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Scan 40
Grove's dictionary of music and musicians, 1922
18 lines. Read by computer on 5 September 2026. No printed page number was found. See the scan on archive.org.
1hit with Neukomm's song, 'The Sea.' At this theatre he sustained the part of Captain Cannonade in Barnett's opera 'The Pet of the Petticoats.' He afterwards fulfilled important engagements at Drury Lane, the Lyceum, and Covent Garden. At Covent Garden he played the Doge of Venice in 'Othello,' March 25, 1833, when Edmund Kean last appeared on the stage, and Sir Harry in 'The School for Scandal' on Charles Kemble's last appearance as Charles Surface. His final theatrical engagement was with Macready at Covent Garden in 1837-38. He wrote the words of many songs, his best being perhaps 'In the days when we went gipsying.' In later years his entertainments, 'Gipsy Life,' 'Tales of the Sea,' and 'Songs of Dibdin,' etc., became deservedly popular. As a genial bon camarade he was universally liked. [He was also a music-seller and publisher, and during the forties and fifties issued a great number of the popular songs of the day. His shop was in Charles Street, Soho, but in 1850 he moved to 461 Oxford Street. In 1869 he went into partnership with his son, William Edwin, at 2 Princes Street, Cavendish Square. The son, who continued the business after his father's death, was a tenor vocalist of ability. He died Sept. 21, 1890. F. K.] W. H.
3RANTZAU, I. Opera in four acts, text by G. Targioni-Tazzetti and G. Menasci, music by Mascagni. Produced at the Pergola, Florence, Nov. 10, 1892, and at Covent Garden, July 7, 1893.
5RANZ DES VACHES (Kuhreihen, Kuhreigen; Appenzell patois Chiüereiha), a strain of an irregular description, which in some parts of Switzerland is sung or blown on the Alpine horn in June, to call the cattle from the valleys to the higher pastures. Several derivations have been suggested for the words ranz and reihen or reigen. Ranz has been translated by the English 'rant,' and the French 'rondeau,' and has been derived from the Keltic root 'renk' or 'rank,' which may also be the derivation of reihen, in which case both words would mean the 'procession or march of the cows.' Stalder (Schweizerisches Idiotikon) thinks that reihen means 'to reach,' or 'fetch,' while other authorities say that the word is the same as reigen (a dance accompanied by singing), and derive ranz from the Swiss patois 'ranner,' to rejoice.
7The Ranz des Vaches are very numerous, and differ both in music and words in the different cantons. They are extremely irregular in character, full of long cadences and abrupt changes of tempo. It is a curious fact that they are seldom strictly in tune, more particularly when played on the Alpine horn, an instrument in which, like the BAGPIPE, the note represented by F is really an extra note between F and F#. This note is very characteristic of the Ranz des Vaches; passages like the following being repeated and varied almost ad infinitum.
9The most celebrated Ranz des Vaches is that of Appenzell, a copy of which is said to have been sent to our Queen Anne, with whom it was a great favourite. The first work in which it was printed is Georg Rhaw's Bicinia (Wittenberg, 1545). It is also to be found in a dissertation on Nostalgia in Zwinger's Fasciculus Dissertationum Medicarum (Basle, 1710). Rousseau printed a version in his Dictionnaire de Musique, which Laborde arranged for four voices in his Essai sur la Musique. It was used by Grétry in his Overture to 'Guillaume Tell,' and by Adam in his Méthod de Piano du Conservatoire.1 It has been also arranged by Webbe, Weigl, Rossini ('Guillaume Tell'), and Meyerbeer.
11W. B. S.
13RAPPOLDI, EDUARD, born at Vienna, Feb. 21, 1831. He was placed by his father at an early age under Doleschall, and made his first appearance in his seventh year as violinist, pianist, and composer. His talent for the pianoforte was so great as to induce the Countess Banffy to put him under Mittag, Thalberg's teacher. But the violin was the instrument of his choice, and he succeeded in studying it under Jansa, who induced him to go to London in 1850. Here he made no recorded appearance. On his return to Vienna he was so far provided for by the liberality of the same lady, that he became a pupil of the Conservatorium under Hellmesberger from 1851 to 1854. He then put himself under Böhm, and shortly began to travel, and to be spoken of as a promising player. The first real step in his career was conducting a concert of Joachim's at Rotterdam in 1866, where he had been concertmeister since 1861. At the end of that year he went to Lübeck as capellmeister, in 1867 to Stettin in the same capacity, and in 1869 to the Landestheater at Prague. During this time he was working hard at the violin, and also studying composition with Sechter and Hiller. From 1871 to 1877 he was a colleague of Joachim's at the Hochschule at Berlin—where he proved himself a first-rate teacher—and a member of his quartet party. In 1876 he was made Royal
151 There is a curious analogy between the above and the following strain, which is sung with infinite variations in the agricultural districts near London to frighten away the birds from the seed. In both passages the F is more nearly F#.
172 Other examples and descriptions will be found in the following works:—Cappeller's Pilati Montis Historia (1757); Stolberg's Reise in Deutschland, der Schweiz, etc. (1794); Ebel's Schilderung der Gebirgsvölker der Schweiz (1798); Sigmund von Wagner's Acht Schweizer Kuhreihen (1805); the article on Viotti in the Décade Philosophique (An 6); Castelnau's Considérations sur la Nostalgie (1806); Edward Jones's Musical Curiosities (1811); Recueil de Ranz des Vaches et de Chansons Nationales Suisses, third edition, Berne, 1818, also Tarenne's Sammlung von Schweizer Kuhreihen und Volksliedern (1818); Huber's Recueil de Ranz des Vaches (1830); and Tobler's Appenzellischer Sprachschatz (1837).
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