dictionary of music.

900 Pages·2011·36.12 MB·English

DICTIONARY OF MUSIC.

AUGENER'S EDITION, No. 9S00.
DICTIONARY MUSIC
of
BY
HUGO
RIEMANN.
DR.
NEW EDITION, WITH MANY ADDITIONS BY THE AUTHOR.
TRANSLATION BY
J. S. SHEDLOCK, B.A.
i^-^G
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AUGENER &
CO., London:
199. REGENT STREET, W. ^-5-.
City Bsahch— Library & SchoolDfepARXMBNT—
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;
Dictionary of Music.
A, the nameof the first note of the musical 8VAand8^*iMssa_orevenby15"*and15"*bassaj_
alphabet (A B C D E F G). The Italians. yetthe ordinarylimits of notation are thoseof
French, Spanish, callthesamela, or(especially our present concert-grand pianofortes, with a
in old theoretical works) with the complete compass from Double Contra A to five-times
solmisation name A lamire, orevenA mila. (See accentedc. Comparethefollowingsynopsis,in
SoLMiSATioNandMutation.) whichatthesametimetheusualletternotation
The A's of the various octaves are distin^ ofthenotesisgiven. (TheFrenchcallthegreat
guished from one another—when written as octavethe ist,thesmall the znd, etc.; andthe
lettersbymeansofadditions ^firstbythediffer- Contra octave the minus ist [—'], and the
encebetween capital and smallletters, thenby DoubleContra octave the minus and; sothey
strokesoverortotheright of thesmallletters, calloura',la', andsoon.)
and under or to the left o—fthe capital let—ters Theonce-accentedc(c')isth—e onesituatedin
or instead of the stroke as now usual the the middle of the keyboard our orchestras
8va.
SmallOctave.
^^ Double.ct_
^ >' Ajg-:^ ^^ =1 ^ ^ "B AGrGeatFOctaEve.D d ',B ,CAont.rGa7Ofcta|vEe..D |dttrra/aObOcctt^aaAvv'te;
gi^ c d e f g a b c' d' e' f g' a' b' C'
(BO SmallOctave, Once-accentedOctave.
SYNOPSIS OP NOTESANDCLEFS.
cboearrrsestphoendsianmgefmigeuarnei;ngs.o thTahtect,otoarlcco"m,paosrsco^,f gienndeircaaltleyd atbunoevefirnomallthcelefosnbcey-aaccoe-nnotteed,awh(iac^)h>
serviceablemusicalsoundsextendsfromDouble isgivenoutbytheoboe. The normal pitch of
Contra C to six-times accented c, i.e. through the same,which formerly was very uncertain,
nine octavesifbut the very lowest and very was fixed by the French Acadimie in 1858 at
highesttones of this giant scale occur only in 870single,or435 double, vibrationspersecond
the organ. They are not written down, but (called Paris (Samber-pitch,also "low pitch,"
appear onlyas reinforcements of sound (in the to distinguish it from the considerably higher
32-feet stops on the one hand, and in the one an general use [different in different
smallestmutationstops.Quint |or|,andTierce countriesandcities]);theParispitch (Diapason
; on the other hand. [See Foot-tone.]) The normal) is gradually being everywhere intro-
notation can indeed show these sounds (by duced. At the International Conference held
— — —
" : ;
Abbreviations
inVienna, Nov. i6-ig, 1885, to establish unity A ballata (Ital.), intheballadstyle.
of pitch, it was resolved to recommend this Abb.,anabbreviationofdbbassamento(dimano),
pitchtobeofficiallyadoptedbytheGovernments indicatingwhichhandistogounderinacrossing
of all the countries represented. In Germany ofhandsinpianoforteororganmusic. (C/.Alz.)
afonrdteFsraarnecetutn—heedtguinvienga^-f(oorrkas'),frwohmilwehiincEhnpgilaannod- witAhbbsaenldfo-nabaatnadmoennmteen,t,ourncreosntraabibnaendldyo.no(Ital.),
tbohoekys,givAe cm"e.anOsnAtlihuesti(talletso—ofparotl)d.vo—Icnalrepcaerntt- Abbandono (Ital.),withself-abandonment.
scores and parts, letters (A Z, Aa Zd) are Abbassamento (Ital.), the actof lowering,or
written as signs; so that, at rehearsal, a con- the state of being lowered. Abbassamento di
ductor mayeasilypoint back to any particular mano, lowering of the hand in beating time
bar. In recent theoretical works (those of abbassamentodivoce,loweringofthevoice.
GottfriedWeber,M.Hauptmann,E.F.Richter, Abbatini, Antonio Maria, composerofthe
and others), letters are usedwith chord-mean- Roman school, b. .1595 or 1605, Tiferuo, or
Ain-gmi:nAortchheonridn,diectca.tesItnheolAd-amnajtoirphcohnoarride;s,a,ettch,e H(aeccboercdianmget(o16B2a6i)nim)aeCsatsrteollaot,tdh.e1L6a7t7e,raCnas,teflrloom.
ofGregoriansong,especiallythosewithNeumse, whichpost he passed to similar ones at other
an a written at the commencement indicates churches in Rome (del Gesu, S. Lorenzo in
thatthesongisinthefirstecclesiasticaltone. Damaso, Sa. Maria Maggiore, and N. D. di
InItalian marks of expression and indications Loreto). A. wrote a large number of church
oftime,amustbe translated by "with," "in," compositions, of which some were for a great
"to," "at," "for," "by"; for ex., a due, for numberofvoices; four books of psalms, three
two (two-part). {SuT>VE,.) booksofmasses,Antiphonsfor24voices (1630-
A;| (Ger. Ais), an a raised a. half-tone w38e,re16p77u)b,Usahnedd;fivheeboporkosducoefdMoatnetosper(1a635a)t
and then in connection with Ranoomtheerinat1V6i54e,nnean,ti1t6l6e6d,'DeentiitMlaeldeloinne.BenHee, aalnsdo
assistedAth. Kircherwithhis"Musurgia."
thorough-bass figuring ^really f) it stands for Abbellimento(Ital.). Sameasnrnament(q.v.).
cthhoertdr,iaadnodfafiwnialtlhyratihseedAt-hmiarjd,ori.e.ketyh.eAO-mnajtohre AAbbbbeelyl,itJuorhan,(Itcael.l)e,bermatbeedllPiasrhimsenortg,ano-rbnuaimlednetr.,
ootrhtehrehAa-nmdi,no(irj]keoyr.aj?BduetnottheissmthosdAe-omfiniondricchaotriAo,n bF.ebD.eci.g,221,8591,785V,erWsahiillletso.n (AN.ortbhuailmtp,tona)m,ondg.
isnotgeneral, and, onaccountofitsambiguity, others, theorganfortheNationalExhibitionof
lKiLtAtNleGSwCoHIr-tihjySSoEfI,.r)ecommendation. {Cf. A, and s1t82r7o,yeadlsaottthheeTouriglueerieexsprienssi1f83u0nf(obrottuhnadteesliygndeed-
iwoCTMMM11rfrn4aa0oooi9grA5Rrnd0stta2it,sotiomrti-;enrFioonbnialnnuCe)uoai,AaTmart,nrrrneh"deei(atnoortitfacDrn)SshteSnte,,eoe,.dyAfmrimdPfbaiwi.Utapbuardthabnhsorsiiettetod)ltsqatitsntautlrwtiiooea(eeenfafa1tBogePt5ereunni3satuirs6anhCa1mse)gloeta5h.lat(m4nee"hmCim5dotnneoooduanrtl,tnis,hnokha{,egdztes"o)onhvtr"1fleoaPiee5Di,cslnitr6btasehied2r,loaee.tait;bsrr(sDoR.ayPaoreecaocda,cgoecfdaeb.tfuoaunrolrlSS1aoudidsott4,nteso-f!., dwrnospubOuereforsypepciteuAeettasabrSvtriistle.boioaniilprtntAEgooeeieH.tnrn;voooia(niuituiatraantitlwsdontsosie)efidonntcl,,oeowf;a),ntiiiwsaacsnniihaftensdsgseiiaditnaeowcrceswmnieahaenpntbdlwluaiau{l1sroroamsoe8sneysefeb3a,sed:1estdbRtrh(o.utiiihiefr—hs)nnepo,nerfttTgt(eiioi2rhhsnb)isnmeepdeaneeeaeir.I)tcmc1sfneia8aoamt7nrirroTl3ipunerkl.othpslmysnheateobeteyiiwleoaniPmtfmhdrsaie,ootroenslohnixiottersesnf-
fIisntailtluyziaotneVenaircmeon;ipcuab"lis(1h5e1d6,"aIlsToreinlLibartiindelbly' ofashortfigure, thesign,**orwj", alsoJS.
G. A. Flaminio); "II Toscanello in Musica
{1523, 1525, 1529, 1539, and 1562); "Trattato
oella Natura et Cognitione di tutti gh Tu-
fo<SMiIneug5igsu4rir5eda)cti;tiaoCde"aatin(ntaSwdoliectnfuht"inoeCgeunoutzrOmeayppteieoiannnr"itdoooi(nrfo1enl5po2uao5bua)ltl;iidcciCah"taeLimnuooetnclo)mit.doitadererdirmuonboebi"ien vws(3ahh)olirucItehnvwrtaiehltpueheeyt,iianttrdiheioecntaseotmoibpfoelntoroheyefsmostelhanvemteedspo:sefociun^eonstdeosifnnonfoottleeasrignetorof
Abaco, Evarista F. dall', a veryremark-
able composer from about 1700-20, Electoral
cBfeoarrvtaIorsainfaodnrCfsoatrrpien2lglemvdieoiilsnitsnestrruw;mihetenhtspc.ounbtliinusoh,edansdoncaotna-s mFlayedJ J J i ijt^itz ^^
Abbreviations Abel
^ ^
tf
/l
—
;
Abt
Abel
prd.uibcTlhai,ns.hbe2r2do,tshi1xe7r8vi7o,olfiLnotncheodnofcnoe,rrmttehores,.l—ba(.s4t)1Kp72ea5rr,floCrFomrteihreedno-,n Aohsvitemorrtaguarg,eosE,okdkqenuhaaarmrtede.,tsD,iesoAnlgsm,oUetic.m, (h1a8v90e),wboensidfeosr
thegamba, andacomposer highly esteemedin Abesser, Edmund,b.Jan.13,1837,Marjolitz
hTihsotmiamse'.sSHcehoowla,sLaeippuzpiigl.ofFJr.oS.mBa1c7h4'8s,toat17S5t8. s(aSlaoxnoncyo)m,pods.erJ,uloyper15a,Di1e88l9i,eblViicheenFneae,. a prolific
he was member of the Dresden court band Abgesang (Ger.,"aftersong"). [SeeStrophe.)
aiywfneata^Lerrosntah(dpa1pot7on8i3hn1-et75e5)wd9es-np1te7cn8hto7a,nmibnwceiorGtn-hecmreturmhstaeincteyoix.uacrensp,Ittinaoonn1d7Qo6ful5ietvewhenoed DaAAbbcoaBip,noi.Gt)iioro(Llata.m),of(ralosmo Atvhoes,beAgvionsnsian)g,. co[Sme-e
Charlotte. His numerous sonatas, concertos poseroftheNeapolitan school, born atthebe-
. fsJoayrnm.pphf1o.4n,iaens1d8d3s5et,sreirEnvgcsek,amreqtnustabireotrentg.se—,((5oT)vheuLrritiuinrgdeiwsai,)g,,arnbed.- gw1i7r8no6nt,ienNgaopopfleertashse; pi(u61pt7ih4l2c-o6ef3n)tLuerfoyoraantNdaMpaDlluetrsaa,,ntd.e.V.eanbiocHueet,
ceived his artistic training at Weimar and Rome, andLondon,whichwerehighlyesteemed
I^ipzig (Ferd. David), became leader of the byhiscontemporaries. Inlateryears,after he
orchestraatMunichin 1867, and is nowoneof had beenappointedteacheratthe Conservatoria
the principal teachers at the Royal School of delta pieta di Turchini, Naples (1758), he wrote
Music(violin,playingfromscore,etc.). A.has also many sacred works (7 masses, litanies,
publishedviolincompositions and alsoaviolin etc.). Aprilewashismostf—amouspupil.
Method. Abraham, (i)seeBraham. (2) Dr. Max, see
Abela, (i) Karl Gottlob, vocal comjjoser, Peters.
b. April29, 1803, Borna(Saxony),d. April 22, Absolute Music (i.e.musicper se, withoutre-
1841, ascantorofthe"Francke" Institutionat lation to other arts, or to any presentation'
—aHsal(w2le)ell:DhaoesmpnubulPmilesarhpoeiuddsaoc,bhooporrkuisooerfssooffnogrtshmfeaolraebscbvhoeoiyoclesso,.f wignrheaartteecvepenartrtoyuttismaiemdse,onoffgoirtm)muisssiactlihiaemniswtianatgncdthewrofmrr,idewnhdtisocho,af
Monte Cassino, d. July 6, 1876,was an excel- music. A. M.is opposed to music-painting,to
l(M3ea)nrtPcoher,dgarn1oi87s7td,ea,Bnatdrecacecolhmoepnroas.oefrsTioanfmgbicenhrgulroicfkhrmewpuausstiec,.onde. pscrouerpsdpeionnstgeadttiovteothoeerxpoprpreiosngsiroansmomomefe-tamhuihsnyigpce,drei-f.mie.noidtteeo.rmnusAmicic--
ofhispupils. nority, all music which does not expresssome
Abell,John, famous Englisheviratoand lute definite poetical thought is mere trifling with
player, b. about 1660, London, where already sounds. Ontheother hand, ultra-conservative
in 1679hewasmemberoftheChapelRoyal, d. musicians utterly deny to music the powerof
1724. The Revolution of 1688 cost him his representing anything. As a matter of fact,
ptionseintti,onh;eyert,etaufrtneerdlotnogLjoounrdnoenysionn1t7h00e,Caonnd- wmheaennsmoufsicecrbtaeicnofmoersmuslyamsboolrica,rtii.fei.ciaatltiemmipttastiboyn
gained fresh triumphs. A. published two col- of sounds intentionally to awakencertaindefi-
'ectionsofsongs. niteassociationsofideas, itgoesbeyondits.own
Abeneplacito (Ital.), atpleasure. domain and enters that of poetry or of the
Abenheim, Joseph, b. 1804, Worms, d. representative arts [cf. Riemann, "Wie horen
Jan. 18, 1891, Stuttgart, aworthy member of wir Musik," 1888, "Catechism of Musical
the court band at Stuttgart (violinist), ap- Esthetics"),for^the essence of poetry consists
pointed musitial director in 1854; he wrote inawakeningandlinkingtogether by meansof
many entr'actes, overtures,etc.,but only some conventionalforms(words) certainconceptions,
interesting small pf. pieces and songs have that of the representative arts by the direct
appearedinprint. imitationofobjective phenomena; both, there-
KedouAccbheaortwtii,otnzJao(sBhoachhneonnruiaJs)to,esrreepcaheti,vGebad.shtiSdseopfrtif.rst2a1mn,uds1i8ct3ah2,el tfnohorete,somuralek,aebcyhuistnehd.eireaTcihtmemeogfarneasal,ltopafrotww,hetirhcahotfmoumfsuismcoivcnielnieped:s
Leipamonastery,butfledfromthelatterplace, inthedirectemotions which itawakens, inthe
and, thanks to the aid of a relative,became a fact thatit is a free outpouringoffeeling, and
pupilatthePragueConservatoriumunderKittl callsforthfeelingfromplayerandlistenerwith-
and >Tomaczek. In 1852 he was engaged as out the intervention of intellect. {See Es-
double-bassistintheStuttgart court band, and thetics.)
in 1867 obtained, on the departure of Eckert, Abt, Franz, b. December 22, 1819, Eilen-
thepostofcapellmeister there; in the autumn burg; d. March 31, 1885,Wiesbaden, attended
of 1888 he retired from active life. Abert's the St. Thomas School, Leipzig, and was to
cminorsymphony(firstperforniedin1852),his havestudiedtheology,but soon turned his at-
SymphonicPoem "Columbus" (1864), s-l^o his tention to music, conductedastudents' "phil-
operas,AnnavonLandskron(1858),Konig Enzio, harmonic" society, and made successful at-
;
Abt Accent
I
tmbuuersmgip,ctaslbuadttircweoecmtnpotrosiianttiottnhh.ee CsoaIumnret18yT4eh1aera,htreaen,bdeBcieanrmne-a ABsorcceaisdelteaimuei,scaaeltncd.)I.nospteir(tCafut.tiecLyfeconretuermcp.hr)iu—srecs^hAlhsaomvuesciocnocfetreantt
msZiuemrniitlcahr,ofacanCpdoaucfrirttoyr,aCattphoeelntlchmeeeein"stAteekrrteidteoonn"thhTiesheDaaputpkroeeintoa-tf tAceacrkatednesmotchyieeotnfyaAmensectiaebonlfitsAhM.eud;siiansc, (Lf1oo7rn10de-ox9an2m)p,lfoear,cottnhhe-e
Brunswick (1852-82). In1872,attheinvitation encouragement of ancient music the "Royal
ofvariouslargechoralunions, hevisitedNorth Academy of Music," a company;for the per-
America, andgainedexceptionaltriumphs. The formance of Italian opera, established inLon-
songs and quartets for male voicesofAbtare don (1720-28), for which Handel wrote 14
hniostpoofwegrreaotfianrtviesnttiicnvgalfuleo,wiynegtmferleoqduieenst.lySsohmoew oapcecroarsdi;ngthteoAtcheadGiomvieer(nnmateinontalien,piomwpeerri)aldee,murosyiaqluee,
of them have become real folk-songs ("Wejm atParisisnothingmorethan theGrand Op^ra
die Schwalbenheimwartsziehn,""GuteNacht, existing since 1669, in connection with which
dsWoaunsgmsseeiranrroheseersz"o)im.geesoAKfinnpduo,em"tbieectrcb.)eo.afuAthimyso(nc"agDntihaeitsaSpstairfltol-re mtahnaedygbteehremnoAafcmtaehddeetpmhryees.eSocnfotleMCuornsoysiaeclrevaadtteoNiCreheawndteYo(Pr1ak7r8,i4s)a,
female voices have also become very popu- house devoted to opera, butespeciallyto con-
lar ("Cinderella," "Little Snowwhite," "Red certs. In Italy accademia is quite a common
Riding Hood"). In 1882 A. withdrew from termforaconcert, amusicalentertainment.
actAivecaUpfpee,lalnad(rIetatli.r)e,ditnoWciheusrbcahdesnty.le, i.e. fbr suAncgatihnistthUeBG(rLaete.k, fCrhoumrGckh.),inahhoynmonurofopfratihsee
voices alone,without any instrumental accom- BlessedVirgin.
paniment. (SmCappella.I Accademia degli Axcadi, a society of artists
Academy (Fr. acadhnie, Ital. accademia), an (poetsandmusicians) foundedatRomein1690.
exercise ground-in ancientAthenswherePlato Themembersboreold Grecianpastoralnames.
was accustomed to assemble with his pupils, Accarezzevole (Ital.),in a caressing manner;
anddiscoursetothem; thenamethenpassedon equivalenttolusingando.
fromPlato'sschool,andin1470wasseizedhold
of afreshbyoneof thelearnedsocieties at the Accelerando (Ital.), accelerating the time;
court of Cosimo deMedici, which called itself gettinggraduallyfaster.
the"PlatonicA." Sincethen numerous other Accent (i)istheprominencegiven to certain
societiesof learningandarthave arisen,which notes or chords byemphasis. The stress put
have taken the nameA. The greater number upon the important notes of phrases, motives
oftheGermanacademiesareStateinstitutions and sub-motives, which notes always occur at
theacademiesofBerlinandParisconsistof an: the beginning, or in the middle ofabar, or on
almost fixed number of members in ordinary. the moment of any beat, has, according to
The French academies consist of the Academie the traditional teaching of metre and rhythm,
frangaise(A.forFrenchlanguageandliterature), been reckoned amongst accents(as a so-called
the Academie des inscriptions et belles-lettres (for grammatical or metrical, regular, positive ac-
history, archaeology, and classical literature), cent); butasthisstressisnotan extra empha-
the A. des sciences (for natural philosophy), sis, but merelythe constant rising and faJliug
the A. des beaux-arts (A. of arts), and the A. (crescendo and diminuendo)which is actually the
des sciences morales et folitiques (law, political basisofmusicalexpression,itisconfusingtomix
economy,etc.). The A.des'beaux-arts is richly it upwithaccent. Realaccentsareratherthose
endowed, and offers every year a number of extra reinforcements of sound which disturb
mimupcohrtoafntitspprirzoegsre:ssthteotshceiecnocmepeotfitmiuosniscofotwheiss tDhyenanmatiucrsa,lTcHoEurAsretooff,dajnmdamMiectrdee,vetlhoepAmernttof(e)f,.
A. The BerUnA. of arteisaState institution occasionallyturning.ittopsy-turvy,andwhichthe
(butentirelydistinctfromtheA:ofsciences),of compbser generallyindicates by special marks
fwuhriMcuhsitkh,eSacnhdootlheofICnsotmiptoustietfioorn,CthhuerHcohchMscuhsuilce o(sf/.t,he>co,mam)e-nc-e^mefnrte,qutehnetbarnindgiimnpgoirnttaonptrAo.miinsetnhcaet
are branches. {See Conservatorium.) The ,thefirstnoteofaphraseormotive; thismakes
Royal Academy at Brussels has alsoabranch the thematic structure specially clear, but if
for the fine arts; and since 1780'—Boston pos- continually employed when not demanded by
sesses an A. ofarts and sciences. Inawider the composerwould becomerepulsive and ob-
sense institutions of all kinds for education, trusive. Certain rhythmical formations, espe-
especiallytheuniversities, andhighschools for cially anticipations bysyncopation of noteswhose
specialsubjectsareincludedunder the termA. full harmonic effect is only realised on the
Also musical academies claim a right to the following accented part of the bar, require
name, although it is actually onlyborne by a accentuation (rhythmical A.); and in a similar
few (Royal Academy of Music in IxDndon, manner complicated harmonies, chance dis-
KuUak's Neue^ A. der Tonhmst in Berlin, the sonances,notessuggestingmodulationmustbemade-
Accent Accidentals
prominent (harmonic A.). Again, the highest
pointof amelody,when byits position in the
bar itdoesnot occur at the same time as the
highestpointofthedynamicdevelopment,must
be marked {melodic A.). On the other hand,
dynamic contrasts of figures not organically
connected,such as are produced with striking
effectinorchestralworks,must be regarded as
direct emanations fromthecomposer'screative
phantasy, and cannotbesubjectedtoclassifica-
tionandrule. Akindofnegativeaccentispro-
duced when the culminating point of a loud
passage is suddenlychangedto piano, a means
fromwhichBeethovenfirstdrewmostpowerful
effects.—(2) Anantiquatedornamentandsimilar
toourappoggiatura(Ital.accmto);itwasformerly
indicatedinvariousways. It was executed so
thattheupperorunder second(scalenote)was
placedbeforethenotewhichhadtheA.sign.
In quick movement, and with notes of short
value, the note following lost the half of its
value; inthe case of longer notes, less. Wal-
ther (1732) distinguishes, besides, a doMe A.
(accmto doppio), in which the first note was
shortened, and the secondtakenbeforehand in
portamento,inquitesimilarfashion to theport
devoix.
P M
1