Books › A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts, 1879 › scan 226
Scan 226
A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts, 1879
71 lines. Read by computer on 7 September 2026, twice; the two readings disagreed in places. Printed page 210. See the scan on archive.org.
1N.B.—Mr. Handel was much indebted to this author, as plainly appears by his Dettingen Te Deum, likewise a Duett in Julius Caesar, and a movement in Saul for Carillons, etc., etc., etc.
3J. W. Callcott, May 16, 1797.
5Vincent Novello. May day, 1839.
669 Dean Street, Soho Square.
8There was another copy of this extremely rare and curious Composition in the Collection of Mr. Bartleman, at whose death it was purchased by Mr. Greatorex. At the sale of the musical Library of Mr. Greatorex the MS. was bought by Charles Hatchett, Esq., 9 Belle Vue House, Chelsea, in whose possession it still remains.
10V. Novello, 1832.
12This copy was kindly given to me by Mrs. Stokes on the death of my beloved friend Charles Stokes in April 1839. V. N.
14[Page 2.] Handel has borrowed these from Urio's Te Deum as they arise:
16Welcome, mighty King Saul. one of two readings
17Welcome, mighty King Saul. one of two readings
18The Youth inspir'd do. one of two readings
19The Youth inspir'd do. one of two readings
20The Lord is a man of war Israel in Egypt. one of two readings
21The Lord is a man of war Israel in Egypt. one of two readings
22All the Earth Te Deum. one of two readings
23All the Earth Te Deum. one of two readings
24To Thee Cherubin do. one of two readings
25To Thee Cherubin do. one of two readings
26Also the Holy Ghost do. one of two readings
27Also the Holy Ghost do. one of two readings
28To Thee all angels do. one of two readings
29To Thee all angels do. one of two readings
30Our fainting courage Saul. one of two readings
31Our fainting courage Saul. one of two readings
32Battle Symphony do. one of two readings
33Battle Symphony do. one of two readings
34Thou didst open Te Deum. one of two readings
35Thou didst open Te Deum. one of two readings
36Thou sittest at the right hand do. one of two readings
37Thou sittest at the right hand do. one of two readings
38O fatal consequence of rage Saul. one of two readings
39O fatal consequence of rage Saul. one of two readings
40O Lord, in Thee Te Deum. one of two readings
41O Lord, in Thee Te Deum. one of two readings
42We praise Thee do. one of two readings
43We praise Thee do. one of two readings
44And we worship do. one of two readings
45And we worship do. one of two readings
46Day by Day do. one of two readings
47Day by Day do. one of two readings
48Sweet bird Allegro. one of two readings
49Sweet bird Allegro. one of two readings
50Retrieve the Hebrew name Saul. one of two readings
51Retrieve the Hebrew name Saul. one of two readings
53I believe that this curious list is in the handwriting of Bartleman.1
55The 'Italian copy,' which was first Handel's and then Dr. Howard's, if not that in the Royal College of Music (which is certainly in an Italian hand), has vanished for the present.
57The Te Deum has been published by Dr. Chrysander (from what original the writer does not know), as No. 5 of his 'Denkmäler' of Handel (Bergedorf, 1871). It has been examined chiefly in its connexion with the Dettingen Te Deum by Mr. E. Prout, in the Monthly Musical Record for Nov. 1871, and we recommend every student to read the very interesting analysis there given.
59[G.] one of two readings
60(no line here) one of two readings
62URQUHART, THOMAS, an early London violin-maker, who worked in the reign of Charles II. The dates on his violins are chiefly in the seventies and eighties. The model superficially resembles Gaspar di Salo; it is high, straight, and flat in the middle of the belly, and has a rigid and antique appearance. The corners have but little prominence. The soundholes are 'set straight,' and terminate boldly in circles, the inner members being so far carried on and introverted that the straight cut in each is parallel to the axis of the fiddle. This is Urquhart's distinctive characteristic. The purfling is narrow, coarse, and placed very near the edge. The violins are found of two sizes; those of the larger size would be very useful chamber instruments but for the height of the model, which renders them somewhat unmanageable. The varnish, of excellent quality ('equal to that on many Italian instruments,' says Mr. Hart), is sometimes yellowish brown, sometimes red. [E.J.P.]
64USE. A term traditionally applied to the usage of particular Dioceses, with regard to variations of detail in certain Plain Chaunt Melodies sung in the Service of the Roman Catholic Church, more especially in those of the Psalm-Tones. 'Heretofore,' says the Preface to the Book of Common Prayer, 'there hath been great diversity in saying and singing in Churches within this Realm, some following Salisbury Use, some Hereford Use, and some the Use of Bangor, some of York, some of Lincoln.'
66The Roman Use is the only one which has received the sanction of direct ecclesiastical authority. In France, the most important varieties of Use are those observed in the Dioceses of Paris, Rouen, Reims, and Dijon; all of which exhibit peculiarities, which, more or less directly traceable to the prevalence of MACHICOTAGE [vol. ii. p. 186 b] in the Middle Ages, can only be regarded as fascinating forms of corruption. The chief Use, in Flanders, is that of Mechlin; in Germany, that of Aachen. In England, notwithstanding the number of those already mentioned, the only Use of any great historical importance is that of Salisbury, or as it is usually styled, Sarum, which exhibits some remarkable points of coincidence with the Dominican Use, as practised in the present day; as, for instance, in the splendid Mixolydian Melody to the Hymn 'Sanctorum meritis'—printed in the Rev. T. Helmore's 'Hymnal Noted'—which differs from the Dominican version of the Hymn for Matins on the feast of Corpus Christi only just enough to render the collation of the two readings extremely interesting. The Sarum Use is, on the whole, an exceptionally pure one: but, unhappily, it excludes many very fine Melodies well-known on the Continent, notably the beautiful Hypomixolydian Tune to 'Iste Confessor.' [W.S.R.]
68UTRECHT. The Collegium Musicum Ultrajectinum, or Stads-Concert, is the second oldest musical society in the Netherlands, if not in Europe. It was founded on Jan. 1, 1631, forty years after the St. Caecilia Concert of Arnheim, a society which is still in existence. The Utrecht Collegium originally consisted of eleven amateurs belonging to the best families of the town, who met together every Saturday evening for the practice of vocal and instrumental music. In course of time professional musicians were engaged to perform, and in 1721 friends of the members and pupils of the professionals were admitted. In 1766 the society first gave public concerts; since 1830 these have been under the leadership of a conductor paid by the town. At the present day the orchestra consists of over forty members, mostly musicians resident in Utrecht, but including a few artists from Amsterdam and amateurs. Ten concerts are given by the society every winter, each programme being repeated at two performances, to the first of which only gentlemen are admitted: the corresponding 'Dames-Concert' takes place a week
701 This note appears to be in error, as Bartleman's copy is spoken of just before as being a distinct one from this.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.