Bow & Bridge Violin and bow makers, as the old books printed them

Books › Grove's dictionary of music and musicians;, 1904 › scan 486

Scan 486

Grove's dictionary of music and musicians;, 1904

20 lines. Read by computer on 10 September 2026. Printed page 478. See the scan on archive.org.

1London, and appeared at the Musical Union and elsewhere. [In 1869 Sivori appeared at some of the Monday Popular Concerts in London, and in 1870 toured in France, after which he returned to Genoa and there led a quiet life until he passed away at his house in the Via Giulia, on Feb. 19, 1894.]
3As a man he was always liked—'little, good-tempered, warm-hearted, intelligent Camillo Sivori' is the description of him by an English journalist. He was the only direct pupil of Paganini, and his playing was that of a virtuoso of the Paganini school, with a prodigious command of difficulties, especially of double-stopping, second only to his master. His tone was silvery and clear, but rather thin. His style—judged by a classical standard—was cold and affected, and had little real feeling.
5[His compositions include two Concertos for Violin in E flat and A; Capriccio, La Génoise; op. 12, Tarantelle Napolitaine, Violin and orchestra, or piano; Deux duos concertants for Pianoforte and Violin; Duet for Violin and Double Bass, written with Bottesini; Fantaisie Caprice in E; Fantaisie Étude, op. 10; Fantaisie, Fleurs de Naples; Souvenir de Norma; Carnaval de Chili; Carnaval de Cuba; Carnaval Américain; Tempest Music (Milan, 1860); Folies Espagnoles; Variations on 'Nel cor non più mi sento' and 'Le Pirate'; Three Fantasias upon airs from 'La Sonnambula,' 'I Puritani,' 'Zapateado'; Fantasia on airs from 'Un Ballo in Maschera,' 'Il Trovatore,' 'Lucia di Lammermoor'; Andante Spianato; 'Trois Romances sans paroles,' with pianoforte accompaniment.]
7[Heron-Allen, Camillo Sivori, The Violin Times, March 15, 1894, No. 5, vol. i.; James, E. (Ph. and Lit. D.), Camillo Sivori, a Sketch of his Life, etc.; Benedit, G., C. Sivori (reprinted from the Sémaphore, Marseilles, March 7, 1854); Pierrottet, Adèle, Camillo Sivori (with pictures); Fino, G. da, C. Sivori and F. Romani; Phipson, T. L., Sketches and Anecdotes of Celebrated Violinists; Lahee, H. C., Famous Violinists, Musical Standard, Feb. 24, 1894; Figaro, Paris, April 1, 1894; Journal des Débats, Feb. 28, 1828; Siècle, Paris, Feb. 6, 1843; Moniteur Universel, Paris, Feb. 13, 1843; British Minstrel, vol. ii. pp. 165-6; Fétis, Biog. des Mus.] G.; with additions in square brackets by E. H.-A.
9SIXTH. The interval which embraces six degrees of the scale. There are three forms—the major, the minor, and the augmented. (1) The major sixth, as CA, contains 9 mean semitones, and the ratio of its limiting sounds in the true scale is 5 : 3. It is a concord, and in harmony is regarded as the first inversion of the minor common chord. (2) The minor sixth, as CA♭ or EC, contains 8 semitones, and the ratio of its limiting sounds is 8 : 5. It is also a concord, and in harmony regarded as the first inversion of the major common chord. (3) The augmented sixth, which is arrived at by flattening the lower or sharpening the upper extreme sound of a major sixth, as D♭ B, or A♭ F♯, contains 10 semitones, and the ratio of the limiting sounds is 125 : 72. The augmented sixth is a discord, and is usually resolved by moving each note a semitone outwards to the octave, the sharpening or flattening of one of the extreme sounds already implying a straining in that direction. [See HARMONY.] Three forms of the augmented sixth are distinguished by special names: when it is accompanied by the major third it is called 'Italian' (see a); when to this is added the augmented fourth, it is called 'French' (see b); and when the major third and fifth are present (c) it is called 'German.'
11(a) (b) (c) (d)
13The Neapolitan Sixth is the name by which a chord consisting of a minor sixth and minor third on the subdominant has long been known; as (d) in the key of C minor.
15Theorists, starting from different radical assumptions, suggest different derivations for this chord. Some, taking the major and minor scales to comprise all the notes which can be used for essential harmonies, except in the cases where important root notes in those scales bear fundamental harmonies on such principles as they accept, derive the chord from a combination of two roots; so that the dominant is the root of the two lower notes which are respectively its seventh and minor ninth, and the tonic of the upper, which is its minor ninth. Others, accepting the unquestionably frequent use of some chromatic harmonies in relation to an established Tonic, by many great masters, indicate the major concord on the minor or flat supertonic (as the major common chord of D♭ in relation to the Tonic C) as one of them, and hold the 'Neapolitan sixth' to be its first inversion. Others, again, hold this sixth to be found in the minor scale of the subdominant; and others, yet further, that it is merely produced by the artificial lowering of the sixth for artistic purposes, similar to the artificial sharpening of the fifth which is commonly met with; and that its object may either be to bring the supertonic melodically nearer the Tonic in downward progression, or to soften the harshness which results from the augmented fourth in the chord of the sixth and minor third on the subdominant of the usual minor scale. In the theory which explains some chromatic combinations as reflections of the old ecclesiastical modes, this chord would spring from the use of the ecclesiastical Phrygian, which was the same as the Greek Doric mode.
17C. H. H. P.
19[Concerning one chord of the sixth, that on the supertonic of the key, a good deal of doubtfully authoritative teaching has been made public, in regard to its use mainly in contrapuntal work. There is no doubt that the motion of all three parts is unimpeded; though the B may usually proceed to C, the keynote, the F moves quite as often up to G as down to E. Yet a certain school of theorists still maintain that the chord is the second inversion of the dominant seventh with the root left out. (See Prout, Harmony,

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