acquired both ancient and modern Greek, and became a good English, French and Italian scholar. He was already a pianist of uncommon talent when he left Athens for the Paris Conservatoire. There he finished his musical education as a pupil of Delibes. It was in Paris that Samara's first compositions for orchestra were executed; there also some of his drawing-room songs were received with success. But that was not sufficient for the new composer; his ambition wanted a larger field, and he went to Milan, where the publisher E. Sonzogno, who had already heard of him in Paris, gave him Flora mirabilis,' a three-act libretto by the renowned poet, Ferdinando Fontana, to set to music. The first performance of his opera took place on May 16, 1886, at the Theatre Carcano of Milan. In a few days the name of the Greek maestro became popular in Italy, so successful was the appearance of his work. While the public applauded with enthusiasm, the critics were unanimous in proclaiming that this opera, without approaching perfection, still showed that its author had studied the great masters with care, that he possessed a certain originality of ideas, and above all, dramatic power.
Many important European towns have confirmed the verdict of Milan, and Samara has triumphed everywhere. Before writing 'Flora mirabilis' he had already composed an opera entitled 'Medjé.' This he has lately revised and completed, and it was brought out at the Costanzi Theatre in Home, Dec. 12, 1888. 'Lionella' is the title of another three-act libretto by Fontana, on which Samara is now at work.
After the splendid dawn of 'Flora mirabilis,' it is not surprising that the musical world should expect great things from its author.
SAN CARLO. P. 223b, l. 9, for first read second.
SANDONI. See Cuzzoni in Appendix.
SANTINI, Fortunato. Line 2, for July read Jan. (on the authority of Riemann and Paloschi).
SANTLEY, Charles. Add that he joined Mr. Carl Rosa's company for the season of 1876, when he sang the 'Flying Dutchman' with the greatest success. On April 5, 1889, he left London for an artistic tour in Australia. His daughter, Miss Edith Santley, before her marriage with the Hon. R. H. Lyttelton in 1884, had a short but exceedingly brilliant career as a concert singer.
SAPHO. Add that the opera was recently remodelled by its composer, extended to four acts, and produced at the Grand Opéra April 2, 1884, with moderate success.
SARABANDE. P. 227b, in the example at top add a dot to each quaver rest; and make the last G♮ quaver in line 1, and the E quaver in line 3, semiquavers.
SARASATE. Add that his full name is Pablo Martin Meliton Sarasate y Navascues. (The right date of birth is that given in the Dictionary.) In 1885 and 1886 he gave sets of orchestral concerts, conducted by Mr. Cusins, in St. James's Hall, and at the Birmingham Festival of 1885 played a violin concerto written for him by Mr. Mackenzie.
SARTORIS, Mrs. Line 2, for 6 read 4.
SATZ. The German term for Movement, which see.
SAVONAROLA. Grand opera in a prologue and three acts; words by Gilbert à Beckett, music by C. Villiers Stanford. Produced at the Stadt-Theater, Hamburg (words translated by Ernst Frank), April 18, 1884, and at Covent Garden (German Opera, under Richter), July 9 of the same year.
SAXOPHONE. Add that R. Wagner gave to instruments of this class the formidable-looking name of 'Raçenkreuzungsklangwerkzeuge,' which may be translated by *tonal hybrids.'
For the second paragraph of the article, substitute the following:—
It is manufactured in different sizes, comprising a complete choir of its class. A. Sax says he made eight varieties; namely, 1. Sopranino in E♭; 2. Soprano in B♭; 3. Alto in E♭; 4. Tenor in B♭; 5. Baritone in E♭; 6. Bass in B♭; 7. Bass in E♭ (an octave lower than the baritone); 8. Contrabass in B♭ (an octave lower than the bass). Of these the first and the two last-named kinds have, however, never come into general use.
It is rather singular that an instrument of considerable artistic capacity, and very effective when manipulated by an artist, should never have been accepted as a means of enlarging the tonal resources of our modern orchestras. Georg Kastner introduced it into the score of his biblical opera, 'Le dernier roi de Juda,' which was performed at the Conservatoire in Paris in Dec. 1844; A. Adam gives an effective solo to the E♭ Alto Saxophone in his opera 'Hamlet,' and we are told that it is also employed by Berlioz in his opera 'Les Troyens.' This last work remaining in MS. it is not easy to get precise information on the point; in none of the published works of Berlioz is the Saxophone to be found. Wagner, the greatest tone-painter of our time, has never given it a place in his scores, and the instrument remains outside the recognized orchestral resources.
The reason for this neglect lies probably in its unsympathetic tone, combining two characteristic tone colours, 'reed' and 'brass,' which are preferable when rendered separately and pure by either the clarinet or a brass instrument.
It has, however, been accepted as a valuable addition to Wind-bands, where its hybrid tone forms a most effective link between reed and brass instruments. When represented by a full choir it materially improves the tone quality, while its capacity for distinct rendering of very rapid passages, combined with its powerful tone, make it a valuable adjunct for obtaining a good balance of instrumentation of wind-bands.
