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Grove's dictionary of music and musicians: ed. by J. A. Fuller …, Volume 1, 1911
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1Lidley or Liddell, and translated into German, as 'Die Schöpfung,' with modifications, by Baron van Swieten. The music occupied Haydn from 1796 to April 1798, and was produced by a body of dilettanti at the Schwartzenberg Palace, Vienna, April 2, 1798. 500 ducats were subscribed for Haydn. In 1800 it was published in score at Vienna with German and English words, the latter re-translated by van Swieten; 510 copies were subscribed for, of which nearly half were for England. It was first performed in London at Covent Garden, under Ashley, March 28, 1800, and in Paris, Dec. 24, 1800, when Napoleon I. escaped the infernal machine in the Rue Nicaise. A great performance by the same society as before took place at the University Hall, Vienna, on March 27, 1808, in Haydn's presence, a year and two months before his death. (See Musical Times, 1891, p. 330; 1898, p. 236; and 1899, p. 160.)
3CREDO is the first word of the Nicene Creed in Latin, and is the name by which it is well known to musicians by reason of the magnificent music to which it has been set by the greatest composers for the use of the Roman Church in the Service of the Mass. The traditional figure to which the first sentence or 'intonation' is given out by the priest is
5Credo in unum Deum
7and upon this Bach developed the stupendous contrapuntal chorus to those words in his B minor Mass.
9C. H. H. P.
11CREED. There are three creeds in use in the services of the English Church—the Apostles' Creed, the Nicene, and that known by the name of St. Athanasius.
13The first of these is the most ancient, and of unknown origin, and was probably used in early times. It is found in the ancient breviaries of the churches of England, such as those of Sarum and York, in much the same position as it now occupies. In the first Prayer-Book of Edward VI. it was ordered to be said or sung like the other creeds, but it has latterly become the custom only to intone it, and in some churches the intonation is supported by harmonies on the organ, but it has not been definitely set to music for English use.
15The Nicene Creed is distinguished in the English Church by an extensive musical treatment. It cannot be ascertained when it came into use in the ancient English offices. It is in the breviaries of Sarum, York, and Hereford, for use on feasts and solemn occasions. It was looked upon to some extent as a hymn, whence its universal musical treatment. Marbeck's setting of it in the 'Book of Common Praier noted' of 1552 for the use of the English reformed church follows the Roman originals much less closely than most of the other parts of his setting of the service, and is consequently much more free and melodious. Tallis's setting of it is said to resemble the Gregorian Descants of the Creed in the Missa de Angelis. Further settings of it, both ancient and modern, are extremely numerous. Among the ancient ones may be mentioned settings by Byrd (in six parts), Farrant, Gibbons, Child, Aldrich, Blow, Purcell, Rogers, and Bevin. Attempts have been made with very fair success to adapt it to a kind of free chant form, which renders it more available for musical performance by parish choirs and general congregations.
17The Athanasian Creed, as it is now called, was formerly known very generally as the Psalm 'Quicunque vult'—the first two words of its Latin form. It was sung at Prime after certain other psalms, and the custom of singing it as a psalm has continued in the Roman Church to the present day, it being pointed and divided into paragraphs after the manner of psalms, and answering in its construction to the principles of ancient Hebrew poetry. The chant most commonly used is a very simple one by Tallis (see CHANT, under 'Canterbury Tune'). There have been many others specially written for it both in ancient and modern times. It has never been customary to adapt it to more elaborate forms of composition.
19C. H. H. P.
21CREMONA, a considerable town in Lombardy, on the river Po, was for the space of two centuries, from about 1550 to 1750, the seat of the famous Cremona school of violin-makers. The shape and construction of the violin, and the other instruments belonging to the tribe, having been finally settled by the great makers of Brescia, Gaspar di Salò and Paolo Maggini (see those names), it was at Cremona that the last step in the art of violin-making was made, which led to that point of perfection from which no further progress has yet been possible or perhaps desirable. The numerous makers of the Amati family (see that name) chronologically head the list of the masters of Cremona: Antonio Stradivari and Josef Guarnerius (see those names) are the greatest of all, and their instruments have never been rivalled. The names of Andreas, Petrus, and Josef Guarnerius (brother of Andreas), Carlo Bergonzi, Guadagnini, Montagnana, Ruggieri, Storione, and Testore (see all these names) make up the list of the masters of this school, whose violins are still highly valued. The term 'a Cremona,' or 'a Cremonese violin' is often incorrectly used for an old Italian instrument of any make.
23'Cremona,' as applied to an organ stop of 8-ft. pitch and clarinet toné, is a mere ignorant corruption of 'Krummhorn.'
25P. D.
27CREQUILLON or CRECQUILLON, THOMAS, one of the most distinguished musicians of the Netherland school in the period between that of Josquin des Prés and that of Lassus and Palestrina (1520-60). He was attached to the chapel of the Emperor Charles V. at Madrid
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