Grove's dictionary of music and musicians

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720 STEBET
16. Aus Italieu, Symphonic Fantasia.
17. Six Songs.
18. Sonata, vln. and PF. in Eflat.
19, Six Songs ('Lotoablittter't,
20, Don Juan, tone-poem for orchestra.
21, Five Songs ('SchlichteWelsen').
22, Four Songs ('Mildchenhlnmen'),
23. Macbeth, tone-poem for orchestra.
34. TodundVerkliirung, tone-poem fororchestra,
25. Guntrsm, opera in three acts.
26. Two Songs.
27. Four Songs.
28. Till Eulenspiegel's lustigeStreiche, tone-poem for orchestra,
29. Three Songs.
SO. Also spracSl Zarathnstra, toi\e-poem for orchestra.
31„ Four Songs.
32. Five Bongs.
S3 Four Songs, with orchestral accompaniment,
34. Two anthems for le-part chorus.
35. Don Quixote. Fantastic variations for orchestra.
36. Four Songs.
37. Six Songs.
38. Enoch Arden, melodrama (music for recitation),
39. Five Songs.
40. Eln Heldenleben, tone-poem for orchestra.
41. Five Songs.
42. Two male choruses.
43. Three Songs.
44. Two * grOssere Gesiinge ' for deep voice, with orchestral accompaniment.
45. Three choruses for male voices.
46. Five Songs.
47. Five Songs.
48. Five Songs.
49. Eight Songs.
50. Feuersnot, opera in one act,
51. Das Thai, for bass voiceand orchestra.
52. Taillefer, chi^l ballad with solos, orchestral accompaniment,
53. Symphonia (A) Douiestica, for orchestra,
54. Opera, Salonro, in one act.
Without Opub-ndmbkrs,
(See also above for early unpublished works,)
Burleske for piano and orchestra,
Soldatenlied for male chorus,
STREET, JosiAH.
^^
A Yorkshire musician,
who issued ' A Book containing great variety
of Anthems in two, three, and four parts.'
London, second edition, 1746. This was
published by Joseph Lord of Wakefield. A
previous edition is stated to be circa 1729, but
this is probably too early. A later one is dated
1785, F. K,
STEEICHER, Johann Andreas, a professor
of music in Vienna, and, by marriage with
Nannette Stein, the founder of the pianofortemaking
firm in that city, derived from Stein of
Augsburg, that was to become in course of time
the famous house of Streioher und Sohn. J. A.
Streicher was born at Stuttgart, Dec. 13, 1761 ;
he was a man of education and great intelligence,
and was, moreover, distinguished by his friendship
with Schiller, He brought up his son,
JoHANN Baptist, who was born Jan. 3, 1796,
to the business, and long before his death,
which took place May 25, 1833, resigned it to
the son's complete control. Johann Baptist
maintained the excellent traditions of his worthy
predecessors ; and when he died, March 28,
1871, left his son Emil the proprietor of this
historical business, the services of which in the
improvement of pianoforte construction are duly
recognised in the articles Pianofoktb and
Stein. Ernst Pauer was a grandson of J, A,
Streicher and Naunette Stein, and a great-grandson
of the object of Mozart's admiration, J. A.
Stein of Augsburg. [SeePAUEK.] A. j, H.
STREICHINSTRUMENTEN (Germ,),
Stringed Instruments, or Stkinos.
STRETTO (Ital. ), literally ' close ' or ' narrow
'
STKICT COUNTEEPOINT
(Germ. Engfiirhung). A terra used in two
ways. 1. In Fugue it designates the following
of response to subject at a closer interval
of time than at first. This device is usually
employed towards the end of a fugue, so as to
give some impression of climax. But there are
plenty of exceptions to that custom ;
e.g.
Bach 48, No. 1.
which occurs close to the beginning. Some
subjects will bear more than one stretto, in
which case the closer naturally comes last ; e.g.
from the ' Amen
'
chorus of Handel's ' Messiah.'
(The inner parts are omitted for the sake of
clearness.) Still more remarkable instances
will be found in the fugue of Bach's harpsichord
Toccata in D minor. [When several
strettos occur in a fugue, the last is usually
called the Stretto maestrale.']
2, The second use of the word occurs more
especially in Italian opera, when towards the
end of a piece the time is quickened, bringing
the acceilts closer together. Thus the title
might be, and sometimes is, applied to the last
prestissimo of the Choral Symphony. It is
sometimes used, but quite wrongly, as a direction
equivalent to accelerando, instead of in its
proper sense of piit mosso. r. o.
STRICT COUNTERPOINT (Lat.
Gantrapunctus
proprius, vel severus ; Ital, Contrappimto
severo ; Oontrappimtoalla Cappella ; Germ.
Strenger Saiz, Kapellstyl ; Fr, Oontrepoint sevire).
The art of writing in parts for two or more
voices without the employment of unprepared
discords.
The term is not very well chosen. The laws
of free, part-writing are quite as severe as those
of the so-called strict style. .^ But the conventional
application of the tef;pi
'
strict ' to the
method which forbids the direct percussion of
a fiindamental