By G. Grove
This can be a reissue of the 1st variation of George Grove's Dictionary of tune and Musicians, which has due to the fact advanced to develop into the most important and so much authoritative paintings of its style in English. The venture 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 used to be a global venture, with individuals from Paris, Leipzig, Berlin, Vienna and Boston along these dependent in Britain. It used to be 'intended to provide an exceptional and lengthy said wish' bobbing up from the elevated curiosity in all points of song, which used to be 'rapidly changing into an important department of education', and to cater for the pro whereas being available to the beginner. it's a interesting rfile of musical tastes and values within the past due Victorian interval.
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Extra resources for A Dictionary of Music and Musicians (A.D. 1450-1880) (Volume 1)
Sample text
Mtdianismus, Mechanik), the mechanical one can fancy a blunt edge to be in some degree ACUTENESS. ADAM. flattened, and a blunt needle would, under the microscope, undoubtedly show a flat surface at its end. There are however two other words still more generally used. These are 'high' and 'low'; the former denoting greater, the latter less, rapidity of vibration. The application of these is the most puzzling of all, as there is no imaginable connection between any number of vibrations per second, and any degree of elevation above the earth's surface.
Sacred musical drama entitled 'Elijah raising the Widow's Son,' adapted by Addison to music by Winter, was produced at Drury Lane Theatre in the series of Lenten oratorios, under the direction of Sir George Smart. Addison next employed himself as a teacher of singing, and in that capacity instructed many singers who maintained very creditable positions in their profession; amongst others, James Pyne, Pearman, Leoni Lee,and Thomas Millar. He died at an advanced age, on Jan. 30, 1844. His principal dramatic compositions are 'The Sleeping Beauty,' 1805; 'The Russian Impostor,' 1809; 'My Aunt,' 1813; 'Two Words,' 1816; 'Free and Easy,' 1816 ; ' My Uncle,' 1817 ; 'Robinet the Bandit,' ' Rose d'Amour,' an adaptation of Boieldieu's opera of that name, 1818.
This is the order given by Clementi. In some more modern works however, largo is the slowest, grave being second and adagio third; while others again give the order thus—grave, adagio, largo. ' The exact 1 See passage from Aristides Quintiliaims, quoted in Smith's Harmonics, p. 2. 27 ADAM, ADOLPHE CHARLES, born in Paris July 24, 1803, was the son of Louis Adam, a well-known musician and pianoforte • player at the Conservatoire. Although thus intimately connected with the art of music he strenuously resisted the early and strong desire of his son to follow the same calling.
