Grove's dictionary of music and musicians

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SUL PONTICELLO SUMER IS ICUMEN IN 747
Besides the compositions already enumerated,
Sullivan's list of works includes thirteen anthems,
six sacred part-songs, three carols, arrangements,
sacred songs, etc. (See Musical Times, 1901,
p. 24.) In 1868 nine part-songs, an ode for
baritone and orchestra, ' I wish to tune,' were
composed. The popular The ' long day closes
is among the former. Songs to the number of
about seventy were published in his earlier years,
most of them before the vogue of the Savoy
operas began. Among instrumental works are
to be mentioned, beside the symphony, the
concerto, and the marches already referred to, a
'
Duo concertante ' for piano and violoncello,
and nine short pieces for piano solo, dating from
about 1862 to 1867.
The penalty of excessive contemporary popularity
has been paid since Sullivan's death, for
although that event came like a national
disaster, his more important compositions have
been almost entirely neglected from that time.
Even the beautiful Golden ' Legend,' which
enjoyed enormous popularity for many years,
has been only heard comparatively seldom of
late years. It is quite probable that the pendulum
will swing back some day and a new
period of popularity begin.] 6.
SUL PONTICELLO. See vol. iii. p. 790.
SULZER, Salomon, Precentor of the Jews'
synagogue in Vienna, and reformer of their
musical service, was born March 30, 1804, at
Hohenems in Vorarlberg. The name was derived
from Sulz in Wiirtemberg, the ancient residence
of the family. When only thirteen he
was made cantor of the synagogue at his native
village by the Emperor Franz I., and in 1825
was called to Vienna to conduct the music at
the newly built synagogue there. There he
took lessons in composition from Seyfried, and
set himself earnestly to reform the service
by reducing the old melodies to rhythm and
harmonising them. His collection of Jewish
hymns, under the name of
Harp of Zion), was used all over Germany, Italy,
and even America; but it was not till 1838
that he could succeed in publishing it. It
contains a setting of the 92nd Psalm (in Moses
Mendelssohn's version) by Schubert, for baritone
solo, and four men's voices, made in July
1828, the autograph of which is in possession
of the synagogue (Nottebohm's Catalogue, p.
229). In 1842 a second edition appeared, and
in 1 86 5 a second volume. A collection of home
and school songs, entitled 'Dudaim' (Mandrakes),
appears to be still in MS. In 1866 a
fete was held in his honour and a silver laurel
presented to him with the inscription 'The
Artists of Vienna to the Artist Sulzer.' From
1844 to 1847 he was Professor of Singing at the
Vienna OonseTvatoriura. He was a Ritter of
the Order of Franz Joseph (1868), and earned
the medals of various societies. His voice, a
baritone, is said to have been magnificent, and
he was greatly esteeme'd and beloved inside
and outside of his own community. He died in
Vienna, Jan. 18, 1890. G.
SUMER IS lOUMEIT IN (Latin words,
Perspice Xpicola = Christicola). A Rota ' ' or
Round of great antiquity, the original MS. of
which is preserved in vol. 978 of the Harleian
collection, in the British Museum.
So important are the questions raised by this
document, in connection not only with the
history of the English School, but with that of
Mediaeval Music in all other European countries,
that we cannot too earnestly recommend them to
the consideration of all who are interested in
tracing the development of our present system
to its earliest sources. The accompanying facsimile
is reduced by photography from 7t^X
5^^ in., to 6|-x 4^, and we add (pp. 750-51) a
solution of the Canon, in modem notation, but
otherwise scored in exact accordance with the
Latin directions appended to the original MS.
The only characters employed in the original
are, the C clef; the £ rotundum (=Bly)
square black-tailed notes, sometimes perfect by
position, and sometimes imperfect ; one square
black note without a tail ; and black lozengeshaped
notes, also without tails ; except in
one solitary case which we can scarcely conceive
to be accidental—the first of the three
notes sung to the word ' in. ' These are replaced,
in the reduction, by the 6 clef for the four upper
parts, and the F clef for the two lower ones,
forming the Pes ; by dotted semibreves for the
tailed notes, when perfect, and semibreves without
dots for those that are imperfect ; by a
semibreve without a dot for the single untailed
square note ; by minims for the untailed lozengeshaped
notes ; and by a dotted minim, followed
by a crotchet, for the solitary lozenge-shaped
note with a tail. For the time-signature, we
have used the circle, and the figure 3, indicative
of Perfect Time, in combination with the Lesser
Prolation—a form closely corresponding with
the signature 3—2 in modern music.
We have thought it necessary to print the
solution of the Canon in extenso, because, to the
best of our belief, no correct Score has hitherto
[i.e. in 1883] been published.
Hawkins clearly
misunderstood the two Ligatures in the Pes,
and misprinted the passage, at every repetition.
Bumey corrected this mistake ; but both
historians have given an erroneous adaptation
of the text to the notes, in bars ilet seq.,^ at the
words Wei ' singes thu cuccu ne swik thu nauer
nu '
; and both, in bar 40, have systematically
misprinted the note sung to the second syllable
of cuccu,' giving G instead of A every time '
it
occurs. It is true that in certain bars G
agrees better than A with Hawkins's misprinted
Pes, but with Bumey's correct Pes, it makes a
horrible discord.
1 The references are to our own acore, the bars in which are
numbered for the reader's convenience.