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Scan 717
Grove's Dictionary of music and musicians, 1927
49 lines. Read by computer on 5 September 2026, twice; the two readings disagreed in places. Printed page 641. See the scan on archive.org.
1CHORAL HARMONISTS’ SOCIETY
3Hanover Square Rooms for the practice of concerted vocal and instrumental music. In 1837, J. H. B. Dando was the leader, Holderness the conductor and H. Bevington the organist. The programmes usually included a glee or madrigal with symphonies, overtures and vocal solos.
5C. M.
7CHORAL HARMONISTS’ SOCIETY, an association of amateurs devoted to the performance of great choral works with orchestral accompaniments, held its first meeting at the New London Hotel, Bridge Street, Blackfriars, Jan. 2, 1833, and the subsequent ones at the London Tavern until the last Concert, Apr. 4, 1851, twelve months after which the Society was dissolved. It had a full band (containing, in 1838, 14 violins, 6 violas, 3 violoncellos, 3 basses, with complete wind) and chorus. The solo singers were professionals—Clara Novello, Miss Birch, Miss Dolby, J. A. Novello, etc. Its conductors were V. Novello, Lucas, Neate and Westrop; leader J. H. B. Dando. The programmes were excellent. Among the works performed were Beethoven’s Mass in D (Apr. 1, 1839, and again Apr. 1, 1844), Haydn’s ‘Seasons,’ Mendelssohn’s ‘Walpurgisnacht,’ etc.
9The Choral Harmonists were a secession from the City of London Classical Harmonists, who held their first meeting Apr. 6, 1831, and met alternately at Farn’s music shop, 72 Lombard Street and the Horn Tavern, Doctors’ Commons. T. H. Severn was conductor, and Dando leader, and the accompaniments were arranged for a septet of strings. Among the principal works thus given were—‘Oberon,’ Spohr’s Mass in C minor, and ‘Letzten Dinge,’ a selection from Mozart’s ‘Idomeneo,’ etc. The name ‘City of London’ was intended to distinguish it from the Classical Harmonists, a still older society, meeting at the Crown and Anchor Tavern, Strand, of which Griffin and V. Novello were conductors. one of two readings
10The Choral Harmonists were a secession from the CITY OF LONDON CLASSICAL HARMONISTS, who held their first meeting Apr. 6, 1831, and met alternately at Farn’s music shop, 72 Lombard Street and the Horn Tavern, Doctors’ Commons. T. H. Severn was conductor, and Dando leader, and the accompaniments were arranged for a septet of strings. Among the principal works thus given were—‘Oberon,’ Spohr’s Mass in C minor, and ‘Letzten Dinge,’ a selection from Mozart’s ‘Idomeneo,’ etc. The name ‘City of London’ was intended to distinguish it from the CLASSICAL HARMONISTS, a still older society, meeting at the Crown and Anchor Tavern, Strand, of which Griffin and V. Novello were conductors. one of two readings
12C. M.
14CHORAL SYMPHONY, the ordinary English title for Beethoven’s ninth symphony (op. 125) in D minor, commissioned by the Philharmonic Society, but first performed at the Kärnthnerthor Theatre, May 7, 1824. First performance in London, by the Philharmonic Society, Mar. 21, 1825. At the Paris Conservatoire it was played twice, in 1832 and 1834, half at the beginning and half at the end of a concert. At Leipzig, on Mar. 6, 1826, it was played from the parts alone; the conductor having never seen the score! In America, by the New York Philharmonic Society, May 20, 1846.
16G.
18CHORD is the simultaneous occurrence of several musical sounds, producing harmony. The term is used when such occurrences are considered independently of context. Certain of the more frequently recurring chords are named, such as the ‘common chord,’ the chord of the sixth, of the dominant, of the diminished seventh, of the ninth, etc. (See HARMONY.)
20C. H. H. P., with addns.
22CHORDING is a word of recent origin, used to express the distribution of notes within a chord, whether clustered or spaced out. It is as important an element now of orchestration as it was of vocal writing in the 16th century. Since it may redistribute the upper partials, there is a point where it merges into tone-quality.
24A. H. F.-S.
26CHORISTER (Querestere and other variants). The origin of the word is obvious—a singer in a CHOIR (q.v.). Strictly speaking, the designation has no age limit or sex restriction, but it is now generally reserved for boy singers in cathedrals or church choirs. This ecclesiastical office is of ancient origin. The oldest choral grammar school in this country is that of St. Paul’s Cathedral, which dates from the time of Edward the Confessor. It is mentioned by Ingulphus; and through all the vicissitudes of more than eight centuries, this Foundation still exists, and to-day the Choir School of St. Paul’s Cathedral is a model of its kind. The office of Master of the Children (choristers) at the Chapel Royal can be traced as far back as the reign of Henry VI., who appointed John Plummer to that post, Sept. 29, 1444.
28In the Foundation Statutes of Cathedrals, Chapels Royal and College Chapels at the Universities of Oxford and Cambridge choristers find a place. When, nearly six hundred years ago, King Edward III. founded the College of Windsor (St. George’s Chapel), provision was made for six choristers (increased to thirteen by Edward IV.), who should have ‘clear tuneable voices’ and
30‘be duly instructed in grammar and song, when not engaged in the services of the chapel.’
32In 1550 it was provided further that
34‘every chorister of the College, whose voice from henceforth shall change, shall have five marks yearly for his exhibition towards his finding at grammar school for the space of four years, if he be apt and will diligently apply himself to learn.’
36Also it was enjoined that
38‘one of the priests or clerks should be chosen yearly to be Grandsire of the choristers, and to teach them the catechism and the principles of grammar and to write, and also to see to their manners.’
40He was
42‘bound to teach ten other poor children at the least freely, if they resort unto him.’
44He was to
46‘teach the ten choristers every week day in the year from six o’clock in the morning until eight, and from twelve o’clock daily until two; which teacher should receive for his labours quarterly twenty-five shillings. The rest of the day the teacher of Music shall instruct the choristers diligently to sing and to play upon instruments.’
48As an example of a Cathedral ‘choir school’ Foundation, that of Durham may be instanced. Patrick Sanderson, in his Antiquities of the
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