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Scan 675
Grove's Dictionary of music and musicians, 1927
34 lines. Read by computer on 5 September 2026. Printed page 603. See the scan on archive.org.
1ground that it merely served to break the waves of sound, while in reality it transmits them from table to back.
3This violin (if one may still call it so) he submitted to the authorities of the Institut de France. After having been examined by a committee of eminent men, both scientific and musical, and tried against instruments of Guarnerius and Stradivarius, it was pronounced not inferior in quality to the violins of these great makers ('Rapport de l’Institut,' in the Moniteur Universel, Aug. 22, 1817). One of his violins, made for Viotti in 1818, and a violoncello, are kept at the Instrumental Museum of the Paris Conservatoire. It is difficult to account for this decision, which experience quickly proved to be a complete delusion, as all instruments made after the new pattern turned out of indifferent quality.
5P. D.
7(2) GEORGES (b. Mirecourt, Mar. 26, 1801; d. Courcelles, Seine et Oise, Jan. 10, 1883), brother of François, came to Paris in 1819, and made violins of the 'Chanot' model, but was soon obliged to give up this model. He worked for the instrument-maker Clément for a year, and in 1821 for Gand, whom he left in 1823 to set up for himself. After several changes of address he settled in 1848 on the Quai Malaquais, where he remained until his retirement from business in 1872, leaving his business to his son-in-law, Marie-Joseph Chardon. Georges Chanot was an admirable maker of violins and a skilful repairer.
9Madame Chanot, his wife (née Florentine Démoliens), was also a violin-maker, and is probably the only female one known to fame. She made several violins with her own hands, worked assiduously with her husband at his trade, and died some years before his retirement.
11E. J. P.
13(3) GEORGES (b. 1831; d. 1895), son of the last named, learnt the trade from his father, and in 1851 left Paris for London, where he worked for several years with Maucotel, the brother of the Parisian instrument-maker. In 1858 he set up for himself, and was known for many years as one of the best workmen in London, gaining gold medals at various exhibitions, including the London Inventions Exhibition, 1885.
15His eldest son, G. A. CHANOT, of Manchester, is known as an excellent violin-maker.
17His second son, F. W. CHANOT, (d. Jan. 1911), also a violin-maker, is better known as a publisher of violin music. His business in Wardour Street is carried on by his third son JOSEPH, an artist-craftsman who fully sustains the reputation of the family, and specially excels in making and adjusting bridges and sound-posts.
19BIBL.—CONSTANT PIERRE, Les Facteurs d’instruments de musique; Les Luthiers et la facture instrumentale, Paris, 1893.
21E. J. P.; addns. M. L. P.
23CHANSON, see SONG, subsection FRANCE.
25CHANT. To chant is, generally, to sing, and, in a more limited sense, to sing certain words according to the style required by musical laws or ecclesiastical rule and custom; and what is thus performed is styled a Chant and Chanting, Cantus firmus, or Canto fermo. The method of chanting that belongs to the Latin service-books is described under the heading GREGORIAN TONES. Practically, the word is now used for the short melodies sung to the psalms and canticles in the English Church. These are either 'single,' i.e. adapted to each single verse after the tradition of sixteen centuries, or 'double,' i.e. adapted to a couple of verses, or even, according to a recent still greater innovation, 'triple' and 'quadruple,' ranging over three and four verses respectively.
27The qualifying terms Gregorian, Anglican, Gallican, Parisian, Cologne, etc., as applied to tone or chant, simply express the sources from which any particular chant has been derived.
29It is historically incorrect to regard the structure of ancient tones and of modern chants as being antagonistic each to the other. The famous Book of Common Praier noted, of John Merbecke (1550), includes music of the Latin ritual, adapted, mutatis mutandis, to the new English translations of the Missal and Breviary. The ancient Gregorian chants for the psalms and canticles were in use not only immediately after the Reformation but far on into the 17th century; and although the Great Rebellion silenced the ancient liturgical service, with its traditional chant, yet in the fifth year after the Restoration (1664) the well-known work of the Rev. James Clifford, Minor Canon of St. Paul's, gives as the 'Common Tunes' for chanting the English Psalter, etc., correct versions of each of the eight Gregorian Tones for the Psalms, with one ending to each of the first seven, and both the usual endings to the eighth, together with a form of the Peregrine Tone similar to that given by Merbecke.1 Clifford gives also three tones set to well-known harmonies, which have kept their footing as chants to the present day. The first two are arrangements of the 1st Gregorian Tone, 4th ending—the chant in Tallis's 'Cathedral Service' for the Venite—with the melody, however, not in the treble but (according to ancient custom) in the tenor. It is called by Clifford 'Mr. Adrian Batten's Tune'; the harmony is essentially the same as that of Tallis, but the treble takes his alto part, and the alto his tenor. The second, called 'Christ Church Tune' and
31Christ Church Tune.
331 See Table of chants in Acc. Harmonies to Brief Directory, by Rev. T. Helmore, App. II. No. cxi.
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