Scan 584
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1and eventually the latter was pronounced to be equal, if not superior, to the Italian masterpiece.
3Savart's name is also connected with an ingenious little device for measuring, in a manner easily appreciable by a lecture audience, the number of vibrations corresponding to a given musical note. A wheel, caused to rotate quickly by ordinary mechanical contrivances, is furnished on its circumference with teeth or ratchets, against which a tongue of pasteboard or some other elastic substance is brought into contact. The passage of each tooth gives a vibration to the tongue, and if the wheel revolve fast enough, the repetition of these vibrations will produce a musical sound. Hence, as the number of rotations of the wheel in a given time can be easily counted, the number of vibrations corresponding to the note produced can be experimentally ascertained with tolerable precision. This mode of determining vibration numbers has been since superseded by the more elegant instrument, the SIREN, and by other modes known to modern acoustic physicists, but from the simplicity of its demonstrations it is still often used. Savart also investigated with some attention and success the acoustical laws bearing on wind instruments and on the production of the voice.
5He wrote Mémoire sur la voix humaine, published in 1825, and also Sur la voix des oiseaux, 1826. His complete works were published in the Annales de Physique et de Chimie, 1819-40.
7BIBL.—P. Davidson, The Violin; Heron-Allex, Violin-making; J. Gallay, Luthiers italiens; Leon Mordret, La Luthérie artistique; J. A. Otto, Über den Bau und die Erhaltung der Geige; F. Savart, Mémoire sur la construction des instruments, etc. (a condensed German translation of this work was published in Leipzig in 1844); F. J. Fétis, Biographical Notice of Nicolo Paganini, The Repository of Arts, Literature, and Fashion, etc., vol. xi. 2nd Series, Jan. 1, 1821, No. 6, pp. 21 and 80; Nouvelle Biographie générale publiée par Firmin Didot; Nouveau Larousse illustré, Félis, Biog. des Mus. one of two readings
8BIBL.—P. Davidson, The Violin; Heron-Allex, Violin-making; J. Gallay, Luthiers italiens; Leon Mordret, La Luthérie artistique; J. A. Otto, Über den Bau und die Erhaltung der Geige; F. Savart, Mémoire sur la construction des instruments, etc. (a condensed German translation of this work was published in Leipzig in 1844); F. J. Fétis, Biographical Notice of Nicolo Paganini, The Repository of Arts, Literature, and Fashion, etc., vol. xi. 2nd Series, Jan. 1, 1821, No. 6, pp. 21 and 80; Nouvelle Biographie générale, publiée par Firmin Didot; Nouveau Larousse illustré, Félis, Biog. des Mus. one of two readings
10W. P.; addns. E. H.-A.
12SAVETTA, ANTONIO (b. Lodi, late 16th cent.), composed masses, Magnificats, motets, 6-12 v., madrigals between 1608-10, and 'Salmi ariosi e brevi' (short and tuneful psalms), 8 v., lib. 3, op. 14 (1636).
14SAVILE, JEREMY, a composer of the middle of the 17th century, some of whose songs are included in 'Select Musicall Ayres and Dialogues,' 1653, is now only known by 'Here's a health unto his Majesty,' and his four-part song, 'The Waits,' printed in Playford's 'Musical Companion,' by long-standing custom the last piece sung at the meetings of the Madrigal Society and similar bodies.
16SAVIONI, MARIO, of Rome, pupil of Vincent Ugolini, entered the Papal Chapel as contralto in 1643, and was maestro thereof in 1659 and 1668. He composed concerti morali e spirituali (1660), motets for solo voice (1676), madrigals, 5 v. (1668), madrigali e concerti a 3 (1672); various songs in collective volumes (Q.-L.).
18SAVITRI, chamber opera in one act; text and music by Gustav Holst. First public performance Lyric Theatre, Hammersmith, June 23, 1921.
20SAVONAROLA, opera in a prologue and 3 acts; words by Gilbert à Beckett; music by Stanford. Produced Stadt-Theater, Hamburg (words translated by Ernst Frank), Apr. 18, 1884; Covent Garden (German Opera, under Richter), July 9 of the same year. M.
22SAVOY, see OLD HUNDREDTH.
24SAVOY THEATRE, see CARTE; SULLIVAN.
26SAX, (1) CHARLES JOSEPH (b. Dinant, Belgium, Feb. 1, 1791; d. Paris, Apr. 26, 1865), a Belgian musical-instrument maker of the first rank. He was first a cabinet-maker, then a mechanic in a spinning-machine factory, and then set up in Brussels as a maker of wind instruments. He had served no apprenticeship to the trade, and his only qualification was that he could play the serpent; he was therefore obliged to investigate for himself the laws concerning the bore of instruments; but as he had great manual dexterity, and a turn for invention, he was soon able to produce serpents and flutes of fair quality. He quickly attracted notice by his clarinets and bassoons, which gained him a medal at the Industrial Exhibition of 1820, and the title of musical-instrument maker to the court of the Netherlands, which also encouraged him by advancing him capital. In 1822 he began to make all kinds of wind instruments, brass and wood, and in 1824 invented an 'omnitonic horn,' which he continued to perfect till 1846. This instrument could be adjusted to any key by means of a piston sliding backwards or forwards on a graduated scale of about half an inch long, which set the body of the instrument in communication with tubes of different lengths corresponding to all the major keys. On a separate elbow was a movable register which the player fixed opposite the number of the key he wished to use, and the tube of that key being at once brought into position, the instrument was played exactly like an ordinary horn. Sax also invented brass instruments producing every note in the scale, without crooks, pistons or cylinders. He took out patents for a keyed harp, a piano and a guitar on a new system, but his efforts were mainly directed to perfecting the clarinet, especially the bass clarinet, and discovering new methods of boring brass and wood wind instruments with a view to make them more exactly in tune. His exertions were crowned with success, and he obtained gratifying distinctions at the Brussels Industrial Exhibition of 1835. one of two readings
27SAX, (1) CHARLES JOSEPH (b. Dinant, Belgium, Feb. 1, 1791; d. Paris, Apr. 26, 1865), a Belgian musical-instrument maker of the first rank. He was first a cabinet-maker, then a mechanic in a spinning-machine factory, and then set up in Brussels as a maker of wind instruments. He had served no apprenticeship to the trade, and his only qualification was that he could play the serpent; he was therefore obliged to investigate for himself the laws concerning the bore of instruments; but as he had great manual dexterity, and a turn for invention, he was soon able to produce serpents and flutes of fair quality. He quickly attracted notice by his clarinets and bassoons, which gained him a medal at the Industrial Exhibition of 1820, and the title of musical-instrument maker to the court of the Netherlands, which also encouraged him by advancing him capital. In 1822 he began to make all kinds of wind instruments, brass and wood, and in 1824 invented an 'omnintonic horn,' which he continued to perfect till 1846. This instrument could be adjusted to any key by means of a piston sliding backwards or forwards on a graduated scale of about half an inch long, which set the body of the instrument in communication with tubes of different lengths corresponding to all the major keys. On a separate elbow was a movable register which the player fixed opposite the number of the key he wished to use, and the tube of that key being at once brought into position, the instrument was played exactly like an ordinary horn. Sax also invented brass instruments producing every note in the scale, without crooks, pistons or cylinders. He took out patents for a keyed harp, a piano and a guitar on a new system, but his efforts were mainly directed to perfecting the clarinet, especially the bass clarinet, and discovering new methods of boring brass and wood wind instruments with a view to make them more exactly in tune. His exertions were crowned with success, and he obtained gratifying distinctions at the Brussels Industrial Exhibition of 1835. one of two readings
29Charles Sax was the father of eleven children, of whom two sons were distinguished in the same line. The eldest of these,
31(2) ANTOINE JOSEPH, known as ADOLPHE SAX (b. Dinant, Nov. 6, 1814; d. Paris, Feb. 4, 1894), was brought up in his father's workshop, and as a child was remarkable for manual skill, and
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