Scan 107
Groves Dictionary of Music and Musicians Vol.5, 1925
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1dellas,' with instrumental accompaniment — Burney writes that those sung by Reginelli, an old but great singer, are admirable, the others very agreeable (Hist. of Music, iv. 455); also copies of 'The favourite Songs in the opera call'd Bellerofonte by Sigr. Terradellas,' with instrumental accompaniment; and of 'The favourite Songs in the opera call'd Annibale in Capua, by Sigr. Hasse and others.' This last work includes an aria for soprano, 'L' Augellin che in lacci stretto,' by Signore Terradeglias, with accompaniment of flutes, viols, and violins; a MS. copy of 'L' Augellin' is in the Fitzwilliam Museum Library, headed 'alle Dame 1743,' and it is probably part of either 'Epitide' or 'Merope,' operas of that date.
3Finally a work published by Walsh, which contained music from Terradellas's earlier operas: 'Dodici Arie e due Duetti. All' eccellenza di Melusina Baronessa di Schulemburg, Contessa di Walsingham, Contessa di Chesterfield, Queste composizioni di musica delle alme grandi nobile sollievo qual tributo di rispetto ed' ammirazione dedica e consacra l' umilissimo e devotissimo servo, Domenico Terradellas.'
5Terradellas returned to Rome in 1747, passing through Paris, where he is said to have visited the grand opera and was much astonished at the amount of noise made on the stage, the singers shouting their loudest.
7He was appointed Maestro di Cappella at S. Giacomo, on his return to Rome. He died in Rome in 1751.
9Two reports found currency as to the manner of his death; one has it that he died from grief at the failure of his opera 'Sesostri,' the other that owing to the great success of 'Sesostri,' Jommelli, his musical rival in Rome, caused him to be assassinated; the latter account seems to be discredited by the fact that Jommelli continued to reside in Rome quite peacefully until 1754.
11LIST OF COMPOSITIONS IN MS.
13Berlin Royal Library. — An aria, duetto, and terzetto for voices with instrumental accompaniments in MS. L. 268. An aria for soprano, 'Se perde l' usignolo,' in MS. 139. (Published in Bellerofonte, 1747.)
15British Museum. — In Add. MS. 31,598: 'Terradellas. In Roma,' 'Fra l' ombre del timore,' for soprano with figured bass. In Add. MS. 31,624: 'In Venezia 1744, del Sigre. Domco. Terradellas,' four arie for soprano with instrumental accompaniment and figured bass: 'L' onda dal mar divisa'; 'Deh respirar lasciatemi'; (a MS. copy also in Fitzwilliam Museum). 'Conservati fedele,' and 'Se d'un amor tiranno'; the last two were published in Terradellas's 'Dodici Arie,' 1747. All four airs are probably part of the opera 'Artaserse,' performed at the theatre S. Gio. Grisostomo, Venice, in 1744. In Add. MS. 14,219, p. 117; 'Alle Dame,' 1751, Scena del Signor Domenico Terradellas, for soprano with instrumental accompaniment; 'Solitudini amene, ombre gradite.' (Possibly from the opera 'Sesostri' performed at the Teatro alle Dame, Rome, in 1751.)
17Brussels Conservatoire Library. — (See Wotquenne's Catalogue, vol. 2.) No. 4903, aria 'Dove si vide mal' (a MS. copy also in Naples), and 'Figlio ascolta' from 'Merope,' Rome, Teatro alle Dame, 1743. No. 8154, the separate MS. parts of an overture by Terradellas.
19Darmstadt Library. — Aria 'Oh Del quel mi sorprende,' for soprano, with instrumental accompaniment (a MS. copy also in Fitzwilliam Museum, dated 1743). It was published in 'Dodici Arie,' 1747, the phrase 'l' amato figlio Epitide' which comes in it, points to it being from the opera 'Epitide' (1743).
21Dresden Library. — (Eitner's Catalogue.) Twenty-seven Arien with instrumental accompaniment.
23Fitzwilliam Museum, Cambridge. — (Fuller Maitland and Mann's Catalogue, 1893.) In MS. 142, score of overture and songs in 'Merope' ('alle Dame, 1743'). In MS. 145 three Arie, 'alle Dame, 1743' 'O Dei' (see Darmstadt Library); 'L' Augellin' published in Annibale in Capua'; 'Un bel gentil' (see Naples Library); and a song, 'Deh respirar' (another MS. copy in British Museum, dated 1744).
25Milan Conservatorio Library. — (Eitner.) Seven arie with instrumental accompaniment.
27Naples Real Collegio Library. — (Florimo's La Scuola Musicale di Napoli, 1880.) Solfeggio with pianoforte accompaniment; six arie with instrumental accompaniments, including 'Non sperar che cangi affetto' published in 'Dodici Arie,' 1747; and a cantata with violins, viola, and bass, 'Un bel gentile sembiante' (a MS. copy also in the Fitzwilliam Museum dated 1743. The music is probably from 'Merope' or 'Epitide' of that date).
29Schwerin Library. — (Kade's Catalogue, 1893.) Aria for soprano with accompaniment of two violins, viola, and cembalo.
31Vienna Hofbibliothek. — (Mantuani's Catalogue.) In MS. 17,033 an aria, 'Io son quel pellegrino,' by D. M. B. Terradellas.
33Wolfenbuttel herzogliche Bibliothek. — (Vogel's Catalogue, p. 66.) MS. 302, an aria, 'Dono d' amica sorte,' in score. C. S.
35TERZETTO (Ital.). Generally a composition for three voices. Beyond one instance in Bach, and a few modern examples consisting of pieces not in sonata-form, the term has never been applied to instrumental music. It is now becoming obsolete, being superseded by Trio, which is the name given to music written for three instruments, and now includes vocal music as well. It would have been wiser to preserve the distinction.
37A Terzetto may be for any combination of three voices, whether for three trebles — as the unaccompanied Angels' Trio in 'Elijah,' those of the three ladies and three boys in 'Die Zauberflöte,' the famous trio in 'Il Matrimonio Segreto,' and that for three florid sopranos in Spohr's 'Zemire und Azor,' — or for three male voices, like the canonic trio in the last-named opera. More frequent, naturally, are Terzetti for mixed voices, the combinations being formed according to the exigencies of the situation. There is nothing to be observed in the form of a Terzetto different from that of any other vocal composition; but as regards harmony it should be noticed that when a bass voice is not included in the combination, the accompaniment usually supplies the bass (where 4-part harmony is required) and the three upper parts, taken by the voices, must be so contrived as to form a tolerable 3-part harmony themselves. F. C.
39TESCHNER, GUSTAV WILHELM, was born at Magdeburg, Dec. 26, 1800, and died at Dresden, May 7, 1883. He studied singing and composition under Zelter and Klein at Berlin, and afterwards went to Italy, where his acquaintance with the Abbé Santini was the means of inducing him to take a greater interest in the older Church music, both Latin and German. Returning to Germany, he settled in Berlin as a teacher of singing on Italian principles, and published various collections of Italian solfeggi, as well as some of his own. But his name is even better known by his republication, in score, of such works as H. L. Hassler's 'Psalmen gesänge' of 1608, Eccard's 'Geistliche Lieder' of 1597, Eccard and Stobaeus's 'Preussische Festlieder' of 1642–44, and by his editorship of other collections of sacred and secular music of the 16th and 17th centuries.
41TESCHNER, MELCHIOR, Lutheran cantor at Fraustadt, in Silesia, at the beginning of the
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