OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Tutti

​TUTTI (Ital.), all. This word is used to designate those parts of a vocal or instrumental composition which are performed by the whole of the forces at once. In the scores, and more frequently in the chorus parts of masses, cantatas, etc., the parts for the solo quartet (where such is employed) are often written on the same set of staves as the chorus parts, in which case the words Solo and Tutti are used to distinguish the one from the other. The same thing is done in the solo part of a pianoforte concerto, and also in the band parts of concertos generally, so that the orchestra may know where to avoid overpowering the solo instrument. It is a frequent custom in large orchestras to allow only a portion of the strings (three desks or so) to accompany solos, though if the conductor understands how to keep the players well down this is not necessary. The term Ripieno was formerly applied to those violins which only play in the tuttis. For this end in some modern scores (Hiller's cantata 'Die Nacht,' Liszt's 'Graner Messe,' etc.), the string parts are marked S and T or S and R where requisite.
The term Tutti has thence been applied to those portions of a concerto in which the orchestra—not necessarily the whole orchestra—plays while the solo instrument is silent. In the Mozartian form of the concerto the first movement has in particular two long tuttis, one at the beginning, to present the whole of the subject-matter, and the second (rather shorter) in the middle to work it out. This arrangement is still in use, though the modern tendency is to bring the solo instrument and the orchestra into closer rapport and consequently to shorten the pure solos and tuttis. Beethoven introduced (PF. Concerto in G, No. 4) the innovation of allowing the soloist to open the proceedings, but though the doing so with a flourish, as in his E♭ Concerto, has been frequently imitated since, no one has followed the extremely original and simple precedent afforded by the former work. Examples of unusually long tuttis may be noticed in Beethoven's E♭ and Violin Concertos, Litolff's 'Dutch' Concerto-symphonic, and Tschaikowsky's immense work in B♭ minor. Mendelssohn, in his G minor, set the fashion of short tuttis, which is followed by Hiller, Grieg, and others. Schumann's A minor Concerto has one of 32 short bars, another of 20, and none besides of more than 8. Brahms in D minor and Dvorák in B♭, however, return to the old fashion of a lengthy exordium.
In pure orchestral music, especially up to Beethoven's time, we speak of the forte passages as 'the tuttis,' from the fact of their being the places where the full orchestra is used in a mass, but in modern music the tendency is to use nearly the whole orchestra everywhere, in soft or loud places, a custom which tends to render the general tone-colour dull and monotonous.
[ F. C. ]
# A Dictionary of Music and Musicians/Tye, Christopher

​TYE, Christopher, Mus. Doc., born in Westminster in the early part of the 16th century, was a chorister and afterwards a gentleman of the Chapel Royal. He graduated as Mus. Bac. at Cambridge in 1536. From 1541 to 1562 he was organist of Ely Cathedral. In 1545 he proceeded Mus. Doc. at Cambridge, and in 1548 was admitted ad eundem at Oxford. He translated the first 14 chapters of the Acts of the Apostles into metre, set them to music, and published them in 1553, with the curious title of 'The Actes of the Apostles, translated into Englyshe metre, and dedicated to the kynges moste excellent maiestye, by Christofer Tye, Doctor in musyke, and one of the gentylmen of hys graces most honourable Chappell, wyth notes to eche Chapter, to synge and also to play upon the Lute, very necessarye for studentes after theyr studye to fyle thyr wyttes, and alsoe for all Christians that cannot synge to reade the good and Godlye storyes of the lives of Christ hys Apostles.' Tye's verses are of the Sternhold and Hopkins order: his music for them most excellent. Hawkins printed the music for the beginning of the 14th chapter (a masterly canon), in his History, chap. xxv. the first stanza of which is a fair sample of Tye's versification:—
It chanced in Inconium As they oft times dyd use, Together they into dyd cum The Sinagoge of Jues.
Some of the music of the Acts of the Apostles has been adapted by Oliphant and others to passages from the Psalms. Three anthems by Tye were printed in Barnard's Church Music, one of which was also printed in Boyce's Cathedral Music; another anthem was printed in Page's Harmonia Sacra, and his Evening Service in G minor in Rimbault's Cathedral Music. An anthem is in the Tudway collection (Harl. MS. 7341), and motets and anthems by him exist in MS. in the Music School and at Christ Church, Oxford. The Gloria of his mass 'Euge bone' is printed by Burney (Hist. ii. 589) and reprinted in Hullah's 'Vocal Scores.' It was sung by Hullah's Upper Schools at St. Martin's Hall, and proved both melodious and interesting. Tye taught Edward VI. music. He died about 1580. He was introduced as one of the characters of Samuel Rowley's play, 'When you see me you know me, or, The Famous Chronicle Historie of King Henry VIII. with the Birth and Virtuous Life of Edward, Prince of Wales,' 1605. In this play occurs the following curious anticipation of a phrase well known in reference to Farinelli:—
England one God, one truth, one doctor hath For Musicke's art, and that is Doctor Tye, Admired for skill in musicke's harmony.
[ W. H. H. ]
Appendix:
[ W. B. S. ]
# A Dictionary of Music and Musicians/Tyndall, John

[ G. ]
# A Dictionary of Music and Musicians/Täglichsbeck, Thomas

​TÄGLICHSBECK, Thomas, born of a musical family at Ansbach, in Bavaria, Dec. 31, 1799, studied at Munich under Rovelli and Gratz, and by degrees became known. Lindpaintner in 1820 gave him his first opportunity by appointing him his deputy in the direction of the Munich theatre, and about this time he produced his first opera, 'Weber's Bild.' After this he forsook Munich and wandered over Germany, Holland, and Denmark, as a violinist, in which he acquired great reputation. He then settled in Paris, and on Jan. 24, 1836, a symphony of his (op. 10) was admitted to the unwonted honour of performance at the Conservatoire. It must have had at least the merit of clearness and effect, or it would not have been followed by a second performance on April 2, 1837—a rare honour for any German composer but a first-rate one.
[ G. ]
# A Dictionary of Music and Musicians/Bagge, Selmar

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Bagnolesi, Anna

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Baker, George

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Balbi, Luigi

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Bai, Tommaso

From volume 1 of the work.
[ E. H. P. ]
# A Dictionary of Music and Musicians/Baildon, Joseph

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Baldassarri, Bendetto

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Joan of Arc

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Joanna Maria

From volume 2 of the work.
​JOANNA MARIA. [See Gallia.]
# A Dictionary of Music and Musicians/John the Baptist

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Jeux d'Anches

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Jew's-Harp

From volume 2 of the work.
​JEW'S-HARP, possibly a corruption of Jaw's-harp. In French it is called Guimbarde, and in German Maul-trommel, Mund-harmonica, or Brummeisen (i.e. buzzing-iron). In the Highlands, where it is much used, it is called Tromp. This simple instrument consists of an elastic steel tongue, rivetted at one end to a frame of brass or iron, similar in form to certain pocket corkscrews, of which the screw turns up on a hinge. The free end of the tongue is bent outwards, at a right angle, so as to allow the finger to strike it when the instrument is placed to the mouth, and firmly supported by the pressure of the frame against the teeth.
A column of air may vibrate by reciprocation with a body whose vibrations are isochronous with its own, or when the number of its vibrations are any multiple of those of the original sounding body. On this law depends the explanation of the production of sounds by the jew's-harp. The vibration of the tongue itself corresponds with a very low sound; but the cavity of the mouth is capable of various alterations; and when the number of vibrations of the contained volume of air is any multiple of the original vibrations of the tongue, a sound is produced corresponding to the modification of the oral cavity. Thus, if the primitive sound of the tongue is C, the series of reciprocated sounds would be C, E, G, B♭, C, D, E, F, G, etc., and by using two or more instruments in different keys, a complete scale may be obtained, and extremely original and beautiful effects produced.
The elucidation of this subject is due to the ingenious researches of Professor Wheatstone, which may be found in the 'Quarterly Journal of Science, Literature, and Art,' for the year 1828, 1st part, of which the above is a condensed account.
A soldier of Frederick the Great of Prussia, so charmed the king by his performance on two jew's-harps that he gave him his discharge, together with a present of money, and he subsequently amassed a fortune by playing at concerts.
[ V. de P. ]
# A Dictionary of Music and Musicians/Jewitt, Randolph

​JEWITT, Randolph. See vol. iv. p. 170b, note 4.
# A Dictionary of Music and Musicians/Joconde

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Jeune, Le

​JEUNE, LE. See Le Jeune, vol. ii. 118.
# A Dictionary of Music and Musicians/Jeune Henri, Le

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Forlana

From volume 1 of the work.
​FORLANA. An Italian dance, a favourite with the Venetian gondoliers. It is in 6-8 or 6-4 time, but possesses no special characteristics. An example of this dance may be found in J. S. Bach's suite for orchestra in C major. The following quotation of the opening bars of a forlana of the 17th century is from F. L. Schubert's 'Die Tanzmusik.'
[ E. P. ]
# A Dictionary of Music and Musicians/Forster, William

From volume 1 of the work.
[ W. H. H. ]
[ E. J. P. ]
# A Dictionary of Music and Musicians/Forte

From volume 1 of the work.
​FORTE, loud: an Italian word, usually abbreviated into f. A lesser degree of loudness is expressed by mf—mezzoforte; a greater one by più f and ff, and the greatest of all by fff—fortissimo, as in Beethoven's 7th Symphony (Finale), 8th ditto (ist movement), Overture, op. 115 (at end), Leonore, No. 2 (8vo score, pp. 40, 76), or at the grand climax near the close of the Finale of Schubert's Symphony in C, at the end of the extraordinary long crescendo. ffff has been occasionally used by later composers, as in the Overture to 'Charlotte Corday,' by Benoit.
Fortepiano—afterwards changed to Pianoforte— was the natural Italian name for the new instrument which could give both loud and soft sounds, instead of loud only, as was the case with the harpsichord.
[ G. ]
# A Dictionary of Music and Musicians/Forkel, Johann

From volume 1 of the work.
​FORKEL, Johann Nicolaus, a meritorious though over-rated writer on the history and theory of music, son of a shoemaker, born Feb. 22, 1749, at Meeder near Coburg; educated himself by the study of Mattheson's 'Vollkommener Capellmeister.' Having a fine voice he was appointed chorister at Lüneburg in 1762, and 4 years later 'Chorpräfect' at Schwerin. In 1769 he entered the university of Göttingen to study law, but soon occupied himself exclusively with music, and became organist of the university church. In 1778 he was appointed director of music to the University and graduated as doctor of philosophy in 1780. On the death of Emmanuel Bach he hoped to have been appointed his successor at Hamburg, but Schwenke obtained the post, and Forkel remained at Göttingen till his death, March 17, 1818. He is best known as a musical critic and historian. His first work, 'Ueber die Theorie der Musik, etc.' (Cramer, Gottingen, 1774), a pamphlet urging the foundation of lectures on music at Göttingen, was followed by many others, especially 'Musikalisch-kritische Bibliothek,' 3 vols. (Gotha, 1774), containing violent attacks on Gluck's 'Iphigenie in Aulide'; the 'Mus. Almanach für Deutschland' for 1782, 3, 4, and 9, containing particulars (not always trustworthy) as to novelties in music; his 'Allgemeine Geschichte der Musik,' 2 vols. (Leipzig 1788 and 1801), founded on Hawkins, Burney, and Marpurg, now superseded, but interesting as a literary curiosity; 'Geschichte der Italienischen Oper,' 2 vols. (Leipzig 1789), a translation of Arteaga's book; and ' Allgemeine Literatur der Musik' (Leipzig 1792), his most important work. This book, which shows the amount of his knowledge and reading, is the foundation of Becker's 'Systematisch-chronologische Darstellung der musikalischen Literatur.' Forkel was the first to attempt a biography of Bach (Ueber J. S. B.'s Leben, Kunst, und Kunstwerke. Leipzig, 1802), translated into English under the title 'Life of J. S. Bach, with a critical review of his compositions' (London 1820). As he knew little of Bach's great sacred vocal works, he treats him mainly from the point of view of the organ and clavier, but the book will always remain as the foundation of all subsequent Lives of the great musician.
[ F. G. ]
# A Dictionary of Music and Musicians/Forster and Andrews

From volume 1 of the work.
[ V. de P. ]
# A Dictionary of Music and Musicians/Fornasari, Luciano

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Forsyth Brothers

[ A. J. H. ]
# A Dictionary of Music and Musicians/Ford, Thomas

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Formes, Karl

From volume 1 of the work.
​FORMES, Karl, bass singer, son of the sexton at Mühlheim on the Rhine, born Aug. 7, 1810. What musical instruction he had he seems to have obtained in the church choir; but he first attracted attention at the concerts for the benefit of the cathedral fund at Cologne in 1841. So obvious was his talent that he was urged to go on the stage, and made his début at Cologne as Sarastro in the Zauberflöte, Jan. 6, 42, with the most marked success, ending in an engagement for three years. His next appearance was at Vienna. In 1849 he came to London, and sang first at Drury Lane in a German company as Sarastro on May 30. He made his appearance on the Italian stage at Covent Garden, March 16, 1850, as Caspar in 'Il Franco Arciero' (Der Freischütz). At the Philharmonic he sang first on the following Monday, March 18. From that time for some years he was a regular visitor to London, and filled the parts of Bertram, Marcel, Rocco, Leporello, Beltramo, etc. In 1857 he went to America, since which he has led a wandering life here and there. [App. p.637 "he visited England again in 1888, appearing at Mr Manns's benefit concert, April 21. (Died Dec. 1889)"]
For volume, compass, and quality, his voice was one of the most magnificent ever heard. He had a handsome presence and excellent dispositions for the stage, and with self-restraint and industry might have taken an almost unique position.
[ G. ]
# A Dictionary of Music and Musicians/Mercator, Michael

​MERCATOR, Michael. See vol. iv. p. 304 note.
# A Dictionary of Music and Musicians/Mereaux, Jean

​MEREAUX, Jean Nicolas le Froid de, born in Paris 1745, was organist of the Church of St. Jacques du Haut Pas. His oratorios 'Samson' and 'Esther' were given at the Concert Spirituel in 1774 and 1775 respectively. These, and an Ode on the birth of the Dauphin, performed at the same concerts in Dec. 1781, are his only works of importance besides his operas, of which the following complete list is given in the supplement to Fétis:—'La Ressource comique,' 1772; 'Le Retour de Tendresse,' 1774; 'Le Duel comique' (partly arranged from Paisiello), 1776; 'Laurette,' 1777; 'Alexandre aux Indes,' 1783; Oedipe et Jocaste, 1791; 'Fabids,' 1793. He died in Paris in 1797. His grandson,
[ M. ]
# A Dictionary of Music and Musicians/Mercure de France

From volume 2 of the work.
​MERCURE DE FRANCE. This title embraces a series of periodical publications difficult to verify completely, but of so much interest to the history of the arts, that we will endeavour with the aid of the catalogue of the Bibliothèque nationale, to give a list of them. The first newspaper published in France was called the 'Mercure Français.' Originally started in 1605, it was continued in 1635 by Théophraste Renaudot, a physician and founder of the 'Gazette de France' (1631); it dropped in 1644, but was revived in 1672 as the 'Mercure Galant,' by a prolific but mediocre writer named Donneau de Vizé. After the first 6 volumes (1672 to 74) it ceased for two years, but in 1677 was resumed by de Vizé, and published in 10 volumes with the title 'Nouveau Mercure Galant.' It first became of real importance in 1678, when it was issued in monthly volumes 12mo at 3 francs, with a kind of quarterly supplement, called from 1678 to 85 'Extraordinaires du Mercure,' and from 1688 to 92 'Affaires du Temps.' From May 1714 to Oct. 1716, 33 volumes of the 'Nouveau Mercure Galant' came out, including three of 'Relations.' The 54 volumes from 1717 to May 1721 are called 'Le Nouveau Mercure,' and the 36 volumes from June 1721 to December 1723, simply 'Le Mercure.' In 1724 the monthly review founded by de Vizé became 'Le Mercure de France, dedié au Roi,' and 977 volumes appeared with this celebrated title. On Dec. 17, 1791, it resumed its original title of 'Le Mercure Français,' and 51 volumes came out between that date and the year VII of the Republic, but ​with many changes in the manner of publication. On the 15th of Dec. 1792 the form was changed to 8vo and it was issued daily up to March 25, 1793, then weekly up to the 30th Pluviose of the year VII (Feb 19, 1799). The 84 volumes (eight 12mo and twelve 8vo) from the year VII to 1820 are again called the 'Mercure de France.' To this collection of 1772 volumes may be added 'Le Mercure au XIX siècle' 1823 to 27 (18 volumes); 'Le Mercure de France au XIX siècle' 1827 to 32 (18 volumes numbered 19 to 36); 'Le Mercure' 1832 (one volume numbered 37); and finally 'Le Mercure de France' Nov. 1851 to Feb. 1853, consisting of one folio and two quarto volumes.
[ G. C. ]
# A Dictionary of Music and Musicians/Merk, Joseph

From volume 2 of the work.
​MERK, Joseph, a distinguished Austrian violoncellist, born at Vienna in 1795 [App. p.717 "Jan. 18"]. His first musical studies were directed to singing, the guitar, and especially to the violin, which last instrument he was obliged to abandon (according to Fétis) in consequence of an accident to his arm. He then took to the cello, and under the tuition of an excellent master, named Schindlöckers, speedily acquired great facility on the instrument. After a few years of desultory engagements he settled at Vienna as principal cellist at the Opera (1818), professor at the newly ​founded Conservatorium (1823), and Kammervirtues to the Emperor (1834). He died at Vienna in June 1852 [App. p.717 "June 16"]. He was much associated with Mayseder, and was often called the Mayseder of the violoncello.
[ T. P. H. ]
# A Dictionary of Music and Musicians/Mercadante, Saverio

From volume 2 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Meric, Madame de

From volume 2 of the work.
​MERIC, Madame de, an accomplished singer, who appeared in London in 1832, and was very successful in an unsuccessful season. She was the first singer of a moderate company, and though not a great, was far from an unpleasing, performer. She was a clever actress, with a good voice and considerable versatility of talent, rendering her very useful, as she sang in serious or comic operas, first parts or second, and in any language. While in this country, she performed in Italian, German, French, and English, and could have done so equally well in Spanish, had it been required.
[ J. M. ]
# A Dictionary of Music and Musicians/Merklin, Schutze, & Co.

​MERKLIN, SCHUTZE, & CO. See Daublaine et Callinet, vol. i. p. 431.
# A Dictionary of Music and Musicians/Mercy, Louis

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Merighi, Antonia

From volume 2 of the work.
​MERIGHI, Antonia, a fine operatic contralto profondo, who was first engaged for the London stage by Handel, as announced in the 'Daily Courant' of July 2, 1729. The first part she undertook was that of Matilda in 'Lotario' (Handel), Dec. 2, 1729, in which she created a favourable impression; but her songs, when printed in the published opera, were transposed into much higher keys. This opera was followed by a revival of 'Tolomeo,' in which she sang soprano music transposed for her, and next by 'Partenope,' in which Merighi appeared as Rosmira with equal success in 1730 and 31. In the latter year she sang the part of Armida in the revival of 'Rinaldo.'
After the close of that season however her name was not found again in the bills, until 1736. The 'Daily Post' of November 18 in that year informs us that 'Signora Merighi, Signora Chimenti, and the Francesina, had the honour to sing before her Majesty, the duke, and princesses, at Kensington, on Monday night last, and met with a most gracious reception.'
[ J. M. ]
# A Dictionary of Music and Musicians/Merkel, Gustav

From volume 2 of the work.
[ H. S. O. ]
# A Naval Biographical Dictionary/Bayly, Charlton Booth

Layout 4
​BAYLY. (Lieut., 1814. f-p., 9; h-p., 32.)
Charlton Booth Bayly entered the Navy, in June, 1806, as Fst.-cl. Vol., on board the Superb 74, Capt., afterwards Rear-Admiral, Rich. Goodwin Keats; under whom (with the exception of a brief attachment, in 1809-10, to the Puissant and Poictiers 74’s, Capts. Robt. Hall and John Poo Beresford) he continued to serve, in the same ship, and in the Milford 74, and Hibernia 110, until 1813; during which period he co-operated in the attack upon Copenhagen in 1807, and assisted at the subsequent defence of Cadiz. Joining next the Caledonia 120, flag-ship of Sir Edw. Pellew, he took part in an encounter with the French fleet off Toulon, 5 Feb. 1814; shortly after which event he joined the Union 98, Capt. Robt. Rolles, and served as Acting-Lieutenant at the reduction of Genoa. His official promotion taking place 17 June following, he was next appointed, 13 March, 1815, to the Penelope 36, Capt. Jas. Galloway, on accompanying whom to North America he was wrecked in the Gulf of St. Lawrence on 30 April in the same year. Mr. Bayly on that occasion experienced such intense suffering from the cold and the hardships he endured, as never yet to have recovered his health. He has not been able to procure further employment.
He is married, and has issue.