Grove's dictionary of music and musicians

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440 SHAWM SHEPHERD
and appeared at the Gewandhaus concerts, under
Mendelssohn. A letter from him to the Directors
of the Philharmonic Society, dated Jan. 19,
1839, speaks of Clara Novello and Mrs. Shaw
as the best concert-singers we have had '
in this
country for a long time.' From Germany she
proceeded to Italy, and appeared at La Scala,
Milan, Nov. 17, 1839, in Verdi's 'Oberto.'
Slie returned to England in 1842, and appeared
at Co vent Garden with Adelaide Kemble ; in
1843 at tlie Sacred Harmonic Society with Clara
Novello ; and afterwards at the Birmingham
Festival. Her brilliant career was suddenly
arrested by a heavy visitation. Her husband
became deranged, and the calamity so seriously
shocked her whole system that the vocal organs
became affected, and she was unable to sing in
tune. She resorted to teaching, for three or
four years appearing in public at an annual
benefit concert. After her husband's death in
1847 she married J. F. Robinson, a country
solicitor, and retired from the profession.
She died at Hadleigh HaU, Suffolk, Sept. 9,
1876. w. H. H.
SHAWM, a wind instrument of the oboe
type, with a double reed but a larger conical
bore and a wide bell. The name is generally
said to be a corruption of the French Chalumeau,
but it would be more correct to say that both
words have been derived from the same source,
tlieLat. Calamus, 'areed,'throughthediminutive
Calamellus. In mediseval times the word appears
as CalaTnel, OhalarMlU, or OhaUmie in France ;
Caramillo and Oharamella in Spain and Italy ;
Schalmei or SehMmeyin Germany ; auAShalmele,
Slialm, or Shawm in England. It is not until
the 16th century that the form Chalumeau
occurs, and in the next century it was used to
denote a distinct instrument with cylindrical bore
and single reed, the precursor of the modern
clarinet. As shown by an ancient fresco in the
British Museum, an instrument similar to the
Shawm was known to the Romans, but its
popularity in Europe is traceable to the Arabic
and Saracenic influences of the 12th and 13th
centuries (see Pipes, Evolution of). In
the 16th century Shawms were made of various
sizes from high treble to contra-bass, the larger
forms being generally known on the Continent
under the names Pommer and Bernhardt. In
England the title Shawm included all sizes ;
hence Drayton {Polyolbion, vol. iv.) speaks of
the 'shrillest Shawm,' and an old proverb of
the time of Henry VII. formerly inscribed on the
walls of Leckingfield Manor House, Yorkshire
states that :—
A shawme makethe a 6wete sounds for he tunythe [the]
It mountithe nnt to hy but kepithe rule and space :
Yet yf it be blowne withe to a vehement wynde,
It inakithe it to myagoverne oute of his kynde.
(MS. copy Brit. Mus. Bib. Reg. IS D. ii.)
In the Privy Purse Expenses of Henry VIII. is
the following entry :
1630. For Ij sagbuttes y Tenor Shalmes and two trebuU
Shalmti.Siie x li. x 8.
Illustrations of the various kinds of Shawms
are given by Virdung (Musica Getutscht, 1511),
Praetorius (Sciagraphia, 1620), and Mersenne
(Harmonie imwerselU, 1635); also of existing
instruments in Day's Musical iTistrwments in
theMilitary Ilxhibition(lS91), Ka,pTpej'a Military
Music, and in Musical Timss, August 1906.
The high treble Shawm is still used on the
continent with the bagpipe (cornemuse) by
itinerant musicians ; in Brittany it is called
Bombardt and in Italy Cionnamella or Cennamella
(see Piffeeo). The word Shawm disappeared
from general use in England during
the early part of the 17th century, in favour of
Hoboy, though this name appears as
the title
early as 1561 in the opera 'Ferrex and Porrex.'
In 1607 the Edinburgh town musicians consisted
of players on 'chalmis and howboyis,' froni
which it may be inferred that by that time the
two instruments had become distinct.
For the term wayghte ' ' as applied to the
Shawm see Waits, and for the subsec^uent
history of the instrument see Oboe. f. w. g.
SHE STOOPS TO CONQUER. A English
opera, in three acts ; adapted by E. Fitzball from
Goldsmith's comedy ; music by G. A. Macfarren.
Produced at Druiy Lane Theatre (P^ne & Harrison),
Feb. 11, 1864. g.
SHEDLOCK, John South, born at Reading,
Sept. 29, 1843, wasapupilof Liibeck for the piano
and of Edouard Lalo for composition. Before
going to Paris for his musical studies he.
had taken the degree of B.A. at the London
University in 1864. From the time of his
return to England he was active as a teacher,
and occasionally played in public. In 1879 he
was appointed critic of The Academy, in succession
to Professor Prout, and has since been
engaged almost exclusively in musical literature.
He was appointed critic of The Athenceum in
1901. Besides journalistic work, he has done
much of an archseological kind. A series of
articles on Beathoven's sketch-books, in the
Musical Times, 1892, led to his discovery of a
copy of Cramer's studies annotated by Beethoven,
at Berlin. This was published as ' The Beethoven-Cramer
Studies' in 1893. In 1895 he
edited two of Kuhnau's ' Biblischen Sonaten,'
and a selection of harpsichord pieces by Pasquini
and others. In the same year appeared his
most important work, a treatise on The Pianoforte
Sonata,, which was translated two years afterwards
into German by Olga Stieglitz. His chief
composition is a quartet for pianoforte and
strings, written in 1886. m.
SHEFFIELD FESTIVAL. See Festivals,
vol. ii. p. 29.
SHEPHERD, SHEPHEAED, SHEPPARD,
or SHEPPERD, John, born in the early
part of the 16th century, was a, chorister of
St. Paul's under Thomas MuUiner. In 1542 he