Grove's dictionary of music and musicians

More documents

Recommendations

Info

— ' 224 SARASATE SAEASATE Coverley' is now danced), and the other, 'Adson'a Saraband,' to be danced 'longwayes for six.' It was at about this time that the Saraband, together with other dances, found its way into the Suite, of which it formed the slow movement, placed before the concluding Gigue. In this form it is remarkable for its strongly accentuated and majestic rhythm, generally as follows : It is written either in the major or the minor key, in 3-2 or 3-4 time, although Walther {Lexikon, 1732) says that it may be also written in 2-4 time. It usually consists of two 8- or 12-bar divisions, begins on the down-beat, and ends on the second or third beat. Bach, in the ' Olavieriibung,' Pt. I. (B.-G. iii. 76) has a Saraband beginning on the up-beat, and Handel (Suite XI.) has one with variations. Those by Corelli do not conform to the established rules, but are little more than SicUianas played slowly. The following Saraband for the guitar is printed in Fuertes' Historia de la Muswa Handel's noble air 'Lascia ch'io pianga,' in 'Rinaldo,' is taken with no material alteration from a Saraband in his earlier opera of ' Almira, in which the majestic rhythm mentioned reigns in all its dignity. See Chrysander's Ha-ndel, i. 121. «'. B. s. SARASATE. Pablo Maktin Mbhton db Sarasate y Natascubs, born at Pampeluna, March 10, 1844, came to France as a child, and entered the Paris Conse>'vatoire, Jan. 1, 1856. The following year he became the favourite pupil of Alard, and gained the first prizes for solffege and violin. He then entered Eeber's harmony class, and secured a premier accessit in 1859, but shortly after relinquished the study of composition for the more tempting career of a concert player. His beautiful tone, retentive memory, immense execution, and certainty of finger, added to the singularity of his manners and appearance, ensured his success in Paris, the French provinces, and the Peninsula. The Spaniards naturally honoured an artist whom they looked upon as their own countryman, but Sarasate aspired to make his name known wherever music was appreciated, as well as in the two countries especially his own by birth and adoption. No violinist has travelled more than he ; besides making his way through Europe, from the remotest corner of Portugal to Norway, and from London to Moscow, he has visited America, North and South. In all his wanderings he has contrived to carry on his cultivation, and develop his great natural gifts. To London his first visit was in 1861, when he played at St. James's Hall on May 22 ; he came again in 1874, when he played at the Philharmonic Concert, May 18, and at the Musical Union, June 9, etc. He returned in 1877 (Crystal Palace, Oct. 13), and 1878 (Philharmonic, March 28), and has been a frequent visitor since. In 1885 and 1886 he gave sets of. orchestral concerts conducted by Cusins, and at the Birmingham Festival of 1885 played a concerto written for him by Mackenzie. Sarasate's distinguishing characteristics are not so much fire, force, and passion, though of these he has an ample store, as purity of style, charm, brightness of tone, flexibility, and extraordinary facility. He sings on his instnunent with taste and expression, and without that exaggeration or affectation of sentiment which disfigures the playing of many violinists. His repertoire is varied, comprising the concertos of German masters—Beethoven, Mendelssohn, and Bruch,—Raff's various works for violin, and the works of the modem French and Belgian schools. Among the former his favourites are the concertos of Saint-Saens and Lalo, and the Symphonic Espagnole of the last-named composer. [He has avoided the music of Paganini and his followers, partly for want of taste for it, and partly because of the long stretches required, his hand being very small. Although Bsich, on the whole, is unsuited to his style for obvious reasons, he gives certain movements with great charm, notably the prelude and gavotte from the E major solo sonata. But he will always be remembered for his rendering of the solos he has written for himself, and plays so exquisitely, giving the spirit of Spanish dance translated into terms of the violin virtuoso. He possesses two fine Stradivari violins, one of which, dated 1724, was presented to him when a boy by Queen Isabella of Spain. This instrument was one of those brought from the chapelle royale at Naples by Charles III. (for whom Bocoherini composed his quintets), and upon it he has mainly played throughout his career. A successful copy of it was made by Vuillaume, and is sometimes used by him at rehearsals. Later
PABLO MARTIX MELITON DE SARASATE Y X'AVASCUES SAKASATE
Page 1 and 2:
MiDlllilllilhllllHIinilllilllltlill
Page 3 and 4:
Cornell University Library ML 100.G
Page 7 and 8:
Tflaaanoa asTai swajtt
Page 9 and 10:
GROVE'S DICTIONAEY OF MUSIC AND MUS
Page 11 and 12:
LIST OF CONTEIBUTOES The names of d
Page 13:
S. J. Spobling, Esq. . LIST OF CONT
Page 17 and 18:
' ' DICTIONARY OF MUSIC AND MUSICIA
Page 19 and 20:
; QUARENGHI QUAETET any other combi
Page 21 and 22:
; Stanford's quartets from Tennyson
Page 23 and 24:
— QUAVEE QUEISSER Comique, Paris,
Page 25 and 26:
' — as — ' QUINTET QUINTUPLE TI
Page 27 and 28:
— ' AAFF, Anton, one of the most
Page 29:
JOSEPH JOACHIM KAFF
Page 32 and 33:
— ; ; 14 RAFF EAFF gelitten, gest
Page 34 and 35:
. Einer . Suite , Suite . 8th , 2nd
Page 36 and 37:
— :; ; 18 EAMANN BAMEAU so that b
Page 38 and 39:
j ; I ZaTa, 1 ' ' 1 Pygmalion, ' Le
Page 40 and 41:
—; EAMEAU to attaining truth of d
Page 42 and 43:
; porticos. 24 RANDHAETINGER RANELA
Page 44 and 45:
' 26 EANTZAU EAPPOLDI hit with Neuk
Page 47 and 48:
EASELIUS EASOUMOWSKY 27 ' Professor
Page 49 and 50:
; , EAVENSCROFT Fischer, Cervetto,
Page 51 and 52:
EEADING REBEC 31 series of letters
Page 53 and 54:
' RSBSK EECITATIVE 33 seems to have
Page 55 and 56:
— RECITATIVE RECITATIVE 35 the pu
Page 57 and 58:
— EECOEDER RECORDER 37 Tonus Pere
Page 59 and 60:
' RECORDER RECORDER 39 always tell
Page 61 and 62:
EEDEKER REDOUTE 41 that of the well
Page 63 and 64:
' Beggarmy ' Our — — ' ' ' Happ
Page 65 and 66:
— : KEEL EEEVE 45 of the trumpet
Page 67 and 68:
' ' REFORMATION SYMPHONY, THE EEGAL
Page 69 and 70:
' — — — ; EEGGIO BEGNAET 49 .
Page 71 and 72:
EEHEAESAL EEICHA 51 praises from th
Page 74:
— ; 54 REICHER-KINDERMANN EEICHMA
Page 77:
CAKL HEINKICH OAKSTEN REIXECKE
Page 81 and 82:
EEINKEN EEISSIGER 59 St. George the
Page 83 and 84:
' EELATrON RELATION 61 third and mi
Page 85 and 86:
EEMBT REMOTE 63 Rellstab's novels a
Page 87 and 88:
' — EENCONTRE IMPREVUE REPETITION
Page 89 and 90:
— ' ; REQUIEM RESOLUTION 67 chara
Page 91 and 92:
— — — — RESOLUTION RESOLUTI
Page 93 and 94:
— ' — —— . RESPONSE RESPONS
Page 95 and 96:
— — EESPONSOEIAL PSALMODY EESPO
Page 97 and 98:
In — — ' EESPONSORIUMJ REST 75
Page 99 and 100:
. RESULTANT TONES EESZKE 77 to trea
Page 101 and 102:
;' EfiVE, LE KEY 79 1697 to 1703. I
Page 103:
ERNEST REYER
Page 106 and 107:
'' EHAMES RHAPSODY nations. The ope
Page 108 and 109:
— ' — 84 RHEINBERGER EHEINBEEGE
Page 110 and 111:
; often —; —: ' 86 RHEINGOLD, D
Page 112 and 113:
— — — ; 88 RHYTHM ill such qu
Page 114 and 115:
' 90 BICCIO EICH published two volu
Page 116 and 117:
and ' EICHAEDSON BICHTER on its vis
Page 119 and 120:
— ' RICHTER RICHTER 93 has passed
Page 121 and 122:
a: ' as RIDOTTO RIEMANN 95 and frie
Page 123 and 124:
; '; RIES RIES 97 a great deal of p
Page 125 and 126:
— RIETZ EIETZ 99 library at Winte
Page 127 and 128:
' RIGHINI EIMBAULT 101 and Galatea.
Page 129:
NICHOLAS AXDREIE\"ICH EIM.SKY-KORSA
Page 132 and 133:
— ' •104. EIMSKY-KOESAKOV RIMSK
Page 134 and 135:
' : 106 RINALDO DI CAPUA EINCK prea
Page 136 and 137:
' 108 KIPIENO RITORNELLO became ver
Page 138 and 139:
no rittbb! RIZZIO on the Viola Alta
Page 140 and 141:
, ' 112 ROBERTS ROBINSON of 'Callio
Page 142 and 143:
— : 114 ROBINSON ROCHLITZ which w
Page 144 and 145:
116 BOCKSTRO EODE return to England
Page 146 and 147:
' ' 118 EOECKEL KONTGEN repertory o
Page 148 and 149:
' Roland, ' 120 EOGERS ROGEKS himse
Page 150 and 151:
122 ROI DES VIOLONS KOKITANSKY pupi
Page 152 and 153:
many —' 124 ROLLI ROMANTIC of whi
Page 154 and 155:
; , , 126 ROMANTIC ROMANTIC strings
Page 156 and 157:
feelings stirred in them by externa
Page 158 and 159:
' 130 ROMBERG ROME to hit the taste
Page 160 and 161:
132 ROME EOME and instrumental musi
Page 162 and 163:
134 EOMER KONCONI performed at the
Page 164 and 165:
— 136 RONDO EOOKE of the third su
Page 166 and 167:
• tonic 138 ROOT ROOT eleventh an
Page 168 and 169:
' ; ; 140 ROSA ROSA in pronunciatio
Page 170 and 171:
— 142 ROSALIA EOSAMUNDE may be se
Page 172 and 173:
' — 144 KOSEINGRAVE EOSEINGKAVE C
Page 174 and 175:
; 146 EOSENHAIN ROSENMULLER harmony
Page 176 and 177:
" 18th ' 148 ROSINA ROSSI rough ros
Page 178 and 179:
; 150 ROSSI ROSSINI 'Leoeadia' (183
Page 181 and 182:
;' EOSSINI ROSSINI 151 side, and ha
Page 183 and 184:
, ' ; EOSSINI ROSSINI 153 and Rossi
Page 185 and 186:
ROSSINI KOSSINI 155 ment, but 'Enni
Page 187 and 188:
— ROSSINI ROSSINI 157 the end of
Page 189 and 190:
' ' ROSSINI ROSSINI 159 head of the
Page 191 and 192:
! by EOSSINI ROSSINI 161 ' ' pianos
Page 193 and 194:
; ROSSINI ROSSINI 163 have degraded
Page 195 and 196:
eturned — ' ; ROUGET DE LISLE ROU
Page 197 and 198:
' ROUSSEAU ROUSSEAU 167 theatres, E
Page 199 and 200:
ROW OF KEYS ROYAL ACADEMY OF MUSIC
Page 201 and 202:
' ROYAL ACADEMY OF MUSIC ROYAL ACAD
Page 203 and 204:
; EOYAL COLLEGE OF MUSIC EOYAL COLL
Page 205 and 206:
EOZE EOZE 175 bassoon and double-ba
Page 207:
GIOVANNI BA'iTI8TA EUBINI
Page 210 and 211:
178 RUBINSTEIN RUBINSTEIN through H
Page 213 and 214: — — ; I RUBINSTEIN RUBINSTEIN 1
Page 215 and 216: — :' ' RUCKERS RUCKERS 181 Rucker
Page 217 and 218: RUCKEES RUCKEES 183 became clavecin
Page 219 and 220: ' , ; RUCKEES RUCKERS 185 Christoph
Page 221 and 222: •; EUCKERS 187 and 50 51 Bent 8ld
Page 223 and 224: RUDDYGORE RUDOLPH, ARCHDUKE 189 V.
Page 225 and 226: ; .' — RUDOEFF EUBEZAHL 191 ments
Page 227 and 228: . RULE, BRITANNIA! RUMMEL 193 ofMrs
Page 229 and 230: are RUSSELL BUST 195 on the art of
Page 231 and 232: — ' Hd — QABBATINI, Galeazzo, o
Page 233 and 234: SACCHINI SACCHINI 199 an intermezzo
Page 235 and 236: ; and had was ;' SACRED HARMONIC SO
Page 237 and 238: — SADLER'S "WELLS SAINT ANNE'S TU
Page 239 and 240: ' ' - ' SAINT CECILIA SAINT HUBEETY
Page 241: CHARLES CAMILLE SAINT-SAEXS
Page 244 and 245: . 208 SAINT-SAENS SAINT-SAENS prize
Page 246 and 247: 210 SAITEN SALAMAN and after leavin
Page 249 and 250: — SALAMMB6 SALIERI 211 from dream
Page 251 and 252: SALIMBENE SALMON 213 pupil. ' 1 As
Page 253 and 254: ; SALO SALO 215 Brescia.' The lengt
Page 255 and 256: SALTANDO SALVAYRE 217 horse caused
Page 257 and 258: —' — SAMMARTINI SANCTUS 219 sui
Page 259 and 260: SANDONI 1799 ' ; Sir Francis Drake,
Page 261: SAPPHO SARABAND 223 Santley's singi
Page 266 and 267: ; 226 SARTI SARTI Conservatorio of
Page 268 and 269: ; ; SAUTILL^ the principal violin p
Page 270 and 271: ' when 230 SAVONAROLA SAX included
Page 272 and 273: 232 SAXHORN SAXHORN detailed in F^t
Page 274 and 275: 234 saxophon:^ SCALA, LA ' tubas, n
Page 276 and 277: ' — octave ' — — 236 SCALE SC
Page 278 and 279: — ; 238 SCANDELLO SCANDELLO $ ^^
Page 280 and 281: ; 240 SCAEIA SCARLATTI Miuikalische
Page 283 and 284: ' ' SCARLATTI SCARLATTI 241 able th
Page 285 and 286: — —' SCARLATTI SCARLATTI 243 of
Page 287 and 288: SCARLATTI SCARLATTI 245 with Beetho
Page 289 and 290: SCAELATTI SCBNA 247 Asturias, whose
Page 291 and 292: . SCHARWENKA SCHAEWENKA 249 elude a
Page 293 and 294: ' SCHEIBLEE SCHEIDEMANN 251 was suc
Page 295 and 296: — ' SCHEIDT SCHEIDT 2&3 large num
Page 297 and 298: — ' SCHEIDT SCHEIN 255 there is s
Page 299 and 300: — : SCHELLER SCHBNK 257 sion ; an
Page 301 and 302: SCHERZO SCHERZO 259 humour or fancy
Page 303 and 304: — SCHETKY SCHIEDMAYER 261 any mor
Page 305 and 306: ' ' — — SCHILLING SCHINDELMEISS
Page 307 and 308: ' posed for the Paris Op6ra-Comique
Page 309 and 310: . SCHLICK SCHLOESSER 267 organists,
Page 311 and 312: — SCHNEIDER SCHNEIDEE 269 now Mme
Page 313 and 314:
SCHOELCHER SCH(ELCHER 271 brilliant
Page 315 and 316:
' SCHOLZ SCHOTT 273 de propagande '
Page 317 and 318:
' ; SCHRIDER SCHRODEE-DEVRIENT 275
Page 319:
WILHELMIXE SCHEOUER-DEVRIENT
Page 322 and 323:
' 278 SOHROTER SCHROETER post of Ka
Page 324 and 325:
' ; 280 1797— SCHUBERT -1807 'Thi
Page 326 and 327:
; ' 282 1811— SCHUBEET -1812 for
Page 328 and 329:
! ; ; 284 1814— SCHUBERT — 1815
Page 330 and 331:
— 286 1816 SCHUBERT 1816 a marvel
Page 332 and 333:
288 1816 SOHUBEBT 1816 the same. To
Page 334 and 335:
''; 290 18 IT- SCHUBEBT -1818 '—
Page 336 and 337:
i "We — —' 292 1819 SCHUBERT 18
Page 338 and 339:
' 294. 1820 SCHUBERT 1820 mentality
Page 340 and 341:
—; 296 1821 SCHUBEET 1821 manuscr
Page 342 and 343:
298 1822 SCHUBERT 1822 of his visit
Page 344 and 345:
— ; ' 300 1823 SCHUBERT 1823 desi
Page 346 and 347:
— 1824 SCHUBEET 1824 aa already m
Page 348 and 349:
304 1825 SCHUBERT 1825 String Quart
Page 350 and 351:
306 1826 SCHUBERT 1826 anthor, ' IV
Page 352 and 353:
' 308 1826— SCHUBERT -1827 of pri
Page 354 and 355:
—' ' 310 1827 SCHUBERT 1827 and '
Page 356 and 357:
312 1828 SCHUBEET 1828 Sohindler to
Page 358 and 359:
' ' ' lisher, he wrote a, four-hand
Page 360 and 361:
' 316 1828 SCHUBERT '1828 He discus
Page 362 and 363:
— 318 1828 SCHUBERT 1828 Seidl, S
Page 364 and 365:
;' — 320 SCHUBERT been a zealous
Page 366 and 367:
— ; 322 SCHUBERT PF. pieces were
Page 368 and 369:
— ; 324 SCHUBERT then the theatre
Page 370 and 371:
; 326 SCHUBERT the astonishing forc
Page 372:
' ' 328 SCHUBERT only, as in the Eo
Page 375:
^' . 1
Page 378 and 379:
' ; 330 SCHUBERT changes so grand,
Page 380 and 381:
; ; set to no simple Volkslieder, b
Page 382 and 383:
— ; 334 SCHUBERT made by von Erei
Page 384 and 385:
336 SCHUCH SOHtJTZ was appointed so
Page 386 and 387:
338 SOHUTZ SCHUTZ waa commissioned
Page 388 and 389:
340 SCHUTZ SCHUTZ three alto voices
Page 390 and 391:
— ; 342 SCHULTZ SCHULZE counterpo
Page 392 and 393:
; 344 SCHUMANN England, playing at
Page 395 and 396:
— extending from Scarlatti and Ba
Page 397 and 398:
1828- SCHUMANN —1829 347 dutifull
Page 399 and 400:
dreams ' 1830— SCHUMANN —1832 3
Page 401 and 402:
— 1834- SCHUMANN —1835 351 doma
Page 403 and 404:
— ' 1835 SCHUMANN -1839 353 preta
Page 405 and 406:
1835- SCHUMANN —1839 355 him as t
Page 407 and 408:
— ; 1839- SCHUMANN -1840 357 At t
Page 409 and 410:
1843— SCHUMANN —1846 359 of the
Page 411 and 412:
' 1848- SCHUMANN —1850 361 the wa
Page 413 and 414:
;' 1850 SCHUMANN 1850 363 accepted
Page 415 and 416:
1851— SCHUMANN —1853 365 custom
Page 417 and 418:
—; 1854- SCHUMANN —1856 367 wor
Page 419:
KOBERT ALEXANDER SCHUMANN From a da
Page 422 and 423:
' 370 SCHUMANN years, in early life
Page 424 and 425:
' — '; 372 SCHUMANN and depth of
Page 426 and 427:
374 SCHUMANN out, and which are—a
Page 428 and 429:
' 376 SCHUMANN distracted from the
Page 430 and 431:
' 378 SCHUMANN very highly of this
Page 432 and 433:
380 SCHUMANN fact which Schumann th
Page 434 and 435:
; 382 SCHUMANN quoted above. As a P
Page 436 and 437:
384 SCHUNKE SCHUPPANZIGH ' Ero e Le
Page 438 and 439:
' 386 SCHWINDL SCOEDATURA when he l
Page 440 and 441:
' 388 SCOEE SCORE glance. The Engli
Page 442 and 443:
' — ' 390 SCOTCH SYMPHONY, THE SC
Page 444 and 445:
— ;• ' — 392 SCOTTISH MUSIC S
Page 446 and 447:
; —; 394 SCOTTISH MUSIC SCOTTISH
Page 448 and 449:
— 396 SCOTTISH MUSIC SCOTTISH MUS
Page 450 and 451:
' 398 SCOTTISH MUSIC SCOTTISH MUSIC
Page 452 and 453:
y 400 SCOTTISH MUSIC SCOTTISH MUSIC
Page 454 and 455:
402 SCOTTISH MUSIC SCEIABIN (This I
Page 456 and 457:
— ' De dlscantu/ ' De ' ' ' ' ' ;
Page 458 and 459:
; 406 SECOND SEEGR variations on an
Page 460 and 461:
: : ' . 408 SEGUIN SEIFPERT and in
Page 463 and 464:
' SEISS SEMBEICH 409 SEISS, IsiDOR
Page 465:
#'# -'i»* m .'^ a,p!irigH I'll .1^
Page 468 and 469:
; ' ' ; , 412 SEMIEAMIDE SENAILL1&
Page 470 and 471:
'; 414 SENPF SEPTET perfect. Purity
Page 472 and 473:
! 1 , J , J . — 416 SEQUENCE SEQU
Page 474 and 475:
— 418 SERAPHINE SEEENATA of grace
Page 476 and 477:
' ': 420 SEEMISY SERMISY in 1532 wh
Page 478 and 479:
' ; 422 SEROV SERPENT features of '
Page 480 and 481:
' 424 SEREANO SERVICE Ambroise Thom
Page 482 and 483:
' ;' 426 SERVICE SESQUIALTEEA been
Page 484 and 485:
428 sevCIk SEVEN LAST WORDS, THE hi
Page 486 and 487:
430 SEVERN SEYFEIED the key that so
Page 488 and 489:
432 SGAMBATI SQAMBATI op. 4), an ov
Page 490 and 491:
— — — 434 SHAKE SHAKE The sig
Page 492 and 493:
— 436 SHAKE SHAKE principal note
Page 494 and 495:
438 SHAKE SHALIAPIN The above arran
Page 496 and 497:
— 440 SHAWM SHEPHERD and appeared
Page 498 and 499:
; 442 SHIELD SHIFT siderable succes
Page 500 and 501:
' 444 SHIEKEPFS SHORT OCTAVE favour
Page 502 and 503:
' 446 SHUDI SI that Plenina about 1
Page 504 and 505:
; ; 448 SIBELIUS SIBONI himself say
Page 506 and 507:
—' 450 SIGNA SIGNATURE According
Page 508 and 509:
— ; 452 SIGURD SILBERMANN an Engl
Page 510 and 511:
454 SILVA SIMON in St. Petersburg,
Page 512 and 513:
456 SIMPSON SIMPSON ' Introduction
Page 514 and 515:
458 BINDING SINGAKADEMIE great popu
Page 516 and 517:
— 460 SINGING SINGING voice can b
Page 518 and 519:
462 SINGING SINGING Besides the ten
Page 520 and 521:
— ' 464 SINGING SINGING 2. Conson
Page 522 and 523:
X 466 SINGING SINGING the more open
Page 524 and 525:
468 SINGING SINGSPIEL perform a mus
Page 526 and 527:
; 470 SINIGAGLIA SIR BOGER DE COVEE
Page 528 and 529:
472 SIRilNE, LA SIEMEN main axis, w
Page 530 and 531:
' 474 SISTINE CHOIR SISTINE CHOIR T
Page 532 and 533:
; ' 476 SISTINE CHOIR SIVORI ti-ebl
Page 534 and 535:
— ; ' 478 SIXTH SIXTH London, and
Page 536 and 537:
480 SKENE MANUSCRIPT SKETCH that it
Page 538 and 539:
482 SLIDE SLIDE called Tirade or Ti
Page 540 and 541:
; 484 SMALL OCTAVE SMAET in a lette
Page 542 and 543:
:' ' ' . 486 SMETANA SMITH ^1874),
Page 545 and 546:
' ; SMITH SMITH 487 ' always clear
Page 547 and 548:
SMITH SMITH 489 quary. In 1773 he w
Page 549 and 550:
; SNAEES SOCIEDADE DE QUAETETOS 491
Page 551 and 552:
SOCIETY OF BRITISH MUSICIANS SODEEM
Page 553 and 554:
' ' SOLESMES SOLESMES 495 Under Gu^
Page 555 and 556:
— — ' SOL-FA SOLFEGGIO 497 nota
Page 557 and 558:
' SOLFEGGIO SOLMISATION 499 is ther
Page 559 and 560:
— — SOLMISATION SOLMISATION 501
Page 561 and 562:
—; ' SOLO STOP SOMERVELL 503 of t
Page 563 and 564:
SONATA 505 to make tlie most elemen
Page 565 and 566:
SONATA 507 being taken as part of t
Page 567 and 568:
; not only does the mind take time
Page 569 and 570:
SONATA 511 next thing to complete m
Page 571 and 572:
— —' SONATA 513 home to the hea
Page 573 and 574:
— SONATA 515 position, but this i
Page 575 and 576:
— . — Cromatica, and parts of s
Page 577 and 578:
The virtue of tliis process is that
Page 579 and 580:
though ably written, has too much o
Page 581 and 582:
SONATA 523 before Beethoven's time
Page 583 and 584:
— 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
show all

Grove's dictionary of music and musicians

Create successful ePaper yourself

Delete template?

Save as template?