Grove's dictionary of music and musicians

454 SILVA SIMON
in St. Petersburg, and other great Eusaian
cities. H. v. H.
SILVA, Andreas de, was a singer in the
Papal Chapel, 1519, and the first to be described
as Papal composer (Haberl, BausUine, iii. p.
69). In 1522 he appears to have been in the
chapel of the Duke of Mantua. It is natural
to identify him with Andreas Sylvanus, from
whom Glarean quotes the Kyrie and Osanna of
a very peculiar mass for three voices, Malheur
'
me bat, ' also with the Andreas SUvanus, to whom
Sebastian Virdung refers as the intimate friend
for whom he wrote his Musica Getvischt, 1511.
But Eitner, in the Quellen-Lexikon and Monats-
to his music for the wedding of Prince John of
Saxony ; and he wrote seven variations for
clarinet and PF., for H. Barmann, on an air
—
from it, Warum ' musstf ich.' It was produced
in English (as Sylvana '
') at the Surrey Theatre,
under EUiston's management, Sept. 2, 1828. It
was again revived, with a revised libretto by Herr
Pasque, and with 'musical amplifications,' at
Hamburg and Liibeck in the spring of 1885. 6.
SILVANI, Gkoseffo Antonio, born at
Bologna late in the 17th century, was maestro
di cappella at S. Stefano from 1702 to 1725.
He inherited the publishing business of Marino
SUvani, who may have been his father, and who
issued several important collections of motets,
etc. Giosefib died before 1727. His published
works are as follows :
3. Sacri EoBponsorii per . . . lafiettimana santa, a 4Toci. 1704.
hefte, xxvi. p. 47, refuses to accept this identification,
because he thinks Virdung's friend must
1. Litanie concertete a 4 voci. 1702.
2. InniSacripertuUor anno a voce Bola. 1702.
have been a German ; and if de Silva had been
a German it is unlikely that his works would
4. Inni sacri per tutto 1' anno a 4 Toci.
5. Cantate moi-all e spirituali a 1, 2, 3
1705.
Toci. 1707.
have found their way into French collections
6. S^bat mater, Benedlctus, Mieerere, etc., a 8 TOoL 1708.
7. Meuge brevi concertate, a 4 TOci. 1711.
like those of Attaingnant, or ItaMan collections
8. Motetti a 8 voci. 1711.
9. Motetti con le quatro Antifone a voce sola. 1713.
like those of Gardane and Petrucci. This 10. Motetti a2e 3 voci, 1716.
11. ^esae brevi a 4 voci. 1720.
reasoning, however, is not very convincing, all 12. Versi della tiirba, etc., a 4 voci. 1724.
the less that Eitner himself assumes that the
13. Sacre Lamentazionl a voce sola. 1725.
14. Litanie della B.V, a 4 voci concertate. 1725.
Sylvanus who is the author of the mass Malheur
'
All these have accompaniments (some ad
me bat ' is identical with the Silvanus the
libitum) for strings or organ. {Qnsllen-Zexikon.)
M.
friend of Virdung. In any case the Sylvanus
of the mass Malheur me ' bat ' is more likely to
have been a Netherlander than a German, and
SIMAO. [See Poktugal, vol. iii. p. 797a.]
SIMILI, 'like ;
to be identical with de Silva than with the
'
a word commonly used in a
series of passages or figures of similar form, to
Silvanus of Virdung. That de Silva was known
be performed in exactly the same way. After
in Germany appears from the reception of an
the first
Italian madrigal by him, ' Che sentisti Madonna,'
few bars of such passages or figures the
in Ott's ' Liederbuch, ' 1544, attributed to him
word simili is used to save trouble of copying
the marks of expression and force at every
in all the four part-books. This madrigal has
recurrence of the figure. ' Simili marks ' occur
a surprising degree of expressiveness for the
time at which it must be supposed to have been
written. Besides the works of Silva in the
collections of the time, there are two masses
generally in
and seven motets by him in the Archives
MS. or old printed music, and
of the
signify
Papal Chapel. One of the motets, Illumina
that the contents of the previous bar
'
are to
oculos meos, a 6,' deserves notice, as being that
be repeated in every consecutive succeeding
bar
on which Palestrina based one of his more important
masses a 6, bearing the same
in which the marks occur. M.
SIMON, Anton Yulibvich, composer, bom
title.
Among other MS. motets of Silva enumerated
in France in 1851, received his musical education
at the Paris Conservatoire and migrated
in the Quellen-Leaakmi, there are two mentioned
together,
' Virtute magna
to
' and Regem
Moscow in 1871, where he became conductor
'
to the Theatre Bouffe.
coeU,' both a 4. Possibly the theme of the two
He was appointed professor
of the pianoforte to the school of the
four-part masses of Palestrina in his first book,
Philharmonic Society, in 1891, and a year or
1654, may be taken from these motets. J. E. M.
SILVANA : also called ' Silvana das Waldmadchen,
' or ' das stumme Waldmadchen '—the orchestras of the Imperial Theatres in Moscow,
two later was made superintendent of the
dumb Wood-maiden. A romantic opera
and musical director of the Alexandrovsky
in three
Institute.
acts ; words by F. K. Hieraer, music by Weber
Simon is a voluminous composer,
;
his sixth dramatic work, completed Feb.
the list of his works being as follows.
23,
1810 ;
produced at Frankfort, Sept. 16, 1810.
A. Opeeahc.
It is probably founded to some extent on his
(op. 46, libretto
early opera
from Tourgeniev by N. Wilde, Moscow, ' 1899) ;
'Das Waldmadchen' (1800), which
The
Fishers '(op.51, Ubretto from VictorHngo brir.Wilde,Moscow, 1900);
'
was afterwards burnt ; and was to a small extent The Stars ' (ballet in 5 acta, Moscow, 1902)'; '
Living Flowers ' (op.
' 68, ballet in 1 act) ; Esmeralda ' (mimo-diama in 4 acts, Moscow,
employed in Abu Hasaau ' ' and ' Freischiitz.' 1902),
The overture was used by Weber as the prelude
B. OBOEBSTKAli.
' Rolla ' (op. 40, Moscow, 1892) ; ' The Song of Love Triumphant '
'
Overture (op. 13) : Suite (op. 29) ;
Danse Bayad&re ' (op. 34)
Overture—Fantaaia on Malo-Rusaian themes (op. 35) ; Symphonic
' '
poems : The Midnight Review ' and La PiSchereBSe ' (opp. S6 and
44) ; Triumphal Overture on 3 Russian themes, composed for the
unveiling of the monument to Alexander II., Moscow (op. 54).
;