Grove's dictionary of music and musicians

SALTANDO SALVAYRE 217
horse caused a long illness, from whieli he died
Nov. 25, 1815, at his house No. 70 Newman
Street. He was buried Deo. 2 in the south
cloister of Westminster Abbey. He bequeathed
his house to the Munchs of Bonn, his
next of
kin ; £200 to F. Ries, for the benefit of his
brother Hubert ; and his Stradivarius violin
(said to have belonged to Corelli, and to have
his name upon it) to Sir Patrick Blake, Bart.,
of Bury St. Edmunds. ^
Salomon was, on the whole, a first-rate soloplayer,
but his special field was the quartet, in
which he showed himself a solid and intelligent
musician. Haydn's last quartets were composed
especially to suit his style of playing.
He was a man of much cultivation, and
moved in distinguished society. Bland published
an engraving of him by Facius from
Hardy's picture. Another portrait by Lansdale
was sent by Salomon himself to the Museum at
Bonn. [A pencil drawing by Dance is in the
Royal College of Music] His best epitaph is
contained in a letter from Beethoven to his pupil
Ries in London (Feb. 28, 1816): 'Salomon's
death grieves me much, for he was a noble man,
and I remember him ever since I was a child. ^
'
c. F. p. ;
with additions from the Diet, of Nat.
Biog., etc.
SALTANDO.
SALTARELLO or
See SatjtillS.
SALTARELLA (Latin
saltare, to jump).
L In 1 6th-century collections of dance tunes
the melodies usually consist of two distinct
divisions, the first of which is written in common
time, the second in 3 time. The former was
probably danced like our English country-dances
(i.e. the dancers standing in two lines facing
each other) and bore the distinguishing name
of the dance, while the latter was like the
modern round dance and was variously entitled
Nachtanz, Proportio, Hoppeltanz, or Saltarello,
the first three being the German and the last
the Italian names for the same movement.
Thus in Bernhard Schmidt's Tdbulaturhuch
(Strasburg, 1577) are found the following
'
dances : Possomezzo Comun ' with ' II suo
Saltarello
'
; '
Ein guter Hofdantz ' with Nachdantz
' '
' ; Alemando novello : Ein guter neuer
Dantz ' with 'Proportz darauf and 'Ein
guter neuer Dantz' with 'Hoppeldantz darauf.'
Similarly in the Fitzwilliam Virginal Book
(i. 306) there is an elaborate ' Galiarda Passamezzo'
by Peter Philips (dated 1592) which
consists of ten 8-bar 'divisions,' the ninth of
which is entitled 'Saltarella.' The Saltarello,
or Proportio, was always founded on the air of
the first part of the dance, played in triple
time with a strong accent on the first beat of
the bar. The manner in which this was done
1 See the Westmintter Abbny Segittere, by J. L. Chester, B.C.L.
Sir F. Blake's property was sold after his death, and nothing Is now
known by the famUy about the violin.
2 Fohl'B Haydn in London, pp. 73 to 85. Beeihoven'a Bdmmtliche
Briefe, No. 411.
will be seen by examining the following example,
from the second book of Garoso da Sermoneta's
'
Nobilth, di Dame ' (Venice, 1600). It is part
of a Balletto, ' Laura Soave, ' the second part of
which (a Gagliarda) and the last forty bars of
the Saltarello are not printed here for want of
l;egEgfe3JgF_a^ap^^^
^^^m^^^^&
g^a^^^g^
Si torna Afwr %n aXtra volta.
Gagliarda. Saltarella.
^m^^^
SEfe^i^^
I
etc.
II. A popular Roman dance, in 3-4 or 6-8
time, danced by one or two persons, generally
a man and a woman, the latter of whom holds
up her apron throughout the dance. The step
is quick and hopping, and the dance gradually
increases in rapidity as the dancers move round
in a semicircle, incessantly changing their position,
and moving their arms as violently as
their legs. The music is generally in the minor,
and is played on a guitar or mandoline, with
tambourine accompaniment. The finale to
Mendelssohn's Italian Symphony contains two
Saltarello themes, in each of which the jumping
or hopping step is very apparent. In contrast
to these is a Tarantella, used as a third subject,
a continuous flow of even triplets. w. B. s.
SALVAYRE, Gervais Bernard, called
Gaston, born at Toulouse, Haute - Garonne,
June 24, 1847, began his musical education at
the maltrise of the cathedral, and afterwards
studied at the conservatoire of the town, before
he was brought by Ambroise Thomas to the
Paris Conservatoire, where he studied the organ
with Benoist, and composition and fugue with
Thomas and Bazin. He gained the first prize
for organ in 1868, and competed for the Prix
de Rome every year from 1867 to 1872, gaining
it at last by sheer force of perseverance. During
his stay at Rome, Salvayre worked very hard,
and many of his compositions date from this
time, notably his opera of Le ' Bravo, ' and his
sacred symphony in four movements,
'
Le
Jugement dernier,' of which the first two
movements were performed at the Concerts du
ChS,telet, March 19, 1876. It was given in its
entirety at the same concerts on Dec. 3, 1876,
under the title of La Resurrection,' and again,
'
under a third title, 'La Vallee de Josaphat,'
at Lamoureux's concert on April 7, 1882. The
remaining works written by Salvayre for the
concert room are an 'Ouverture Symplionique,'
P