Scan 322
The MacMillan EncyclopEdia Of Music And Musicians In One Volume-I, 1938
38 lines. Read by computer on 10 September 2026. Printed page 317. See the scan on archive.org.
1CHANTAVOINE—CHAPLIN, NELLIE
3Chantavoine, Jean, French critic and writer, born Paris, May 17, 1877. He studied the history of music with Friedlander, and became music critic for the Revue Hebdomadaire and other journals, also editing a series of musical biographies, and the L’Année Musicale. He has discovered the score of Liszt’s lost opera, Don Sanche, written when the great piano virtuoso and composer was only a youth.
5Chanter, (1) the melody-pipe of the bagpipes; (2) a lay vicar or a singer; see cantor.
7Chanterelle (Fr.), the highest string of the violin, viola, ’cello, guitar, etc.
9Chanteur (Fr.), a male singer; chanteuse, a female singer.
11Chanting, the rendition in the Church of England of prose verses that are sung to a repeated melody; chanting is a part of the daily offices, and is usually confined to the Canticles and Psalms.
13Chantre (Fr.), chanter, see Cantor.
15Chanty, see Shanty.
17Chapeau chinois, see Crescent.
19Chapek, Joseph Horymir, Bohemian violinist, born in 1860. He settled in Milwaukee in 1883, organizing a quintet club and a quartet club, and becoming concertmaster in the Bach Symphony Orchestra. He then went to Chicago, played in the Thomas Orchestra, and founded his own music school.
21Chapel, see Cappella.
23Chapel Royal, the word “chapel” was derived from cappella, or cloak of St. Martin, treasured by the Frankish kings who always carried it to battle. Its sanctuary became known as cappella, and those who looked after it as cappellani; hence chaplino. This gave rise to the application of “chapel” to any holy place or private sanctuary, including the vestments, plate and service books which were used in the religious service. A “Chapel Royal” signified the chapel established at the court of a sovereign to perform the daily religious services; this chapel always travelled with the king to maintain the religious services whether or not attended by the king. When the king was resident at one of his palaces, the services were performed in one of the private chapels.
25The first mention of the Chapel Royal in England was in 1135; during the Tudor period it was located at Greenwich and Whitehall; later it was moved to St. James’s Palace. The Chapel Royal, or “Royal Peculiar” as it should be termed, includes “The King’s Free Chapel of St. George in Windsor Castle” and Westminster Abbey, which are free from all ecclesiastical jurisdiction. The record of the choristers, “Children of the Chapel,” dates from the reign of Henry V. During the Elizabethan period the “Children of the Chapel” played an important part in the development of opera. The adult members of the choir were known as “Gentlemen of the Chapel.” Among those that have been “Gentlemen of the Chapel” were the great Tudor composers: Fairfax, Cornyshe, Tallis, Byrd, Robert Parsons, Morley, William Mundy, Orlando Gibbons and Thomas Tomkins. In the Chapel Royal of St. James’s Palace, which dates from the reign of Henry VIII, the “Gentlemen and Children of the Chapel” sing a full choral service twice on Sunday. Although the “children’s” school no longer exists, the children continue to wear their brilliant uniforms of Tudor design, somewhat similar to those worn by the Yeomen of the Guard.
27Chapelle, see Cappella.
29Chapelle, Pierre David Augustin, French violinist and composer, born at Rouen in 1756; died at Paris in 1821. His operas were performed in various Parisian theatres, and he also wrote violin concertos, sonatas and duos.
31Chapí y Lorente, Ruperto, Spanish composer, born Villena, near Alicante, Mar. 27, 1851; died Madrid, Mar. 25, 1909. His father, a barber, was also a musician of no mean attainments; by the time the boy had reached the age of seventeen, he had composed a zarzuela in which might be discerned the germ of the musical talent which was later to manifest itself in many excellent works. For a time he attended the Madrid Conservatory, where his teachers were amazed at his rapid progress. One of his first musical appointments was in the Spanish Artillery; this appointment was confirmed in 1872, and a year later he was sent to Rome by the Academy of St. Ferdinand. There he applied himself industriously to composition, producing several operas and a symphonic poem. Later the pinch of poverty drove him into the field of comic opera, where his talents as a musical caricaturist were of great service. He was conspicuously successful in writing lighter music, which provided him with the necessary funds for more serious pursuits. Chapí’s works include more than 150 zarzuelas, 6 operas and 4 string quartets.
33Chaplin, Kate, English viola d’amore player and violinist, born London, July 3, 1865. She studied with Adolph Pollitzer at the London Academy of Music, and with Eugène Ysaÿe at Brussels.
35Chaplin, Mabel, English viola da gamba player and ’cellist, born London, Oct. 19, 1870. She studied with Pezze at the London Academy of Music, and with Jacobs at the Brussels Conservatory.
37Chaplin, Nellie, English harpsichordist, born London, Feb. 11, 1857. She studied with Wylde at the London Academy of Music, the Deppe Method with Timm, and the Virgil system with A. P. Virgil, later doing much to revive interest in old dances such as the allemande, courante, sarabande, chaconne, etc., and in old English folk-dances. She wrote Playford’s Dances with Steps; Court Dances; Music and Steps in the Dances of the Suite.
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