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Scan 847
Grove's Dictionary of music and musicians, 1927
24 lines. Read by computer on 5 September 2026. Printed page 763. See the scan on archive.org.
1at the Astor Place Opera House, New York; afterwards he went to Boston; to Portland (from 1850); to Philadelphia (1856) as conductor of a series of Saturday Concerts; and to Washington, where he founded an unsuccessful school of music. His next move was to Richmond, where he sang in a church choir; he joined the Confederate army, and served through the civil war. He settled in Baltimore as a singing-teacher. Besides the song that has made his name famous, and many others, Crouch wrote two operas, 'Sir Roger de Coverley,' and 'The Fifth of November.' (Brit. Mus. Biog.; Baker.) M.
3CROWD, see CRWTH.
5CROWN DIAMONDS, see DIAMANTS DE LA COURONNE.
7CRÜGER, JOHANN (b. Gross-Breese, near Guben, Prussia, Apr. 9, 1598; d. Feb. 23, 1662), educated chiefly at the Jesuit college of Olmütz, at the school of poetry at Regensburg, and the university of Wittenberg; in 1622 he was appointed cantor at the church of St. Nicolaus at Berlin, a post which he retained till his death.
9His reputation in his own day both as author and composer was great, but he is now chiefly known as the composer of some of the most favourite chorales. The best known of them are 'Nun danket alle Gott'; 'Jesu meine Zuversicht'; 'Jesu meine Freude'; and 'Schmücke dich, o liebe Seele.' They were published under the title of 'Praxis pietatis melica,' the melodies with bass, in 1644. No copy is known to exist either of the first or second edition (1647), but the work ran through innumerable editions, the fortieth of which appeared in Berlin, 1724. His 'Geistliche Kirchen-Melodien über die von Herrn D. Luthero…auffgesetzte Gesänge und Psalmen' in which the tunes are for four voices and two instruments, appeared in Leipzig, 1649. He also composed many concertos and motets which no longer exist. Other works have been preserved; they are:
11(1) Meditationum musicarum Paradisus primus, oder Erstes musikalisches Lust Gärtlein in 3 and 4 parts (Frankfort, 1622); (2) Med. mus. Parad. secundus (Berlin, 1626), a collection of new Magnificats in German, in 2 and 8-part harmony, arranged in all the eight tones; (3) Recreationes musicae, das ist neue poetische Amorösen (Leipzig, 1651), containing 33 pieces.
13Among his theoretical works may be mentioned:
15(1) Synopsis musices, a method for thorough-bass (Berlin 1624)—the third edition (Berlin, 1634) has a different title; (2) Perceptae musicae practicae figuralis (1625), also published in a German form as 'Rechter Weg zur Singekunst' (Berlin, 1660); (3) Quaestiones musicae practicae (Berlin, 1650).
17Other works and editions are in Q.-L. A. M.
19CRUVELLI (CRÜWELL), JEANNE SOPHIE CHARLOTTE (b. Bielefeld, Westphalia, Mar. 12, 1826; d. Monte Carlo, Nov. 6, 1907), opera singer. She had a voice of admirable quality, compass and truth, but did not receive the instruction which should have developed its advantages and enabled her to avoid those faults and imperfections which are inevitable without it. She made her début at Venice in 1847, and the beauty of her voice ensured her a brilliant success, which was confirmed when she sang in Verdi's 'Attila' at the theatre of Udine on July 24, and in 'I due Foscari.' Coming to London in 1848, she Italianised her name, and became known as Cruvelli. She first appeared as the Countess in 'Le nozze di Figaro.' In 1851 she went to Paris, where she had sung in concerts before her first appearance in Italy. She appeared with immense success in 'Ernani' at the Théâtre Italien, for Verdi's music seemed made for her. She sang again in London that year, her performance in 'Fidelio' being especially admired. In Jan. 1854 she was engaged at the Opéra in Paris, and appeared as Valentine in 'Les Huguenots,' and later in the 'Vêpres Siciliennes' of Verdi. She sang in Dublin in Sept. and Oct. 1854. Besides her splendid voice she had a very fine face and figure, and an enormous energy of accent and dramatic force which led her to exaggeration of effect. In 1856 she retired, and married Vicomte le Vigier. Her eldest sister, FRIEDERIKE MARIE (b. Aug. 29, 1824; d. Bielefeld, July 26, 1868), appeared in London in 1851, taking her sister's place without great success. (Riemann.) J. M., rev.
21CRUZ, AGOSTINHO DA (b. Braga, 1590), a Portuguese ecclesiastic, member of the order of Santa Cruz, Coimbra (1609), who is described as an excellent performer on the viol and organ. He eventually became choirmaster in the convent of S. Vicente de Fora. He compiled a 'Lyra de arco, ou Arte de tanger rabeca,' Lisbon, 1639 (a method for the viol) but no copies seem to have been preserved. J. B. T.
23CRWTH (CROWD), a stringed instrument, the latter word representing the Anglicised form of the Welsh name, which is in turn derived from the old Irish crot or cruit (see CHORUS; ROTTE). The oldest illustrations (11th cent.) depict the instrument as oblong in shape, with both ends slightly rounded: there are four or six strings passing over a bridge (or attached to a holder) placed upon a small sound-box, and it is played with a short bow. There was at that time no finger-board, and in this respect it corresponded with the Finnish 'Tannenharfe,' now on the verge of extinction, in which the strings are stopped by the pressure of the finger nails against their sides. In the 13th century a rudimentary finger-board appears and the instrument possesses a 'waist' like the bowed rotte (or rote) used on the Continent. It should be remembered that this 'waist,' so conspicuous and so convenient in the violin, was not primarily adopted to accommodate the use of the bow; for it appears on a form of guitar figured in a bas-relief, dating from before the year 1000 b.c., and discovered in the old Hittite palace of Ujuk in Asia Minor. (Cf. Periot and Chipiez, Histoire
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