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# 1911 Encyclopædia Britannica/Vol 1:17

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# A Dictionary of Music and Musicians/Puritan's Daughter, The

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Purcell Club, The

From volume 3 of the work.
​PURCELL CLUB, THE, was constituted at a meeting held in August 1836: the first members were Messrs. Turle (conductor), King, Bellamy, Fitzwilliam, J. W. Hobbs, and E. Hawkins (secretary). The club was limited to twenty professional and twenty non-professional members, who met twice a year; on the second Thursday in February, when they dined together, and on the last Thursday in July, when they assembled in Westminster Abbey, at the morning service, by permission of the Dean, for the purpose of assisting in such Purcell music as might be selected for the occasion. On the evening of the same day the members again met to perform secular music composed by Purcell; the soprano parts were sung by the chorister-boys from Westminster Abbey, the Chapel Royal, and St. Paul's Cathedral, but ladies were admitted amongst the audience.
[ W. H. C. ]
# A Dictionary of Music and Musicians/Putzli

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

From volume 3 of the work.
[ E. J. P. ]
# A Dictionary of Music and Musicians/Pyne, Louisa

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Purcell Commemoration, The

From volume 3 of the work.
[ W. H. C. ]
# A Dictionary of Music and Musicians/Purcell Society, The

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Puritani di Scozia, I

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

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

​WOOD, Mrs. [See Paton, Mary Anne, vol. ii. p. 672].
# A Dictionary of Music and Musicians/Wornum

[ A. J. H. ]
# A Dictionary of Music and Musicians/Wixom, Emma

[ A. C. ]
# A Dictionary of Music and Musicians/Wolff, Auguste

[ A. J. ]
# A Dictionary of Music and Musicians/Woodyatt, Emily

[ A. C. ]
# A Dictionary of Music and Musicians/Worgan, James

​WORGAN, James, was organist of St. Botolph, Aldgate, and St. Dunstan in the East. In 1737 he became organist of Vauxhall Gardens, which office he resigned about 1751. He died in 1753.
John Worgan, Mus. Doc., his younger brother, born in 1724, studied music under him and Thomas Roseingrave. He became organist of St. Andrew Undershaft, and of St. John's Chapel, Bedford Row. He graduated as Mus. Bac. at Cambridge in 1748. In 1751 he succeeded his brother as organist at Vauxhall Gardens, and in 1753 also as organist of St. Botolph's, Aldgate. In 1753 he was appointed composer to Vauxhall Gardens, and continued so until 1761. In 1770 he was re-appointed to the office and held it until 1774, when he resigned both it and the organistship of the gardens. In 1775 he proceeded Mus. Doc. He died Aug. 24, 1794. He excelled as an organist, and whenever he played, crowds of professors and amateurs resorted to hear him. In a satirical song upon Joah Bates, composed by Samuel Wesley, he was placed upon an equality, as a player, with Handel:—
Let Handel or Worgan go thresh at the organ.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Wolf, The

​WOLF, THE. I. A term applied to the harsh howling sound of certain chords on keyed instruments, particularly the organ, when tuned by any form of unequal temperament.
The form of unequal temperament most widely adopted was the mean-tone system. The rule of this system is that its fifths are all a quarter of a comma flat. The thirds are perfect, and are divided into two equal whole tones, each of which is a mean between the major and minor tones of the diatonic scale; hence the name Mean-tone system.
The total error of the whole circle of twelve fifths, at quarter of a comma each, amounts to three commas. Since the circle of twelve perfect fifths fails to meet by about one comma, the circle of mean-tone fifths fails to meet by about two commas, or roughly, nearly half a semitone. In the mean-tone system on the ordinary keyboard there is always one fifth out of tune to this extent, usually the fifth G♯–E♭. There are also four false thirds, which are sharp to about the same extent, usually B–E♭, F♯–B♭, C♯–F, and G♯–C. All chords into which any of these five intervals enter are intolerable, and are 'wolves.'
[ R. H. M. B. ]
[ E. J. P. ]
# A Dictionary of Music and Musicians/Goldberg, Joseph

[ G. ]
# A Dictionary of Music and Musicians/Goldschmidt, Otto

From volume 1 of the work.
[ A. D. C. ]
# A Dictionary of Music and Musicians/Godard, Benjamin

[ A. J. ]
# A Dictionary of Music and Musicians/Godfrey

From volume 1 of the work.
​GODFREY. A family of English military band-masters. Charles Godfrey, the founder, was born in 1790 at Kingston, Surrey; in 1813 joined the Coldstreams as a bassoon-player, and soon became band-master, a post which he filled with honour till his death, Dec. 12, 1863, at his house in Vincent Square, Westminster, after 50 years' service. He was appointed Musician in Ordinary to the King in 1831, and was one of the Court of Assistants of the Royal Society of Musicians. The first journal of military music published in this country, under the name of 'Jullien's Journal,' was arranged by Mr. Godfrey. His three sons were educated at the Royal Academy of Music. Daniel, the eldest, was born in 1831, and has been band-master of the Grenadier Guards since 1856. In 1872 he took his band to the United States—the first visit of an English military band since the Independence. He is well known here and abroad by his waltzes for military band—'Guards,' 'Mabel,' 'Hilda,' etc.
[ G. ]
# A Dictionary of Music and Musicians/Goldmark, Karl

From volume 1 of the work.
​GOLDMARK, Karl, born May 18, 1832 [App. p.651 "May 18, 1830"], at Keszthely on the Flatten See, Hungary, of Hebrew parents. Was a pupil of Jansa, the violinist, at Vienna, and in 47 entered the Violin and Harmony classes of the Conservatorium there. His studies however were interrupted by the revolution of 48, and he probably owes more to his own perseverance than to the schools. Since that time he has been chiefly in Vienna, excepting a short residence at Pesth. Hellmesberger acted as a good friend, and gave ​him opportunities of hearing his chamber music performed, and he produced orchestral and choral works at various concerts on his own account. His overture Sacuntala, his grand opera Die Königin von Saba, produced at Vienna March 10, 1875, and more recently his so-called symphony 'Die ländliche Hochzeit' (the country wedding), have been much played, and have given Goldmark a more or less European reputation.
[ G. ]
# A Dictionary of Music and Musicians/Goldwin, John

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

[ A. C. ]
# A Dictionary of Music and Musicians/Goddard, Arabella

From volume 1 of the work.
​GODDARD, Arabella, the most distinguished of English pianoforte-players, of an old Salisbury family, was born at S. Servans, St. Malo, Jan. 12, 1838, at the age of six was placed under Kalkbrenner in Paris, and afterwards had a few lessons from Mrs. Anderson and from Thalberg in England. She made her first appearance in public at the Grand National Concerts at Her Majesty's Theatre, of which Balfe was conductor, on Oct. 23, 1850, where her style and mechanism at once made a great impression. On Thalberg's recommendation, she was placed in the hands of Mr. J. W. Davison, who led her to the study of those great compositions, many of which she played in England for the first time. On April 14, 1853, she made her début, and at once fixed her position as a classical player, at the concert of the Quartet Association, in Beethoven's immense solo sonata in Bb, op. 106, a work which till that moment had probably not been performed in ​public in England, but which she played without book. The winter of 1854 and the whole of 55 were passed by Miss Goddard in Germany and Italy. She carried her classical répertoire with her; played inter alia at the Gewandhaus Concert Oct. 1855; and was received with enthusiasm by some of the best critics of Germany. Returning to this country, she made her first appearance at the Philharmonic on June 9, 1856, in Sterndale Bennett's Concerto in C minor (then in MS.); at the Crystal Palace (in Moscheles' Concerto in E) on March 13, 58, and at the Monday Popular Concerto on March 9, 59.
[ G. ]
# A Dictionary of Music and Musicians/Goetz, Hermann

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

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

​SEXT (Lat. Officium (vel Oratio) ad Horam Sextam; Ad Sextam). The last but one of the 'Lesser Hours' in the Roman Breviary.
The Office begins, as usual, with the Versicle, and Response, 'Deus in adjutorium.' These are followed by a Hymn—Rector potens, verax Deus—which never changes; Verses 81–129 of the Psalm, 'Beati immaculati,' sung in three divisions, but under a single Antiphon; the 'Capitulum' and 'Responsorium breve' for the Season; and the Prayer (or Collect) for the Day.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Sextolet

​SEXTOLET (Fr. Sextolet; Ger. Sextole; Ital. Sestina). A group of six notes of equal length, played in the time of four ordinary notes of the same species. To distinguish them from regular notes of like form the number 6 is placed above or below the group. The true sextolet is formed from a triplet, by dividing each note into two, thus giving six notes, the first of which alone is accented; but there is also a similar group of six notes, far more frequently used than the real sextolet, in which a slight accent is given to the fourth note as well as the first. This group, which really consists of two triplets, is properly known as the Double Triplet, and should be marked with the figure 3 over the second and fifth notes, though it is frequently marked with 6, and called a sextolet. The difference is well shown in the following two extracts from the Largo of Beethoven's Concerto in C, op. 15. [See also Triplet.]
Double Triplets.
Sextolets.
[ F. T. ]
# A Dictionary of Music and Musicians/Sextus

[ W. S. R. ]
# A Dictionary of Music and Musicians/Seven Last Words, The

​SEVEN LAST WORDS, THE—i.e. the seven last sentences or exclamations of Christ:—(1) 'Pater dimitte illis; non enim sciunt quid faciant.' (2) 'Amen dico tibi, hodie mecum eris in paradiso.' (3) 'Mulier ecce filius tuns, et tu ecce mater tua.' (4)'Sitio.' (5) 'Deusmeus, Deus meus,utquiddereliquistime?' (6) 'Consummatum est.' (7) 'Pater in manus tuas cornmendo spiritum meum.'—A composition of Haydn's dating about 1785. It was then the custom in the principal church of Cadiz to have a kind of oratorio during Passion week. The church was hung with black, and a single lamp only was lighted. At noon the doors were shut. An orchestral prelude was played; then the Bishop mounted the pulpit, read one of our Lord's last 'words,' and made an exhortation upon it. He then came down, and threw himself on his knees before the altar. During this there was again orchestral music. He then mounted the pulpit a second time, and pronounced the second 'word,' and a second discourse, and so on till the last. In or about 1785 Haydn received a request from Cadiz to compose orchestral pieces for this purpose, each piece to be an adagio of about 10 minutes long. This he did, substituting however (as the original parts show) for the Bishop's voice a long recitative for a bass in the case of each of the seven 'words.' In this form the work was performed at Vienna, March 26, 1787, and was published in parts by Artaria in the same year—as '7 sonate, con un Introduzione, ed al fine un teremoto'—for orchestra, op. 47; for strings, op. 48; for piano solo, op. 49. It quickly spread to other countries, was sold to Forster of London in the summer of the same year for 5 guineas, Haydn protesting, and endeavouring to obtain another 5, but with doubtful success; and was announced by Longman and Broderip in The Times of Jan. 1, 1788, as 'A set of Quartetts … expressive of the Passion of Our Saviour, op. 48. 8s.' Haydn himself conducted them (whether with the recitatives or not and for full orchestra does not appear) as the middle part of a concert at the King's Theatre, Haymarket, May 30, 1791, and repeated the performance at the benefit of little Clement the violin-player. For the payment for the Paris edition he waited long. At last a package arrived from the publisher containing a chocolate tart. After looking at it for some time in disgust he broke off a piece for his servant, when out ran a number of ducats!
[ G. ]
* ↑ This was done on Good Friday 1882, at St. John's Parish Church, Worcester, England, by the incumbent, the Rev. Walter Carr.
* ↑ Pohl, 'Haydn in London,' p. 92.
* ↑ The Biographie Universelle states categorically that the adaptation was by Michael Haydn.
* ↑ See Pohl's 'Joseph Haydn,' II. 214, 341, etc.
# A Dictionary of Music and Musicians/Severn, Thomas

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

[ G. ]
# A Dictionary of Music and Musicians/Seyfried, Ignaz

​SEYFRIED, Ignaz Xaver, Ritter von, born Aug. 15, 1776, in Vienna, was originally intended for the law, but his talent for music was so decided, that, encouraged by Peter Winter, he determined to become a professional musician. In this, his intimacy with Mozart and subsequent acquaintance with Beethoven were of much use. His teachers were Kozeluch for the PF. and organ, and Haydn for theory. In 1797 he became joint conductor of Schikaneder's theatre with Henneberg, a post he retained in the new Theater an der Wien, from its opening in 1801 till 1826. The first work he produced there was a setting of Schikaneder's comic opera 'Der Löwenbrunnen' (1797), and the second, a grand opera 'Der Wundermann am Rheinfall' (1799), on which Haydn wrote him a very complimentary letter. These were succeeded by innumerable operas great and small, operettas, singspiele, music for melodramas, plays (including some by Schiller and Grillparzer), ballets, and pantomimes. Specially successful were his biblical dramas, 'Saul, König von Israel' (1810), 'Abraham' (1817), 'Die Maccabaër,' and 'Die Israeliten in der Wüste.' The music to 'Ahasverus' (1823) he arranged from piano pieces of Mozart's, and the favourite singspiel 'Die Ochsenmenuette' (1823) (an adaptation of Hofmann's vaudeville 'Le menuet du bœuf) was a similar pasticcio from Haydn's works. His church music, widely known and partly printed, included many masses and requiems, motets, offertoires, graduales, a 'Libera' for men's voices composed for Beethoven's funeral, etc. Seyfried also contributed articles to Schilling's 'Universal Lexikon der Tonkunst,' Schumann's 'Neue Zeitschrift für Musik,' the 'Leipziger Allg. Zeitung,' and 'Cäcilia,' besides editing Albrechtsberger's complete works—the 'Generalbass-Schule,' 'Compositionslehre,' and a Supplement in 3 vols. on playing from score (Haslinger)—and Beethoven's Studies in Counterpoint. Herr Nottebohm's critical investigations have reduced this last work to its proper value. [See vol. i. 209 and ii. 479.]
Seyfried was elected an honorary or a corresponding member of innumerable musical societies, at home and abroad. His pupils included Louis Schlosser, Karl Krebs, Heinrich Ernst, Skiwa, Baron Joseph Pasqualati, Carl Lewy, Heissler, Kessler, J. Fischhof, Sulzer, Carl Haslinger, Parish-Alvars, R. Mulder, S. Kuhe, Walther von Goethe, Baron Hermann Lowenskiold, F. von Suppé, Köhler, and Basadona.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Sfogato

[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Sforzando

[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Guiraud, Ernest

From volume 1 of the work.
[ G. ]
[ A. J. ]
# A Dictionary of Music and Musicians/Gura, Eugen

[ A. C. ]
# A Dictionary of Music and Musicians/Guignon, Jean-Pierre

From volume 1 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Guillaume Tell

From volume 1 of the work.
​GUILLAUME TELL. Rossini's 37th and last opera; in 4 acts, libretto by Bis and Jouy. Produced at the Académie Aug. 3, 1829; in London, in English, as 'Hofer the Tell of the Tyrol,' 'arranged' by Bishop, words by Planché, Drury Lane, May 1, 1830, and as Guillaume Tell at the same house, Dec. 3, 38; in Italian, as Guglielmo Tell at Her Majesty's, July 11, 39. It is usually much curtailed, but in 1856 was performed entire in Paris, and lasted from 7 till 1.
# A Dictionary of Music and Musicians/Gung'l, Joseph

From volume 1 of the work.
​GUNG'L, Joseph, popular composer of dance music, born at Zsàmbèk in Hungary Dec. 1, 1810; son of a stocking-weaver; began life as schoolmaster. He received his first instruction n music from Semann in Buda, and having nelisted in the Austrian army, was first oboist and then bandmaster to the 4th regiment of artillery. His Hungarian March, op. 1, was the first of a long series of marches and dance music. Up to 1843 Gung'l made concert-tours with his regimental band to Munich, Augsburg, Nuremerg, Würzburg, and Frankfurt, performing chiefly his own pieces, but in that year he established a band of his own at Berlin, and his publishers, Bute and Bock, are said to have made large sums by his music. On his return from America in 1849, he was appointed musikdirector to the King of Prussia; and in 1858 Capellmeister to the Emperor of Austria. In he meantime he and his band had visited nearly every capital on the continent. Gung'l has been stationary at Munich since 1864. His works are very numerous. It is stated that down to the end of 1873 he had composed 300 dances and marches, for the most part distinuished by charming melody and marked rhythm. [App. p.819 "date of death, Jan. 31, 1889."]
His daughter Virginia, an opera-singer of merit, made her first appearance at Munich in 1871, and is now engaged at Schwerin.
[ F. G. ]
# A Dictionary of Music and Musicians/Gunn, Barnabas

From volume 1 of the work.
​GUNN, Barnabas, noted for his extempore laying, was organist of St. Philip's, Birmingham, which he quitted in 1730 to succeed Hine as oranist of Gloucester Cathedral. A Te Deum and Jubilate in D of his composition are extant in MS. He published 'Sonatas for the Harpsichord,' and in 1736, at Gloucester, a thin 4to. volume containing 'Two Cantatas and Six Songs,' the music printed on one side of the leaf only, and prefaced by a poetical address 'To all Lovers of Musick,' and a remarkable list of 464 subscribers (including Handel and most of the principal musicians of the day), subscribing for 617 copies. He died in 1743.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Guilmant, Felix

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

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

From volume 1 of the work.
[ W. H. H. ]
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Carmenta

CARMENTA, or NICOSTRATA; an ancient Poetess of Latium; flourished before the Foundation of Rome, in which afterwards divine Honours were paid her.
It is supposed to be from her name that verses were named Carmina by the Latins. She was skilful also in the Greek language—of a quick and lively wit, and conversant in divers kinds of learning.
F. C. &c.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Cantofoli, (Gineura)

CANTOFOLI, (GINEURA) a female Painter of Bologna,
Who learned the art of the celebrated Siranus; and from small paintings passed to greater works, which are seen in many altar-pieces, and other places.
Abec. Pitt.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Cantoni, (Catherine)

CANTONI, (CATHERINE) a noble Milanese; but more distinguished for her Talents in Design, and Embroidery, or Painting on Cloth.
She painted for the Infanta of Austria; their serene highnesses of Brunswick and Tuscany; Philip II. ​king of Spain, and other princes. She brought her art even to taking portraits from the life, flourished about 1590.
Absc. Pitt.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Capillana

CAPILLANA, (a Peruvian Princess), died about the Middle of the sixteenth Century.
Having become a widow very young, she retired from court to a house she had in the country. Scarcely was she established there, when Pizarro appeared upon the coast. Having sent his people to reconnoitre the country, they penetrated to the palace of Capillana, who gave them all the succours they wanted; and expressed a desire to see their general. Pizarro came, and an attachment soon took place between them. He knew all the advantages of such a conquest; and profiting of his ascendancy on the heart of Capillana, persuaded her to embrace the Christian faith; but the young princess was not easily convinced, and he left off the attempt; yet afterwards applying herself to study the Spanish language, she became a convert. On the death of Pizarro, she retired again to her retreat, and sought consolation in the knowledge she had acquired. In the library of the Dominicans of Puna, a manuscript of her composition is preserved, in which is painted, by her hand, ancient Peruvian monuments—each accompanied with a short historical explanation in the Castilian language. There is also a representation of many of their plants, with curious dissertations on their merit and properties.
F.C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Caraffa, (Roberta)

With an early taste for literature, this lady possessed great beauty, modesty, and wisdom. While her husband was engaged in war, she maintained peace and concord in his family, and among his vassals. She acquired great reputation by her eloquence and her learned writings, of which it does not appear that any have reached the present times.
F.C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Caro, (Anne)

CARO, (ANNE) a Spanish Lady, who wrote some ingenious Comedies.