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Scan 812
Dictionary of music, 1900
30 lines. Read by computer on 3 September 2026. Printed page 804. See the scan on archive.org.
1……, i.e. the combination of the staccato dot with the legato slur). The real Staccato is generally taught in three different ways: (1) with perfectly quiet arm and hand, and only a quick raising of the finger from the key (leggiero), a mode of touch specially employed in rapid scale passages; (2) with a light, quick movement of the wrist for each note; and (3) with light movement of the elbow, i.e. raising of the whole forearm. As a matter of fact, this last distinction is only a theoretical one. The practical genuine staccato, which alone is of value, proceeds from the upper arm, and allows rapid movement of the hand with perfectly free wrist action. Cf. Riemann's "Catechism of Pianoforte Playing" (Augener) and "Praktische Anleitung zum Studieren der Technischen Uebungen." Passages consisting of groups each of two notes with legato tie, demand a special kind of touch:
3In such cases the hand and arm must be quietly raised after every second note, or rather the second (lighter) note must be touched during the upward movement of the hand. Again, ornaments (Pralltriller, Mordent, Anschlag, Turn), which are counted in the value of a note, are often produced with greater ease and smoothness if preceded by a slight raising of the hand, which adds considerably to the elasticity. (Cf. ATTACCA-ANSATZ.)
5Tourjée, Eben, b. June 1, 1834, Warwick (Rhode Island). In 1867 he established "The New England Conservatory of Music," Boston, and made himself known by his introduction of class teaching in music.
7Tours, Berthold, b. Dec. 17, 1838, Rotterdam; he studied under Verhulst, also at Brussels and Leipzig. In 1878 he became musical adviser to Messrs. Novello & Co. T. has written much sacred music, pieces for pianoforte and other instruments, and also a "Primer of the Violin."
9Tourte, François, famous maker of violin bows, b. 1747, Paris, d. there April, 1835. He improved violin bows by introducing a metal plate at the nut to fix the hair, and by using exclusively Pernambuco wood cut with the grain.
11Toy Symphony, the English name of Haydn's Kinder-Sinfonie (No. 62 in Pohl's catalogue in his "J. Haydn," Vol. 2, Section A); the original parts are entitled "Sinfonia Berchtolsgadensis." Another T. S. which enjoys almost equal reputation is the one by Anton Romberg. Compositions of a similar character have been written by C. Reinecke, Lachner, and Gurlitt.
13Tp., abbrev. for Timpani.
15Tr., abbrev. for Trumpet.
17Trackers (Ger. Abstrackten; Fr. Abrégés), part of the mechanism of an organ, which draws down, whereas the stickers work by pressure.
19Tractus (Lat., "drawn," i.e. slow, restrained melody). The term applied to a melody in the Roman Catholic Church, which is used during Lent and other fasts instead of the Alleluia (originally sung in a joyful manner).
21Traetta, Tommaso, famous composer of the Neapolitan School, b. March 30, 1727, Bitonto (Naples), d. April 6, 1779, Venice. He was for ten years (1738-48) a pupil of Durante at the Conservatorio di Loreto. His first dramatic attempt, Il Farnace (San Carlo Theatre, 1751), proved an instantaneous success, and T. found his hands fully occupied in satisfying the requests of the best Italian theatres for new operas. In 1758 his excessive productiveness was somewhat moderated, when he accepted the posts of court maestro and music teacher to the princesses at Parma. His opera Ippolito ed Aricia, performed at Parma in 1765, on the occasion of the wedding of a princess with the Prince of the Asturias, resulted in his receiving a pension from the King of Spain. The Duke of Parma died in that year, and T. undertook the direction of the so-called Ospedaletto (Conservatorio for girls) at Venice; he, however, resigned this post in 1768 to Sacchini, for he was called to Petersburg by Catherine II. as court composer in place of Galuppi. He remained there until 1786, and then came to London. He was received in a cool manner, and returned to Italy. His residence in Petersburg had greatly affected his health; his strength gradually collapsed, and as a composer he no longer achieved success as of yore. T. possessed a natural gift for dramatic effect, which alone can ensure success to opera composers. By his energy, truthfulness of expression, and powerful harmonies, he distinguished himself from the composers of his, and of a later day. The catalogue of his operas gives 37 numbers, but he also wrote some sacred works (Stabat, Passion of St. John), and for his pupils in the Ospedaletto an oratorio for female voices, Rex Salomon arcam adoraturus in templo.
23Trampeli, brothers, Johann Paul, Christian Wilhelm, and Johann Gottlob, famous German organ-builders at the end of the 18th century at Adorf (Saxony).
25Tranquillo (Ital.), quiet.
27Transcription (Lat.), an arrangement of a composition other than the original one. The term is often used in the sense of Paraphrase, Fantasia (on opera melodies, etc.).
29Transposing Instruments, the name given to wind instruments for which the key which answers to their natural scale (upper-tone series) is noted as c major. Horns, trumpets, cornets, clarinets, also English horn, bassett horn, besides the modern brass instruments
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