Scan 56
Grove's dictionary of music and musicians;, 1904
23 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 28. See the scan on archive.org.
1The drums and fifes then march up and down the barrack-yard playing a succession of Quick marches at choice, till the hour is reached. Then 'God save the King' is played, and the Tattoo concludes with the 'Second Post,' or 'Last Post,' which begins as follows:—
3[Music notation] one of two readings
4[Music example] one of two readings
6and ends like the 'First Post.' Stanford has introduced this signal into his impressive choral setting of Henley's 'Last Post.' The other branches of the service have their tattoos, which it is not necessary to quote.
8Since the time of Wallenstein the Zapfenstreich in Germany has had a wider meaning, and is a sort of short spirited march, played not only by drums and fifes or trumpets but by the whole band of the regiment. It is in this sense that Beethoven uses the word in a letter to Peters (1823?): 'There left here last Saturday three airs, six bagatelles, and a tattoo, instead of a march … and to-day I send the two tattoos that were still wanting … the latter will do for marches.' [See ZAPFENSTREICH.]
10G.
12TAUBERT, KARL GOTTFRIED WILHELM, one of those sound and cultivated artists who contribute so much to the solid musical reputation of Germany. He was the son of an official in the Ministry of War and was born at Berlin, March 23, 1811. Though not actually brought up with Mendelssohn he trod to a certain extent in the same steps, learned the piano from Ludwig Berger, and composition from Klein, and went through his course at the Berlin University 1827-30. He first appeared as a PF. player; in 1831 was made accompanist to the Court concerts, and from that time his rise was steady. In 1834 he was elected member of the Academy of Arts, in 1841 became music-director of the Royal Opera, and in 1845 Court Capellmeister — a position which he held till his retirement from the Opera in 1869 with the title of Obercapellmeister. From that time he conducted the royal orchestra at the Court concerts and soirées, in which he distinguished himself as much by very admirable performances as by the rigid conservatism which governed the programmes. In 1875 he was chosen member of council of the musical section of the Academy. Among his first compositions were various small instrumental pieces, and especially sets of songs. The songs attracted the notice of Mendelssohn, and not only drew from him very warm praise and anticipation of future success (see the letter to Devrient, July 15, 1831), but led to a correspondence, including Mendelssohn's long letter of August 27, 1831. In these letters Mendelssohn seems to have put his finger on the want of strength and spirit which, with all his real musician-like qualities, his refined taste and immense industry, prevented Taubert from writing anything that will be remembered.
14The list of his published works is an enormous one: — 3 Psalms and a Vater unser; 6 Operas, 'Die Kirmess' (1832), 'Der Zigeuner' (1834), 'Marquis und Dieb' (1842), 'Joggeli' (1853), 'Macbeth' (1857), and 'Cesario' (1874). Incidental music to 8 dramas, including 'Medea' and 'The Tempest' (Nov. 28, 1855); 4 Cantatas; 294 Solo-songs, in 52 Nos., besides Duets and Part-songs; 3 Symphonies and a Festival-overture for full orchestra; 2 Trios for PF. and strings; 3 String quartets; 6 Sonatas for PF. and violin; 6 Sonatas for PF. solo; and a host of smaller pieces. The most successful of all are the charming 'Kinderlieder,' which are known all the world over. The complete catalogue, with full details of Taubert's career, will be found in Ledebur's Tonkünstler-Lexikon Berlins.
16Taubert died in Berlin, Jan. 7, 1891. G.
18TAUDOU, ANTOINE, composer of the modern French school, born at Perpignan, August 24, 1846, early evinced such aptitude for music that he was sent to Paris and entered at the Conservatoire, where he carried off successively the first prizes for solfège, violin (1866), harmony (1867), fugue (1868), and finally, after two years' study of composition with Reber, the Grand Prix de Rome (1869). The subject of the cantata was 'Francesca da Rimini,' and the prize score was distinguished for purity and elegance.
20So far, no work of M. Taudou's has been produced on the stage, but his chamber-music and orchestral pieces have been well received. These include a trio for flute, viola, and violoncello, another for PF., violin, and violoncello; a violin-concerto played at the Société des Concerts du Conservatoire, of which M. Taudou is one of the best violinists; a string-quartet in B minor, often heard in Paris; and for orchestra a 'Marche-Ballet,' a 'Chant d'automne, and a 'Marche-Nocturne.' He has published songs and pieces for PF., and a cantata written for the inauguration of a statue to Arago (1879) at Perpignan is still in MS. In January 1883 he was chosen professor of harmony and accompaniment at the Conservatoire. G. c.
22TAUSCH, JULIUS, was born April 15, 1827, at Dessau, where he was a pupil of F. Schneider's. In 1844 he entered the Conservatorium of Leipzig, then in the second year of its existence, and on leaving that in 1846 settled at Düsseldorf. Here he gradually advanced; on Julius Rietz's departure in 1847 taking the direction of the artists' Liedertafel, and succeeding Schumann as conductor of the
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