Scan 812
A dictionary of music and musicians (A.D. 1450-1889), 1889
43 lines. Read by computer on 4 September 2026, twice; the two readings disagreed in places. Printed page 798. See the scan on archive.org.
1T.
3TACCHINARDI, N. Line 2, for Florence in September 1776, read Leghorn, Sept. 3, 1772. Last line of article, for in 1860 read at Florence, March 14, 1859.
5TALLYS, T. P. 54 a, l. 25, omit the words sung upside down. P. 54 c, under 'Let the wicked' add that 'Calvert's list' refers to his anthem book, published 1844. P. 54 d, l. 4 omit the anthem 'O thou God Almighty' as it occurs again in its right place in the list. For further information see BYRD in Appendix.
7TAMBERLIK. Add date of death, Mar. 13, 1889.
9TANNHÄUSER. Line 4 of article, for Oct. 20 read Oct 19. one of two readings
10TANNAHÄUSER. Line 4 of article, for Oct. 20 read Oct 19. one of two readings
12TANS'UR, W. Add that he was the son of Edward and Joan Tanzer of Dunchurch, and was baptized Nov. 6, 1706.
14TARANTELLA. To the list of works on the bite of the tarantula given in vol. iv. p. 59 b, add J. Müller, De Tarentulâ et vi musicae in ejus curatione. Hafniae, 1679.
16TAUSIG, CARL. P. 64 b, last line but one, add that his father, Aloys Tausig, died March 24, 1885.
18TEDESCA, ALLA. P. 67 a, after the musical example, add that in one of the sketches for this movement (in Bb) it is inscribed 'Allemande Allegro.'
20TE DEUM. P. 68 b, l. 21 from bottom, add that Berlioz's work was performed at the Crystal Palace, April 18, 1885, and by the Bach Choir, May 17, 1887. The latter body sang the work again, with several anthems, etc., in Westminster Abbey June 28, 1888, the Jubilee of Her Majesty's coronation.
22TELFORD & TELFORD'S organ factory in Dublin was established in 1830 by William Telford. His first work was to add German pedals (till then unknown in Ireland) to the organ of Christ Church Cathedral, Dublin. Since then they have built organs for Limerick and Lismore Cathedrals, and many others in England, Ireland, and the colonies. [V. de P.]
24SYMPHONY. P. 29 a, l. 9 from bottom, for an Ambrosianischer Lobgesang read the Te Deum. P. 42 b, l. 17 from bottom, for Norwegian read Scandinavian.
26SYMPHONY CONCERTS. For continuation see BOSTON in Appendix, and add that in the winter seasons from 1886 to 1889, Mr. Henschel organized a series of orchestral Symphony Concerts in St. James's Hall, on much the same footing as that of the concerts described in the Dictionary.
28SYNCOPATION. The first note of the musical example should be E, not C (i.e. on the highest space of the treble stave).
30T.
32TEMPERAMENT. P. 70 b, l. 7, omit the words see Appendix.
34TEMPUS PERFECTUM, TEMPUS IMPERFECTUM. See articles MODE, NOTATION, PROLATION, TIME.
36TENOR. Line 10 from end of article, for soprano clef read treble, or G clef.
38TENOR VIOLIN. P. 91 a, l. 12 from bottom, for quintet read sextet.
40TESTORE, a family of violin-makers at Milan in the first half of the 18th century, consisting of a father, CARLO GIUSEPPE (1690-1715), and two sons, CARLO ANTONIO and PAOLO ANTONIO (1715-1745). Carlo Giuseppe was the best of the three. His instruments have often passed for the work of his master, Giovanni Grancino. In 1884 the well-known violoncello called the 'Lindley Grancino' being under repair, the removal of its spurious Cremona label revealed the fact that it is the work of the old Testore, the original label, which was found well preserved, running thus: 'Carlo Giuseppe Testore allievo di Gio. Granzino in Contrada Larga di Milano, 1690.'1 Sig. Bottesini's famous double-bass is another well-known specimen of the old Testore's work. His instruments are strongly made, and often irregular in design. The model is generally of medium height, and the finish varies considerably, many being left very rough, and extremely plain in appearance. The tone, however, is usually good, and in exceptional cases very powerful and telling. The varnish, a brownish-yellow, sparingly applied, adds little to the attractions of these instruments, and vigorous hands are necessary to develop their tone. The instruments of the sons are less esteemed: they are lighter in colour, and a tendency to imitate Joseph Guarnerius is observable. The Testores worked at the sign of the Eagle in the same narrow street where the Grancinos worked at the sign of the Crown. Alberti, Landolfi, Tanegia, Mantegazza, Giuseppe
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