Grove's dictionary of music and musicians

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SADLER'S "WELLS SAINT ANNE'S TUNE 203
mined to resuscitate the Society, and the new
institution -was incorporated in 1882. Charles
Halle was appointed conductor, and in 1885
was succeeded by W. H. Cummings, who had,
up to that time, acted as assistant conductor.
In the autumn of 1888 the new Society ceased
to exist.
The Benevolent Fund of the Society was
instituted March 14, 1855, for the aid of necessitous
persons who had at any time been connected
with the Sacred Harmonic Society. The
management of the Fund was entrusted to an
independent committee, chosen by the Governors
of the Fund from the members of the Sacred
Harmonic Society. w. h. h.
SADLER'S WELLS, a place of entertainment
near the New River Head, Pentonville,
much associated with music from the end of
the l7th century. In a garden belonging to a
person named Sadler an ancient well was discovered
in 1683. The water of the well was
chalybeate and ferruginous, and Sadler, who
owned a sort of tavern, having attached a wooden
'Music House,' exploited the medicinal qualifies
in rivalry of the waters at Tunbridge and at
Epsom. He laid out the grounds and engaged
tumblers and musicians, and the place was
much frequented for its open-air concerts. In
1699 James Miles and a Francis Forcer, the
latter a musician, werd proprietors, and the place
became known also as 'Mlles's Music House.'
Miles having died in 1724, Francis Forcer,
junior, increased the attractions, and Forcer
dying in 1743, the gardens passed into the
hands of one Rosoman, who made many alterations
, rebuilding the Music House in brick. This
brick structure, erected in 1765, formed part of
Sadler's Wells theatre until quite recent years.
Mrs. Lampe, Thomas Lowe, and other vocalists
of repute sang at Sadler's Wells, and at a later
date Miss Romanzini (Mrs. Bland), and Braham
were among the performers engaged there.
Mrs. Mountain, the singer, whose parents were
engaged at Sadler's Wells, was named after
Rosoman the proprietor. Charles Dibdin the
elder, and his sons Thomas and Charles were
all more or less closely connected with Sadler's
Wells, writing plays and musical paatomimes
for production there. The younger Dibdins were
proprietorsand managers. Grimaldi's connection
with thistheatre and thatof other pantomimists,
tumblers, rope-dancers, and actprs, do not
concern the musical records of it. The theati'e
is now a music-
has seen many changes, and it
hall. Much information regarding details can
be gathered from a collection of scraps relating
to Sadler's Wells, bound in fourteen volumes,
formed by Mr. Percival in the British Museimi.
London Pleasure Gardens by W. and A. E.
Wroth, Old and New London, and similar works
may be also consulted. F. K.
SAFFO. See Sappho.
SAGGIO DI CONTRAPPUNTO (Sample
of Counterpoint). A very important work, published
at Bologna, in 1774-75, by the Padre
Giambattista Martini, in two large 4to volumes,
dedicated to Cardinal VincenzoMalvezzi,and now
very scarce. The fulltitle,^se«iptor«, o sia saggio
fondamentale pratico di contrappwnto sopra il
eanto/ermo, etc., sufficiently explains the design
of the work, in which the author endeavours to
teach the art of counterpoint rather by reference
to the most perfect obtainable models than by
any code of written laws. The method adopted
for this purpose is above all praise. The bulk
of the volume consists of a series of examples,
in the form of Motets, Madrigals, Movements
from Masses, and other similar compositions,
selected from the works of the greatest masters
of the 16th and 17th centuries, beautifully
printed, from movable types, in lozenge-headed
notes, resembling those found in Italian Part-
Books of the best period, but without the
Ligatures which render those books so puzzling
to the modern musician. The masters selected
are, Agostini, Animuccia, Barbieri, Baroni,
Benevoli, Bemabei, Caresana, Cifra, Clari,
Corvo, Falconio, Foggia, Gabussi, Gesualdo,
Lotti, Marcello, Marenzio, Minarti, Monteverde,
Morales, Navarro di Siviglia, Nitrami, Olstani,
Ortiz, Pacchioni, Paleatrina, P. Pontic Parmigiano,
Pasquale, Perti, Piocchi, Porta, Predieri,
Ricoieri, Rota, A. Scarlatti, Stradella, Turini,
Vittoria, Willaert, Zarlino, and several Anonymi.
The works are arranged in accordance with the
characteristics of their respective schools ; and
each movement is illustrated by a copious series
of annotations, explaining its general design,
pointing out the various devices employed in
its constniction, and calling particular attention
to its merits, and the lessons to be learned
from it. The amount of sound scholarship
and able criticism displayed in these annotations
renders the work extremely valuable for
purposes of study ; while the rarity of the original
edition suggests that a careful reprint
would be useful. w. s. e.
SAINT ANNE'S TUNE. This well-known
tune, in accordance with a practice of which
there are several examples,' was constructed by
the addition of a new continuation to a fragment
of an older melody. A seven-part motet of
Palestrina's, published in May 1569, leads off
in the first treble with this phrase
$^ ^
Tu ea Pet - ma.
identical with the first phrase of St. Anne's ;
after which the resemblance ceases. The entire
first strain of the tune is said to be traceable to
a French chanson of the 1 6th century. It was
adopted by J. S. Bach as the subject of an organ
fugue, known inEngland as 'St. Anne's fugue'
1 ' '
The Old Hundredth psalm tune is another Instance. Ita first
strain is the commencement of several distinct tunes.