictionary of Musical Terms.'

SENZA. Add that in the ' Sanctus ' of
Verdi's Requiem both the terms senza misura
and senza tempo occur.

SERENADE. The Italian word Serenata is
almost undoubtedly allied to Sera, evening,
which gives a more satisfactory definition than
that given in the Dictionary. P. 467 a, 1.19,
for fenestra read finestra,

SEROFF, A. N. Line 9 from end of article,
add day of death, Feb. i.

SERVAIS. Add date of death of Joseph,
Aug. 29, 1885.

SFORZANDO. Last line of article,/or Va-
riations, etc., read Variation 3.

SG AMBATI, G. Add that in May 1 884 he was
invited as representative of Italy to the inter-
national concerts at the Trocad^ro in Paris,
where he conducted his first symphony. In
18S6 he was named one of the five corresponding
members of the French Institut to fill the place
vacated by the death of Liszt.

In 1887 he was invited to conduct his second
symphony and to execute his first quintet at the
great musical festival of the Tonkiinstler-Ver-
sammlung, iu Cologne.



SHUDI.

To the list of works add the following:— tjj

Op. 17. Quartet for stringrs in D':?. iPri^lude. Valse, Air. Inten

18. Four pieces for TF. : Pre- Etude melodique ; a CantI

ludio. Veccliio minuet- oue voice, with orchestral g
to, Nenia. Toccata. jpaiiiment; a Symphony ft

19. Four Italian Songs. orchestra, already perforn

20. Three Nocturnes tor PF. [ Eome, and at the festiTsl
Foursongs without opus nuraher. Tonktinstler - Versammlui

The following are to be publish- Cologne,
ed shortly: Suite for PF. (op. 21), rj".

SHAKE. P. 4806, last stave but on
music type, the first note should be a semiqui
P. 483 b, second stave of music type, the
three notes should be E, not G. P. 484 o
ample 43, it should be mentioned that
Billow, in his edition of Cramer's studies, i;
prets this passage in a precisely opposite e
to that given in the Dictionary, directing
shake to be performed as in example 44 of
article.

SHIELD, William. P. 487^, 1. 19
bottom, for ' Friar Bacon ' read ' Harle
Friar Bacon.' In the same list of works, u
date 1793, add ' Sprigs of Laurel.' Under
add ' Netley Abbey.' Under 1797, 'Wic
Gold Mines,' and for 1798, 'The Farmer.'
that he was appointed Master of the K
Music in 1817.

SHINNER, Emily, born at Cheltenham,
7, 1862, began the study of the violin at thi
of seven. In 1874 she went to Berlin, an(
two years studied under H. Jacobsen, a pu]
Joachim's, female violinists not being at
time admissible to the Hochschule. In
this restriction was taken away, and Miss Shi 3i
was among the first admitted. In October 'J
she became a pupil of Joachim's, and rem; ;t
with him for three years. In Feb. 188] k
came to London, and after being heard at se |i
private concerts (among others at one give ■
the Bach Choir), made her debut at a co*
given by Mr. H. R. Bird in the Kensington 1 1
Hall, in Brahms's Sonata in G, etc. Ai n
London Musical Society's concert of JumS
18S2, she played David's concerto in E tl
with great success, and since that time has "
a high position among English artists, her I(
being pure and refined, and her power c n
terpreting works of a high intellectual order 1 ij
very remarkable. Early in 18S9 she ma 3t
Capt. A. F. Liddell.

SHIRREFF, Jane. Add date of death, «
23, 1883.

SHORE. Line 3 from end of article, for 5<
read 1752. ,

SHUDI, Joshua, harpsichord maker u
pupil of Burkat Shudi (vol. iii. p. 488), apj r;
from his ailvertisement in the Gazetteeo
Jan. 12, 1767, to have set up for himself a^f
that time at the Golden Guitar, SilverStl
Golden Square, London. An advertise*
of his widow, Mary Shudi, then of Ber *
Street, St. James's, in the 'Public Advert r ■
of Jan. 16, 1775, announces his death and
continuance of the business, and as there j
fine harpsichord still existing, said to ha 4



SHUDL

rntic history, and bearing the name and
of Joshua Shudi, 1779, it is evident that
•ontinued to use her late husband's name,
ited instruments of his make when she
,hem. [A.J.H.]

EGE OF ROCHELLE, THE. Omit the
sentence of the article, as the subject has
ag to do with that of ' Linda di Chamouni.'
SGFRIED. See under Walkuke, vol. iv.
56.

JNATURE. P. 493, add in the original
n of Bach's Art of Eugue, as well as in many
ibhcations and MSS., the signatures of Bb
Jb are thus given —



SISTINE CHAPEL.



793



i



and



i true explanation of the omission of the
lat or sharp from the signature referred to
4936, is probably to be found in the in-
« of the ancient modes.

jAS, Edouakd. Add that three Mytho-
1 Pieces for orchestra were played at the
amionic Concert of May 17, 1S88.

jVANA. See vol. iii. p. 533 h.
IONE BOCCANEGRA. See vol. iii.
h.

nCO. See vol. iii. p. 534 a.
fGING. P. 510?), last line but one, omit
no and. (NicoHni was a sopranist.)
fcEN". Last line but one of article, for
fETEB read Scheibler.
lOE, See vol. iii. p. 534 a.
TINE CHAPEL, Archive3 oi- the.
:iituries past the jealousy with which these
es have been guarded by the Capellani
ri Pontificii, their official custodians, has
the circulation of many mysterious ve-
conceming them. AU the trustworthy
lation we formerly possessed on the sub-
3 contained in a few scattered notices in
orka of Adami* and Baini ; ^ and this
ited to little more than the certainty that
ontained a priceless collection of works by
icclesiastical Composers of the 15 th and
jenturies, A large proportion of these
res was, however, destroyed by fire, during
jk of Rome in 1527.^ Again, between the
1678 and 1688, further havoc was made,
;h the carelessness of the then ' protet-
Jardinal Rospigliosi, after whose death, in
it was found that numberless title-pages,
ther portions of the finest MSS., had
ttolen, for the sake of the miniatures and
Iniations with which they were adorned.*
5ten the years 1721 and 1724, the greater
irr-r of volumes in the collection were re-
'^-, and ' restored ' by order of Pope Innocent
D Some volumes may possibly have been

'-zioni per ben regolare 11 Coro del Cantor! della Cappella
per Ant. de' Rossi (Roma, 1711).

= storico-critiche della vita e delle opere dl G. P. da
da Guiseppe Baini (Roma, 1>^28).
1 OS. cit. Tom. ii. p. 310, Note 631, * lb. ii. 310, note.



preserved by this process; but the operation
was performed with such carelessness, that
works, and parts of works, were bound to-
gether at random, only because they happened
to correspond in size, while the edges were so
ruthlessly cut down, that, in many cases, clefs,
initial letters, and composers' names were com-
pletely cut away. Finally, during the occupation
of Rome by the French revolutionary soldiers, in
1 798, a certain 'citoyen' Mesplet, who was nom-
inated ' Commissaire des Beaux Arts,' took
possession of the keys, but was recalled before
much harm had been done ; and, though the
volumes were soon afterwards removed to a room
used for the breeding of poultry, and placed in
the custody of the hen-wife, Baini found them,
after the departure of the French, much less in-
jured than could have been reasonably expected.'

Until within the last few years, this was all
that we knew, in connection with the archives.
But all doubts are now removed. By permission
of Pope Leo XIII, Dom. Fr. Xav. Haberl,
Director of the School of Church Music at
Regensburg, began, in the year 1883, an ex-
haustive critical examination of the Archives,
and, after continuous study, has published a
complete bibliographical and thematic catalogue
of the Collection,* containing a mine of informa-
tion entirely new to the public.

From this most valuable work we learn that the
collection contains 269 numbered volumes, and
many others not numbered, mostly in large folio,
written on vellum, or thick hand-made paper,
bound in white or brown leather, with heavy
clasps of steel or brass, and adorned with mag-
nificent illustrations by the great masters of the
15th and i6th centuries. The MSS. date from
the year 1458, to the end of the Pol^'phonic
period ; and the voice-parts are generally arranged
on opposite pages, in tlie form called Cantus
lateralis.'' Of the numbered volumes, 224 are
in MS. and 45 printed. In 26 volumes the
music is Gregorian. Among the printed works,
are six volumes published by Petrucci' (Nos.
235 — 238), the twelve volumes of Masses, and
nearly a complete set of the other works, by
Palestrina, published during his life-time and
that of his son Igino. Compositions by Pales-
trina are also continued in 61 of the MS,
volumes, which include 44 Masses, 104 Mo-
tets, Improperia, Lamentationes, Miserere, and
Magnificat,

A few volumes in the collection are of special
interest.

No. 22 contains the earliest copy of the Missa
Papse Marcelli in existence. When the three
Masses written by Palestrina in 1565 were
submitted for approval to the Commission of
Cardinals, it was ordered that copies should be
made of them, for preservation in the archives,
and, that the Missa Papse Marcelli should be

5 Baini, 1. 71i. note S79.

8 ■ Bibllographischer und thematlscher Musllt-katalog des PSpst-
llchen Kapellarchives im Vatican zu Bom. Ton Fr. Xav. Haberl
(Leipzig, bei Breitltopf & HHrtel, 1888;.

7 See Pakt-Books, vol. iv. p. 739 a.

» Bee PAET-B00K3, vol. iv. p. 739 b.



794-



SISTINE CHAPEL.



transcriberl in letters of extraordinary size.^ Tlie
three masses are now bound together, in the
volumes in question ; but, when this was ' re-
stored,' in 1724, some other works were bound
up with them. The present contents of the
volume are —

No 22. (a) Missa, En douleur et tristesse. Noel Bau-
douvn.
(b) Missa (dated 1568), Robledo.
(cj Missa, in Modes III and IV (now known
as ' Illumina oculos meos '). Palestrina.

(d) Missa Pavae Marceli.i. Palestrina.

(e) Missa, in Mode VII. Palestrina.

(f) Missa, Ultimi miei sospiri. 11 Kosso.

Vols. 205-206 ^ contain Palestrina's ' Impro-
peria,' and 12 settings of the 'Miserere'; one,
by an anonymous author, and the remainder by
Dentice, Fr. Guerrero, Palestrina, Teofilo Gar-
garo, Fr. Anerio, Fel. Anerio, Giov. jNI. Nauini,
Kugg. Giovanelli, and Gregorio Allegri — the
last-named work being the famous composition
sung, with so much effect, at Rome, during Holy
AVeek. •'' The Miserere of Bai, sung, for many
years, in alternation with that of Allegri, is
continued in Nos. 203-204.*

The following is the list of Composers — many
of them otherwise altogether unknown — whose
works are contained in the IMS. volumes.

N.B. Names without any distinfruishing mark are
attached to MSS. only ; names marked t, to printed
■works only ; names marked ♦, to both.

Agost. Agazzari; Alex. Agricola*; Greg. Allegri;
Christ. Ameydeu; Fel. Anerio; Fr. Anerio; Jo. Ani-
mueciat; Arcadelt ; Ch. d'Argeutii ; Tomm. Bai ; Guis.
Baini; Noel Baudouyn ; Hotinet Barra; Ph.Basiron
Jo. Beausseron; Ant. Bencini ; Jo de Billhon; Jo.
Biordi ; Ant. Brumel * ; Jo. Brumen; Jo. Brunet;
Ant. Bu?noys; (iinus Angelus CapiJonins; Firmin
Caron; Carpemtrasso* (= El. Genet) ; Ott. Catalani :
Pet. Certon t ; Jo. Certori f ; Ant. Cifra t ; Claudin ' ( = CI.
de Sermisy) ; Clemens non papa ; Clibano ; Loyset
Compere; Jo. Consilium; Bai-th. del. Cort ; J. P. Co-
lonna f ; Pet. Cotiu t ; Giov. Costanzi ; Arc. Crivelli*
Fabr. Dentice ; Josquin Despres*; Ant. Divitis ; De
Domarto; Josquinus Dor; G. Dufay; Fr. Durante;
Eioy ; Eustachius de monte regali ; La Fage : Vine.
Faugues; Giov. Batt. Fazzini ; Ferabosco ; C. Festa*;
Ant. de Fevin • ; Eobinet de Fevin ; Fr. Foggia ; Fo-
liot ; Mathurln Forestyu ; Fornarino ; Fremiu ; Fres-
neau; Fr. Guerrero; Jo. Gallus; Theo. Gargari; Ant.
Gardanet; Gascongne; Caspar (Qti. AVerbecke) ; Jo.
Ghisellinf; Rug. Giovanelli; Vine, de Grandis ; Fr.
Guerrero ; Geo. de la Hele t ; Hesdin : C. Heyns ; J. de
Hillanas ; Jachet • (Qy. = Jachetto, Jaquet 1 ; Maitro
Jehan (Qy. de Ferrara) ; N. Jomelli ; Isaac; Jac. de
Kerlet; Stef. Lando + ; I/heritier ; Orl. de Eassus t ;
Ft. de Eayollet; Alfons. Lobof; Alex. Eonk : Jo.
Lupi»; Eupus;t Tib. JSIassainof; Maylard ; Curtius
Manclui; Tiburtius Maucini; ijuca Blarenzio; Agost.
Martini ; Jo. Martini ; A. Michot ; Vine. Mi-
sonne ; Einaldo da Moutagnanat; CI. Monteverde ;
Christoph. Morales,; Pet. Moulu » ; Jo. Mouton*;
Eomulo Naldi ; Giov. Mar. Nanini ; Jos. de Nebra ; Jac.
Obrecht: Flam. Oddus: Jo. Okeghem ; Ortiz; M. de
Oi-to; Pet. Pari. Paeiottit; Jo. Petr. Al. Palestrina*;
Dom. Pane • ; Fr. Parisius ; Jo. Parvi ; Pasquin ; Vine.
Pellegi-init; Penet; Jo. le Petit; Philippon ; Eoyset
Pieton; Pintelli : M. Pipelare*; Pasquale Pisari ; Guil.
Prevostt; Prioris; Eorenzo Katti ; (Jean) Regis; Jean
(Eichaforf): Melchior Robledo ; Roselli + ; 11. Rosso;
Petrus, (Person or Perisson) de la Rue • ; Jusquinus de
Sala; Jo.Sartont; Balth. Sartori ; A. Scarlatti ; Barth.
Scobedo; Scribano ; Sermisy irWe Clandini; Ph. Sici-
lian! ; Andr. de Silva; Matt. Simonelli ; Fr. Surianot;
Pet. Ant. Tamburini ; Jo. Tinctoris ; Bern. Vacqueras ;

• Balnl. Tom. i. p. '230. See also. vol. II. p. 63f7n.

2 Baini's description of these two lamous volumes differs mate-
rially from that given bj Haherl. He desciibes them as Sos. 150-
151; and. among other differences, mentions a 'iliserere' by C.
Festa, and another, by Sante Naldini. There can. however, be no
doubt that the volumes are the same. (See Baini's ' Memorie,' Tom.
ii. pp. 194— J97, fiole f.77.)

> 8e« also vol. ii. p. 336. * lb.



SONG.

Jo. alia Venture ; Ph. Verdelot ; Jo. Viardot ; Vince
Phil. Vitali; T. E. Vittoria • ; P.de Villierst ; I<au
Vorda : Adi-. Willaert * ; Jo. Wreede, Brugensis;
Zacchini ; Annib. Zoilo.

(Some few modern Composers have also prese i
their works to the Library ; among others, Adrien ( 1
Fage, and Gaetano Donizetti.)

Besides the volumes of music, the arch i
contain a vast mass of documents relating to ;
history and management of the Papal ( i
which are not noticed in Haberl's -oi
exhaustive catalogue. [^\ ."

SIVORI, Camille C. See vol. ill. p. ?;
where (line 2 of article), /or June 6, 181 7 , .
Oct. 25, 1815.

SLOPER, E. H. LiNDSAT. Add date of de 1
Julys, 18S7.

SMART. P. 538 a, 1. 2, for Nov. 23 ; a
Nov. 27.

SMETANA, F. Among his works mer i
should be made of the symphonic poems ' ■* 1
lensteins Lager,' 'Richard III,' and 'H i
Jarl,' as well as of his successful ' Lusts 1
ouverture ' brought out shortly before his di \
which took place May 12, 1S84.

SMITH, Alice Mart. See White, Ts
Meadows.

SMITH, John. See Vowles, in Appeni .

SMITH, JoHX. P. 540 a, I. i of article n
commonly styled Dr. Smith read M us.D. 1
8-11, _/or sentence heghming About i^-
On July 7, 1S27, the degree of Mus.D. v
f erred upon him by the University of 1 '
(See voh iv. p. 1706, note 9.) Line 'j
about 1845 read in 1847.

SMITH, John Chkistopher. Line ;
end of article, for Two read Three, a« i:
collection of Handel's works in Smith's v.r
belonging to the Granville family, is now i !■
po-ssession of Bevil Granville, Esq. of \V •!
bonrne Hall, Warwickshire. Omit the refe: -■
to Haxdel in Appendix.

S^IITH, Sydney. Add date of death, J. :i
3, 18S9.

SOClfiTJfe DES CONCERTS DU COX: ?
VATOIRE. For corrections and additioi e
Altes and Gaecin in Appendix.

SOGGETTO (Ital. for a Subject or Th^ ■'
Thetrue subject of an orthodox Fugue: as op; < -
to the Andamento, which is a Subject of abn< if
length ; and the Attacco, which is a mere . »
of Imitation.

In its most regular form, the Soggetto co s(
of a single homogeneous section ; as in No <
' Das wohltemperirte Clavier.'

Occasionally, however, its division int(,ff
sections is very clearly marked ; as in Nc , <
the same.

Subjects of this last-named class freqr tl
make a very near approach to the Andan *■
from which they sometimes differ only in 2'
less extended dimensions. [See Andament d
Attacco in Appendix.] [" •

SONG. P. 604 a, in the song ' When »r
laid,' the treble clef should be added to the W;,
part, and the treble and bass clef to the a «»



SONG.

Iniment ttrotighout. On p. 608 a, among the
glish songs, Hatton's ' To Anthea ' should be
i^ntioned as one of the very best of its kind.
: omission was accidental. P. 608 h, 1. ■^\,for
,ttie read Gatty. P. 61 1, add to list of coi-
tions of national songs.
"Finnish : —

Valituita Suomalaisia Kansan-Lauluja,' harmonized
E. liOgi, and published at Helsingfors.

P. 614 a, line 3 from bottom, add Worthy
mention, likewise, are the songs of J.
zowski, Ig. F. Dobrzynski, J. Eisner, E.
nike, E. Kania, V. Kazynski, Ig. Komorowski,
Madeyski, F. ^lirecki, J. Nowakowski, W.
bhazka, A. Sowinski, J. Stefani and K. Wy-
ki.

[n 1818 the poet Niemcewicz published his
sat work Spieiony Mstoryczne z muzykon ^His-
ical songs with music), and at his invitation
i most popular composers of the day wrote or
ipted melodies to them. From these songs,
irished as household words by all classes of the
)ple, Polish patriotism has drawn both in-
ration on the battle-field and consolation
der misfortune and oppression. The collection
ludes some of the oldest national hymns, ar-
iged in modern notation; among them, for
tance, St. Adalbert's hymn to the Virgin
oga-Modziqa), a hymn of the loth century
lich is engraved in plain-chant on its wiiter's
nb in the Cathedral of Gnesa, and still sung
jre as well as at Dombrowa on the Warka
Jty Sunday. The characteristics of the old
lish historic chants, such as the Hymn of the
rgin of Czenstochowska and the Hynm of St.
simir, are their simplicity and dignity.
P. 614 ft, fifter last line in small print, add

Pastoralki i Kolendy z melodyami,' by Abbd M.
oduszcwski. (The Kolendas or Noels are peculiar to
Polish people ; they are mostly quaint old popular
3 of the 13th century, and are sung at Christmas in
iiy house and street. Numerous collections of them

St.)

Polish National Melodies,' by Jules Fontana.

Chants du peuple de Gallicie,' by C. Lipinski.

Chants polonais nationaux et popixlaires,' by S.
ivinski.

Piesni ludu polskiejo,' by 0. Kolberg. (This is a very
'uable collection.)

Dainos oder Lithauische Tolkslieder mit Musik,' by



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