Grove's dictionary of music and musicians

'
'
702 STONARD
in the collections of Schbffer, 1536, Forster,
1539, and Ott, 1544. One of the secular songs,
' Entlaubet ist der Walde, ' deserves mention,
because the tune in Stoltzer's tenor was afterwards
adopted as the Chorale -tune for the
Hymn Ich dank ' dir, lieber Herre. ' The tune
itself is said to have been known about 1452,
and it also appears in Hans Gerle's Lautenbuch
of 1532. Harmonised by Bach, it forms the conclusion
of his Cantata, Wer da glaubet und
'
getauft wird.' It is given with Stoltzer's own
harmony in Schbberlein's Schatz, Bd. iii. n. 443.
One of the Geistliehe Gesange also deserves
mention, ' Kbnig, ein Herr ob alle Eeioh,
because the first words of the three verses form
the acrostic ' Kbnig Lndwig ' (King Louis of
Hungary), and the hymn itself first appears in
company with the better -known 'Mag ich
Ungliiok nioht widerstehn,' which also forms
the acrostic 'Maria,' for Queen Maria, the wife of
Louis, and daughter of the Emperor Charles V.
A large number of Latin Motets by Stoltzer
exist in MS. in the Library at Zwickau, j. B. M.
STONAED, "William, Mus.B. Oxon. 1608,
was organist of Christ Church Cathedral, Oxford.
Some of his compositions are preserved in the
Music School, Oxford, and an Evening Service
in C in the Tudway Collection (Harl. MS. 7337).
The latter ia printed iu the publications of the
Motet. Society, vol. ii. p. 78. The words of
some of his anthems are in Clifford's Collection.
He died in 1630. w. H. H.
STOPPED PIPE. An organ pipe, the upper
end of which is closed by a wooden plug, or cap
of metal. The pitch of a stopped pipe is one
octave lower (roughly speaking) than that of an
open pipe of the same length ; it is usual, therefore,
in a specification, to state the pitch of a
stopped pipe instead of its length ; thus, Open
'
Diapason 1 6 ft. , '
' Bourdon 1 6 ft. -tone, ' etc. By
the former it is understood that the longest pipe
is 16 ft. long ; by the latter that the longest
pipe (though only 8 ft. in length) gives the
same note as an open pipe of 16 ft. For the
acoustic law which governs the pitch of closed
pipes, see Pipes, Vibeation of air in, vol. iii.
pp. 752-754. J. s.
STOPPING is the term used for the action of
the fingers of the left hand in playing instruments
with strings sti'etched over a fingerboard,
in order to produce the intermediate sounds lying
between the notes sounded by the open ' ' strings.
When a higher note than the fundamental sound
of the string is required, the vibrating part of
the string must be shortened by stopping the
vibration at a certain point between nut and
bridge, i.e. by using one of the fingers of the
left hand as an artificial nut or stopping-point.
The nearer this point is to the bridge, the shorter
the vibrating part of the strings, and the higher
in pitch therefore the sound produced. A
correct intonation or playing in perfect tune
obviously depends entirely on exactness of
STOPS (HAEPSICHORD)
stopping. See also under Double Stops and
Harmonics.
p- ?•
For stopping as applied to brass instruments,
see Horn.
STOPS (HAKPSICHOKD). Like the organ,
the harpsichord had stops, by which, with
double keyboard, contrasts as well as changes
could be made. The principle, borrowed from
the organ, was the simple movement of each
rack of jacks forming a register, so that the
quills of the jacks might or might not touch
the strings. The earliest notice of stops to a
keyed stringed instrument appears in the Privy
Purse Expenses of Henry VIII., April 1530,
published by Sir N. Harris Nicholas in 1827
(Rimbault, History of the Fiwnoforte, 1860,
p. 33). The item mentions 'ii payer of Virginalls
in one coffer with iiii stoppes.' The term
' Virginals ' in England imder the Tudoi-s and
up to the Commonwealth, had, like ' Clavier
in German, the general signification of any
keyed stringed instrument. [See Virginal.]
We therefore interpret this quotation as a
double harpsichord, in one case, with four stops.
If this be so, we must perforce limit Hans
Kuckers's invention to the 'ottava,' the octave
string [see Ruckkrs], withdrawing from him
the double keyboard and stops. In all unaltered
Euokers harpsichords, we find the registers
made as in the old Positive organs,' by the prolongation
of the racks as rails or slides, so as to
pass through and project beyond the right-hand
or treble side of the case. Each rail-end has a
short loop of cord to pull it by. The late Miss
Twining's Andries Ruckers of 1640 (amfe,
p. 188, No. 74), and the Countess of Dudley's
Hans Ruckers the younger of 1642 {wnU,
p. 187, No. 41) have only this simple aiTangement.
But subsequently, to be nearer the
hands, the registers were shifted by iron crank
levers, and manipulated by brass knobs divided
into two groups on either side of the nameboard,
and immediately above the keys. The older
instruments were often altered and modernised
by the addition of this contrivance. The two
unison stops were placed to the player's right
hand, and as the reversed position of the quills
when acting upon the strings required, could be
brought into play by squeezing the two brass
knobs together, or made silent by pushing them
apart. The ottava was placed to the player's
left hand, with the Lute and Harp stops, which
were of later introduction, and requii-e separate
description.
The Lute, a timbre or colour stop, doubtless
arose from observation of the power which luteplayers,
like viol- and guitar -players, had of
changing the quality of the tone by touching
the strings closer to the bridge. Perhaps the
earliest reference to an attempt to imitate these
instruments on the harpsichord has been found
• See the organ depicted in ' Music.' attributed to Melozzo da Forii
(1438-94), iu the Ifational Gallery, London.