By G. Grove
It is a reissue of the 1st variation of George Grove's Dictionary of track and Musicians, which has given that developed to turn into the most important and such a lot authoritative paintings of its type in English. The undertaking grew within the making: the identify web page of quantity 1 (1879) refers to 'two volumes', yet by the point quantity four seemed in 1889 there has been additionally a 300-page appendix and a separate index quantity. The dictionary was once a world project, with members from Paris, Leipzig, Berlin, Vienna and Boston along these dependent in Britain. It used to be 'intended to provide an excellent and lengthy said wish' coming up from the elevated curiosity in all features of song, which was once 'rapidly turning into an important department of education', and to cater for the pro whereas being available to the novice. it's a interesting rfile of musical tastes and values within the overdue Victorian interval.
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Additional info for A Dictionary of Music and Musicians (A.D. 1450-1880) (Volume 1)
A - men. it was not till the n t h and 12th centuries that they began to be superseded by the more definite 4. In the ancient Sarum use there was the" notation first invented by Guido Aretino, a fall of a perfect fifth, called the grave accent} Benedictine monk of Pomposa in Tuscany, at the close of a prayer, with a modification oi about 1028. Accents may be regarded as the the Amen, thus— reduction, under musical laws, of the ordinary accents of spoken language, for the avoidance —& G—£ of confusion and cacophony in the union of many voices; as also for the better hearing of per, etc.
A prevalent custom with the 18th-century composers was to write, by way of introductory symphony, a bass part of marked character, with a direction to the effect that it was to be played on the ' loud organ, two diapasons, left hand'; and to indicate by figures a right-hand part, to be played on the 'soft organ,' of course in close harmony. , with manual &ft. coupled. Sometimes the symphony to a solo, if of an arioso character, can be very agreeably given out on a combination of stops, sounding the unison, octave, and sub-octave, of the notes played, as the stopped diapason,flute,and bourdon on the great organ ; the pedal bass, as before consisting of a light-toned sixteen-feet stop with the manual coupled.
His services were in constant requisition by the organbuilders to exhibit the qualities of their newly built organs, prior to their removal from the factories to their places of destination. On such occasions the factories were crowded by professors and amateurs, anxious of witnessing the performances, and Adams played from ten to twelve pieces of the most varied kind, including two or three extemporaneous effusions, not only with great effect, but often with remarkable exhibition of contrapuntal skill, and in a manner which enraptured his hearers.
A Dictionary of Music and Musicians (A.D. 1450-1880) (Volume 1) by G. Grove