Scan 463
Grove's Dictionary Of Music And Musicians Vol I A. To E., 1904
44 lines. Read by computer on 11 September 2026. Printed page 445. See the scan on archive.org.
1he carried on an extensive business there. He died May 18, 1798, and an obituary notice in The Gentleman's Magazine describes him as 'the oldest musical instrument-maker in and near London.' His son Thomas before his father's death had been established in Great Newport Street, but he now joined his brother W. M. Cahusac at 196 Strand, and for two or three years a partnership existed. In 1802 Thomas, however, sets up as a musical instrument-maker at 41 Haymarket, and W. M. Cahusac retains the Strand business until shortly before 1814, when he is established at 79 Holborn; he retired about 1816, living in 1824 at Maida Hill, and in 1829 at Bexley in Kent. The Cahusac firm made flutes, violins, and other of the smaller kind of musical instruments, issued numbers of interesting pocket volumes of airs, and much sheet music.
3F. K.
5ÇA IRA. The earliest of French revolutionary songs, probably first heard on Oct. 5, 1789, when the Parisians marched to Versailles. The words were suggested to a street-singer called Ladré by General La Fayette, who remembered Franklin's favourite saying at each stage of the American insurrection. The burden of the song was then as follows:—
7Ah! ça ira, ça ira, ça ira!
8Le peuple en ce jour sans cesse répète
9Ah! ça ira, ça ira, ça ira!
10Malgré les mutins, tout réussira.
12At a later period the burden, though more ferocious, was hardly more metrical:—
14Ah! ça ira, ça ira, ça ira!
15Les aristocrat' à la lanterne;
16Ah! ça ira, ça ira, ça ira!
17Les aristocrat' on les pendra.
19The tune—the length and compass of which show that it was not composed for the song—was the production of a certain Bécour or Bécourt, a side-drum player at the Opera; and as a contre-danse was originally very popular under the title of 'Carillon national.'
21Allegro.
23Fine.
25D.C.
27G. C.
29The tune quickly became popular in England, and many copies are found in sheet music and in collections of airs. One sheet, published by A. Bland, gives it with the French words as: 'Ah Ça Ira Dictum Populaire ou Carrillon National Chanté a Paris a La Fédération de 14 Juillet 1790.' This and other copies have a strain following on, and additional to the one printed above. The melody was employed in an opera entitled 'The Picture of Paris,' arranged by Shield and produced at Covent Garden on Dec. 20, 1790. For many years afterwards, under the name 'The Downfall of Paris,' or 'The Fall of Paris,' it was used for a pianoforte piece with many variations. F. K.
31CALAH, JOHN, born 1758, was organist of St. Mary's Church, and master of the Song School, Newark-on-Trent, 1782. In 1785 he was appointed organist of Peterborough Cathedral, and held the post till his death, August 5, 1798. He was buried in the New Building of the cathedral. He composed some cathedral music, songs, and a sonata for piano with violin and violoncello.
33M.
35CALANDO (Ital.), diminishing i.e. in tone; equivalent to diminuendo or decrescendo, and often associated with ritardando.
37G.
39CALASCIONE or COLASCIONE (Ital.; Fr. Colachon). The name of a finger-board instrument of the tamboura kind belonging to Lower Italy. The calascione is strung with two catgut strings tuned a fifth apart. The body of it is like that of an ordinary lute, but it is relatively smaller towards the neck. Of all finger-board instruments the calascione is most like the Nefer of the old Egyptian monuments; but it would be a bold hypothesis to derive the modern instrument from one used in such remote antiquity, the long-necked Egyptian tamboura having been depicted as early as the fourth dynasty—according to recent investigations about 4000 B.C. The strings of the calascione are touched with a plectrum, rarely by the fingers. The finger-board has frets of ivory. About 1767 the brothers Colas were noted performers on it.
41A. J. H.
43CALDARA, ANTONIO, born about 1670 in Venice, where he was a member of the choir of St. Mark's and a pupil of Legrenzi. The various authorities on his life differ very widely as to some important dates, but it seems fairly certain that he led a wandering life for many years. He was at Vienna in 1712, when Astorga acted as godfather to his daughter. In 1714 (according to Fétis) he was appointed maestro di cappella at Mantua. If this was the fact, he must have kept the post for a very short time, as he was for a time in Rome, and, giving up his position there, entered the service of the King of Spain; but was compelled by his wife's ill-health to return to Italy, finally settling down in Vienna some time before Jan. 1, 1716, when he was appointed vice-capellmeister under
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