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Scan 354
Grove's Dictionary of Music and Musicians, 1928
28 lines. Read by computer on 12 September 2026. Printed page 310. See the scan on archive.org.
1Thomas Este, and from a dedicatory preface, written in Italian and addressed to Lady Penelope Riche (the 'Stella' of Sir Philip Sidney's Sonnets), we learn that these songs were composed in England and published at the request of friends. On the title-page Tessier is described as 'Musitien de la Chambre du Roy' (sc. Henri IV. of France). His only other published song-book was entitled Airs et vilanelles français, italiens, espagnols, suices et turcqs, mis en musique à 3, 4 et 5 parties, and was printed in Paris in 1604. A setting by 'Tesseir' [sic] of the eighth song from Sidney's Astrophel and Stella was published in Robert Dowland's A Musicall Banquet (1610). Eitner suggests that the presence of certain manuscript compositions of Tessier, dedicated to Maurice, Landgrave of Hessen, in Kassel, indicates that he spent some time in that town. P. H.
3TESSITURA (Ital.), literally texture, from tessere, to weave. A term used to indicate how the music of a piece 'lies'; that is to say, what is the prevailing or average position of its notes in relation to the compass of the voice or instrument for which it is written, whether high, low or medium. 'Range' does not at all give the idea, as the range may be extended, and the general tessitura limited; while the range may be high and the tessitura low or medium. In place of a corresponding word we say that a part 'lies high or low.' For diagrammatic examples of tessitura see SINGING, Vol. IV. p. 764.
5H. C. D.
7TESTORE, a family of violin-makers at Milan in the first half of the 18th century, consisting of a father, CARLO GIUSEPPE (1690–1715), and two sons, CARLO ANTONIO and PAOLO ANTONIO (1715–45). Carlo Giuseppe was the best of the three. His instruments have often passed for the work of his master, Giovanni Grancino (q.v.). In 1884 the violoncello called the 'Lindley Grancino' being under repair, the removal of its spurious label revealed the fact that it is the work of the old Testore, the original label, which was found well preserved, running thus:
9'Carlo Giuseppe Testore allievo di Gio. Granzino in Contrada Larga di Milano, 1690.'
11Bottesini's famous double-bass is another specimen of the old Testore's work. His instruments are strongly made, and often irregular in design. The model is generally of medium height, and the finish varies considerably, many being left very rough, and extremely plain in appearance. The tone, however, is usually good, and in exceptional cases very powerful and telling.
13The instruments of the sons are less esteemed; they are lighter in colour, and a tendency to imitate Joseph Guarnerius (q.v.) is observable. The Testores worked at the sign of the Eagle in the same narrow street where the Grancinos worked at the sign of the Crown. Alberti, Landolfi, Tanegia, Mantegazza, Giuseppe Guadagnini, Mezzadri, Lavazza and others complete the group of Milanese makers who followed the Testores in general plainness of style, aiming at producing instruments rather useful and lasting than ornamental. E. J. P.
15TETRACHORD (Gr. τετράχορδον), a system of four sounds, comprised within the limits of a perfect fourth (see GREEK MUSIC; MONOCHORD; Guido d'Arezzo; HEXACHORD).
17TETRAZZINI, LUISA (Signora Bazelli) (b. Florence, June 29, 1871), received her musical instruction there from Ceccherini at the Liceo Musicale, and from her sister Eva, the wife of Cleofonte Campanini (q.v.), the conductor. In 1895 she made her début at the Teatro Pagliano (now Teatro Verdi) as Inez in 'L'Africaine.' She next sang at Rome, and later toured with great success in the other cities of Italy, having in the meantime acquired a great reputation in Spain, Portugal, Russia, Mexico, South America, etc. On Nov. 2, 1907, she made her début at Covent Garden as Violetta ('La traviata') and made a success both as singer and actress, confirmed the same season in her next parts of Lucia and Gilda. She next sang in the United States (Manhattan, Jan. 15, 1908), where she again made a great reputation. Since 1908 her principal operatic engagements have been either in North America or at Covent Garden, where she has sung for the first time there as Rosina, Marguerite de Valois ('Huguenots'), Leila in 'Les Pêcheurs de perles,' and Amina in 'La sonnambula.' She sang with the Chicago Opera Company 1913–14, and has since toured in concerts as an International Celebrity. In 1921 she published reminiscences called My Life of Song. A. C., addns.
19TEUFELS LUSTSCHLOSS, DES (The Devil's Country-house), comic opera in 3 acts, by Kotzebue; music by Schubert; composed between Jan. 11 and May 15, 1814, and rewritten in the autumn, but not performed. The overture was played by the London Musical Society, June 17, 1880. It contains a singular anticipation of the muted violin passage in the overture to 'Euryanthe.'
21G.
23TEUTSCHE. Mozart's way of spelling Deutsche, i.e. Deutsche Tänze—little German waltzes in 3–8 or 3–4, of which he, Beethoven, and Schubert, wrote many. For Schubert's 'Atzenbrucker Deutsche, July 1821,' see Vol. IV. p. 598. The famous 'Trauer-Waltzer,' sometimes called 'Le Désir' (op. 9, No. 2), for long attributed to Beethoven, is a Teutsch. (See ALLEMANDE, 2.)
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27THACKRAY, THOMAS, an 18th-century composer of minuets, country-dance tunes, etc. He resided in York, and was probably a native of that city. About 1770 he issued 'A Collection of Forty-four Airs, properly adapted for
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