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Scan 23
Grove's dictionary of music and musicians, 1904
40 lines. Read by computer on 6 September 2026. Printed page 8. See the scan on archive.org.
1to have created, since, for instance, the solo in the Tuba mirum of Mozart's Requiem was before his time usually played on a bassoon. In 1817 he was appointed to play the violin and trombone in the town orchestra, and by 1830 had worked his way into the other orchestras of Leipzig, including that of the Gewandhaus. He played the viola in Matthäi's well-known quartet for many years; was one of the founders of the Leipzig 'Euterpe,' and led its orchestra for a long time; and in short was one of the most prominent musical figures in Leipzig during its very best period.
3As a solo trombone-player he appeared frequently in the Gewandhaus Concerts, with concertos, concertinos, fantasias, and variations, many of them composed expressly for him by C. G. Müller, F. David, Meyer, Kummer, and others; and the reports of these appearances rarely mention him without some term of pride or endearment. 'For fulness, purity and power of tone, lightness of lip, and extraordinary facility in passages,' says his biographer, 'he surpassed all the trombone-players of Germany.'1 There was a Leipzig story to the effect that at the first rehearsal of the Lobgesang, Queisser led off the Introduction as follows:—
5[Music example]
7to Mendelssohn's infinite amusement. Se non è vero, è ben trovato.
9Queisser was well known throughout Germany, but appears never to have left his native country. He died at Leipzig, June 12, 1846. G.
11QUICK-STEP (Fr. Pas redoublé; Ger. Geschwind Marsch) is the English name for the music of the Quick march in the army, a march in which 116 steps of 30 inches go to the minute. (See Boose's Journal of Marches, Quicksteps, Dances, etc.) It may be well to mention that in the Slow march there are 75 steps of 30 inches, and in the 'Double' 165 of 33 inches. [See MARCH, vol. iii. p. 50.] G.
13QUILISMA. An ancient form of Neuma, representing a kind of shake. [See NOTATION, vol. iii. p. 396.] W. S. R.
15QUINIBLE. See QUINTOYER.
17QUINT. An organ stop which causes the fifth above a given note to sound as well as the note belonging to the key which is pressed down. From the note and its fifth there arises a differential tone an octave below the note. By this mixture an organ with 16-ft. pipes can be made to sound as if with 32-ft. pipes; that is the pitch of the lowest note, but of course it sounds with far less energy than if properly produced with a 32-ft. pipe. T. E.
19QUINTA FALSA (False Fifth). The forbidden interval between Mi in the Hexachordon durum, and Fa in the Hexachordon naturale—
211 Allg. musikalische Zeitung, July 8, 1846.
23the Diminished Fifth of modern music. [See MI CONTRA FA.]
25W. S. R.
27QUINTE. The name given in France, during the latter half of the 17th and part of the 18th centuries, to the now obsolete five-stringed tenor viol. Five-stringed viols were amongst the earliest in use. Praetorius (Organographia, 1619) says they were employed in ancient times, and Agricola (Musica Instrumentalis, 1532) gives the tuning of the five-stringed viols then in vogue. Although composers of vocal music during the 16th century not infrequently called their tenor part 'Quinte' or 'Quintus,' viols of that denomination remained under the title of tenor until a later period; and probably the first instance where 'Quintus' designates a musical instrument occurs in the overture to Claudio Monteverde's opera, 'Orfeo' (Venice, 1609-1613). L'État de France, in 1683, gives the name of 'Fossart,' who played the 'Quinte de Violon' in the Queen's band, and in 1712-13 the Paris opera orchestra included two 'Quintes' amongst the instruments. In 1773 there were four 'Quintes' amongst the musicians of the 'Grande Chapelle,' and 'Quintes' were employed in all the orchestras. Jean Jacques Rousseau (Dictionnaire de Musique, Paris, 1708) gives a good deal of information concerning the 'Quinte.' Under 'Viole' he says that in France the 'Quinte' and the 'Taille' (a large six-stringed tenor viol), contrary to the Italian custom, played the same part, and under 'Partie' mentions that the 'Quinte' and 'Taille' were united under the name 'Viole.' The highest and lowest notes of these instruments, according to the same writer, were—
29(a)
31Quinte or Viola. Taille.
33from which it is to be inferred that the tuning was the same as that given by Agricola in 1532, i.e.
35(b)
37Alto and Tenor.
39In England the two tenor viols which formed a part of the 'Chests of six Viols,' so much in vogue during the 17th and beginning of the 18th centuries, were probably identical with the 'Quinte' and 'Taille'; but the French title was never adopted in this country. The bulky size of the 'Quinte' rendered it such an awkward instrument to play upon that its dimensions gradually diminished from century to century, and when the violin came into more general use, it melted into the 'Haute Contre' (alto viol). In the second half of the 18th century it developed into a tenor violin with four strings, and adopted the C clef on the third line which
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