Scan 60
Grove's dictionary of music and musicians;, 1904
54 lines. Read by computer on 7 September 2026. Printed page 49. See the scan on archive.org.
1Without opus numbers are:—
2Two Books of Canons (1596) for PF.
3Pf. Transcriptions of Bach, Kuhlau, etc., for PF. solo and duets.
4Four 'Heitere Lieder.'
5Four Sacred Songs.
6Four PF. Studies for the left hand alone.
7Five PF. Studies (arrangements of Chopin's works).
8'Wiegendien.'
9Piano Transcriptions of songs by Hugo Wolf and Richard Strauss.
10Der Evangelische Kirchenchor, consisting of—
11Book I. Forty easy sacred songs (S.A.T.B.) for all festivals, in four series.
12Book II. Cantata 'O wie selig' for mixed choir and congregation, with accompaniment of strings and organ.
13Book III. Cantata for Good Friday, 'O Haupt voll Blut und Wunden,' for alto and tenor (or sopr.) solos, mixed choir, violin solo, oboe solo, and organ.
14For male chorus:—
15Nine volkslieder.
16Five volkslieder.
17Twelve madrigals.
18For mixed choir:—
19Eight volkslieder.
20Six volkslieder.
21Twelve German sacred songs (in three books).
22'Komm, heiliger Geist.'
23'Es fiel ein Thau,' for 5-part choir.
24'Vom Himmel hoch,' for 4-part chorus, two solo violins, choir, and congregation, with organ or harmonium.
25For Organ:—Schule des Triospiels (arrangements of Bach's 2-part inventions, with K. Straube).
26Romance, also for harmonium.
27Songs with organ or piano.
28Arrangements of fifteen of Bach's clavier works for organ.
29Arrangements of songs for harmonium.
30PF. and violin:—Petite Caprice, Romance (G major), and Wiegendien.
31For PF. and violoncello:—Caprice.
32For voice and PF.:—Sixteen songs.
33PF. solo:—Perpetuum mobile, Elegie, Humoreske, Romance, Moment musical, Scherzino, Albumblatt, Frühlingslied, Mélodie, two Humoresken, Nachtstück.
34Canons in all major and minor keys, Book I. in two parts, Book II. in three parts.
35Four special studies for left hand alone:—Scherzo, Humoreske, Romance, and Prelude and Fugue.
36Regiments-Marsch der ehemaligen Hannoverschen Armee (arrangement).
37A new set of orchestral variations is announced for performance in the winter of 1907-8.
38Literary work:—Beiträge zur Modulationslehre (Contribution to the Rules of Modulation).
39H. V. H.
41REGGIO, Pietro, born at Genoa in the first quarter of the 17th century, was private musician (lutenist and singer) to Queen Christina of Sweden after her abdication. After her final departure from Rome, Reggio came to England and settled at Oxford, where, in 1677, he published A Treatise to sing well any Song whatsoever. In 1680 he issued a book of songs dedicated to the king, and containing the earliest setting of 'Arise, ye subterranean winds,' from Shadwell's 'Tempest,' afterwards set by Purcell. (See Sammelbände of the Int. Mus. Ges. v. 553.) Seven Italian songs are in the British Museum in MS., two duets in the Fitzwilliam Museum at Cambridge, and a three-part motet in the Christ Church Library, Oxford. Reggio died in London, July 23, 1685 (Hawkins), and was buried in St. Giles's in the Fields.
43REGIS, Jean, a Flemish musician of the latter part of the 15th century, usually reckoned along with Busnois, Caron, Obrecht, and Okeghem as belonging to the transitional school of composers between Dufay and Binchois on the one hand, and Josquin Després on the other. Tinctoris mentions him with special distinction. He was for a time master of the choir-boys in Antwerp Cathedral, and is also supposed to have been in personal relation with Dufay. Though he does not appear, like Dufay, to have ever been a member of the Papal Choir, two of his masses were copied into the great choir-books of the Sistine Chapel, which are so far interesting as showing the curious custom of the time in combining different liturgical texts. Thus, in one of them, while the two upper voices sing the usual words of the mass the tenor sings the 'Ecce ancilla Domini,' and the Bass 'Ne timeas Maria,' which would seem to show that this mass was specially composed for the festival of the Annunciation. In the other, the Alto and Tenor sing 'Dum sacrum mysterium cerneret Joannes,' which would imply the work to be intended for the festival of St. John the Evangelist. Regis is also the author of a mass 'L'omme arme,' in the Archives of Cambrai, and of a few other pieces in the collections of Petrucci. The setting of a popular song 'S'il vous plaisait' a 4, transcribed by Kiesewetter in his Schicksale und Beschaffenheit des weltlichen Gesanges, serves to show the skill of Regis as a contrapuntal harmonist of the time in a very favourable light.
45REGISTER, of an organ. Literally, a set of pipes as recorded or described by the name written on the draw-stop; hence, in general, an organ-stop. The word 'register' is, however, not quite synonymous with 'stop,' for we do not say 'pull out, or put in, a register,' but, 'a stop,' although we can say indifferently 'a large number of registers' or 'of stops.' The word is also used as a verb; for example, the expression 'skill in registering' or 'registration' means skill in selecting various combinations of stops for use. The word 'stop' is, however, never used as a verb in this sense.
47REGISTER is now employed to denote a portion of the scale. The 'soprano register,' the 'tenor register,' denote that part of the scale which forms the usual compass of those voices; the 'head register' means the notes which are sung with the head voice; the 'chest register' those which are sung from the chest; the 'upper register' is the higher portion of the compass of an instrument or voice, and so on. How it came to have this meaning, the writer has not been able to discover.
49REGISTRATION (or REGISTERING) is the art of selecting and combining the stops or 'registers' of the organ so as to produce the best effect. See ORGAN-PLAYING, vol. iii. pp. 562-64.
51REGNART, surname of a family of Flemish musicians who flourished towards the end of the 16th century. There were five brothers, one of whom, Augustin (not August, as given by Eitner, which would correspond to Augustus in Latin but not to Augustinus) was a canon of the Church of St. Peter's, Lille (not Douai, as Eitner suggests in the Quellen-Lexikon, forgetting the words of the dedication partly quoted by himself in his Bibliographie, p. 216),1 and in 1590 edited and published at Douai a
531 See also Goovaert's Bibliographie, p. 268; but he contradicts himself by elsewhere (p. 92) describing Augustin Regnart as Canou of St. Peter's, Louvain.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.