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Scan 250
Grove's Dictionary of Music and Musicians, 1918
63 lines. Read by computer on 9 September 2026. Printed page 204. See the scan on archive.org.
1This title is followed by a note in ink, apparently in the handwriting of Dr. Thomas Bever, Fellow of All Souls, Oxford, and a collector of music in the 18th century:—
3This curious score was transcribed from an Italian Copy in the Collection of Dr. Samuel Howard, Mus. D., organist of St. Bride's, and St. Clement's Danes. It formerly belonged to Mr. Handel, who has borrowed from hence several Verses in the Dettingen Te Deum, as well as some other passages in the Oratorio of Saul. T. B.
4This copy was written by John Anderson, a Chorister of St. Paul's 1781. Pri. ll 8s. 0d.
6Above this in pencil, in another hand:—
8In the copy purchased by J. W. Callcott at the sale of Warren Horne, the date is put at 1661.¹
10(3) The copy just mentioned as having been sold at Warren Horne's sale came into the possession of M. Schoelcher (as stated in a note by Joseph Warren on the fly-leaf of No. 2), and is now in the Library of the Conservatoire at Paris. It is an oblong quarto, with no title-page, but bearing above the top line of the score on page 1, 'Te Deum, Urio, 1660.' The following notes are written on the fly-leaves of the volume:²—
12[Page 1.] Edm: T: Warren Horne. 3. 13. 6.
14N.B. — Mr. Handel was much indebted to this author, as plainly appears by his Dettingen Te Deum, likewise a Duett in Julius Cæsar, and a movement in Saul for Carillons, etc., etc., etc.
15J. W. Callcott, May 16, 1797.
17Vincent Novello. May day, 1839.
1869 Dean Street, Soho Square.
20There was another copy of this extremely rare and curious Composition in the Collection of Mr. Bartleman, at whose death it was purchased by Mr. Greatorex. At the sale of the musical Library of Mr. Greatorex the MS. was bought by Charles Hatchett, Esq., 9 Belle Vue House, Chelsea, in whose possession it still remains.
21V. Novello, 1832.
23This copy was kindly given to me by Mrs. Stokes on the death of my beloved friend Charles Stokes in April 1829. V. N.
25[Page 2.] Handel has borrowed these from Urio's Te Deum as they arise:
26Welcome, mighty King Saul.
27The youth inspir'd do.
28The Lord is a man of war Israel in Egypt.
29All the Earth Te Deum.
30To Thee Cherubin do.
31Also the Holy Ghost do.
32To Thee all angels do.
33Our fainting courage Saul.
34Battle Symphony do.
35Thou didst open Te Deum.
36Thou sittest at the right hand do.
37O fatal consequence of rage Saul.
38O Lord, in Thee Te Deum.
39We praise Thee do.
40And we worship do.
41Day by day do.
42Sweet bird Allegro.
43Retrieve the Hebrew name Saul.
45I believe that this curious list is in the handwriting of Bartleman.³
47The 'Italian copy,' which was first Handel's
49¹ More accurately 1660, though that date is taken by Eltner (probably rightly) as indicating the year of the composer's birth, not that of his compositions.
50² I owe these notes to the kindness of my friend, M. G. Chouquet, keeper of the Musée of the Conservatoire.
51³ This note appears to be in error, as Bartleman's copy is spoken of just before as being a distinct one from this.
53and then Dr. Howard's, if not that in the Royal College of Music (which is certainly in an Italian hand), has vanished for the present.
55The Te Deum was published by Dr. Chrysander (from what original the writer does not know), as No. 5 of his 'Denkmäler' of Handel (Bergedorf, 1871). It has been examined chiefly in its connection with the Dettingen Te Deum by Prof. E. Prout, in the Monthly Musical Record for Nov. 1871, and we recommend every student to read the very interesting analysis there given.
56G.
58URQUHART, THOMAS, an early London violin-maker, who worked in the reign of Charles II. The dates on his violins are chiefly in the seventies and eighties. The model superficially resembles Gasparo da Salo; it is high, straight, and flat in the middle of the belly, and has a rigid and antique appearance. The corners have but little prominence. The sound-holes are 'set straight,' and terminate boldly in circles, the inner members being so far carried on and introverted that the straight cut in each is parallel to the axis of the fiddle. This is Urquhart's distinctive characteristic. The purfling is narrow, coarse, and placed very near the edge. The violins are found of two sizes; those of the larger size would be very useful chamber instruments but for the height of the model, which renders them somewhat unmanageable. The varnish, of excellent quality ('equal to that on many Italian instruments,' says Mr. Hart), is sometimes yellowish brown, sometimes red. [Urquhart is considered to have been a Scotsman; he made flutes as well as violins, and one of his flutes was formerly in the possession of the late Mr. John Glen of Edinburgh. Edward Pamphilon, a London violin-maker, on London Bridge, about 1680–90, is said to have been his pupil. F. K.]
60E. J. P.
62USE. The name given to any special group of rites or ceremonies belonging to a particular church. Fundamentally all the Western Latin Services are the same; but local differences, both in rite and ceremony, naturally arose, and in the 13th century these crystallised into orderly Uses. Thus in England many dioceses other than that of Salisbury adopted the ways of that Cathedral, or in other words followed Sarum Use. Similarly in the North York Use was popular, and in the West the Use of Hereford. Abroad a similar state of things prevailed; Rome had its Use, but it was in the main a local or at most an Italian Use, while elsewhere in France, Germany, etc., diocesan Uses preserved their local distinctions. At the Reformation a desire for uniformity in all quarters alike altered this. In England the local Uses were superseded by 'The Book of Common Prayer … according to the Use of the Church of England': while abroad after the Council of Trent the reformed Roman Use was widely adopted to the exclusion of
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