By G. Grove
It is a reissue of the 1st version of George Grove's Dictionary of song and Musicians, which has because advanced to develop into the most important and such a lot authoritative paintings of its type in English. The venture grew within the making: the identify web page of quantity 1 (1879) refers to 'two volumes', yet by the point quantity four seemed in 1889 there has been additionally a 300-page appendix and a separate index quantity. The dictionary was once a world project, with participants from Paris, Leipzig, Berlin, Vienna and Boston along these established in Britain. It was once 'intended to provide a good and lengthy said wish' coming up from the elevated curiosity in all features of song, which used to be 'rapidly turning into an important department of education', and to cater for the pro whereas being available to the novice. it's a interesting rfile of musical tastes and values within the overdue Victorian interval.
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Extra info for A Dictionary of Music and Musicians (A.D. 1450-1880) (Volume 1)
The only master to whom Adam owed not only an advance of his musical knowledge but to some extent the insight into his own talent, was that most sweet and most brilliant star of modern French opera, Boieldieu. He had been appointed professor of composition at the Conservatoire in 1821, and Adam was amongst his first and most favourite pupils. ' It was owing to this friendship that Adam was able to connect his name with a work vastly superior to his own powers, Boieldieu's ' Dame Blanche,' of which he composed or rather combined the overture.
Sometimes he supported it by means of an accompaniment chiefly for bow instruments; while at other times he provided only a skeleton score, as already described. In the four connected recitatives in the ' Messiah,' beginning with 'There were shepherds,' Handel alternated the two manners, employing each twice; and Bach, in his ' Matthew Passion Music,' makes the same distinction between the ordinary recitatives and those of our Lord. It became the custom in England in the early part of the present century to play the harmonies of thefiguredrecitatives not on a keyed instrument, but on a violoncello.
ACUTENESS. A musical sound is said to be more acute as the vibrations which produce it are more rapid. It is said to be more grave as the vibrations are slower. Thus of the two notes and the former of which is produced by 512 vibrations per second, and the latter by 256, the former is called the more acute, the latter the more grave. The application of these terms is not easy to account for. ' Acute' means sharp in the sense of a pointed or cutting instrument, and 'grave' means heavy; but there is no direct connection between the impression produced by rapid vibrations on the ear and a sharp edge, nor between the effect of slow vibrations and the force of gravitation; neither are these terms consistent, for one is not the antithesis to the other.