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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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TRIPLET. For an addition concerning the
performance of triplets in old music, see Dot in
Appendix, vol. iv. p. 6i8a.

TRITONE. The interval of the augmented
fourth, consisting of three whole tones, whence
the name is derived. [See Ml CONTRA Fa.]

TROIS COULEURS, LES, is the title of one
of the most popular of tlie political songs
•written after the French Revolution of 1830,
celebrating the fall of the white flag and the
return of the tricolor. It rivalled in popularity
the Parisienne, and at one time, even the Mar-
seillaise itself It was written in one night by
Adolphe Vogel, grandson of the author of
' D^mophon,' who was born at Lille in 1S05,
and haii just begun his studies at the Paris Con-
servatoire. The author, who is still living, was
then 25 years of age, and ' Les Trois Couleurs,'
together with the song * L'Ange dechu,' have
been the greatest successes of his career. The
day after it was written all Paris was singing

liibert^ sainte, aprfes trente ans d'absence

Beviens, reviens, leur trone est reuverst;.

lis ont voulu trop asservir la France,

Et dans leur main le sceptre s'est brisd.

Tu reverras cette noble banni^re,

Qu'eu cent climats portaient tes fils vainqueOIS ;

lis ont enfin second la poussiere

Qui ternisaait sea brillautes couleuis.

[See Ldpus.]






This popular song, composed to words by
a certain Adolphe Blanc, was sang by ClioUet
at the Theatre des Nouveaut^s (Place de la
Bourse), where Vogel produced in the follow-
lowing year his first comic opera, 'Le Podestat,'
which was moderately successful, and subse-
quently his grand oratorio, ' Le Jugenient
dernier,' represented with costumes and scenery.
' La Sifege de Leyde,' a grand opera played at
the Hague in 1847, ' La Moissonneuse,' another
work of large extent, produced at the Lyrique
in 1853, an operetta in three acts, 'La Filleule
du Roi,' played in Brussels and afterwards in
Paris, in 1875, numerous songs which have been
popular in their day, several symphonies, quar-
tets and quintets for strings, which gained the
Prix Tremont at the Academie des Beaux- Arts,
complete the list of this composer's chief works.
He has always striven to attain a success equal to
that which distinguished the opening of his career,
nor does he yet despair of doing so, as he is now
working upon a new opera, in spite of his eighty-
three years. [A.J.J

TROMBONE. At end of article, omit the
words after Symphony in C ; as the passage in
the 'Manfred' overture of Schumann is for
trumpets, not trombones.

TROUBADOUR, THE. Grand opera in four
acts ; the words by Francis Huefier, the music
by A. C. Mackenzie. Produced by the Carl Rosa
Company, at Drury Lane, June 8, 18S6. [M.]

TRUMPET. Add the following supplement-
ary notice : —

It is well known that the trumpet parts in the
works of Bach and Handel are written very high
and floridly; so high thatthey cannot be performed
on the modern slide-trumpet. Praetorius (1618)
gives for, the trumpet in D, the higher range that
shouldbe produced {a) ,


that is to say from the ^"^ gg: f: t!:

1 7th to the 2 1st proper - # —

tonesof the instrument. ^
All these notes are be-
yond the highest limits of the modern trumpet.
[See vol. iv. p. 181.] Bach wrote up to the 20th
of these partial tones, and in his scores, as well
as Handel's (see the Dettingen Te Deum), the
parts for the trumpets are divided into Principal,
an instrument resembling the modern trumpet,
and Clarini, which were probably of smaller bore.
The istclarino began at the 8th proper tone (6),
and ascended to the extreme limit of its compass
(c). The 2nd clarino, beginning at the 6th {d),
very rarely went beyond the 12th (e). Each

(c)f: or ^ ,^^ (e)



required a special trumpeter, who had probably
a particular mouthpiece. The clarini had dis-
appeared before the time of Mozart, who had to
change Handel's trumpet parts to suit the per-
formance of the contemporary trumpeters.

It was the merit of Herr Kosleck of Berlin
to introduce a high trumpet specially to perform

Bach's trumpet parts in tbeir integrity in t!
minor Mass, which wag produced under JoacI
direction at Eisenach on the occasion of th
veiling of the statue of J. S. Bach in Sep!
ber 1S84. A performance of the same wo)
which Herr Kosleck again took part, was _
by the Bach Choir in the Albert Hall, Lom
March 21, 1885. His trumpet is not bent
but straight, and is corrected by two pistons !
the nth and 13th proper tones, which j
naturally out of tune for our Diatonic scale,
is an A trumpet with post-horn bore and b«
Herr Kosleck^s trumpet has been since improv
by Mr. Walter Morrow, a well-known Engl
trumpeter, who has altered the bore and bell
that of the real trumpet. Mr. Morrow's trump'
which, like Herr Kosleck's, is straight and h
two pistons, measures in length 58^ inches,
is also an A trumpet. With it he can reach t
20th, and at French pitch the 21st proper toi
The sacrifices, involving loss of engagements,
which Mr. Morrow has submitted in order
gain a command of the Bach trumpet, should 11
be passed over without a recognition of the a
istic devotion which has impelled him to ado
and improve Herr Kosleck's invention. [A.J.E
TSCHAIKOVVSKY. P. 183 b, to list of wor
add : —

Op. 58. Symphony, 'Nach Byron's] Op. 64 Symphony, No. B,
Maiilred.' | Operas and Ballets :-

9. Tscharodeika (The Chumi
Nov. 13. 1887.

thout opus numbei

61. ' Mozartiana.' movements!
from Mozart arranged for |

62. Pezzo capriccloso fori Works i
Tcello. and orchestra. Die Tochter des Bauptmaan.

Add that the composer visited England in l8:
and 18S9, and appeared at the Philharmoi
Concerts of both seasons.

TUCKERMAN", S. P., Mus.D. Line a,/
Feb. 1 7 read Feb. 1 1. Add that he succeed'
Dr. Hodges as Organist of Trinity Church, Ne
York. _

TUDWAY, T., Mus.D. Line 25 of arflj
add that the records of Pembroke College, OB
bridge, state that Dr. Tudway was ' prov*
guilty of speaking words highly reflecting up(
Her Majesty and her administration.'

TUNSTED, Simon, the reputed author of ti
treatise 'De Quatuor Principalibus Musia
though himself born at Norwich, derived 1:
surname from Tunstead in Norfolk, of whit
place his father was a native. He became Oi
of the Fratres Minores of the Order of St. Fra
cis at Oxford, and it was there that he is said iV
have taken the degree of Doctor of Theolog j^
He appears to have been well versed in all tl ' ?:
seven liberal arts, but, like Walter Odingto: -.
especially in music and astronomy. The only lit ^^'^
rary works attributed to Tunsted, besides thi ^
above referred to, are a commentary on tl (t
'Meteora' of Aristotle and additions to Richai ||^
Wallingford's ' Albion ' ; but the work by whi( t
his name has been, rightly or wrongly, hands '
down to posterity is the musical one. Of th .
there are two MSS. in the Bodleian Librar :
numbered Bodley 515 and Digby 90. Owir
to the former MS. being described in the d




logue of 1697 as 'De Musica continua et
ilreta cum diagrammatibus,' many musical
llorians have believed that there are two dis-

!t works by this author; but the only real
jrence is that the Eodley MS. contains the
liogue beginning ' Quemadmodum inter triti-
. et zizania,' which the Digby MS. omits,
work itself contains warrant for both titles.
on the colophon to each MS. we learn that
treatise was written in 1351, when Simon
sted was Regent of the Minorites at Oxford,
is said to have afterwards become Head of
English branch of his Order, and to have
. in the nunnery of St. Clara, at Bruisyard,
Suffolk, in 1369. The 'De Quatuor Princi-
Dus' treats of music in almost every form
1 known, from definitions of musical terms
le ' Primum Principale ' down to an account
■Musica Mensurabilis ' in the 'Quartum
icipale.' This latter part is perhaps the
t important of the whole work. Tunsted
jBS Philip de Vitry ' qui fuit flos totius
idi musicorum.' The whole treatise has
I printed by de Goussemaker. In a MS.
le British Museum (Additional 10,336) there
n epitome of several chapters of the ' Se-
lum Principale,' written by a Fellow of
T College, Oxford, early in the 1 6th cen-


URCO, IN ITALIA, IL. At end of article,
1820 read 1821.

URE-LURE (soft «), or Touee-Lodee, a
ancient lyrical burden or refrain, probably
'roven9al origin. The old English form is
a-lirra,' Shakspeare, ' The lark that tiria-
i chants.' (Compare the French ' Turlut,'
tlark; ' Turlutaine,' a bird-organ.) In old
ach music it is also found as * Tur-lu-tu-tu,'
r-lu-ru ' (in a popular air ' lo canto tur-lu-
(1, ' tur-lur-ibo,' etc. It often occurs in the old
Qch burlesques. The following specimens,
m from * Les Parodies du Nouveau Theatre
ien,' 1 73 1, will illustrate its use.

' Ho ! Ho ! toure-louribo.'




Al- Ions tot, que ma ri-vale ex - pi - re, ohl



\\ Tou-re lou - ri - bol Quoi con - tre mol tout con ■




oh! tou-re lou - rl - bo! Quand j'a -

oh! tou-re lou - ri - bo.

2. Vaudeville in 'Les Cahos.'
tr tr






On ne pent, quoi -que I'on

- se, s'em-p6-cher

dans la nas - se, Les coeurs se tou-re lou-re !ou-re

ES ^^SE^^E^^^^^^i

lou-re lou-re lou-re lour.

Les coeurs se ren - dent

The term still survives in English popular
music in the forms ' tooral-looral-looral,' and
' tol-de-rol.' [E.J.P.]

TURLE, James. Line i of article,/or Taun-
ton read Somerton. Line 10, add that from
1840 to 1843 he was part conductor of the
Ancient Concerts.

TYE, Cheistopher. Add that Tye was in
orders, and held successively the rectories of
Little Wilbraham, Newton, and Doddington-
cum-March. By a brief relating to sequestra-
tions of beneiices it appears that he was at Wil-
braham in 1564; on Sept. 12, 1567, JohnWalker
was presented to the living on his resignation.
On March 15, 157O) tbe rectory of Newton was
conferred on George Bacon on Tye's resignation,
and on March 15, 1572, Hugh Bellet was pre-
sented to the living of Doddington-cum-March
on the death of Tye. His will has not been
discovered. An Agnes Tye, who was possibly
his daughter, was married at Little Wilbraham
on Nov. 20, 1575, to John Horner, and the
register contains several entries of their children's
baptisms. (Coles's Transcript of Bishop Cox's
Register, British Museum ; Register of Little
Wilbraham, kindly communicated by the Rev.
F. C. Marshall.) [W.B.S.] ,

TYLMAN SUSATO. P. 197 6, 1. 6,/or sweet
little songs read ' Psalter songs.'

VOL. IV. FT. 7.



it was produced at the Lyceum Theatre
in 1836, shortly after its production at

UNGER, Caeoline, Add that the name is
also spelt Ungheb.

UNITED STATES. For additional matter,
see Boston, Foster, Negro Music, etc., in Ap-


the list of important works given by the Ca

bridge Society add the following :

Bach, J. S. St. Matthew Passion;! in F.

Eiii' teste Burg. jSchubert. Symphonies, Ho

Bridge, J.F. "Koclcof Ages.' and 9 ;' Song of Miriam."

Cowen, F. H. •Symphony in F. Schumann. ' Adrent Hymn."
Joachim, J. Hungarian Concerto. Stanford, C. V. Elegiac Ode,
Jlacfarren. Violin Concerto. I 21; PF. Quartet in F;
Mackenzie. A. C. Violin Concerto. Quintet in D minor; "
ParrT, C. H. H. Trio in B minor ;| Revenge.'

PF. Quartet in Ab ; String|Thomas. A. Goring. •Suite

Quintet in Eb; » Symphony 1 Ballet.

The asterisks indicate first performance in £i|
land. m

VAISSEAU FANTOME. P. 213 a, note i,
add date of death of P. L. P. Dietsch,
Feb. 20, 1865.

VALENTINO. Add that he came to London
in 1839, and gave concerts at the Crown and
Anchor Tavern. [See vol. iii. p. 40 6.]

VALLERIA. Add that she remained with
the Carl Rosa company until j886 inclusive, and
created the principal parts on the production of
'Nadeschda' and 'The Troubadour.'

VALLOTTI, P. Francescantonio, was a
native of Piedmont, where he must have been
born about the year 1 700, since Dr. Bumey, who
saw him in 1770, says that he was then 'near
seventy years of age.' ^ He had long before this
time attained a high, reputation as the best
Organist, and one of the best Church Composers,
in Italy. To his skill on the Organ he owed the
appointment of Maestro di Cappella, at the
Church of S. Antony, at Padua, which he held
with honour until his death. His Compositions
for the Church are very numerous. In 1770 he
composed a Requiem for the funeral of Tartini ;
but his magnum opus was a theoretical work,
entitled ' Delia Scienza teorica, e pratica, della
moderna musica.' The original plan of this
treatise embraced four volumes : Vol. I., treating
of the scientific or mathematical basis of Music ;
Vol. II., of the 'practical elements' of Music,
including the Scale, Temperament, the Cadences,
and the Modes, both ecclesiastical and modem ;
Vol. III., of Counterpoint ; and Vol. IV., of the
method of accompanying aThorough-Bass. Vol.1,
only was published, at Padua, in 1779; '"^nd its
contents are valuable enough to make the loss
of the remaining portions of the work a subject
of deep regret. In this volume, the mathema-
tical proportions of the consonant and dissonant
Intervals are described with a clearness for
which we seek in vain in most of the older
treatises on the same subject — not excepting

> 'Present state of Music in France and Italy." By Charles Butney,
Mus. D., pp. 130-132. (London 1771.J

that of Tartini himself. To the contents of I
of these treatises, and the views set for
them, allusion is frequently made, duri
course of the work. Chapter XXXII. con
a lucid refutation of the theory of the
Seventh propounded by Rameau, whom
lotti characterizes as ' otherwise,
able and meritorious writer ' ; and, at the cl
the introductory section, which consists
series of definitions, given in the form
INIusical Dictionary, the reader is referre
farther information to the Dictionary of
seau, which he is told would be still
valuable than it is were it not adapte
Rameau's defective system. But the
interest of the treatise lies in the fact til
belongs to a period at which the study or
Ecclesiastical Modes was combined with til
the modern scale, for the obvious reason
the more modern Tonality was not, and
not possibly be, antagonistic to the older;
since it was based, not upon the abolitio'
the Modes, but upon the employment
Ionian and ^olian forms to the exclusion
the others. "SYe have shown elsewhere th
last great teacher who advocated this sysfc
instruction was Haydn ; and that Beet
was the last great pupil to whom Haydn app^
to have imparted it. It would be an intere
study to trace the influence of the system
the work of these two great composers,
task, we believe, has never been attempted ; ■
it is admitted, upon all hands, that the art
developing the resources of a given Key, with
its natural limits, is a far higher and mpF
difficult one than that of restlessly modulati];|J
from one Key to another — and this is the mc;^,.
prominent characteristic of the method^ ,^t
question. Vallotti's 'Treatise on ModulatidU
which Dr. Bumey saw in MS.^ might perha; j ^'
have thrown some light upon the subject; DM?-
this unhappily has never been published.

« Present State of Music In France and Italy, p. 181.





^ n attempt to complete Vallotti's great work
i \t made after his death by his disciple and
ii(;s3or, P. Luigi Antonio Sabbatini;^ and
i S system of teaching was continued by his
1 iited, but somewhat eccentric punil, the
. ,6 Vogler. [W.S.E.]

AN BREE, J. B. Add that he wrote seve-
wnasses and other works beside those men-

d in the article.

AN DER EEDEN, G. See also vol. ii. h, where the date of his death is given as
Je 29, 1782.

AX OS, Albekt, called 'Albert the Great,'
. ic earliest known organ-builder. He was a
p;st, and built the organ of St. Nicholas at
techtinii20. [V. de P.]

AENEY, PiEREE Joseph Alphonse, born
irParis, Dec. i, 1811, was educated at the
Cservatoire as a violinist, and was a pupil of
I ;ha's for composition. He was successively
' iuctor at the Theatre historique, the Theatre
; ?, at Ghent, the Hague, Rouen, the BoufFes

-iens, and at Bordeaux (1865-78). Several

: jperas and operettas of slight construction
in were brought out at the various places
\ ;re he worked. He is best known as having
fiished the music for the celebrated Chant
c Girondins, ' Mourir pour la Patrie,' the
\ds of which were by Dumas, and which
rved so important a part in the revolution of
: S. Varney died in Paris Feb. 7, 1879. [M.]
jilX (Society of Artists of the Fatherland).
-lame which has become famous through Beet-
Iren's op. 120, ' The Fatherland' here means
. stria. Schindler (Life of Beethoven, ii. 34)
! 5 that in the winter of 1822-3, the publishing
n :f Diabelli & Co. in Vienna formed a plan
: issuing a collective set of variations for the
.noforte. No fewer than 51 composers, among
cm were the fii-st Viennese masters of the
le,- consented to contribute to the collection,
ich was published in two large oblong books
0. 13S0-81) under the title of ' Vaterlandische
-ins:lerverein, Veranderungen iiber ein vor-
egtes Thema, componirt von den vorziiglichsten
nsttzern und Virtuosen Wiens und der k. k.
terreichischen Staaten.' (' Society of Artists
tlie Fatherland. Variations on a given theme,
itten by the most prominent composers and
rformers of Vienna and the Imperial States of

SAEBAxna, P. tciGl AKTO>no, was a native of Padua, and a pupil
?. Martini, under whom he studied, for some time, at Bologna,
completed his musical educaiiori, however, in his native town
ler P. Vallotti, whom )ie succeeded, about the year ITilO, as
?str J di Cappella at the Church of S. Antony at Padua ; and
ose system he endeavoured to perpetuate in a worlc entitled
i vera Idea delle Musical! Numeriche Sfegnature ' (Venice. 179!>).
also wrote a ' Trattato sopra le Fughe Musicali," in two vols.
mice.lS02). illustrated by an exhausiive selection of Fugal Sub-
ts and Devices culled from Vallotti's Compositions for the
urch ; and another theoretical work, entitled, ' Elementi teorici
)ratici di Musica' (Koma. 1790). His best Composition was a
ss, written for the Funeral of Jomm-lli. He died at Padua in 1S09.
.Tie editor is indebted to Dr. .K. L. Feace of Gla.«gow. for the use
a fine copy of the two first-named wurks. which are now very
ficult to procure, and for that of the race and perfect copy of
Uotti's work which forms the subject of the present notice.
It is carious that the names of Seyfried and Weigl are not io
e list.

Austria.') It is an indication of the position held
by Beethoven among the musicians of Vienna,
that the whole of the first book is taken up with
his variations, 33 in number, while the other
50 composers are represented by a single varia-
tion each. Beethoven's composition has the
separate title : ' 33 Veranderungen iiber einen
Walzer fiir das Pianoforte componirt und der
Frau Antonia von'Brentano, gebornen Edlen von
Biikenstock, hochachtungsvoll zugeeignet von
Ludwig van Beethoven. 120 Werk. Wien bey
Cappi und Diabelli.' The work was published in
June 1S23. On the i6th of the month the fol-
lowing notice appeared in the ' Oesterreichisch
Kaiserliche priviligirte Wiener Zeitung' : — ' We
offer to the world in this work no variations of
the ordinary kind, but a great and important
masterpiece, worthy of being ranked with the
immortal creations of the classical composers of
past times, and of a kind that could be pro-
duced by none but Beethoven, the greatest living
representative of irue art. The most original
forms and ideas, the boldest passages and har-
monies, are here exhausted, all such character-
istic pianoforte effects as are founded upon a
solid style are emplo3'ed, and a further interest
attaches to the work from the circumstance that
it is founded upon a theme which would not
have been supposed capable of such treatment
as our great master, alone among our contem-
poraries, could give it. The splendid fugues,
Nos. 24 and 32, will delight every lover of the
grave stjde, while Nos. 6, 16, 17, 23, etc., will
charm brilliant performers; in short all these
variations, by the novelty of ideas, the skill of
their workmanship, and the artistic beauty of
their transitions, can claim a place beside Seb.
Bach's well-known masterpiece in the same kind.
We are proud of the opportunity of presenting
this composition to the public, and have devoted
the greatest care to combining elegance of print-
ing with the utmost correctness.'

The original manuscript of op. 120 is in the
possession of Herr C. A. Spina of Vienna. In-
teresting information concerning the sketches
for the composition is given in Nottebohm's
' Zweite Beethoveniana,' Leipzig, 1887. Beet-
hoven was fond of presenting copies of the
printed work to his friends, and the writer pos-
sesses two such copies with autograph dedica-

The second book of the variations appeared in
the latter half of 1823 or early in 1824. Anton
Diabelli, the composer and publisher, had mean-
while dissolved partnership with Cappi, and the
name of the firm was now 'A. Diabelli & Co.'
As in the first book (Beethoven's portion) so here
the theme by Diabelli precedes the variations.
It consists of 32 bars, and, although of slight
importance in itself, is well fitted for variation-
writing. The waltz is followed by 50 variations,
as follows: — (i) Igiiatz Assmayer ; (2) Carl
Maria von Booklet ; (3) Leopold Eustache
Czapek ; (4) Carl Czeiny ; (5) Joseph Czerny ;
(6) Moritz Graf Dietrichstein ; (7) Joseph
Drechsler j (8) A. Emanuel Forster (' his last




composition'); (9) Jakob Freystaedtler ; (lo)
Johann C4ansbacher ; (ii) Abbe Gelinek; (12)
Anton Hahn; (13) Joachim Hoffmann ; (14)
Johann Horzalka ; (15) Joseph Hugelraann;
(16) J. N. Hummel; (17) Anselm Hutten-
brenner; (18) Frederic Kalkbrenner ('written
during his stay in Vienna'); (19) Eriedrich
Aut'ust Kanne; (20) Joseph Kerzkowsky ; (21)
Conradin Kreutzer; (22) Eduard Baron von
Lannoy; (23) M. J. Leidesdorf; (24) Franz
Liszt (' a boy of eleven years old, born in Hun-
gary') ; (25) Joseph Mayseder; (26) Ignntz
Moscheles; (27) Ignatz F. Edler von Mosel ;
(28) W. A. Mozart fils ; (291 Joseph Panny ;
(30) Hieronymus Payer; (31) J. P. Pixis ; (32)
Wenzel Plachy ; (33) Gottfried Eieger; (34) P-
J. Riotte ; (35) Franz Eoser ; (36) Johann
Schenk; (37) Frank Schoberlechner ; (38) Franz
Schubert ; (39) Simon Sechter (' Imitatio quasi
Canon a tre voci'); (40) S. R. D. ; (41) Abb.^
Stadler ; (42) Joseph de Szalay ; (43) Wenzel
Tomaschek; (44) Michael Unilauff; (45) Fr.
Dionysius Weber; (46) Franz Weber ; (47) Ch.
A.deWinkhler; (48) Franz Weiss ; (49) Johann
Wittassek ; (50) J. H. Worzischek.

(The Graf Dietrichstein, mentioned^ under
No. 6, was the leading aristocratic musician of
the time. Schubert's ' Erlkonig ' is dedicated to
him. The initials S. R. D. under Xo. 40 pro-
bably indicate the name of some other aristocratic
amateur). A long coda by Carl Czerny is ap-
pended to the variations. The MS. of Schubert's
variation, No. 38, which is in the Imperial
Library of Vienna, bears the date March 1821.
According to this the later date given by
Schindler for the inception of the plan must be
incorrect. [M.xi.J

London Theatres under this head add : —

Teert's Theatre ; architect, Walter Emden ;
lessee, Edw.ard Terry. Opened Oct. 17,^ 18S7.

Court Theatre (re-erected on a site near
the former theatre of that namel ; architect, W.
Emden ; lessees, Mrs. John Wood and Mr.
Arthur Chudleigh. Opened Sept. 24, 1S88.

Shaftesbury Theatre ; architect, C. J.
Phipps; proprietor, John Lancaster. Opened
Oct. 20, 1SS8.

Graxd Theatre, Islington. Burnt down Dec.
28, 1887. Rebuilt ; architect, Frank Matcham ;
lessee, Charles Wilmot. Re-opened Dec. i, 1S88.
Ltric Theatre ; architect, C. J. Phipps ; pro-
prietor, Henry J. Leslie. Opened Dec. iS, 18S8.
VAUGHAN, Thomas. Line 7 from end of
article, for He read Vaughan, Line 4 from
end,/o)- 1S26 read 1S25.

VECCHI, Orazio. p. 235 «, 1. 13, f^r Sept.
read Feb.

a political song written by Ad. S. Roy in 1791,
and adapted by him to the popular air ' Vous
qui d'amoureuse aventure,' from Dalayrac s

Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 190 of 194)