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Grove's dictionary of music and musicians
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GIOVANNI BA'iTI8TA EUBINI
176 ETJBATO EUBINI ' when she sang at a concert given by one <strong>of</strong> her pupils. A. 0. KUBATO, lit. robbed ' or ' ' stolen,' referring to the values <strong>of</strong> the notes, which are diminished in one place <strong>and</strong> increased in another. The word is used, chiefly in instrumental <strong>music</strong>, to indicate a particular kind <strong>of</strong> licence allowed in order to emphasise the expression. This consists <strong>of</strong> a slight ad libitum slackening or quickening <strong>of</strong> the time in any passage, in accordance with the unchangeable rule that in all such passages any bar in which this licence is taken must be <strong>of</strong> exactly the same length as the other bars in the movement, so that if the first part <strong>of</strong> the bar be played slowly, the other part must be taken quicker than the ordinary time <strong>of</strong> the movement to make up for it ; <strong>and</strong> vice versa, if the bar be hurried at the beginning, there must be a rallent<strong>and</strong>o at the end. In a general way this most important <strong>and</strong> effective means <strong>of</strong> expression is left entirely to the discretion <strong>of</strong> the performer, who, it need scarcely be said, should take great care to keep it within due limits, or else the whole feeling <strong>of</strong> time will be destroyed, <strong>and</strong> the emphasis so desirable in one or two places will fail <strong>of</strong> its effect if scattered over the whole composition. Sometimes, however, it. is indicated by the composer, as in the first Mazurka in Chopin's op. 6 (bar 9), etc. This licence is allowable in the works <strong>of</strong> all the modern ' romantic ' masters, from Weber downwards, with the single exception <strong>of</strong> Mendelssohn, who had the greatest dislike to any modification <strong>of</strong> the time that he had not specially marked. In the case <strong>of</strong> the older masters, it is entirely <strong>and</strong> unconditionally inadmissible, <strong>and</strong> it may be doubted whether it should be introduced in Beethoven, although many great interpreters <strong>of</strong> his <strong>music</strong> do not hesitate to use it. [See Tempo.] m. EUBINELLI, Giovanni Battista, celebrated singer, bom at Brescia in 1753, made his first appearance on the stage at the age <strong>of</strong> eighteen, at Stuttgart, in Saoohini's ' Calliroe. For some years he was attached to the Duke <strong>of</strong> Wiirtemberg's chapel, but in 1774 he sang at Modena in PaisielloV ' Aless<strong>and</strong>ro nelle Indie ' <strong>and</strong> Anfossi's 'Dem<strong>of</strong>oonte.' His success was very great ; <strong>and</strong> during the next few years he performed at all the principal theatres in Italy, In 1 786 he came to London, after a journey from Bome by no means propitious. The weather was unusually severe, <strong>and</strong>, in going through France, his travelling chaise was overturned at Macon ; besides which, when approaching Dover, the boat that l<strong>and</strong>ed him was upset, <strong>and</strong> the unlucky singer remained for a time up to his chin in the water. In spite <strong>of</strong> these perils he made a successful d^but in a pasticcio called 'Virginia,' his own part in which was chiefly composed by Tarchi. He next sang with Mara, in ' Armida,' <strong>and</strong> in H<strong>and</strong>el's ' Giulio Oesare,' revived for him, with several interpolations from H<strong>and</strong>el's other works. These are said to have been most admirably sung by Rubiuelli. After his season in London he returned to Italy, where he had enormous success at Vicenza <strong>and</strong> Verona, in 1791 <strong>and</strong> 1792, in 'La Morte di Cleopatra' <strong>of</strong> Nasolini, <strong>and</strong> 'Agesilao' <strong>of</strong> Andreozzi. In 1800 he left the stage, <strong>and</strong> settled at Brescia, where he died in 1829. ' F,A.M. EUBINI, Giovanni Battista, one <strong>of</strong> the most celebrated tenor singers, was bom at Eomano, near Bergamo, on April 7, 1795. The son <strong>of</strong> a. pr<strong>of</strong>essor <strong>of</strong> <strong>music</strong>, he learned the rudiments <strong>of</strong> his art from his father, <strong>and</strong> at eight years old could sing in church choirs <strong>and</strong> play the violin in an orchestra. He was then placed as a pupil with one Don Santo, a priest, organist at- Adro, who, however, soon sent him home again, saying that he had no talent for singing. In spite <strong>of</strong> this, the father persisted in teaching his unpromising son, <strong>and</strong> allowed him, at the age <strong>of</strong> twelve, to appear in public at the Eomano theatre in a woman's part. The boy was next engaged at Bergamo as chorus-singer,, <strong>and</strong> to play violin solos in the entr'actes. It happened while he was here that in a new drama that was brought out, an air by Lamberti, <strong>of</strong> considerable difficulty, had to be introduced, for which it was not easy to find a singer. The song was finally entrusted to young Eubini, who acquitted himself with much applause, <strong>and</strong> was rewarded by the manager with* a present <strong>of</strong> five francs. His elation at the time must have been sadly damped just afterwards by the refusal <strong>of</strong> a Milan manager to engage him as chorus-singer, because <strong>of</strong> his insufBoient voice. After belonging for a time to a stroUing company, <strong>and</strong> making an unsuccessfid attempt at a concert tour with a violinist called Madi, he got a small engagement at Pavia, then another at Brescia for the Carnival ; he next appeared at the San MoisS theatre at Venice, <strong>and</strong> lastly at Naples, where the director, Barbaja (according to Esoudier), engaged him to sing with Pellegrini <strong>and</strong> Nozzari, in two operas written for him by Fioravanti. (The name <strong>of</strong> one <strong>of</strong> these operas 'Adelson e Salvina,' is identical with that <strong>of</strong> an early work <strong>of</strong> Bellini's, produced about this time.) "With the public Eubini was successful, but so little does Barbaja appear to have foreseen his future greatness that he wished to part with him at the end <strong>of</strong> the first year's engagement, <strong>and</strong> only consented to retain his services at a reduced salary. Eubini preferred making some sacrifice to leaving Naples, where he was taking lessons <strong>of</strong> Nozzari, <strong>and</strong> he acceded to Barbaja's conditions, which very soon, however, had to be rescinded, owing to Eubini's brilliant successes at Eome (in 'La Gazza ladra') <strong>and</strong> at Palermo. Some time in 1819 he married Mile. Chomel,. known at Naples as La Cpmelli, a singer <strong>of</strong> some conitemporary
GIOVANNI BA'iTI8TA EUBINI
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Cornell University Library ML 100.G
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Tflaaanoa asTai swajtt
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GROVE'S DICTIONAEY OF MUSIC AND MUS
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LIST OF CONTEIBUTOES The names of d
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S. J. Spobling, Esq. . LIST OF CONT
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' ' DICTIONARY OF MUSIC AND MUSICIA
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; QUARENGHI QUAETET any other combi
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; Stanford's quartets from Tennyson
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— QUAVEE QUEISSER Comique, Paris,
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' — as — ' QUINTET QUINTUPLE TI
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— ' AAFF, Anton, one of the most
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JOSEPH JOACHIM KAFF
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— ; ; 14 RAFF EAFF gelitten, gest
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. Einer . Suite , Suite . 8th , 2nd
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— :; ; 18 EAMANN BAMEAU so that b
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j ; I ZaTa, 1 ' ' 1 Pygmalion, ' Le
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—; EAMEAU to attaining truth of d
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; porticos. 24 RANDHAETINGER RANELA
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' 26 EANTZAU EAPPOLDI hit with Neuk
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EASELIUS EASOUMOWSKY 27 ' Professor
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; , EAVENSCROFT Fischer, Cervetto,
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EEADING REBEC 31 series of letters
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' RSBSK EECITATIVE 33 seems to have
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— RECITATIVE RECITATIVE 35 the pu
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— EECOEDER RECORDER 37 Tonus Pere
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' RECORDER RECORDER 39 always tell
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EEDEKER REDOUTE 41 that of the well
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' Beggarmy ' Our — — ' ' ' Happ
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— : KEEL EEEVE 45 of the trumpet
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' ' REFORMATION SYMPHONY, THE EEGAL
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' — — — ; EEGGIO BEGNAET 49 .
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EEHEAESAL EEICHA 51 praises from th
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— ; 54 REICHER-KINDERMANN EEICHMA
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CAKL HEINKICH OAKSTEN REIXECKE
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EEINKEN EEISSIGER 59 St. George the
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' EELATrON RELATION 61 third and mi
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EEMBT REMOTE 63 Rellstab's novels a
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' — EENCONTRE IMPREVUE REPETITION
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— ' — —— . RESPONSE RESPONS
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— — EESPONSOEIAL PSALMODY EESPO
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In — — ' EESPONSORIUMJ REST 75
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. RESULTANT TONES EESZKE 77 to trea
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;' EfiVE, LE KEY 79 1697 to 1703. I
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ERNEST REYER
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'' EHAMES RHAPSODY nations. The ope
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— ' — 84 RHEINBERGER EHEINBEEGE
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; often —; —: ' 86 RHEINGOLD, D
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— — — ; 88 RHYTHM ill such qu
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' 90 BICCIO EICH published two volu
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and ' EICHAEDSON BICHTER on its vis
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— ' RICHTER RICHTER 93 has passed
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a: ' as RIDOTTO RIEMANN 95 and frie
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; '; RIES RIES 97 a great deal of p
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— RIETZ EIETZ 99 library at Winte
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' RIGHINI EIMBAULT 101 and Galatea.
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NICHOLAS AXDREIE\"ICH EIM.SKY-KORSA
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— ' •104. EIMSKY-KOESAKOV RIMSK
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' : 106 RINALDO DI CAPUA EINCK prea
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' 108 KIPIENO RITORNELLO became ver
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no rittbb! RIZZIO on the Viola Alta
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, ' 112 ROBERTS ROBINSON of 'Callio
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— : 114 ROBINSON ROCHLITZ which w
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116 BOCKSTRO EODE return to England
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' ' 118 EOECKEL KONTGEN repertory o
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' Roland, ' 120 EOGERS ROGEKS himse
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122 ROI DES VIOLONS KOKITANSKY pupi
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many —' 124 ROLLI ROMANTIC of whi
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; , , 126 ROMANTIC ROMANTIC strings
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—' — SAMMARTINI SANCTUS 219 sui
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SANDONI 1799 ' ; Sir Francis Drake,
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SAPPHO SARABAND 223 Santley's singi
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PABLO MARTIX MELITON DE SARASATE Y
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' when 230 SAVONAROLA SAX included
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232 SAXHORN SAXHORN detailed in F^t
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234 saxophon:^ SCALA, LA ' tubas, n
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' — octave ' — — 236 SCALE SC
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— ; 238 SCANDELLO SCANDELLO $ ^^
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; 240 SCAEIA SCARLATTI Miuikalische
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' ' SCARLATTI SCARLATTI 241 able th
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— —' SCARLATTI SCARLATTI 243 of
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SCARLATTI SCARLATTI 245 with Beetho
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SCAELATTI SCBNA 247 Asturias, whose
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. SCHARWENKA SCHAEWENKA 249 elude a
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' SCHEIBLEE SCHEIDEMANN 251 was suc
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— ' SCHEIDT SCHEIDT 2&3 large num
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— ' SCHEIDT SCHEIN 255 there is s
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— : SCHELLER SCHBNK 257 sion ; an
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SCHERZO SCHERZO 259 humour or fancy
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— SCHETKY SCHIEDMAYER 261 any mor
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' ' — — SCHILLING SCHINDELMEISS
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' posed for the Paris Op6ra-Comique
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. SCHLICK SCHLOESSER 267 organists,
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— SCHNEIDER SCHNEIDEE 269 now Mme
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SCHOELCHER SCH(ELCHER 271 brilliant
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' SCHOLZ SCHOTT 273 de propagande '
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WILHELMIXE SCHEOUER-DEVRIENT
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288 1816 SOHUBEBT 1816 the same. To
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''; 290 18 IT- SCHUBEBT -1818 '—
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i "We — —' 292 1819 SCHUBERT 18
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' 294. 1820 SCHUBERT 1820 mentality
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—; 296 1821 SCHUBEET 1821 manuscr
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298 1822 SCHUBERT 1822 of his visit
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— ; ' 300 1823 SCHUBERT 1823 desi
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304 1825 SCHUBERT 1825 String Quart
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306 1826 SCHUBERT 1826 anthor, ' IV
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' 308 1826— SCHUBERT -1827 of pri
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—' ' 310 1827 SCHUBERT 1827 and '
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312 1828 SCHUBEET 1828 Sohindler to
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' ' ' lisher, he wrote a, four-hand
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' 316 1828 SCHUBERT '1828 He discus
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— 318 1828 SCHUBERT 1828 Seidl, S
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;' — 320 SCHUBERT been a zealous
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— ; 322 SCHUBERT PF. pieces were
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— ; 324 SCHUBERT then the theatre
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; 326 SCHUBERT the astonishing forc
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' ' 328 SCHUBERT only, as in the Eo
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— ; 334 SCHUBERT made by von Erei
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336 SCHUCH SOHtJTZ was appointed so
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338 SOHUTZ SCHUTZ waa commissioned
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340 SCHUTZ SCHUTZ three alto voices
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— ; 342 SCHULTZ SCHULZE counterpo
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; 344 SCHUMANN England, playing at
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— extending from Scarlatti and Ba
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1828- SCHUMANN —1829 347 dutifull
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dreams ' 1830— SCHUMANN —1832 3
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— 1834- SCHUMANN —1835 351 doma
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1835- SCHUMANN —1839 355 him as t
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— ; 1839- SCHUMANN -1840 357 At t
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1843— SCHUMANN —1846 359 of the
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' 1848- SCHUMANN —1850 361 the wa
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;' 1850 SCHUMANN 1850 363 accepted
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1851— SCHUMANN —1853 365 custom
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—; 1854- SCHUMANN —1856 367 wor
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KOBERT ALEXANDER SCHUMANN From a da
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' 370 SCHUMANN years, in early life
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' — '; 372 SCHUMANN and depth of
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374 SCHUMANN out, and which are—a
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' 376 SCHUMANN distracted from the
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' 378 SCHUMANN very highly of this
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380 SCHUMANN fact which Schumann th
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; 382 SCHUMANN quoted above. As a P
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384 SCHUNKE SCHUPPANZIGH ' Ero e Le
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' 386 SCHWINDL SCOEDATURA when he l
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' 388 SCOEE SCORE glance. The Engli
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' — ' 390 SCOTCH SYMPHONY, THE SC
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— ;• ' — 392 SCOTTISH MUSIC S
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; —; 394 SCOTTISH MUSIC SCOTTISH
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— 396 SCOTTISH MUSIC SCOTTISH MUS
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' 398 SCOTTISH MUSIC SCOTTISH MUSIC
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y 400 SCOTTISH MUSIC SCOTTISH MUSIC
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402 SCOTTISH MUSIC SCEIABIN (This I
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— ' De dlscantu/ ' De ' ' ' ' ' ;
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; 406 SECOND SEEGR variations on an
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: : ' . 408 SEGUIN SEIFPERT and in
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' SEISS SEMBEICH 409 SEISS, IsiDOR
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#'# -'i»* m .'^ a,p!irigH I'll .1^
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; ' ' ; , 412 SEMIEAMIDE SENAILL1&
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'; 414 SENPF SEPTET perfect. Purity
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! 1 , J , J . — 416 SEQUENCE SEQU
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— 418 SERAPHINE SEEENATA of grace
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' ': 420 SEEMISY SERMISY in 1532 wh
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' 424 SEREANO SERVICE Ambroise Thom
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428 sevCIk SEVEN LAST WORDS, THE hi
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430 SEVERN SEYFEIED the key that so
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432 SGAMBATI SQAMBATI op. 4), an ov
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— — — 434 SHAKE SHAKE The sig
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— 436 SHAKE SHAKE principal note
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438 SHAKE SHALIAPIN The above arran
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— 440 SHAWM SHEPHERD and appeared
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; 442 SHIELD SHIFT siderable succes
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' 444 SHIEKEPFS SHORT OCTAVE favour
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' 446 SHUDI SI that Plenina about 1
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; ; 448 SIBELIUS SIBONI himself say
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—' 450 SIGNA SIGNATURE According
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— ; 452 SIGURD SILBERMANN an Engl
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454 SILVA SIMON in St. Petersburg,
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456 SIMPSON SIMPSON ' Introduction
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458 BINDING SINGAKADEMIE great popu
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— 460 SINGING SINGING voice can b
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462 SINGING SINGING Besides the ten
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— ' 464 SINGING SINGING 2. Conson
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X 466 SINGING SINGING the more open
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468 SINGING SINGSPIEL perform a mus
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; 470 SINIGAGLIA SIR BOGER DE COVEE
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472 SIRilNE, LA SIEMEN main axis, w
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' 474 SISTINE CHOIR SISTINE CHOIR T
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; ' 476 SISTINE CHOIR SIVORI ti-ebl
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— ; ' 478 SIXTH SIXTH London, and
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480 SKENE MANUSCRIPT SKETCH that it
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482 SLIDE SLIDE called Tirade or Ti
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; 484 SMALL OCTAVE SMAET in a lette
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:' ' ' . 486 SMETANA SMITH ^1874),
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' ; SMITH SMITH 487 ' always clear
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SMITH SMITH 489 quary. In 1773 he w
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; SNAEES SOCIEDADE DE QUAETETOS 491
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SOCIETY OF BRITISH MUSICIANS SODEEM
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' ' SOLESMES SOLESMES 495 Under Gu^
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— — ' SOL-FA SOLFEGGIO 497 nota
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' SOLFEGGIO SOLMISATION 499 is ther
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— — SOLMISATION SOLMISATION 501
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—; ' SOLO STOP SOMERVELL 503 of t
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SONATA 505 to make tlie most elemen
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SONATA 507 being taken as part of t
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; not only does the mind take time
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SONATA 511 next thing to complete m
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— —' SONATA 513 home to the hea
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— SONATA 515 position, but this i
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— . — Cromatica, and parts of s
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The virtue of tliis process is that
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though ably written, has too much o
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SONATA 523 before Beethoven's time
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— SONATA &25 build at once upon t
- Page 585 and 586:
; SONATA 527 •hoven probably stoo
- Page 587 and 588:
; SONATA 529 fairly appropriate to
- Page 589 and 590:
SONATA 531 but is not so fascinatin
- Page 591 and 592:
SONATA 533 two Imudred years ; and
- Page 593 and 594:
' ; SONATA SONATINA 535 slow moveme
- Page 595 and 596:
I SONG 537 principles as other kind
- Page 597 and 598:
; - SONG 539 Another example of the
- Page 599 and 600:
I et I 1 '«^ I ' ta SONG 541 centu
- Page 601 and 602:
' 1 A celebrated collection, with a
- Page 603 and 604:
' SONG 546 Eomantio School, and his
- Page 605 and 606:
— and pathos can only be fully fe
- Page 607 and 608:
' lla —: — to various districts
- Page 609 and 610:
'• 'i SONG 551 Ex. 10. Los Pkbgon
- Page 611 and 612:
, Ex. — SONG 553 but the words ar
- Page 613 and 614:
; SONG 555 songs had their populari
- Page 615 and 616:
. I SONG 557 {Escl. con misura pi'i
- Page 617 and 618:
SONG 559 hynm- tunes, known as 'Lau
- Page 619 and 620:
SONG 561 With few exceptions Italia
- Page 621 and 622:
— — SONG 563 B1BLIOGKA.FHV Tobl
- Page 623 and 624:
— SONG 565 The rpayoiSta rov x^P^
- Page 625 and 626:
— — ' SONG 567 Ex. 3. 1st Voice
- Page 627 and 628:
: SONG 569 Rosniiinovaky. Le chant
- Page 629 and 630:
— — — SONG 571 in the cathedr
- Page 631 and 632:
— of the earliest and most famous
- Page 633 and 634:
— ^ ' of the Slovaks who inhabit
- Page 635 and 636:
^ — SONG 577 Ex. 7. served to res
- Page 637 and 638:
— songs of Western Europe, some o
- Page 639 and 640:
Ii — — SONG 681 diiferent count
- Page 641 and 642:
SONG 583 present century. The music
- Page 643 and 644:
;' humour, and pathos, but it is li
- Page 645 and 646:
aim ' SONG 587 Berggreen, A. r. 'Fo
- Page 647 and 648:
I — SONG 589 woe-ste Zee, Ala doo
- Page 649 and 650:
; the short allegorical, mythologic
- Page 651 and 652:
and : by SONG 593 abundance of popu
- Page 653 and 654:
' SONG 595 Ex. 3. My LitUe Pretty O
- Page 655 and 656:
^ SONG 597 Many songs of their emph
- Page 657 and 658:
' , thoroughly ; ballad-form, and a
- Page 659 and 660:
- mouJded and finished with care, w
- Page 661 and 662:
fi ' — SONG 603 and Ulm. In slior
- Page 663 and 664:
— — ! SONG 605 with one phrase
- Page 665 and 666:
— SONG 607 Jungfrau, ilir seid wo
- Page 667 and 668:
— I I ; belonged to the second ha
- Page 669 and 670:
' faTonrite ' Ich mochte wohl der K
- Page 671 and 672:
' that they are too pretentious and
- Page 673 and 674:
SONG 615 ality of conception in the
- Page 675 and 676:
' SONG-SCHOOL SONG-SCHOOL 617 Bilch
- Page 677 and 678:
a' ; SONNLEITHNER SONS OF THE CLEEG
- Page 679:
IIENKIETTE SUMAU, COUMESS RO.SSI
- Page 682 and 683:
SORCERER, THE SORDINO Robinson, Mar
- Page 684 and 685:
624 SORIANO-FUERTES SOSTINENTE PIAN
- Page 686 and 687:
— — 626 SOUND-HOLES SOUND-HOLES
- Page 688 and 689:
— 628 SOUND-POST SPAGNOLETTI of a
- Page 690 and 691:
630 SPEAKER-KEYS SPECIMENS Bennett,
- Page 692 and 693:
—— : — 632 SPINET SPINET Spin
- Page 694 and 695:
C^ — 634 SPINET SPINET tuned an
- Page 696 and 697:
— — 636 SPINET SPINET fourths b
- Page 698 and 699:
638 SPITZFLOTE SPOHR was CO -editor
- Page 701 and 702:
SPOHR SPOHR 639 longed stays at Ham
- Page 703 and 704:
—' SPOHB SPOHR 641 setting a libr
- Page 705 and 706:
' — SPOHR SPOHR 643 his famous cr
- Page 707 and 708:
; ' I - ' ' ' op. SPOHR SPONDEE 645
- Page 709:
GASPARO LUIGI PACIFICO SPONTINI
- Page 712 and 713:
work, Cenno gtarico tuUa Scuota mus
- Page 714 and 715:
650 SPONTINI the first act the seco
- Page 716 and 717:
652 SPONTINI problem Spontini eithe
- Page 718 and 719:
' — ' 654 SPONTINI and Armida ' '
- Page 720 and 721:
656 SPONTINI more suited to Lieder
- Page 722 and 723:
— ' 658 SPONTINI Spontini'a choic
- Page 724 and 725:
; cries ;! « 660 SPONTINI Such ste
- Page 726 and 727:
' ' SPONTINI SQUAECIALUPI him. The
- Page 728 and 729:
— 664 STABILINI STACCATO is enoug
- Page 730 and 731:
666 STADLEE STADLMAYR an instrument
- Page 732 and 733:
; 668 STAINER STAINEE or Nicholas A
- Page 734 and 735:
, of —' 670 STAINER STAINEE tion
- Page 736 and 737:
' ; 672 STANFOED STANFORD p. 785).
- Page 738 and 739:
' 674 STANLEY STAR SPANGLED BANNER,
- Page 740 and 741:
. composers. 676 STATUE, LA STAVE c
- Page 742 and 743:
' — 678 STEFFAiTI STEFFANI the yo
- Page 744 and 745:
i fine — 680 STEFFANI STEFFAKI qu
- Page 746 and 747:
: 682 STEFFKINS STEIBELT of an arti
- Page 748 and 749:
! Such ' 684 STEIBELT STEIBELT tlie
- Page 750 and 751:
' 686 STEIBELT STEIBELT not unfrequ
- Page 752 and 753:
I Grand I ' and 'Eondo, 3 I ' Sargi
- Page 754 and 755:
' 690 STEIN STEIN A. W. Thayer' une
- Page 756 and 757:
; ' 692 STEINWEG STEPHENS corporati
- Page 758 and 759:
694 STERN STERN 13, 1873, she took
- Page 760 and 761:
— 696 STIASTNY STICKER ' appointe
- Page 762 and 763:
698 STOCK STOCK EXCHANGE Cantor at
- Page 764 and 765:
700 STOCKHORN STODAET founded by St
- Page 766 and 767:
' ' 702 STONARD in the collections
- Page 768 and 769:
704 STORAGE STORAGE the Prince of W
- Page 770 and 771:
; 706 STRADELLA STRADELLA Strada mu
- Page 772 and 773:
' 708 STRADIVARI STRADIVARI a plagu
- Page 774 and 775:
'; ' 710 STRADIVARI STRADIVARI The
- Page 776 and 777:
' Geheimniss ; 712 STRADIVARI STRAD
- Page 778 and 779:
714 STEATHSPEY STRAUSS already noti
- Page 780 and 781:
716 STRAUSS STEAUSS to which he suc
- Page 782 and 783:
' ; 718 STEAUSS STEAUSS period have
- Page 785 and 786:
' — ' ' STRAUSS STEAUSS 719 combi
- Page 787 and 788:
— STRICT COUNTERPOINT STRICT COUN
- Page 789 and 790:
STRICT COUNTERPOINT STRICT COUNTERP
- Page 791 and 792:
• — STEICT COUNTERPOINT STRIGGI
- Page 793 and 794:
STRING STRING 727 melody she is exe
- Page 795 and 796:
Wiesbaden, ' ; ' STROUD STEUNGK 72
- Page 797 and 798:
SUBJECT SUBJECT 731 hymnologists, t
- Page 799 and 800:
'' SUBJECT SUBJECT 733 slowly, to g
- Page 801 and 802:
' — — I SUBJECT SUBSIDIARY 735
- Page 803 and 804:
'; SUSSMAYER SUITE 737 at a concert
- Page 805 and 806:
' ' . SUITE SUITE V39 by the suite
- Page 807 and 808:
— SUITE SUITE '-74I antithesis to
- Page 809 and 810:
' B SUITE SULLIVAN 743 there is no
- Page 811 and 812:
' ' STJLLIVAN SULLIVAN 745 company
- Page 813 and 814:
' ; SUL PONTICELLO SUMER IS ICUMEN
- Page 815 and 816:
— SUMER IS ICUMEN IN 749 of the C
- Page 817 and 818:
I J f SUMER IS ICUMEN IN 751 t Uil
- Page 819 and 820:
— both may be found in the autoty
- Page 821 and 822:
and '; SUPER SUPPt 755 Sacred Harmo
- Page 823 and 824:
SUSPENSION SUSPENSION 757 to the po
- Page 825 and 826:
— , ' SVENDSEN SWEELINCK 759 esta
- Page 827 and 828:
' SWELL-ORGAN SWIETEN 761 be as gra
- Page 829 and 830:
; SYMPHONIC POEMS SYMPHONY 763 as a
- Page 831 and 832:
' SYMPHONY 765 former used crudely
- Page 833 and 834:
' mentions ' his influence. Even be
- Page 835 and 836:
— SYMPHONY 769 and octave passage
- Page 837 and 838:
' of the Mannheim orchestra for dea
- Page 839 and 840:
SYMPHONY V73 the typical characteri
- Page 841 and 842:
SYMPHONY 775 been very efficient or
- Page 843 and 844:
SYMPHONY Adagio, an Allegro of abou
- Page 845 and 846:
; SYMPHONY V79 metheus music a3 tha
- Page 847 and 848:
— ratio between its various eleme
- Page 849 and 850:
. — is one of the very first Germ
- Page 851 and 852:
SYMPHONY 785 The Minuet is exti-aor
- Page 853 and 854:
SYMPHONY 787 as possible after one
- Page 855 and 856:
; SYMPHONY 789 In one or other of t
- Page 857 and 858:
SYMPHONY 791 to the work in those r
- Page 859 and 860:
:' ' upon the hearer ; while his vi
- Page 861 and 862:
movements. There was originally the
- Page 863 and 864:
SYMPHONY CONCERTS SYMPHONY CONCERTS
- Page 865 and 866:
, SYMPHONY CONCERTS SYMPHONY CONCER
- Page 867 and 868:
SYMPHONY CONCERTS IN U.S. SYMPHONY
- Page 869 and 870:
SYMPHONY CONCERTS IN U.S. SYMPHONY
- Page 871 and 872:
' SYMPHONY CONCEKTS IN U.S. SYMPHON
- Page 873 and 874:
— ; : SYMPSON SYEEN 807 in the re
- Page 875 and 876:
' ' ' ' ADDENDA ET COEEIGENDA FOE V
- Page 877:
ADDENDA ET COEEIGENDA FOR VOL. Ill
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