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Scan 47
Grove's Dictionary of music and musicians, 1927
30 lines. Read by computer on 4 September 2026. Printed page 5. See the scan on archive.org.
1to print out in full such passages as would formerly have been indicated by abbreviations.
3F. T.; rev. by N. C. G.
5Abbreviations of the harp, glissando, are much used in modern orchestral scores, in print as well as in manuscript. Only the lowest and the highest notes of the glissando are written, the intervening notes having been already indicated by the tuning. The extreme notes are then joined by a straight or waving line or sometimes conventionally as semiquavers, demisemiquavers, etc. The following examples should make the practice clear.
7RAVEL.
9STRAUSS.
11HOLST.
13A B# C# D# E# F# G# 8va…:
14Up in 3 beats.
16ABD EL KADIR (ABDOLKADIR), BEN ISA, Arabian writer of the 14th century, author of The Collector of Melodies, The Aim of Melodies in the Composition of Tones and Measures, The Treasure of Melodies in the Science of Musical Cycles (Kiesewetter: Musik der Araber, 1842, p. 33).
18E. v. d. s.
20ABEILLE (early 18th cent.), a French composer, wrote a Miserere for chorus and orchestra about 1733; 'Les Pseaumes de David en françois,' 2 vols.; some airs in 'Recueil d'airs sérieux et à boire,' 1710 (Q.-L.). E. v. d. s.
22ABEILLE, JOH. CHR. LUDWIG (b. Bayreuth, Feb. 20, 1761; d. Stuttgart, Mar. 2, 1832), composer, pianist and organist. He studied at Stuttgart, and in 1782 became a member of the private band of the Duke of Württemberg. On Zumsteeg's death in 1802 he succeeded him as Konzertmeister, and was shortly afterwards made organist in the court chapel and director of the official music. In 1832, having completed a period of 50 years' faithful service, he received the royal gold medal and a pension. Abeille's concertos and trios for the harpsichord were much esteemed, but his vocal compositions were his best works. Amongst them are several collections of songs (e.g. 'Acht Lieder,' Breitkopf and Härtel) which are remarkable for simple natural grace and a touching vein of melody. His Ash-Wednesday hymn for 4 voices, and his operettas of 'Amor und Psyche,' 'Peter und Aennchen,' were well known in their day, and were published, in pianoforte score, by Breitkopf and Härtel.
24C. F. P.
26ABEL, (1) CHRISTIAN FERDINAND, gambist and violoncellist in the court chapel at Cöthen, where he was still living in retirement in 1736. It was apparently for him that J. S. Bach wrote the suites for the violoncello (Spitta, Bach, i. 709). His two sons were:
27(2) KARL FRIEDRICH (b. Cöthen, 1725; d. London, June 20, 1787), one of the most famous viola da gamba players.
28He was brought up at the Thomasschule at Leipzig under J. S. Bach. In 1748 he obtained a post under Hasse in the court band at Dresden, where he remained 10 years. In 1759 he visited London, and gave his first concert on Apr. 5 at the 'great room in Dean Street, Soho,' when, besides playing the viola da gamba, he performed 'a concerto upon the harpsichord, and a piece composed on purpose for an instrument newly invented in London, and called the pentachord,' the whole of the pieces in the programme being of his own composition. His facility was remarkable: he is reported to have performed more than once on the horn, as well as on 'new instruments never heard in public before.' From the year 1765, however, he confined himself to the viola da gamba. He was appointed chamber musician to Queen Charlotte, with a salary of £200 a year. On the arrival of John Christian Bach, in the autumn of 1762, Abel joined him; they lived together, and jointly conducted Mrs. Cornelys's subscription concerts. The first of their series took place in Carlisle House, Soho Square, on Jan. 23, 1765, and they were maintained for many years. The Hanover Square Rooms were opened on Feb. 1, 1775, by one of these concerts. Haydn's symphonies were first performed in England at them, and Wilhelm Cramer the violinist, father of J. B. Cramer, made his first appearance there. After J. C. Bach's death on Jan. 1, 1782, the concerts were continued by Abel, but with indifferent success. In 1783 he returned to Germany, taking Paris on the way back, where he appears to have begun that indulgence in drink which eventually caused his death. In 1785 we find him again in London, engaged in the newly established 'Professional Concerts,' and in the 'Subscription Concerts' of Salomon and Mme. Mara at the Pantheon. At this time his compositions were much performed, and he himself still played often in public. His last appearance was at Mrs. Billington's concert on May 21, 1787.
29Abel's symphonies, overtures, quartets, concertos and sonatas were greatly esteemed, and many of them were published by Bremner of London and Hummel of Berlin. (For complete
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