By George Grove

This can be a reissue of the 1st variation of George Grove's Dictionary of track and Musicians, which has seeing that advanced to turn into the biggest and so much authoritative paintings of its sort in English. The undertaking 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 used to be a world project, with participants from Paris, Leipzig, Berlin, Vienna and Boston along these established in Britain. It was once 'intended to provide a superb and lengthy stated wish' bobbing up from the elevated curiosity in all points of tune, which used to be 'rapidly changing into an important department of education', and to cater for the pro whereas being obtainable to the beginner. it's a interesting record of musical tastes and values within the past due Victorian interval.

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Additional info for A Dictionary of Music and Musicians (A.D. 1450-1880): By Eminent Writers, English and Foreign. Volume 4

Sample text

The accompanying instruments for the most part merely double the solo parts, and leave off either to lessen the sound here and there, or because the passages happen to go a little higher than usual, or to be a little difficult for the average violin-players of that time. When the intention is to vary the quality of sound as well, the element of what is called instrumentation is introduced, and this is one of the earliest phases of that element which can be traced in music. The order of movements and the style of them are generally after the manner of the Sonate da Chiesa, and therefore do not present any close analogy with the subject of this article.

The last is much more systematic in structure than the first; sometimes in definite binary form, as was the case with the early violin sonatas. In orchestration and general style of expression these works seem immensely superior to the other early symphonies which have been described. They are scored for horns, flutes, oboi, fagotto, strings, with a figured bass for ' cembalo,' which in the symphonies previously noticed does not always appear. There is an abundance of unison and octave passages for the strings, but there is also good free writing, and contrasts between wind and strings; the wind being occasionally left quite alone.

19 the necessary full harmony. In the subsidiary subject by which the first section is carried on, the quick lively passages of the strings are accompanied by short figures for flute and horns, with their own independent musical significance. In the second subject proper, which is derived from this subsidiary, an excellent balance of colour is obtained by pairs of wind instruments in octaves, answering with an independent and very characteristic phrase of their own the group of strings which give out the first part of the subject.

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