Grove's dictionary of music and musicians

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SEELING SEGUIDILLA 407
better teacher. Bvcrney {Present State of Music, Scleras, ' more measured and stately ; and Seguidillas
Gitanas, danced very slowly and sentiment-
Germany, vol. ii. pp. 13-14) mentions him as
being a fine organ-player, a good linguist, and ally. To these some writers add a fourth kind, the
an excellent musician. The unanimous testimony
of his contemporaries proclaims Seegr as the original Seguidilla with the Caohucha. The
Seguidillas Taleadas, said to be a combination of
one of the finest organists of his time. At his music is written in 3-4 or 3-8 time, usually in
death his compositions were acquired by Ernst, a minor key, and is performed on the guitar
concert-master of Gotha. Daiiiel Gottlob Turk, with occasionally a flute, violin, or Castanet
music director of Halle, was employed to edit accompaniment. The capias, or words sung by
the first posthumous instalment of these compositions—
the musicians, are written in couplets of four
' Eight Toccatas and Fugues ' for short lines followed by an estremllo or refrain
the organ (published by Breitkopf in 1793), of three lines, but some coplas want this latter
which are up to the present his best known feature. Both music and words often partake
works. The toccatas are in reality preludes of the character of an improvisation, the former
with the exception of No. 6, the style of which remarkable for stiange and sudden modulations,
is more in accordance with its title. His other and the latter treating of both serious and comic
compositions consisted of many masses, psalms, subjects. A collection of coplas was published
litanies, etc., printed copies of which do not at the end of the 18th centiiry by N. Zamacola,
exist. After the lapse of nearly a centuiy and writing under the pseudonym of Don Precise.
a quarter, Messrs. Breitkopf are about to reissue From the introduction to this book the following
the Eight Toccatas and Fugues,' edited by quaint description of the ' Seguidilla is translated
'
Dom Samuel Gi-egory Ould, and adapted to the So soon as two young people of the opposite sexes
requirements of the inodem organ. w. w. s. present themselves standing face to face at a
SEELING, Hans, was born at Prague in distance of about two varas ^ in the middle of
1828, and towards the end of his life returned the room, the "ritornelo" or prelude of the
to his native city, where he died on May 26, music begins ; then the seguidilla is insinuated
1862. FaOing health obliged him to go to by the voice—if it be a manchega, by singing
Italy in 1852, and in 1856 he toured in the the first line of the copla ; if it be a bolera, by
East, retxmiing to Italy in 1857. After settling singing two lines, which must only take up four
in Paris, 1869, he made his home in Germany. bars. The guitar follows, playing a pasacalle ^ ;
An excellent pianist, he met with unfailing and at the fourth bar the seguidilla begins to be
success on his tours. Seeling composed a number
of brilliant pieces and studies for the piano, or crotolas,* running on for a space of nine bars,
sung. Then the dance breaks out with castanets
of which the best known are the 'Barcarolle,' with which the first part concludes. The
the ' Lorelei ' (op. 2), the ' Concert Studies ' (op. guitar continues playing the pasacalle, during
10),and the 'Memories of an Artist' (op. 13). which the dancers change to opposite positions
These compositions are highly effective,, and by means of a very deliberate and simple promenade
(" paseo "). While singing again, at the
their character partakes of Henselt on the one
hand and Bendel on the other. d. h. beginning of the fourtl bar, each goes on for
SEGNO, i.e. the sign ». [See Dal Seono-.]
SEGUE, '— nine bars more, making the variations and
' follows as Segue I' aria, ' the differences of their respective schools, which
aria follows ; '
a direction frequently found at forms the second part. Again they change
the end of recitatives. It is thus equivalent to places, and upon eachdancerreturningto the spot
the more modem word attacca. It is also found where they began to dance, the third part goes
occasionally at the foot of a page where a space on in the same way as the second, and on
is left after one movement in order that the arriving at the ninth bar, the voice, the insti-ument,
and the castanets cease all at once, and
next may begin at the top, to avoid turning
over in the middle. It then indicates that as if impromptu, the room remaining in silence,
no stop is to be made between the two movements.
M. beautiful attitudes, which is what we call ' ' well
and the dancers standing immovable in various
SEGUIDILLA (sometimes written SiGuidilla),
a popular national dance of Spain. us to give an example of the music which ac-
stopped " (Bien parade).' Space will not allow
The origin of both name and dance are uncertain
; it existed in La Maucha in the time of Luigi Borghi's Opera Dances' (London, ' 1783)
companies this beautiful dance. In Book IV. of
Cervantes (see Don Quixote, part ii. chap. 38), is a seguidilla modified for theatrical representa-
but there is no evidence to show whether it
is
indigenous, or introduced into Spain by the
Moors. It is, however, certain that from La
Mancha it spread all over Spain, and it is still
danced in both town and country. Segnidillas
are divided into three kinds—Seguidillas Manchegas,
the original form of the dance, in which
it assumes a gay and lively character ; Seguidillas
tion, and in the first act of ' Carmen ' there is
a Spanish air which Bizet has entitled ' Seguidille.'
Better examples than these will be
found in Mendel's Lexikon (sub voce Seguidilla),
1 Not to be confounded with the Bolero, said to have been invented
in 1780 by Don Sebastian Zerezo.
2 1 vaTa=34 inchea
3 Litemlly ' street-pass ' ; ajiy popular street-song. [See Passa-
CAGLIA, vol. iii. p. 643.]
4 A kind oi Castanet.