Grove's dictionary of music and musicians

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SPINET SPITTA 637
April 4, 1668. To White Hall. Took Aldgato Street
in my way and there called upon one Hayward that
makes Virginalls, and there did like of a little espinette,
and will have him finish it for me : for I had a mind to
a small harpsichon, but this takes up less room.
July 10, 1668. To Haward's to look upon an Espinette,
and I did come near to buying one, but broke off. I
have a mind to have one.
July 13, 1668. I to buy my espinette, which I did now
agree for, and did at Haward's meet with Mr. Thacker,
and heard him play on the harpsichon, so as I never
heard man before, I think.
July 15, 1668. At noon is brought home the espinette
I bought the other day of Haward ; costs me 5L
Another reference concerns the purchase of
Triangles for the spinet—a three-legged stand,
as in our illustration. A curious reference to
Charles Haward occurs in A Vindication of an
Msay to the Advaiwenunt of Musick, by Thomas
Salmon, M.A., London, 1672. This writer
is advocating a new mode of notation, in which
the ordinary clefs were replaced by B. (bass),
M. (mean), and T. (treble) at the signatures :
Here, Sir, I must acquaint you in favour of the aforesaid
B. M, T. that t'other day I met with a curious pair
of Fhanatical Harpsechords made by that Arch Heretick
Charles Haward, which were ready cut out into octaves
(as I am told he abusively contrives all his) in so much
that by the least hint of B. M. T. all the notes were
easily found as lying in the same posture in every one of
^their octaves. And that. Sir, with this advantage, that
so soon as the scholar had learned one hand he understood
them, because the position of the notes were for
both the same.
The lettering over the keys in Mr. W. Dale's
Haward spinet is here shown to be original. It
is very curious, however, to observe Haward's
simple alphabetical lettering, and to contrast it
with the Hexachord names then passing away.
There is a virginal (oblong spinet) in York
Museum, made in 1651 by Thomas White, on
the keys of which are monograms of Gamaut
(bass 6) and the three clef keys, Ffaut, C sol
fa id, and G sol re ut !
Mace, in Jfusick's Monumeid (London, 1676),
refers to John Hayward as a ' harpsichon ' maker,
and credits him with the invention of the Pedal
for changing the stops. There was a spinet by
one of the Haywards or Hawards left by Queen
Anne to the Chapel Royal boys. It was used
as a practising instrument until the chorister
days of the late Sir John Goss, perhaps even
later.
Stephen Keene' was a well-known spinetmaker
in London in the reign of Queen Anne.
His spinets, showing mixed Hitchcock and
Haward features, accepting Mr. Hughes's instrument
as a criterion, reached the highest perfection
of spinet tone possible within such limited
dimensions. The Baudin spinet, dated 1723
(said to have belonged to Simon Fraser, Lord
Lovat), which belonged to the late Dr. Rimbault,
and is engraved in his History of the Pianoforte,
p. 69, was afterwards in the possession of the
late Mr. Taphouse of Oxford. Of later 18thcentury
spinets we can refer to a fine one by
' Mr. H. C. Moffatt, J.P., of Goodrich Court, Boaa, owns a fine
virginal with this insciiption on the Jaclc rail :— ' Stephanus
Keene, Londini fecit 1668.'
The interval between 1668 and 1723 is
ery long for the worlc of one man.
Mahoon, dated 1747, belonging to Dr. W. H.
Cummings, and there is another by that maker,
who was a copyist of the Hitchcocks, at S.
Kensington Museum. The late Sir F. G.
Ouseley owned one by Haxby of York, 1766 ;
and there is one by Baker Harris of London,
1776, in the Music School at Edinburgh. Baker
Harris's were often sold by Longman & Broderip,
the predecessors in Cheapside of Clementi and
CoUard. It is not surprising that an attempt
should have been made, while the pianoforte
was yet a novelty, to construct one in this
pleasing wing-shape; Crang Hancock, of Tavistock
Street, Covent Garden, made one in 1782
which was long in the possession of the late
Mr. Walter Broadwood. It is now at Godalming.
A. J. H.
SPIRITOSO, i.e. 'spiritedly,' is, like Con
Spieito, a designation of style rather than of
pace. It is occasionally met with in Haydn,
rarely in Mozart, and in not one of Beethoven's
original works. In his many arrangements of
national airs '
Spii-ituoso ' occurs not unfrequently,
as in op. 107, No. 10 ; op. 108, Nos.
13, 22 ; but he probably found it on the copies
sent him. Brahms, with a touch of wonted
conservatism, uses Con Spii-ito in the Finale of
his Second Symphony. G.
SPITTA, Julius August Philipp, a wellknown
musical litterateur, son of the author of
the Psalter und Harfe ' ' ; born at Wechold,
Hanover, Dec. 27, 1841 ; studied at Gbttingen,
and afterwards taught at Reval, Sondershausen,
and Leipzig, where he took part in the founding
of the Bachverein in 1874. So great was his
progress during this time, that in 1875 he was
made Professor of Musical History in the Berlin
University, and Perpetual Secretary to the
Academy of Arts there. At Easter of the same
year he became teacher of Musical History in
the Hochschule fiir Musik ; in 1876 entered the
direction, and at midsummer 1882 became
a permanent director of that establishment.
His principal literary work is J. S. Bach, in two
vols. (B. & H.; vol. i. 1873, vol. ii. 1880)—an
accurate and perfectly exhaustive treatise of all
relating to the subject, but sadly wanting a
better index. A translation by Clara Bell and
J. A. Fuller Maitland was published in three
volumes by Novello & Co. in 1884-85. He
pubUslied a smaller biography of the same
master, forming No. 1 of Breitkopf & Hartel's
Jliisikalische Vortrage, and another of Schumann,
which, though issued as Nos. 37, 38 of
the same series, was written for this Dictionary.
[Seeamie, pp.346-383.] Hisartioleon Spontini,
in this work, is the first adequate treatment of
that singular individual. An article on Homiliuswillbe
found in^eAllg. Deutsche Biographic,
and many other productions of his pen in the
Leipzig Allg. Musikalischc Zeitung for 1875-
1878, 1880-82, and in the earlier numbers of
Eitner's Monatshefte fiir Musikgeschichte. He