Scan 561
Grove's dictionary of music and musicians: ed. by J. A. Fuller …, Volume 1, 1911
25 lines. Read by computer on 7 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1CHANTERELLE
3more's 'Psalter Noted' (1849-50) took up Marbeck's work, at the direction after the Venite—"and so with the Psalms as they be appointed"—and furnished an exact guide for chanting according to the editor's view of the requirements of the case. one of two readings
4more's 'Psalter Noted' (1849-50) took up Marbeck's work, at the direction after the Venite—'and so with the Psalms as they be appointed'—and furnished an exact guide for chanting according to the editor's view of the requirements of the case. one of two readings
6Meantime the modern Anglican chant was being similarly cared for. Numerous books, beginning with that of Robert Janes (1843), issued from the press, giving their editors' arrangement of the syllables and chant notes for the Psalter and Canticles. Among the most prominent of these may be mentioned Mr. Hullah's 'Psalms with Chants' (1844); Helmore's 'Psalter Noted' (1850); the Psalter of the S.P.C.K. edited by Turle (1865); the 'English Psalter' (1865); the 'Psalter Accented' (1872); the 'Cathedral Psalter' (1875); the Psalters of Ouseley, Elvey, Gauntlett, Mercer, Doran and Nottingham, Heywood, and Sargent. [In recent years the 'Cathedral Psalter' and its larger counterpart 'The Cathedral Prayer-Book' have gained great popularity, but without entirely superseding the older books. In the 'St. Mary Abbott's Psalter' (Samson Low) Mr. S. S. Higham introduced a method of indicating the 'pointing' by miniature musical notes placed over the syllables.] Among these various publications there reigned an entire discrepancy as to the mode of distributing the words. Beyond the division of the verse into two parts given in the Psalms and Canticles of the Prayer-Book, no pointing or arrangement of the words to the notes of the chant has ever been put forward by authority in the Anglican Church, or even widely accepted. Each of the editors mentioned has therefore followed his own judgment, and the methods employed vary from the strictest syllabic arrangement to the freest attempt to make the musical accent and expression agree with those which would be given in reading—which is certainly the point to aim at in all arrangements of words for chanting, as far as consistent with fitness and common sense. [References should be made to Heywood's 'Art of Chanting' and Pott's 'Free Rhythm Psalter.'] T. H.
8CHANTERELLE, a French term for the upper or E string of the violin—that on which the melody is usually sung. G.
10CHAPEAU CHINOIS. [CHINESE PAVILION.]
12CHAPELLE, originally the musicians of a chapel, and now extended to mean the choir or the orchestra, or both, of a church or chapel or other musical establishment, sacred or secular. The maître de chapelle is the director of the music. In German the word Kapelle or Capelle is used more exclusively for the private orchestra of a prince or other great personage, and the Capellmeister is the conductor or director. Cappella pontificale is the term for the whole body of singers in the Pope's service, the cantatori cappellani, the cantatori apostolici, and the cantatori pontificali.
14The word 'cappella' is said to be derived from the cape of S. Martin, on which solemn oaths used to be taken. Thence it came to mean the building containing the cape, and thence the musicians, also the vestments, and the vessels of the building. G.
16CHAPELS ROYAL. Bodies of clergy and lay-clerks who minister at the courts of Christian monarchs; and also the places in which they worship. There are several in England—viz., at St. James's Palace, Whitehall, and St. George's, Windsor, etc. From the Liber Niger Domus Regis (1461), the earliest known record on the subject, we learn that in Edward IV.'s reign there was a well-established Chapel Royal, consisting of a dean; a confessor to the household; twenty-four chaplains and clerks variously qualified—by skill in descant, eloquence in reading, and ability in organ-playing; two epistlers, ex-chorister-boys; eight children; a master of the grammar school; and a master of the children, or master of song.
18The term Chapel Royal is now usually applied to that at St. James's Palace. The chapel is between the Colour Court and the Ambassadors' Court. The establishment consists of the Dean, the Lord High Almoner; the Clerk of the Closet, and two deputies; the sub-dean; forty-eight chaplains; eight priests in ordinary, a master of the children; one lay composer; one lay organist and chapel-master or choir-master; eight lay gentlemen and ten boys; one sergeant of the vestry; one groom of ditto; and other attendants.
20The service is a full choral one, at 10 A.M., 12 noon, and 5.30 P.M. on Sundays, and at 11 A.M. on feast-days. The boys are educated at the cost of the chapel, and as a rule sing there only. The chief musical posts of the establishment are at present held as follows:—Sub-Dean Rev. Edgar Sheppard, D.D., C.V.O.; Master of the Children, C. R. Selfe, B.A.; Composer, Organist, and Choir-master, Walter Alcock, appointed 1902.
22The Chapel Royal at WHITEHALL (Banqueting House) was under the same chief officers as St. James's—but was latterly attended only once a year by the choir of that establishment in the special service of Maundy Thursday, on the afternoon of Thursday in Holy Week, when gifts called 'Benevolences' were distributed by the Lord High Almoner to certain poor people, as many in number as the sovereign is years old. The ceremony was a relic of a service which included washing the feet of the poor, of the same nature with that performed by the Pope on the same day.
24The following special anthems were formerly sung in the course of the service: 'Hide not Thou Thy face from us, O Lord' (Farrant); 'Prevent us, O Lord' (Byrd); 'Call to remembrance, O Lord' (Farrant); 'O praise the Lord, all ye heathen' (Croft). [There is a quaint
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