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

. (page 39 of 194)
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of Milan, [F.G.]

TR£S0R DES pi ANISTES, LE. a remark-
able collection of ancient and modern pianoforte
music, made and edited by Madame Farrenc, and
published part by part by Leduc of Paris, from
June 1 86 1 to 1S72. M. Farrenc contributed !
some of the biographical notices to the work, but
his death in 1865 prevented his having any large
shave in it ; the rest of the biographies were |
written by Fetis jun. The collection has been 1
since superseded by separate publications and |
more thorou^di editing, but it will always remain j
a remarkable work. Its contents are as follows.
The reduction that has taken place in the price
of music during the last twent}^ years may be |
realised when we recollect that this edition, j
which boasts of being the cheapest then pub-
lished, was issued at 25 francs or £1 per part.



TRIAL.

J. L. Dussek. 3 Sonatas, Op. 33 ; Duphly. Piece for Clavecin.



Tart I. |

History of the Fiano; and treatise

on Ornament.
C. P. E. Bacli. C Sonatas.

Do. 6 do.
J. P. Eameau. Ist Book of Pieces.

Do. 2nd do.
Durante. C Sonatas.
I'orpora. C Fugues.

Part II.

C. P. E. Bacli. C Sonatas.
Kulinau. 7 Sonatas.

H. Purceil. Collection of Pieces.

D. Scarlatti. Pieces 1 to 20.
Hummel. Ops. 8. 9, 10. 15.
Lindemann. Pieces.
Schwanenberg. 2 minuets.

Part III.
Pad. Martini. 12 Sonatas.
F. Couperin. 1st Book of Pieces.
Hummel. Ops. 21, 40, 57. 7j.

Part IV.

C. P. E. Bach. 6 Sonatas.
Do. C do.

Handel. Suites dePiices, Book 1
Do. Do. Book II.
Do. Do. Book III.
Do. 6 Fugues.

Part V.
Chambonnieres. 1st Bk. of Piece?.
Do. 2nd do.

D. Scarlatti. Pieces 27 to 49.
Beethoven. Sonatas, Ops. i. 7, 10.



Part X.
Albrechtsberger. 12 Fugues.
Knhuau. Exercises, Partsland2.
W. A. Mozart. 6 Sonatas.
M. Clemeuti. S Sonatas, Op. 2.

2 do. Op. 7.
J. P. Kimberger. G Fugues.
Do. Collection of Pieces.
Part XI.

C. P. E. Bach. D Sonatas, 4 Kon-

deaux.
Ch. Sichelmann. 5 Sonatas; G
Sonatas, Op. 2.

D. Scarlatti. Pieces 78 to 94.
Ii'roberger. 5 Caprices, 6 Suites.
.I.S.Bach. 6 Suites.

Part XII.
Couperin. 3rd Book of Pieces.
Kuhnau. Toccata.
Hummel. Introduction and Kon-

deau. Op. 19.
Kirnberger. Collection of Pieces,

^•o. 2,

Do. Do. No. 3.
l". V. Buttstedt. 2 Sonatas.
J. E. Ebeiliu. 6 Preludes and

Fugues.
CeethoveJi. Sonatas. Ops. 101, 106.

Part XIII.
["re^cobaldi. 3 Fuguts. C Canzone.
Kried. Bach. 1 Suite, 4 Fantasies.
W. A. Mozart. 3 Sonatas.
D. Scarlatti. Pieces O.J to 110.
.los. Haydn. 5 Sonatas.
C. P. E. Bach. 6 Sonatas.



Part XIV.

Jfattheson. Pieces.

Beethoven. Sonatas, Ops. 109, 110,



Part VI.
Parthenia. Byrd. Bull, fiibbon
Pieces by English writers of ii

and 17tli centuries. First Froberger. 8 Toccatas. G Suites.

Collection. j Albrechtsberger. 18 Fugue.s.

Friedemiinn Bach. 12 Polonaises Ulummel. Eondeau brillant, Op

and Sonata. I ]09 ; Sonata, Op. 13.

C. P. E. Pach. C Sonatas.
Beethoven. Ops. 13, 14, 22, 20. 27

28.

Part VII.
Th. MufTat. Pieces.
G. Benda. 6 Sonatas.
0. P. E. Bach. 6 Sonatas.
Beethoven. Sonatas, Ops. 01. 49.

Part vnx.
Couperin. 2nd Book of Pieces.
D.Scarlatti. Pieces 50 t<> 77.
C. F. E. Bach. G Sonatas.
Do. 6 do.

Part IX.
Fried. Bach. 8 Fugues.'
J. W. Haessler. 2 Fantasies. C

Sonatas. 4 Solos.
O. Muffat. 12 Toccatas.
Beethoven. Sonatas. Ops. 53. it

67. "eS, 79. 81, 90.



Fa^ch. 2
Goldberg.


Sonatas. 1 P
Prelude ai


1 Fugue.


Part XV.
Touperin. 4th Book of Pieces.
\V. .\. Mozart. 4 Sonatas.
.I.S.Bach. 6 Engli.sh Suites.
Hummel. Sonata. Op. 20.
D. Zipoli. Pieces for Organ and
for Clavecin.



Part X^^.
I C. M. von AVeber. 4 Sonatas, Ops.

24. SO, 49. 70.
D. Scarlatti. Pieces 111 to 130.
L. Claude Daquin. Pieces for

Clavecin.
I J. W. Haessler. 3 Sonatas.
F. Chopin. 9 Xoctunies.

Part HWl.
V. D. Paradies. 10 Sonatas.
Hnmmel. Adaiio : Sonata. Op. 18.
J . C. F. Bach. Sonatas and l'iece&



Sonata. Op. 64.
FrescohaUli. I'ieces.
J. L. Krebs. 3 Fugues.



Ries. Sonata. Op. 20.
Haydn. Sonatas.



Part XX.
Various authors. 17tli centi
Pieces tor Clavecin.
Do. 18th century. Do.
Claudio Merulo. Toccata fur



J. B. Cramer. 3 Sonatas.
W. K. Mozart . Komance.
D. Steibelt. Sonata. Op. 64.



Part XVIII.

J. Christian Bach. 7 Sonatas.

Beethoven. Airs with variations.

J. Christ. Smith. 9 Suites de
pic-ces.

Clemer.ti. 3 Sonatas. Op. 8; 4 So-
natas and 1 Toccata.
Part XIX.

H. d'Anglebert. Pieces for Clave-jchr. Schaffrath. 2 Sonatas, Op
cin. J.G.Wernicke. 5 Pieces.

W.A.Mozart. 3 Sonatas. F.Mendelssohn. Rondo capi

D. Scarlatti. Pieces ]31.to 1C2. cioso. Op. 14; 3 Faulasi

Uummel. Fantasia, Op. 18. ' Op. 10. TQ

TRIAD is a chord of three notes standing
the relation to one another of bottom note, thir
and filth. It is of no consequence what tl
quality of the combination is, whether consona:
or dissonant, major or minor. The following a
specimens : —



=^— ^— g'



^ [C.H.H.P

TRIAL. Jean Cl.ude, French composer, boi
at Avignon, Dec. 13, 1732, was educated at tl
Maitrise, and earlj' studied the violin, for whic
his first compositions were intended. Settlin
in Paris he became intimate with Rameau, an?,
was taken up by the Prince de Conti, who inac|
him conductor of his own music, and procuret^
him the jointdiiectorship with Berton of tt
Opera (1767). He composed 'Esope a Cythertl
(1766), and ' La Fete de Flore' (1771), each i'
one act, and with Berton 'S3-lvie,' 3 acts (1766
and 'Theonis,' i act (1767); also short ove
tures, orchestral divertissements, cantatas, an
the music for 'La Chercheuse d'esprit.' He die''
of apoplexy June 23, 1771. His brother,

AxTOiNE, his junior by four years, was ah
born at Avignon, and educated at the Maitris<
but forsook ecclesiastical plainsong for stag
.ariettas. Having appeared with success as
comedy-tenor in several provincial towns, h
went to Paris in 1 764, and there quickly ro.^
into favour as a singer of considerable musicf
attainments, and an actor possessing real wi
and originalitj'. For 30 years composers eagerl
vied with each other in writing parts for hin
and he left jiermanent traces at the Oper
Comique, where the comedy-tenor part is stii
called by his name. Like Dugazon, Antoin
Trial embraced with fervour the doctrines of th
Revolution, and on the fall of Robespierre wa
constrained by the mob to atone for his previou
exploits \yj singing the ' Reveil du Peuple ' 01
his knees. Forced to give up his post in th
inunicipalit}-, and subjected to many crue
humiliations, his mind gave way, and he poisonet
himself Feb. 5, 1795. His wife, Marie Jeanni
Milon, sang under the name of Mme. Mande
ville, and having a voice of remarkable compas
and flexibility, brought into fashion airs fuil o
roulades and vocalises. Their son,

Aemand Emmanuel, born in Paris, iMarch i
1 77 1, began early to compose, and produced ai
the Comedie Italienne 'Julien et Colette' (1788)
'Adelaide et Mirval ' (1791); 'Les deux petit:



TRIAL.

\

'Aveivles,' and = Le Si^ge de Lille' (1792) ; ' ^a !
Cause" et les Effets, ou le Eeveil <Ui Peuple en
1789' (I793)> besides taking part in the cele-
brated revolutionary piece ' Le Congres des Ems.'
A first-rate accompanyist, Armand Trial might
have made both name and money, but though
he married Jeanne Meon, a charming artist at the
Theatre Favart. he plunged into dissipation, and
died in Paris, fromits effects, Sept.9, 1S03. [G.C.]
i TRIAL BY JURY. A very extravagant ex-
Uravacranza; words by W. S. Gilbert, music by
'Arthur Sullivan. Produced at the Royalty
Theatre, Loudon, March 25, 1875. It owes its
great success to the remarkable drollery of
words and music, the English character of the
institution caricatured, and the great humour
thrown into the part of the Judge by the
composer's brother, Frederick, who tlied with a
great career before him. ["^-j

TRIAXGLE. This is a steel rod bent in a
triangular form, but open at one angle. The
beater is of the same metal, and
should be somewhat of a spindle
shape, so as to give a heavier
or lighter stroke at the per-
former's discretion. It is hung
by a string at the upper angle,
held in the performer's hand.



TRILL.



1G9




or more frequently attached to his desk or to
one of his drums, as it is seldom that a man has j
nothing else to play besides this little instrument, j
except^in military bands. It suits all keys, as j
besides the fundamental tone there are many j
subordinate ones, not harmonics. The woodcut is i
from aninstrumentofthepatternusedattheGrand i
Opc^ra in Paris. It is an isosceles triangle, the 1
lont^est side 7^ inches, and the short side or base 1
7 inches. Thickness i^ of an inch. Rossini and
hisloUowers make frequent use of it, and Brahms
has introduced it in the Finale of his Variations
on a theme of Haydn's. Beethoven has a few j
strokes of it in his 9th S^miphony. [V. de P.] j
TRIBUT DE ZAMORA. LE. A grand opera \
in 4 acts; words by MM. d'Ennery and Bresil, |
music by Gounod. Produced at the Grand Opera,
Paris, April i, 1881. The story is a Moorish
one, the scene is laid in Spain, and the action
includes a ballet on the largest scale. The
principal parts were taken by Mad. Krauss and
M. Lassalle. [G.]

TRIlfeBERT, Chart.es Louis, French oboist,
son of a wind-instrument maker, born in Paris
Oct. 31, 1810. He was well educated at the
Conservatoire, and took the first oboe prize in
Vogt's class in 1S29. He had an excellent tone,
great execution, and good style, and is still re-
membered at the Theatre des Italiens, and the
Soci^t^ des Concerts. Although much occupied
with instrument-making, he carried on his artistic
cultivation with earnestness, and composed much
for the oboe— original pieces, arrangements of
operatic airs, and (in conjunction with M. Jan-
court) fantaisies-ooncertantes for oboe and bassoon.
At the Paris Exhibition of 1S55 Triebert obtained
& medal for his adaptation of Boehm's contriv-



ances to the oboe, and for improved bassoons.
This skilled manufacturer and eminent artist
succeeded Verroust as professor of the oboe at
the Conservatoire in April 1863. and retained
the post till his death, July 18, 1S67. His
brother Fk^dkric (died in Paris March 1878,
aged 65) was his partner, and showed consider-
able inventive genius. He constructed bassoons
after Boehm's system, a specimen of which may
be seen in the Museum of the Conservatoire.
Frederic Triebert was devoted to his art, and
conversed on it with much learning and inteUi-
crence. He left a son, also named Frederic,
who is one of the best oboists of the French
school. [G^-C-]

TRIH0RIS,TRI0RT,TR1H0RY,TRI0RY,
an old Breton dance, long obsolete. Cotgrave
describes it as 'a kind of British and peasantly
daunce, consisting of thi-ee steps, and performed,
by three hobling youths, conmionly in a round.
It is mentioned by Rabelais ('Pantagruel,' bk.
iv. ch. xxxviii.) and by his imitator, Noel du
Fail, Seigneur de la Herrisaye, in chapter xix.
of his 'Contes et Discours d'Eutrapel' (1585).
From this passage it would seem that it was a
' Basse Danse,' and was followed by a ' Carole ' —
a low Breton name for a dance in a round, or ac-
cordincr to Cotgrave ' a kind of daunce wherein
many daunce together.' [See Tourdion.] (Com-
pare the Italian ' Carola,' described in Symonds
•Renaissance in Italy,' vol. iv. p. 261, note.) Du
Fail says the dance was ' trois fois plus magistrale
et gaillarde que nulle autre.' It was the special
I dance of Basse Bretagne, as the Passepied (vol. 11.
I p.662)was of Haute Bretagne. JehanTabourot.iu
i his 'Orchesographie' [see vol.ii. p. 560a], says the
i Trihoris was a kind ot Branle, and that he learnt
I it at Poitiers from one of his scholars. He gives
the following as the air to which it was danced :




According to Littre', the name is allied to the
Burgundian ' Trigori,' a joyful tumult. [W.B.S.]
TRILL (Ital. Trlllo; Fr. Tnlle; Genn.
Triller). An ornament consisting of the rapid
alternation of a note with its major or minor
second, generally known in English by t''®
name of Shake, under which head it is fully
described. [See vol. iii. p. 479-] The ornament
itself dates from about the end of the 16th cen-
tury, but it received the name of Trill at a some-
what later date, not to be exactly ,nscertained._ It
is described in the ' Nuove Musiche ' of Caccini,
published in Florence in 1601, under the name
of Gruppo, a name which is now used to express
a turn-like group of four notes, also called
Groppo, thus : —



^^^1 o - ^^^^



Caccini also makes use of the terra trillo,^ but
as indicating a pulsation or rapid repetition
of a single sound sung upon a single vowel, au
effect expressed in modern terminology by
vibrato. [Vibrato.] [F.T.]



170 TRILLO DEL DIAVOLO, IL.

TRILLO DEL DIAVOLO, IL. A famous
sonata by Tartini, for violin solo with bass ac-
companiment, which is so called from its being
an attempt to recollect the playing of the devil
in a dream. [See Tartixi ; vol. iv. p. 62 a.]
The Sonata consists of Larghetto attettuoso,
Allegro, and Finale-Andante and Allegro inter-
i!:ixed. All the movements are in G minor. It
is in the Allegro of the Finale that the Trill
occurs, a long shake with a second syncopated
part going on at the same time.




TRINITY COLLEGE, DUBLIN. An Uni-
versity was founded in Dublin by Alexander
de Bicknor, Archbishop of Dublin, in 1320,
but died out in the early part of the 16th cen-
tury. After a lapse of 60 or 70 years the
present University of Dublin was founded in
1 591 by Queen Elizabeth, and with it the
'College of the Holy and Undivided Trinity,
near Dublin.' The College alone was incor-
porated by charter, and its governing body or
Board was entrusted with the management of
the University. On this account, as well as
from a mistaken interpretation of the original
charter, an idea obtained currency that the
University of Dublin did not acquire an inde-
pendent existence, and that Trinity was a Col-
lege endowed with the powers of an University.
This is, however, quite erroneous. The Uni-
versity and the College were both founded at
the same time, but as the former possessed no
distinct property, and had no share in directing
the education of the students, its sole function
consisted in conferring degrees. (See the Rev.
Dr. Todd's preface to the Catalogue of Graduates
of the University of Dublin, 1869, ^^^ Sir Joseph
Napier's 'Opinion,' prefixed to vol. ii. of the same
work, 1884, where the whole question is fully
elucidated.) Any possible doubt was removed by
the revised charter granted in 1857, by which
the Senate of the University was formally in-
corporated.'

In the 17th century two or three minor Col-
leges or Hulls were founded, but without success,
and Trinity still remains the single College in
the University of Dublin.-

To obtain a regular degree at the University
of Dublin, the candidate must matriculate at
Trmity CoUege, and complete the prescribed
course of study, when a Gracs is passed by
the Board of the College and submitted for
ratification to the Senate of the University,

'According to precedent tliis was not necessary. The University
of Pans never had a charter, nor was one sranted to Oxford until the
15th century and then for special reasons. Sir J„seph Xapier shows
that arecopnsedUnlverMtyisinitsownnaiureadistinct corporation
-Lt. h" •"'"'"« is afforded in the United States of America
Khere Harvard is the only College in Cambridge University.



TRINITY COLLEGE, DUBLIN.

but the degree may be withheld either by th'
veto of any member of the University Caput
or, subsequently, by a majority of the Senate.

A few degrees in Music seem to have been con
ferred in the 1 7th century, and Thomas Bateson
and Randolph, or Randal, Jewitt* are said U
Lave received the degree of Mus.B. [See vol. i
P- 1 55-]

In the latter part of the i Sth century several
musical degrees were given, an<l we "find thel
names of * Garret Weslev, Earl of Momington^,!
Mus.D. (1764); *the JElt. Hon. Charles Gar-
diner, Mus.D. causa honoris (1764) ; * Richard
Woodward (organist of Christ Church, 1765-
1777), Mus.B. 1768, Mus.D. 1 771; Sampson
Carter (elder brother of Thomas Carter) ", Mus.D.;
Samuel Murphy (organist of St. Patrick's, 1773,
and Christ Church, 1777), Mus.D.; Langrishe
Doyle (organist of Armagh 1776. and then
of Christ Church, Dublin, 1780), Mus.D.;'
Philip Cogan (organist of St. Patrick's, 1780),
Mus.D. ; Sir John Stevenson', Mus.D. (1791, per
diploma) ; and John Clarke^ (afterwards Clarke-
Whitfeld), Mus.D. (1795). From iSoo to 1861
the degree of Doctor was conferred on John
Spray; William Warren (organist of Christ
Church, 1S14, and of St. Patiick's, 1S27), 1S27 ;
John Smith, 1827 »; * Sir Robert P. Stewart'*
(organist of Christ Church, 1844, and of St. Pa-
trick's, i852-iS6i),iS5i, and* Francis Robinson,
honoris causa, 1852. The degree of Bachelor
was also taken by Nicholas H. Stack, 1845, and
William Murphy.

Tlie names marlced with an asterisk appear
in the Catalogue of Graduates, and in these cases
the degrees were taken regularly ; but most of the
other musical degrees seem to have been merely
honorary, and, conferring noUniversity privileges,
are not found in the University registers.

The Professorship of Music was founded in
1 764, when Lord IVIornington was appointed the
first professor; but on his retirement in 1774 the
chair remained vacant until 1847, when it was
filled b}' Dr. John Smith, and on his death in
1S61, Dr., afterwards Sir Robert, Stewart was
appointed to the oflBce, which he still holds.

Since his appointment, and, as it is understood,
mainly through his exertions, the conditions on

3 The date, ]611. ordinarily given as that of Bateson's removal from
Chester to Dublin, is incorrect. From the Chapter boolts of Christ
Chinch it appears that he was appointed a Vicar Choral of that
Cathedral on March 24. 160S-9. and Organist soon alterwards.

J Hankins's account of this musician is confused. Jewitt. who
became organist of both Christ Church and fct. Patrick's Cathedrals
in 1631, and was succeeded in the former post by Dr. Rogers in 1639,
held at the same time a choral vicarage in St. Patricks, of which he
was deprived by the .\rchbishop (also in 1639) for not being in priest's
orders, but was restored in 1641. He became a Vicar Choral cf Christ
Church in IGiC, and probably returned to England on the suppression
of the Cathedral establishments under the Commonwealth. Jewitt
seems to have afterwards taken Holy Orders, was admitted a Uinor
Canon of St. Paul's in 16«1. and finally became Organist of Win-
chester, where he died July i, 1075, and was succeeded by John
Heading. 5 See vol. ii. p. 36S.

6 See vol. i. p. 317. 7 See vol. iii. p. 712.

5 Organist of Armagh 1794—1797 : Master of the choristers of Christ
Church and St. Patrick's. 179S. Hewas never organist ol either of
the Dublin Cathedrals, as is sometimes stated. He graduated Mns. B.
at O.Tford in 1793. but his Cambridge degree of Doctor in 1799 was
granted at? eundtm from Dublin. See vol. i. p. 365.

9 See vol. iii. p. 540. The Grace passed by the Board for couferniiB
the degree of Doctor on Warren and Smith is dated July 7, 1627.
•'» See vol. iii. p. 71S.



TKINITY COLLEGE, DUBLIN.

vliich a degree in music is conferred by the Uni-

jrersity of Dublin have been considerably remodel-

Jled, by the addition of an examination in Arts to

:|tLat in Music only. The existing regulations re-

. J quire the candidate for the degree of Bachelor to

pass the ordinary examination for entrance into

Trinitj' College, except that any modern foreign

;j)i language may be substituted for Greek. He

must have studied or practised music for seven

? rears, and must pass such examination and per-
brm such exercises as may he prescribed. A
Doctor in Music must have taken the Degree of
Bachelor and have studied music for twelve years.
He also must pass such further examinations
and perform such acts as may be prescribed.

Trinity College was opened for the reception
of students on the 9th January, 159I. On the
centenary of that day a solemn commemoration
was held within the College, for which an Ode,
' Great Parent, tail ! ' was written by Tate/
then poet laureate, and set to music by Henry
Purcell. [See vol. iii. p. 49.]

The edition of this Ode, published by Good-
ison, staters that it was performed in Christ
Church Cathedral on the 9th Jan. 169I, but
this is certainly an error, and the registers of
Christ Cburch make no reference to the subject.
The General Register of Trinity College, however,
does contain a full account of the proceedings
within the College walls. After morning prayers
in thte Chapel came 'Musicus instrumentoium
conorentus.' Then followed sundry orations, after
■whith we read 'Ode Eucharistica vocum et in-
striamentorum Symphonia decantatur,' which
no.floubt is ' Great Parent, hail ! ' The College
Hejgister states that the several exercises were
laiii up in the manuscript library, but a recent
s(:/arch for these papers has proved fruitless.

In 1837 *^^ ' University Choral Society' was
tounded for the cultivation of vocal music in
fTrinity College. Membership is restricted to

/students of the CoUegu and Graduates of the

Universities of Oxford, Cambridge, and Dublin.
The Society meets weekly for practice from
November to June, and usually gives three
concerts during the season. At these concerts
many important works have been performed
for the first time in Dublin. Mr. Joseph Robin-
son' held the office of Conductor from the found-
ation of the Society until 1847, when he resigned,
and was succeeded by the present Conductor, Sir
Robert Stewart.

To encourage the study and practice of sacred
music in Trinity College, musical exhibitions have
been lately founded. The exhibitioners are elected
by examination held annually, and retain their
places for two years with a power of re-election.
They assist in the Choral Service of the College
Chapel. [G.A.C.]

TRINITY COLLEGE, LONDON. This in-
stitution is the developnient of a Musical Society
founded in 1872, under the title of the Chm-ch



' See • The Gentleman's Journal ' or ' The Monthly Miscellany,' Jan.
»nd Feb. 1694, p. 25. Tate was educated at Trinity College, where
he obtained a Scholarship in 1672. • See vol. iM. p. 140.



TRIO.



171



Choral Society, with the object of promoting the
improvement of church music and church sing-
ing. In the following year examinations of a
practical and theoretical character were esta-
blished for admission to the position of Fellow of
the Society, and in 1 8 74 to that of Associate,
diplomas or certificates being granted to the suc-
cessful candidates, who were subsequently classed
as ' Licentiate.s,' ' Associates,' and ' Students.'

In 1875 the Society was incorporated under
the Companies' Act, and in 1881 reincoi-porated
on a wider basis, under the name of Trinity Col-
lege, London ; lectui'es and classes were organised
for musical and general instruction ; examina-
tions for diplomas and prizes were held ; and a
library was opened. In 1S76 women were ad-
mitted to the classes then instituted, and soon
afterwards the local examinations throughout
the United Kingdom, which had been for some
years held by the Society of Arts, but had lately
been discontinued, were resumed and carried on
by Trinity College.

As at present constituted the College is under
the direction of a Council, an Academical Board,
and a Senate, and the studies, musical and lite-
rary, are conducted by a Warden and a staff of
professors.

The first Warden of the College was the Rev.
H. G. Bonavia Hunt, who still holds the office,
and to whose exertions the present position of
the College is due. Among the professors and
lecturers are Sir Julius Benedict; Mr. Carrodus;
Mr. Dubrucq ; Mr. James Higgs, Mus.B. ; Mr.
W. S. Hoyte; Mr. Lazarus ; Mr. George Mount ;
Dr. W. H. Stone ; Mr. E. H. Turpin ; Mr. Brad-
bury Turner, Mus.B. ; Mr. A. Visefcti ; and Mr.
C. E. Willing.

The College has about 300 students at present
on its books, and holds examinations at nearly
200 local centres. A scholarship and two exhi-
bitions, open to all comers, have been instituted,
and prizes are awarded amongst the students of
the College. A class for the practice of orchestral
music meets weekly during Term, and instruction
is given in French, German, and Italian.

The College publishes a Calendar annually,
from which, or from the Secretary at the Col-
lege, 13 Mandeville Place, Manchester Square,
London, all information ros]iecting examina-
tions, courses of study, and fee.-:, can be



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