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Scan 602
Grove's Dictionary of music and musicians, 1927
42 lines. Read by computer on 5 September 2026, twice; the two readings disagreed in places. Printed page 534. See the scan on archive.org.
118, 1798), was 'at the sign of the Two Flutes and Violin opposite St. Clement's Church in the Strand' as early as 1755, and from that date to 1798 he carried on an extensive business there. An obituary notice in The Gentleman's Magazine describes him as 'the oldest musical instrument-maker in and near London.' His son (2) Thomas before his father's death had been established in Great Newport Street, but he then joined his brother, (3) W. M. Cahusac, at 196 Strand, and for two or three years a partnership existed. In 1802 Thomas, however, set up as a musical instrument-maker at 41 Haymarket, and W. M. Cahusac retained the Strand business until shortly before 1814, when he was established at 79 Holborn; he retired about 1816, living in 1824 at Maida Hill, and in 1829 at Bexley in Kent. The Cahusac firm made flutes, violins and other of the smaller kind of musical instruments, issued numbers of interesting pocket volumes of airs, and much sheet music.
3CAIGNET, DENIS (16th-17th cent.), was in the service of the Duke of Villeroi and gained the prize of the silver lute with a chanson in the competition at Évreux in 1587. In 1624 he was musician-in-ordinary of the King's chamber. He composed 'Airs de court,' in 4, 5, 6 and 8 parts (Paris, 1597), 50 Psalms a 3-8 v. (1607); 'Les CL. Pseaumes de David' (1624, 2nd ed., 1626); 3 chansons in a collective volume of 1597 (Q.-L.).
5CAIMO, GIUSEPPE, a 16th-century Milanese musician, of noble birth; organist at S. Ambroggio, 1564, and at Milan Cathedral, 1580-88. In 1582 he was in treaty with William V. of Bavaria about an appointment which apparently he did not obtain. He composed four books of madrigals a 4-5 v. (1564-1585), 1 book of madrigals a 5-8 v., and 2 books of 3-4-part canzonets; also some canzonets, etc., in collective volumes (Riemann, Q.-L.).
7ÇA IRA, one of the earliest of French revolutionary songs, first heard, according to Castil-Blaze, Fétis and others, on the night of Oct. 5-6, 1789, when the Parisians marched to Versailles. It is said, though without documentary support, that the words were suggested to a street-singer called Ladré by General La Fayette, who remembered Franklin's favourite saying at each stage of the American insurrection. Special research on the subject1 has proved that the words were from Ladré, perhaps the most renowned of popular singers of the day. The burden of the song was then as follows:
9'Ah! ça ira, ça ira, ça ira!
10Le peuple en ce jour sans cesse répète
11Ah! ça ira, ça ira, ça ira!
12Malgré les mutins, tout réussira.'
14At a later period the burden, though more ferocious, was hardly more metrical:
161 CONSTANT PIERRE, Les Hymnes et les chansons de la Révolution: aperçu général et catalogue avec notices historiques, analytiques bibliographiques. Paris, 1904. one of two readings
18CAIX D'HERVELOIS one of two readings
19(no line here) one of two readings
21'Ah! ça ira, ça ira, ça ira!
22Les aristocrat' à la lanterne;
23Ah! ça ira, ça ira, ça ira!
24Les aristocrat' on les pendra.'
26Other versions exist.
28The tune—the length and compass of which show that it was not composed for the song—is that of a then new contredanse, 'Le Carillon national,' the production of Bécourt, a violinist belonging to the orchestra of the Théâtre des Beaujolais, who composed the dances.
30A copy of this contredanse (for 2 violins) in the library of the Conservatoire seems to have been published after Apr. 1, 1790.
32G. C.; rev. M. L. P.
34The tune quickly became popular in England, and many copies are found in sheet music and in collections of airs. One sheet, published by A. Bland, gives it with the French words as: 'Ah Ça Ira dictum populaire ou carrillon national chanté à Paris à la Fédération de 14 juillet 1790.' This and other copies have a strain following on, and additional to the one printed above. The melody was employed in an opera entitled 'The Picture of Paris,' arranged by Shield and produced at Covent Garden on Dec. 20, 1790. It was adopted (1793) as the quickstep of the 14th Regiment (now West Yorkshire Regiment). For many years afterwards, under the name 'The Downfall of Paris,' or 'The Fall of Paris,' it was used for a pianoforte piece with many variations.
36CAIX D'HERVELOIS, LOUIS DE (b. Paris, c. 1670; d. there, c. 1760),2 a pupil of Sainte-Colombe, was one of the foremost French viola da gambists, and was in the service of the Duke of Orleans. He composed 5 books of pieces for viola da gamba, 1 book of duets for pardessus de viole, and 3 books of flute sonatas. Many of his charming viola da gamba pieces have appeared in various arrangements within recent years. A son and three daughters of
38(no line here) one of two readings
391 Constant Pierre, Les Hymnes et les chansons de la Révolution: aperçu général et catalogue avec notices historiques, analytiques bibliographiques. Paris, 1904. one of two readings
412 G. Kinsky. W. Heyer, Cat. ii. 438.
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