Grove's dictionary of music and musicians

.
SCHLICK
SCHLOESSER
267
organists, very useful to all foundations and
churches which possess or order organs, excellently
composed by the celebrated and gifted
master, A. S. organist to the Palatinate '). The
only copy known lacks the page at the end which
would have given the name of the publisher,
but there is little doubt that it was printed by
Peter Soliotfer, at Mainz. Eitner reprinted the
whole work in the MonaishefU fur MusikgescMcJUe,
18'69, giving a facsimile of theengraved
title-page. It deals with the materials to be used
for the construction of an organ, its erection,
the tuning of the pipes, and other technical and
this important work, one in the Leipzig Stadtbibliothek,
the other, without title-page, is in
the Berlin Konigl. Bibliothek. The full title
is :
—
Tabulaturen etlicherlobgesangTiidlidlpinTffdie orgelnvnlauten,
ein tlieil mlt zweien utimen zu zwicken vn die di-it dartzu alugen,
etlich on geaangk mit dreien.Ton Amolt Schlicken Ffalzgranischen
ChuTfUrsflichen Organisteu tabulirt, vn In den truck in d'vreprungklichen
stadt der truckerei zu Meintz wle hie nach volgt verordnet.
(On last page) Getmckt zu Mentz durch Peter Schoffern. Vff Sant
MattlielB Abent. Anno 1512, small obi. 4to, 83 pages unnumbered.
It contains fourteen organ pieces, twelve songs
with lute accompaniment, and three pieces for
lute. Eitner reprinted (Monatshefte, 1869) all
the organ and two lute compositions. They
are preceded by a letter from Schlick's son
Arnolt, asking his father ^o make him a collection
of organ and lute music ; it is dated
St. Catherine's Day, 1511, and an answer from
his father promising to do so, although he has
become blind, is dated St. Andrew's Day, 1511.
Some satirical verses about Virdung follow.
Schlick's method of arranging songs, some with
one -voice part and two lutes accompanying,
others for three lutes only, is noted by Ambros
(Geschichte der MusiJc, iii. 440) as being rather remarkable
at that early date. Two examples were
transcribed and published by 'Wilhelm Tappert
(Sang u. Klang aus alter Zeit, Berlin, 1906).
Schlick's volume is also the earliest appearance
'
theoretical matters, to which is added a, description
of the organs then in existence, and in print of organ pieces in the German tablature,
some allusions to the music of the period. for Ammerbach's Tabulaturhuch ' ' was not published
Mr. A. E. Ellis, in his paper on the history of
until 1571, and Bemh. Jobin's work in
musical pitch, read before the Society of Arts, 1572. The organ pieces are all taken from sacred
March 3, 1880, refeiTed to this book as being vocal compositions, but are arranged with
of great use in showing the relation between intelligence and artistic feeling, and with a
very high and very low church-pitch, and the musicianly touch that shows a genuine sense
method of tuning before the invention of of instrumental composition ; the next step in
the mean-tone temperament. He notes also the advance was to be taken later on by Buns,
curious fact that Schlick recommended both Willaert, and others, in their ' Eiceroari ' for the
the very sharp and the very flat pitch, and for organ (Wasielewski, Geschichte der Insiruthe
same reason, consideration of the convenience
•mentalmusik im X VI. Jahrhunderi, 1878). No.
of both singer and organist using the
old ecclesiastical tones, that is, consideration of
10 from 'Tabulaturen, 'an organ arrangement in
three-part viriting of ' Maria zart," was published
the compass of the voice and of ease in fingering.
in A. G. Hitter's Zur Geschichte des Orgelspiels,
This appears to account for the high and 1884, ii. 96. In the Heilbronn Gymnasial-
low pitches in the earlier period of church-pitch. bibliothek is a MS. part-book with the Bass only
Schlick's work is mentioned in Virdung's of a three-part song 'Mi, mi,' by Arnolt Schlick.
Musica getutscht, 1511 (see Eitner's reprint, A manuscript, Mus. Theoret. 40, 57, written
page E. IV. V.) Dann ' icli neulich ein tractetlin between 1533 and 1540, in the Berlin Konigl.
han gelesen, das ist der spiegel aller organisten
vnn orgehnaeher intituliert oder genannt, darin
find ich in dem andem capitel, das er spricht der
Bibliothek, contains a treatise De musica poetica,
which has been ascribed to Arnolt Schlick the
younger, because of the initials A. S. attached to
organist well dann per fictam musieam spilen, it. It is described by H. Bellermann (ZJcr
weste der selb von den dreyen geschlechten Oonlrapunct, 1862, p. 28) who gives a facsimile
zu sagen er wurd sye, nit fictam musieam of one of the musical examples in it, a four-part
nennen, dann das er maynt fictam musieam syn, setting by Heinrich Isaac ; it is interesting
das ist cromaticum genus . . . man soil ihn aber because of the different parts being distinguished
verzeihen dann er hat es tibersehen, ists augen
by different colours, the soprano and
schuld, oder der spiegel ist dunckel worden,' bass being written in red, the alto in green, and
etc. These remarks on his use of the term the tenor in black ink. c. s.
SCHLICK, Rudolf, a doctor of medicine who
' musica fieta did not at all please Schlick, and
in return he made a long attack on Virdung lived in Meissen, published the following work :
'
in his preface to the 'Tabulaturen,' published the KodholfB Schlickii E Exercitatio, qua musices
year after ; there are only two copies known of origo prima, cultus antiquissimus, dignitas
maxima, et emolumenta, quae tam animo quam
oorpori humano confert summa, breviter ac
dilucidfe exponuntur. Spirae, typis Bernard!
Albini, 1588, 8vo, pp. 48.' A copy is in the
Bodleian Library, with
' Robertus Bm-ton,
1600,' on the fly-leaf, probably the author of
the Anatomy of Melancholy. c. s.
SCHLOESSER, Louis, born at Darmstadt
in 1800, learnt music there from Rinck, and
in Vienna from Seyfried, Salieri, and Mayseder.
In due time he entered the Conservatoire at
Paris, and attended the violin class of Kreutzer
and the composition class of Lesueur. He
then went to Darmstadt and became first leader