Grove's dictionary of music and musicians

;
470 SINIGAGLIA SIR BOGER DE COVEELY
liTationaltheater, were brilliant successes. Kauer
(1751-1831) composed no fewer than 200 Singspiele,
and Schenk was almost equally prolific.
The classic Singapiel was founded by Mozart
with his 'Entfiihrung' (July 12, 1782), which,
according to Goethe, threw everything else of
the kind into the shade. The 'Zauberflbte'
(1791), too, was styled a Singspiel on the titlepage
of the PF. score. From this point the
Singspiel proper becomes continually rarer,
though Wenzel Miiller's 'Schwester von Prag,'
'Das neue Sonntagskind," and a few more
deserve mention. Lortzing's works are a
mixture of opera and Singspiel, certain numbers
in the ' Czaar und Zimmermann,' ' Waffenschmied,
' and Undine ' ' being quite in the Liedstyle,
and the music consequently of secondary
importance, while in others the music undoubtedly
assists in developing the characters,
and raises these portions to the dignity of opera.
We are here brought face to face with the main
distinction between Opera and Singspiel ; the
latter by no means excludes occasional recitative
in place of the spoken dialogue, but the moment
the music helps to develop the dramatic
d^noument we have to do with Opera and not
with Singspiel. F. a.
SINIGAGLIA, Leone, born at Turin, August
14, 1868, was a pupil of the Oouservatorio of
his native city, and subsequently studied with
Mandyczewski in Vienna, where he enjoyed
the friendship and advice of DvoMk, Goldmark,
and other musicians. His early works include
a number of violin and violoncello pieces, songs,
female choruses, etc., and one of these, op. 5, a
'
concert ^tude ' for string quartet, was often
played by the Bohemian Quartet. His op. 19
is a set of variations on Schubert's Haidenroslein
' for oboe and piano ; op. 20 is a
'
brilliant and very successful violin concerto in
A ; op. 22 is a set of variations on a theme
by Brahms, for quartet ; op. 26 is a Eapsodia
'
piemontese ' for violin and orchestra ; and op.
27 is a string quartet in D, which has won
great favour from many of the continental
organisations. Two pieces for horn and piano,
op. 28, and a romance in A for violin and
orchestra, are among his more recent works
and two Danze piemontese ' ' for orchestra, op.
31, are arrangements of genuine popular themes.
These have been arranged in a variety of ways,
and are very successful. M.
SINK-A-PACE—also written Cinque-pace,
CiNQUA-PAOE, CiNQtTE PaSS, OlNQUB PAS,
SiNQUA-PACE, SiNQUB-PACE, ZiNCK-PASS and
SiNCOPAS—a name by which the original Galliard
was known. Praetorius (Syntagma Mus.
vol. iii. chap. ii. p. 24) says that a Galliard
has five steps and is therefore called a Cinque
Pas. These five steps, or rather combinations
of steps, are well described in Arbeau's OrcMsographie
(Langres, 1588). In later times the
Galliard became so altered by the addition of
new steps, that the original form of the dance
seems to have been distinguished by the name
Cinq Pas. It is frequently mentioned by the
Elizabethan writers, well-known examples being
the allusions in Shakespeare's Much Ado about
'
Nothing' (Act ii. So. 1), 'Twelfth Night' (Act
i. Sc. 3), Marston's ' Satiromastix ' (Act i.),
and Sir John Davies's ' Orchestra ' (stanza 67).
The following less-known quotation is from the
'
Histriomastix ' (Part 1) of Prynne (who was
especially bitter against this dance) :
'
Alas
there are. but few who finde that narrow way
. . . and those few what are they ? Not
dancers, but mourners : not laughers, but
weepers ; whose tune is Lachrymae, whose
musicke, sighes for sinne ; who know no other
Cinqua-pace but this to Heaven, to goe mourning
all the day long for their iniquities ; to
mourne in secret like Doves, to chatter like
Cranes for their owne and others sinnes.' The
following example of a Cinque-pace is given by
Wolfgang Caspar Printz, in his Phrynis Mitilenaeus,
oder Satyrischer Componist (Dresden,
1696), as a specimen of Trichonum lambicum.'
'
A longer example will be found in Dauney's
edition of the 17th-century Skene MS. (Edinburgh,
1838).
W. B. S.
SIE ROGER DE COVERLY,i the only one
of the numerous old English dances which has
retained its popularity until the present day, is
probably a tune of north-country origin. Mr.
Chappell (Popular Music, vol. ii.) says that he
possesses a MS. version of it called Old ' Roger
of Ooverlay for evermore, a Lancashire Hornpipe,'
and in The ' First and Second Division
Violin' (in the British Museum Catalogue attributed
to John Eocles, and dated 1705) another
version of it is entitled Roger ' of Coverly
the true Cheisere way.' Moreover, the Calverley
family, from one of whose ancestors the tune
is said to derive its name,^ have been from
time immemorial inhabitants of the Yorkshire
village which bears their name. The editor of
the Skene MS. , on the strength of a MS. version
dated 1706, claims the tune as Scotch, and
says that it is well known north of the "Tweed
as 'The Maltman comes on Monday.' According
to Dr. Rimbault (Notes and Queries, i. No.
8), the earliest printed version of it occurs in
Playford's 'Division VioUn' (1685). In 'The
Dancing Master' it is first found at page 167
1 Or more correctly 'Boger of Coverly.' The prefix ' Sir' is not
found until after Steele and Addison had used the name in the
SpcBttUor.
2 See Ifatea and Queries, vol. i. No, 23, p. 368.