Books › Grove's dictionary of music and musicians, 1904 › scan 582
Scan 582
Grove's dictionary of music and musicians, 1904
72 lines. Read by computer on 10 September 2026, twice; the two readings disagreed in places. Printed page 535. See the scan on archive.org.
1Op.
230. Four Mazurkas.
331. Scherzo, B♭ minor.
432. Two Nocturnes.
533. Four Mazurkas.
634. Three Valses.
735. Sonata, B♭ minor.
836. Impromptu, F♯.
937. Two Nocturnes.
1038. Ballade, F.
1139. Scherzo, C♯ minor.
1240. Two Polonaises.
1341. Four Mazurkas.
1442. Valse, Ab.
1543. Tarantelle.
1644. Polonaise, F♯ minor.
1745. Prelude, C♯ minor.
1846. Allegro de Concert.
1947. Ballade, Ab.
2048. Two Nocturnes.
2149. Fantasia, F minor.
2250. Three Mazurkas.
2351. Impromptu, Db.
2452. Ballade, F minor.
2553. Polonaise, Ab.
2654. Scherzo, E.
2755. Two Nocturnes.
2856. Three Mazurkas.
2957. Berceuse.
3058. Sonata, B minor.
3159. Three Mazurkas.
33Op.
3460. Barcarole.
3561. Polonaise Fantaisie.
3662. Two Nocturnes.
3763. Three Mazurkas.
3864. Three Valses.
3965. Sonata, G minor (PF. and Violoncello).
4066. *Fantaisie Impromptu.
4167. *Four Mazurkas.
4268. *Four Mazurkas.
4369. *Two Valses.
4470. *Three Valses.
4571. *Three Polonaises.
4672. *Nocturne, E minor, Marche funèbre in C minor, and three Écossaises.
4773. *Rondo for two PFs. in C. Without opus-number.
48*Seventeen Songs with PF. acct.
49Three Studies.
50*Mazurkas in G, B♭, D, C, and A minor.
51*Valses, E major and minor.
52*Polonaises, G♯ minor and B♭ minor.
53*Variations in E, 'The Merry Swiss Boy.'
54Duet Concertante, on 'Robert' (for PF. and Vcello, written with Franchomme).
56In addition to these have lately appeared a fugue and a nocturne, the musical value of which is nil.
58E. D.
60CHORAGUS. A titular functionary in the University of Oxford, who derives his name from the leader of the chorus in the ancient Greek drama (χοραγός). In the year 1626 Dr. William Heather, desirous to ensure the study and practice of music at Oxford in future ages, established the offices of Professor, Choragus, and Coryphæus, and endowed them with modest stipends. The Professor was to give instruction in the theory of music, the Choragus and the Coryphæus were to superintend its practice. 'Twice a week,' say the ordinances of Dr. Heather, 'is the Choragus to present himself in the Music School and conduct the practice, both vocal and instrumental, of all who may choose to attend.' The instruments to be used by the students at these performances were furnished out of Dr. Heather's benefactions; provision was made for obtaining treble voices, and everything requisite to the regular and practical cultivation of music as one of the academic studies appeared to have been devised. Yet Dr. Heather must have had certain misgivings as to the future of his institutions, for he enacts that 'if no one shall attend the meetings in the Music School, then the Choragus himself shall sing with two boys for at least an hour.' Little as Dr. Heather asked of posterity, he obtained still less. The practices ceased; the instruments were dispersed, and their remnant finally broken up by the authorities as old lumber; and no Choragus has either conducted or sung in the Music School within the memory of man. The history of this well-meant endowment may point either to the indifference and mismanagement of the University, or to the doubtful vitality of official attempts to foster a free art. Latterly the Choragus was charged, along with the Professor, with the conduct of the examinations for musical degrees, but this duty no longer exists, and even the name and office of the Coryphæus have become extinct. The emoluments of the office, derived in part from the above-mentioned endowment, in part from fees paid on examination, amount in all to an insignificant total.
62C. A. F.
64CHORAL FANTASIA. A composition of Beethoven's (op. 80) in C minor, for piano solo, orchestra, solo quartet, and chorus. It is in two sections—an 'Adagio' and a 'Finale, Allegro.' The Adagio is for piano solo in the style of an improvisation; indeed it was actually extemporised by Beethoven at the first performance, and not written down till long after. The Orchestra then joins, and the Finale is founded on the melody of an early song of Beethoven's—'Gegenliebe'—being the second part of 'Seufzer eines Ungeliebten' (1795—first, variations for piano and orchestra, Allegro; then an Adagio; then a Marcia, assai vivace; and lastly, an Allegretto in which the solo voices and chorus sing the air to words by Kuffner in praise of music. The form of the piece appears to be entirely original, and it derives a special interest from its being a precursor of the Choral Symphony. In both the finales are variations; the themes of the two are strikingly alike; certain passages in the vocal part of the Fantasia predict those in the Symphony (compare 'und Kraft vermählen' with 'übern Sternenzelt'); and lastly, there is the fact that Beethoven speaks of the finale of the Symphony as 'in the same style as the Fantasia but far more extended' (Letter to Probst, March 10, 1824). It was first performed by Beethoven himself, at the Theatre 'an der Wien,' Dec. 22, 1808; published July 1811; and dedicated to the King of Bavaria. Its first appearance in the Philharmonic programmes is April 24, 1843—repeated on May 22,—Mrs. Anderson pianist both times. Sketches for the Fantasia are said to exist as early as 1800, with those for the six Quartets (op. 18), and the C minor Symphony (Thayer, Chron. Verzeichniss, No. 142). G. one of two readings
65CHORAL FANTASIA. A composition of Beethoven's (op. 80) in C minor, for piano solo, orchestra, solo quartet, and chorus. It is in two sections—an 'Adagio' and a 'Finale, Allegro.' The Adagio is for piano solo in the style of an improvisation; indeed it was actually extemporised by Beethoven at the first performance, and not written down till long after. The Orchestra then joins, and the Finale is founded on the melody of an early song of Beethoven's—'Gegenliebe'—being the second part of 'Seufzer eines Ungeliebten' (1795—first, variations for piano and orchestra, Allegro; then an Adagio; then a Marcia, assai vivace; and lastly, an Allegretto in which the solo voices and chorus sing the air to words by Kuffner in praise of music. The form of the piece appears to be entirely original, and it derives a special interest from its being a precursor of the Choral Symphony. In both the finales are variations; the themes of the two are strikingly alike; certain passages in the vocal part of the Fantasia predict those in the Symphony (compare 'und Kraft vermählen' with 'übern Sternenzelt'); and lastly, there is the fact that Beethoven speaks of the finale of the Symphony as 'in the same style as the Fantasia but far more extended' (Letter to Probst, March 10, 1824). It was first performed by Beethoven himself, at the Theatre 'an der Wien,' Dec. 22, 1808; published July 1811; and dedicated to the King of Bavaria. Its first appearance in the Philharmonic programmes is April 24, 1843—repeated on May 22,—Mrs. Anderson pianist both times. Sketches for the Fantasia are said to exist as early as 1800, with those for the six Quartets (op. 18), and the C minor Symphony (Thayer, Chron. Verzeichniss, No. 142). one of two readings
67CHORAL HARMONIC SOCIETY. The members of this amateur society met at the Hanover Square Rooms for the practice of concerted vocal and instrumental music. In 1837 J. H. B. Dando was the leader, Holderness the conductor, and H. Bevington the organist. The programmes usually included a glee or madrigal with symphonies, overtures, and vocal solos.
69C. M.
71CHORAL HARMONISTS' SOCIETY. An association of amateurs devoted to the performance of great choral works with orchestral accompaniments; held its first meeting at the New London Hotel, Bridge Street, Blackfriars, Jan. 2, 1833, and the subsequent ones at the London Tavern until the last Concert, April 4, 1851, twelve months after which the Society was dissolved. It had a full band (containing, in 1838, 14 violins, 6 violas, 3 violoncellos, 3 basses, with complete wind) and chorus. The solo singers were professionals—Clara Novello, Miss Birch, Miss Dolby, J. A. Novello, etc. Its conductors were V. Novello, Lucas, Neate, and Westrop; leader J. H. B. Dando. The programmes were excellent.
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