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Scan 896
Dictionary of music, 1900
27 lines. Read by computer on 3 September 2026. Printed page 888. See the scan on archive.org.
1Busi, (2) A., d. July 8, 1895, Bologna.
2Busshop, J. A. G., d. Feb. 10, 1896, Bruges.
3Bussler, add, "Lexikon der Harmonie" (1889).
5C
7Cadence, add, (See also Shake.)
8Cagnoni, d. April 30, 1896, Bergamo.
9Cahen, d. Nov. 8, 1893, Paris.
10Calsabigi, Raniero da, Gluck's famous librettist, b. 1715, Livorno, was trained for a merchant, lived for a time at Paris, went in 1761 to Vienna, but owing to some theatre scandal was forced to leave, and went to Italy; he died at Naples, 1795. Gluck acknowledged the leading part which C. had taken in the reformation of opera. Cf. Heinr. Welti, "Gluck und Calsabigi" (Vierteljahrssch. f. Mus.-Wissenschr., 1891).
11Carreño, for She studied with Moritz Gottschalk, read She studied with L. Gottschalk, later under Mathias in Paris. Also for last sentence, read Mme. C. was for some years the wife of E. Sauret; married the pianist Eugen d'Albert, 1892; divorced 1895.
12Carrodus, d. July 12, 1895, London.
13Carvalho, d. July 10, 1895, Dieppe.
14Cerveny, d. Jan. 19, 1896, Königgrätz.
15Chabrier, d. Sept. 13, 1894, Paris.
16Cherubini, add to list of biographies, also by Crowest (London, 1890).
17Chopin. Miss Janotha, in the preface to her translation of J. Kleczynski's "Chopin's Greater Works," gives the date of birth of C. as Feb. 22, 1810, and not March 1, 1809, as generally stated. C.'s father was at first book-keeper in a cigar factory, then tutor in Count Skarbek's family, Zelazowa Wola, later on proprietor of a school of his own with boarding-house, finally teacher at the Artillery and Engineers School. His teacher's Christian name was Albert (Zwyny). He began his artistic tour, not in 1828, but in 1830 (cf. Niecks' biography of C.). To the C. literature should be added, M. A. Audley's "F. C., sa vie et ses œuvres" (Paris 1880, after Karasowski) and Willeby's "Fr. C." (London, 1892). Liszt's "Chopin" came out in a 4th ed. in 1890 (in English by Cooke, 1877), and Karasowski's "Chopin" in a 3rd ed., 1881, in Polish with some new letters, 1892. A Polish biography was also brought out by M. A. Schulz (Szule), Posen, 1873.
18Chorale, add, Cf. also Bachmann's "Zur Entstehungsgeschichte der geistlichen Lieder Luthers" (1884) and J. Zahn's "Die Melodien der deutschen evangelischen Kirche" (1887-90).
19Cimarosa, for last line read seen in the Pantheon at Rome near those of Sacchini and Paisiello.
20Clareta, same as Clarino (Trumpet, Clarion).
21Clausser, read Claussen.
22Clausz-Szarvady, read Clauss-Szarvady.
23Coccius, Theodor, b. March 8, 1824, Knauthain (near Leipzig), attended St. Thomas' School there, and was trained by G. W. Finck and J. Knorr. C. lived 1844-45 in Paris, and 1849-55 in Hamburg. Since then he has resided in his native city, where from 1864 he has been highly esteemed as a teacher of the pf. at the Conservatorium (successor of Plaidy); he was named Professor in 1893.
24Cohen, (4) Karl Hubert, b. Oct. 18, 1851, Laurenzberg (near Aix-la-Chapelle), ordained priest in 1875, attended the church music schools at Aix-la-Chapelle and Ratisbon, from 1876-79 was vicar of the old chapel and teacher at the music school in the latter city, cathedral capellmeister at Bamberg from 1879 to 1887; at present he is cathedral conductor and vicar at Cologne. C. is a member of the "Referenten Kollegium" for the catalogue of the Caecelia Society, and has written several masses, motets, and a Te Deum.
25Colins, Jean Baptist, b. Nov. 25, 1834, Brussels, studied under Wery (violin), from 1863 teacher of the violin at the Brussels Conservatoire, and since 1888 also at the Antwerp school of music.
26Conduct of Parts (Ger. "Stimmführung"), that is, the treatment of the separate parts in musical composition. A sharp distinction must be made between real parts, for voices self-evident, and for strings and wind instruments (especially wood-wind) usual; and free style, which, especially of late, is employed in music written for keyed instruments or full orchestra. Writing in real parts is also termed legato or strict style; yet by strict and free style is also understood more or less conscientious care in the avoidance of unvocal progressions of parts in stile legato. Real parts are such as move in a distinct and independent manner throughout a whole piece, or section, or a considerable number of bars, and thus appear to possess musical individuality; in them pulsates the true life of musical composition. They cannot be entirely dispensed with even in the free style; in the latter, however, in addition to real parts, filling-up notes are employed; and for these latter there is no real C. of P., although they are spoken of as filling-up parts (q.v.). With regard to so-called polyphony by breaking, see special article. The most essential points in regard to C. of P. may be summed up in few words. The soul of C. of P. is progression by steps of a second. The more chords succeed one another by such steps, the smoother, the more perfect, is the writing. Even harmonic progressions difficult to grasp display a certain absence of restraint when all or most of the parts move by step of
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