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# A Compendium of Irish Biography/Brabazon, Sir William

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​Brabazon, Sir William, was during some eighteen years Vice-Treasurer and Receiver-General in Ireland. "In 1536, with Lord-Chancellor Trimleston, he prevented the ravages of O'Conor in Carbery, by burning many villages in his country of Offaly, and carrying away great preys." In 1543 he acted as commissioner for receiving surrender of the abbeys closed by Henry VIII., and as receiver of the official seals when Henry altered his title from "Lord" to "King" of Ireland. Three years afterwards he was made Lord-Justice, pursued the O'Mores and O'Conors into Kildare, and built a fort on the spot where Philipstown was afterwards founded. It was at his suggestion Athlone Castle was repaired and occupied. In 1549, he compelled the surrender of Charles MacArt Kavenagh, and caused him to renounce the name of MacMurrough. He died 9th July 1552, at Carrickfergus, and was buried in St. Catherine's Church, Dublin. The Earls of Meath are descended from him.
# A Compendium of Irish Biography/Brady, Field-Marshal

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​Brady, Field-Marshal, was born in the County of Cavan, the middle of the 18th century. The son of a farmer, he gave promise of ability, and was sent to Vienna to study for the priesthood. One day the Empress Maria Theresa passed the students in review, and observing the bearing of young Brady, remarked to Colonel Browne, an Irishman: "What a pity it is so fine a young fellow should not be in the army—what was he saying just now?" "Your Majesty," replied Browne, "he said that you were a beautiful lady, and he only wished he had the honour to serve your Majesty." He was taken into the army and rose rapidly, and as Field-Marshal and Baron distinguished himself in the defence of his adopted country against Napoleon. He married an offshoot of the Imperial family, and died, without issue, at Vienna in 1826.
# A Compendium of Irish Biography/Brady, Nicholas

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​Brady, Nicholas, Rev., was born at Bandon, 28th October 1659. His father was a royalist officer. When twelve years old he was sent to Westminster School; he subsequently graduated in Trinity College (M.A. in 1686), and obtained a prebend in the cathedral at Cork. At the time of the Revolution he made himself conspicuous as ​an adherent of William III. Being sent by his fellow-townsmen of Bandon on a mission to London, he settled in England, and was appointed chaplain to the Duke of Ormond, and afterwards to the King and Queen. Although in receipt of £600 a year, he found it necessary to set up a school at Richmond to enable him to meet his engagements. He died 20th May 1726, aged 66. He is remembered as the joint author, with Tate, of a version of the Psalms, which took the place of that of Sternhold and Hopkins, and was for a long period used by the Church of England. This work was first published in 1695. Dr. Beattie says: "Tate and Brady are too quaint, and where the Psalmist rises to sublimity … are apt to sink into bombast; yet Tate and Brady have many good passages, especially in those psalms that contain simple enunciations of moral truth." A play by him, entitled The Rape, acted in London in 1692, with fair success, was of a character that would not now be tolerated on the stage.$^{(45)}$
* ↑ Authors, Dictionary of British and American: S. Austin Allibone. 3 vols. Philadelphia, 1869–'71.
* ↑ Biographical Dictionary: Rev. Hugh J. Rose. 12 vols. London, 1850.
* ↑ Dublin University Magazine. Dublin, 1833–'77.
* ↑ Graduates of the University of Dublin, to 6th December 1868: Rev. James H. Todd, D.D. Dublin, 1869.
# A Compendium of Irish Biography/Brendan, Saint

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​Brendan, Saint, was born in Kerry about 484, received his early education from Bishop Ere, and then studied at Tuam and Clonard. To atone for the death of a person who had been drowned at sea — to which catastrophe Brendan feared he had involuntarily contributed — he is said to have gone, by the advice of St. Ita, to Brittany, where he formed a monastery or school. He is chiefly famous for his mythical voyage to Hy Brasail. After gathering information all along our western coast concerning the visionary western land, he set sail from Mount Brandon, and after a long voyage, his vessel, impelled by a miraculous current, reached a shore where he and his companions found a charming climate and lovely birds. They walked into the interior for fifteen days, but when about to cross a great river, were warned back by an angel, who said that they had gone far enough, and that it was reserved for other men and other times to christianize the land. Lanigan says: "Although the narrative of these voyages abound with fables, yet it may be admitted that Brendan sailed, in company with some other persons, towards the west, in search of some island or country, ​the existence of which he had heard of." Not long after his return to Ireland, he founded the monastery of Clonfert, where he presided over a large community of monks, who maintained themselves by the labour of their hands. At a late period of his life, he visited Columcille at Iona; and some years prior to his death retired from Clonfert to Inchiquin in Lough Corrib. He died at his sister's monastery of Annadown in 577, aged 93, and was interred at Clonfert. His festival is the 16th of May.
* ↑ Ecclesiastical History of Ireland: Rev. John Lanigan. 4 vols. Dublin, 1822.
* ↑ Ireland, History of, from the earliest period to the English Invasion: Rev. Geoffrey Keating: Translated from the Irish, and Noted by John O'Mahony. New York, 1857.
# A Compendium of Irish Biography/Boyle, John, Earl of Cork and Orrery

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​Boyle, John, Earl of Cork and Orrery, grandson of Lord Broghill, born 2nd February 1706-7, is chiefly remembered for his Remarks on Swift. He was educated at Westminster, and Christ Church, Oxford. His marriage in 1728 gave offence to his father, who, when he died in 1731, left a large proportion of his property away from him. He was the author of Imitations of Horace, and many other works. He was much censured for his remarks about Swift "as it exposed to the world matters which it was thought he should, as Swift's friend, have confined to his own bosom. Warburton, in his letters to Bishop Hurd, takes the Earl to task in his usual coarse style, calling them 'detestable letters.' Dr. Johnson justified his lordship: 'My friend, the late Earl of Cork, had a great desire to maintain the literary character of his family; he was a genteel man, but did not keep up the dignity of his rank. He was so generally civil that nobody thanked him for it … His conversation was like his writings, neat and elegant, but without strength. He grasped at more than his abilities could reach; tried to pass for a better talker, a better writer, and a better thinker than he was.' He died 16th November 1762, aged 55, and was buried at Frome. A large part of his life was spent in Ireland. His father, Charles, Earl of Orrery (born 1676, died 1731), in whose honour the instrument called the "Orrery" was named, spent six months in the Tower (1722-'3) on suspicion of high treason.
* ↑ Authors, Dictionary of British and American: S. Austin Allibone. 3 vols. Philadelphia, 1869–'71.
* ↑ Biographical Dictionary: Alexander Chalmers. 32 vols. London, 1812–'17.
* ↑ Boyle, Memoirs of the Illustrious Family of. Dublin, 1755.
# A Dictionary of Music and Musicians/Portense

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Portman, Richard

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Portogallo

From volume 3 of the work.
​PORTOGALLO. The sobriquet of a Portuguese musician named Simao [App. p.751 "add Christian name Marcantonio"], who, residing in Italy, was known as Il Portogallo—'the Portuguese.' He was born at Lisbon in 1763 [App. p.751 "March 24, 1762"] learned singing from Borselli of the Opera, and counterpoint from Orso, maître de chapelle in the Cathedral. At 20 years of age he followed Borselli to Madrid, and became accompanyist at the opera there. The Portuguese ambassador sent him to Italy in 1787, and he began his career with 'L'Eroe Cineso' (Turin, 1788) and 'La Bachetta portentosa' (Genoa, 1788). After composing other operas and gaining a reputation, he paid a visit to Lisbon in 1790, and was made chapel-master to the king. He returned to Italy and composed opera after opera with great success at Parma, Rome, Venice, and Milan. Fétis quotes 'Fernando in Messico,' written for our Mrs. Billington (Rome, 1797) as his chef-d'œuvre. His duties called him occasionally to Lisbon, but Italy was the country of his choice. In 1807, however, the royal family were driven to Brazil by the French invasion. Portogallo accompanied them, and remained at Rio Janeiro till 1815. He then returned to Italy and resumed his position at Milan with 'Adriano in Siria.' On the return of the king he again went to Lisbon, and died there at the end of 1829 or beginning of 1830 [App. p.751 "Feb 7, 1830"]. Fétis gives a list of 26 of his operas.
[ G. ]
# A Dictionary of Music and Musicians/Positive Organ

From volume 3 of the work.
[ J. S. ]
# A Dictionary of Music and Musicians/Portmann, Johann Gottlieb

From volume 3 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Postans, Miss

From volume 3 of the work.
​POSTANS, Miss. See Shaw, Mrs. Alfred.
# A Dictionary of Music and Musicians/Porter, Samuel

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Porter, Walter

From volume 3 of the work.
​PORTER, Walter, son of Henry Porter, Mus. Bac. Oxon. 1600, was on Jan. 5, 1616, sworn gentleman of the Chapel Royal without pay, 'for the next place that should fall void by the death of any tenor'; a contingency which happened on Jan. 27, 1717, in the person of Peter Wright, and Porter was sworn in his place on Feb. 1. In 1632 he published 'Madrigales and Ayres of two, three, foure and five voyces, with the continued bass, with Toccatos, Sinfonias and Rittornelles to them after the manner of Consort Musique. To be performed with the Harpsechord, Lutes, Theorbos, Basse-Violl, two Violins or two Viols.' Both Hawkins and Burney mention a collection bearing the title of 'Airs and Madrigals for two, three, four and five voices, with a thorough bass for the organ or Theorbo Lute, the Italian way,' dated 1639, which may probably have been a second edition of the same work. In 1639 Porter was appointed Master of the Choristers of Westminster Abbey. After losing both his places on the suppression of choral service in 1644 he found a patron in Sir Edward Spencer. In 1657 he published 'Mottets of Two Voyces for Treble or Tenor and Bass with the Continued Bass or Score. To be performed to an Organ, Harpsycon, Lute, or Bass-Viol.'
[ W. H. H. ]
# A Dictionary of Music and Musicians/Posaune

From volume 3 of the work.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Szymanowska, Marie

​SZYMANOWSKA, Marie, a distinguished pianist of her day, who would, however, hardly have been remembered but for Goethe's infatuation for her. She was born about 1790, of Polish parents named Wolowski, and was a pupil of John Field's at Moscow. She travelled much in Germany, France, and England, and died at St. Petersburg of cholera in Aug. 1831. One of her daughters married the famous Polish poet Mickiewicz, whom she had introduced to Goethe in July 1829. Goethe knew her as early as 1821, and even then overpraised her, setting her above Hummel; 'but those who do so,' says Felix Mendelssohn, who was then at Weimar, 'think more of her pretty face than her not pretty playing.' Goethe renewed the acquaintance in Aug. 1823, at Eger, where she and Anna Milder were both staying, calls her 'an incredible player,' and expresses his excitement at hearing music after an interval of over two years in a remarkable letter to Zelter of Aug. 24, 1823, again comparing her with Hummel, to the latter's disadvantage. Mme. Szymanowska appears to have helped to inspire the 'Trilogie der Leidenschaft,' and the third of its three poems, called 'Aussöhnung,' is a direct allusion to her. In 1824 she was in Berlin. 'She is furiously in love (rasend verliebt) with you,' says Zelter to the poet, 'and has given me a hundred kisses on my mouth for you.'
[ G. ]
# A Dictionary of Music and Musicians/Söderman, Johan

​SÖDERMAN, Johan August, one of the greatest Swedish composers of modern times, was born in Stockholm, July 17, 1832—his father being director of the orchestra at a minor theatre—and at an early age displayed traces of musical genius. When 18 years of age he was selected by Stjernstrom, the director of the orchestra at the Royal theatre in Stockholm, as instructor to a company of musicians, then on a tour to Finland. On his return Söderman wrote his first operetta, with the fantastic title, 'The Devil's first rudiments of Learning,' which was performed at the Mindre theatre at Stockholm, Sept. 14, 1856. During the following two years he stayed in Leipzig, studying under Richter and Hauptmann; in the year 1860 he was appointed chorus-master at the Royal Opera in Stockholm; and from that date until his election as a member of the Swedish Academy of Music, his life was occupied in such minor offices in the musical world as are too often the lot of great composers when cast in a small community. But however poor the offices he held, Söderman filled them with a sincerity and zeal which many a man of inferior talents might have envied.
His works are about 60 in number—operettas, songs, ballads, part-songs, funeral marches and cantatas; of which, however, only half have been printed, and these at the expense of the Swedish government after his death. Of the printed works we can only mention a few, besides the abovementioned, namely 2 operettas, 'The wedding at Ulfåsa,' and 'Reginavon Emmeritz'; overture to 'The Maid of Orleans'; songs; 'Trios for male voices,' containing the Finnish national air 'Suomi sång'; a Circassian dance, and a concert-overture, also 'Sacred songs for organ,' containing a number of hymns of great beauty and purity, of which the best known are a Benedictus and an Agnus Dei. Though a protestant, his chef-d'œuvre is a Mass for solos, chorus and orchestra, which has only been twice performed in Stockholm, but is considered by his countrymen as equal to any by the great composers, and which is animated by such sincere devotion, and stamped by such a high degree of originality and masterly finish, as to rank among the choicest gems of Swedish music.
Another of his works worth mention is his music to the poetry of Bellman. This poet, whose genius is akin to that of Marlowe, has written a number of rhapsodies, depicting the gay, jovial, and careless nature of the Swede, with a force of animal spirit and genuine originality which few other poets have equalled; and to these productions, which every Swede knows by heart, Söderman set music.
[ C. S. ]
# A Dictionary of Music and Musicians/Symphony Society

[ F. H. J. ]
# A Dictionary of Music and Musicians/Sympson, Christopher

[ W. H. H. ]
# A Dictionary of Music and Musicians/System

[ G. ]
# A Dictionary of Music and Musicians/Syncopation

​SYNCOPATION. The binding of two similar notes so that the accent intended for the second appears to fall upon the first. [See Accent.] In the Coda of the great 'Leonora' Overture ('No. 3') Beethoven has a passage given out syncopated on the wind and naturally on the strings, then vice versa.
It was not however always sufficient for Beethoven's requirements, as may be seen from a well-known place in the Scherzo of the Eroica, where he first gives a passage in syncopation—
and then repeats it in common time, which in this instance may be taken as an extreme form of syncopation.
Schumann was fonder of syncopation than any other composer. His works supply many instances of whole short movements so syncopated throughout that the ear loses its reckoning, and the impression of contra-tempo is lost: e.g. Kinderscenen, No. 10; Faschingsschwank, No. 1, and, most noticeable of all, the opening bar of the 'Manfred' Overture.
Wagner has one or two examples of exceedingly complex syncopation: an accompaniment figure in Act 2 of 'Tristan und Isolde,' which runs thus throughout,
and a somewhat similar figure in Act 1 of 'Götterdämmerung' (the scene known as 'Hagen's watch'), where the quavers of a 12-8 bar are so tied as to convey the impression of 6-4. The prelude to Act 2 of the same work presents a still more curious specimen, no two bars having at all the same accent.
[ F. C. ]
# A Dictionary of Music and Musicians/Syren

​SYREN. [See Siren, vol. iii. p. 517.]
# A Dictionary of Music and Musicians/Süssmayer, Franz

​SÜSSMAYER, Franz Xaver, composer and Capellmeister, born 1766 at Steyer in Upper Austria, and educated at the monastery of Kremsmünster, where he attempted composition in several branches. At Vienna he had instruction from Salieri and Mozart. With the latter he formed the closest attachment, becoming, to use Seyfried's expression, 'the inseparable companion of the immortal Amphion.' Jahn details the work he did for the 'Clemenza di Tito' on its production at Prague, whither he accompanied Mozart. Süssmayer was at his bed-side the evening before Mozart's death, while the latter tried to give him the necessary instructions for completing his Requiem, a task for which he was peculiarly fitted by his knack of imitating Mozart's handwriting. Jahn has stated in detail (ii. 172) how much of that work is in all probability Süssmayer's. [See vol. ii. p. 402a.]
​As a composer Süssmayers name (as 'pupil of Salieri and Mozart') first appears at Schikaneder's Theatre, where his opera, 'Moses,' was brought out May 4, 1792, revived in 1796, and again in concert-form in 1800. This was followed by 'L'Incanto superato,' a 'musico-romantic fable' (Burgtheater, 1793), and by 'Der Spiegel von Arkadien' (Schikaneder's Theatre, 1794), libretto by Schikaneder, which became a favourite, and was eulogised by the 'Wiener Zeitung.' He became in 1794 composer, and in 1795 Capellmeister, to the Kärnthnerthor Court Theatre, where he produced successively 'Die edle Rache' (1795), 'Die Freiwilligen' (1796), 'Der Wildfang' (1797) 'Der Marktschreier' and 'Soliman der Zweite' (1799), 'Gulnare' (1800), and 'Phasma' (1801). His patriotic cantata, 'Der Retter in Gefahr,' was performed at an entertainment to the Vienna volunteers in the large Redoutensaal at a time of threatened war (1796), and several times repeated in the same building, and by the Tonkünstler Societat. Süssmayer also composed two operas for Prague. Several of the above works were printed, some only in part, while others—masses, and smaller church-works, instrumental pieces, etc.—exist only in MS. Though wanting in depth and originality his works are melodious, and have a certain popular character peculiar to himself. He might perhaps have risen to a higher flight had he not been overtaken by death after a long illness, Sept. 17, 1803. Prince Esterhazy bought his entire MSS. from his widow.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Orgue Expressif

From volume 2 of the work.
[ A. J. H. ]
# A Dictionary of Music and Musicians/Orgenyi, Aglaia

From volume 2 of the work.
[ A. C. ]
* ↑ Athenæum, May 19, 1866.
* ↑ Ibid, June 1, 1866.
# A Dictionary of Music and Musicians/Orpheoreon

From volume 2 of the work.
​ORPHEOREON, ORPHEORON, or ORPHARION. An instrument of the cither kind, with flat back, but with the ribs shaped in more than one incurvation. The varieties of the orpheoreon also differed from the usual cither in the bridge being oblique, rising towards the treble side. According to Prætorius ('Organographia,' Wolfenbüttel, 1619, p. 54) the orpheoreon was tuned like a lute in 'Kammerton' (a). [See Lute.] The strings were of brass or iron, in six or seven pairs, and were played with a plectrum. A larger orpheoreon was called Penorcon, and a still larger one Pandore,—Praetorius spells this Pandorra or Bandoer. According to his authority it was invented in England; to which another adds the name of John Rose, citizen of London, living in Bridewell, and the date of about 1560. It must however have been a rather different orpheoreon. Following Prætorius, the pandore, and we presume its congeners, had no chanterelle or melody string, and could therefore have been used only for accompaniment, like the common cither, sutoribus et sartoribus usitatum instrumentum. He gives cither tunings for several strings, including the common 'four-course' (b) and 'Italian' (c); old tunings (d), (e), often used an octave lower on the lute in France, and the old Italian six-course (f), but no other than the lute tuning above mentioned for the ​orpheoreon family. The player probably tuned as he chose. The forms 'Orpharion' and 'Pandora' occur in a book on the Lute and other instruments, entitled 'The Schoole of Musicke,' by Thomas Robinson, London, 1603. A copy is in the British Museum. There is another instrument which Prætorius describes as being like a pandore in the back; this was the Quinterna, or Chiterna. It differed, however, in other respects, as the ribs, belly, etc., were of simple outline, and the bridge was straight. He says it was tuned like the very earliest lutes (g), and depicts it in his illustrations as not unlike a guitar.
[ A. J. H. ]
# A Dictionary of Music and Musicians/Orpharion

From volume 2 of the work.
​ORPHARION. See Orpheoreon.
# A Dictionary of Music and Musicians/Organophone

[ A. J. H. ]
# A Dictionary of Music and Musicians/Orpheus Britannicus

From volume 2 of the work.
​'ORPHEUS BRITANNICUS; a Collection of all the choicest songs for One, Two, and Three voices, composed by Mr. Henry Purcell; together with such Symphonies for Violins or Flutes as were by him designed for any of them, and a Thorough-bass to each Song, figur'd for the Organ, Harpsichord, or Theorbo Lute,' with portrait; 2 vols. small folio, London 1698–1702. Second edition 1706–1713. [See Purcell.]
# A Dictionary of Music and Musicians/Springing Bow

​SPRINGING BOW (Ital. Saltato or Spicato; Fr. Sautillé). This kind of bowing is produced by the bow being dropped down on to the string from some distance, whereby, owing to the elasticity of the stick, it is set vibrating, and made to rebound after each note.
There are two principal kinds of springing bow.
1. The Spicato—chiefly used for the execution of quick passages formed of notes of equal duration—is produced by a loose movement of the wrist, about the middle of the bow. Well-known instances of it are the finale of Haydn's Quartet in D (op. 64, no. 5)—
the quick passages in the finale of Mendelssohn's Violin-concerto—
or Paganini's Perpetuum mobile. The Spicato is marked by dots over the notes. The so-called Martelé (hammered), indicated by dashes—
—is not really a kind of springing bow, but merely indicates that a passage is to be executed by short strongly accentuated strokes of the bow, which however has not actually to leave the string as in the 'springing bow.'
2. The Saltato, for which the bow is made to fall down from a considerable distance, and therefore rebounds much higher than in the Spicato. This kind of bowing is chiefly used where a number of notes have to be played in one stroke of the springing bow, as in arpeggios (Cadenza of Mendelssohn's Violin-Concerto), or such phrases as the first subject of the Finale of the same work—
which, if played as a firm staccato would sound heavy. Another well-known instance of the saltato is the beginning of the Finale of Paganini's first Concerto.
[ P. D. ]
# A Dictionary of Music and Musicians/Sporle, Nathan

[ W. H. H. ]
# A Dictionary of Music and Musicians/Spring Garden

​SPRING GARDEN. See Vauxhall.
# A Dictionary of Music and Musicians/Sprüche

​SPRÜCHE—proverbs, or sentences—are sung in the Lutheran service of the Berlin Cathedral after the reading of the Epistle:
* On New Year's Day, 'Herr Gott du bist unser Zuflucht.'
* On Good Friday, 'Um unser Sünden willen.'
* On Ascension day, 'Erhaben o Herr.'
* On Christmas day, 'Frohlocket, ihr Volker.' ​
Mendelssohn set these for 8 part-chorus; and in addition 2 more:—
    5. For Passion week, 'Herr gedenke nicht unser Übelthaten.'
    6. For Advent, 'Lasset uns frohlocken.'
[ G. ]