Scan 88
Grove's dictionary of music and musicians: ed. by J. A. Fuller …, Volume 5, 1910
30 lines. Read by computer on 3 September 2026. Printed page 70. See the scan on archive.org.
1performer's discretion. Passages so marked, however, appear almost always to demand a slower, rather than a quicker tempo — at least, the writer is acquainted with no instance to the contrary.
3TEMPO ORDINARIO (Ital.), common time, rhythm of four crotchets in a bar. The time-signature is an unbarred semicircle C, or in modern form C, in contradistinction to the barred semicircle C or C, which denotes a diminished value of the notes, i.e., a double rate of movement. [See BREVE; COMMON TIME; TAGLIATO.] In consequence of the notes, in tempo ordinario being of full value (absolutely as well as relatively), the term is understood to indicate a moderate degree of speed. It is in this sense that Handel employs it as an indication for the choruses 'Lift up your heads,' 'Their sound is gone out,' etc.
5TEMPO RUBATO (Ital., literally robbed or stolen time). This expression is used in two different senses; first, to denote the insertion of a short passage in duple time into a movement the prevailing rhythm of which is triple, or vice versa, the change being effected without altering the time-signature, by means of false accents, or accents falling on other than the ordinary places in the bar. Thus the rhythm of the following example is distinctly that of two in a bar, although the whole movement is 3–4 time.
7SCHUMANN, Novellette, Op. 21, No. 4.
9In the other and more usual sense the term expresses the opposite of strict time, and indicates a style of performance in which some portion of the bar is executed at a quicker or slower tempo than the general rate of movement, the balance being restored by a corresponding slackening or quickening of the remainder. [RUBATO.] Perhaps the most striking instances of the employment of tempo rubato are found in the rendering of Hungarian national melodies by native artists.
11TEMPUS PERFECTUM, TEMPUS IMPERFECTUM. See articles Mood, Notation, Prolation, Time.
13TENAGLIA, ANTONIO FRANCESCO, was a Florentine by birth, but it was in Rome that he came under the strong influence of the musicians of the 17th century, who had developed the operatic song or aria into a thing of beauty in which music and words responded to each other. Tenaglia was an apt pupil. In an able appreciation of his musical gifts, M. Torchi ('Canzoni ed arie Italiane ad una voce nel secolo XVII.,' 1894) writes that his power of dramatic colouring places him on the level of Carissimi; the aria 'Non è mai senza duol' (from a MS. in the Bologna Library), that he picks out for especial praise, contains musical phrases of much pathos, representing closely the feeling of the words.
15At the present time little of Tenaglia's music is known, two of his madrigals, 'Madonna udite' and 'E così pur languendo,' are in the 'Florido concerto di madrigali in musica a tre voci. Parte seconda,' published in Rome in 1653.
17The Cecilia Society's publications of old Italian music ('Musica scelta': published by P. W. Olsen at Copenhagen, about 1855) included a duet 'Ma se non moto' for two sopranis, and the aria 'Begl' occhi mercè!' with a pianoforte accompaniment arranged by Enrico Rung.
19This aria was again printed with an English translation, 'Take pity, sweet eyes,' by Mary A. Robinson, in Vol. I. of 'Cecilia,' edited by Prof. Schimon and others (published by J. André, Offenbach o.M., 1881–82), and an arrangement for violin or violoncello was made by Franz Ries ('Album-Blätter,' Leipzig, 1884).
21There is record of an opera composed by Tenaglia; it is described in Allacci's Drammaturgia as 'Cleano. Favola musicale. In Roma per Giacomo Dragondelli. 1661. Poesia di Lodovico Cortesi. Musica di Anton Francesco Tenaglia.' Nothing more seems to be known of it.
23MSS. containing various compositions are in:—
25British Museum. The Harleyan MSS. 1265, p. 237 and 1863, p. 201. Copies of 'Son disperato, abbandonato' for three voices, by Sig. Gio. Franco. Tenaglia. Bologna Liceo Musicale. In vol. iv. of secular music by composers in Rome, 'Se fosse così conforme voi dite' and 'Misero chi si fida' for soprano with basso continuo, by Gio. Fr. Tenaglia. (Gaspari's Catalogue, ii. 258.)
26Vienna Hofbibliothek. In MS. 17,763. 'Il nocchier, che torna,' and 'O che bizzarro humor,' air by Antonio Francesco Tenaglia. (Mantuan's Catalogue.)
27Florence R. Instituto Musicale. MS. includes three arie for solo voice with figured bass by Tenaglia. Eltner mentions compositions in the Bibliothek Wagner and in the Modena Library.
29TENDUCCI, GIUSTO FERDINANDO, a celebrated sopranist, very popular in England, was born at Siena, about 1736, whence (like a still greater singer) he was sometimes called Senesino. His earliest stage-appearances in Italy were made at about twenty years of age, and in 1758 he came to London, where he first sang in a pasticcio called 'Attalo.' But it was in the 'Ciro riconosciuto' of Cocchi that he first attracted special notice. Although he had only a subordinate part, he quite eclipsed, by his voice and style, the principal singer, Portenza, and from that time was established as the successor of Guadagni. [He appeared in Dublin, at the Smock Alley Theatre, in Arne's 'Artaxerxes,' on Feb. 18, 1765. O'Keeffe says that his singing of 'Water parted from the sea,' created a furore; in July he appeared in 'Amintas' (his own alteration of Rolt's 'Royal Shepherd'), and on Dec. 12, in his own adaptation of 'Pharnaces,' called 'The
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