This popular song, composed to words by a certain Adolphe Blanc, was sung by Chollet at the Théâtre des Nouveautés (Place de la Bourse), where Vogel produced in the followlowing year his first comic opera, 'Le Podestat,' which was moderately successful, and subsequently his grand oratorio, 'Le Jugement dernier,' represented with costumes and scenery. 'La Siège de Leyde,' a grand opera played at the Hague in 1847, 'La Moissonneuse,' another work of large extent, produced at the Lyrique in 1853, an operetta in three acts, 'La Filleule du Roi,' played in Brussels and afterwards in Paris, in 1875, numerous songs which have been popular in their day, several symphonies, quartets and quintets for strings, which gained the Prix Trémont at the Académie des Beaux- Arts, complete the list of this composer's chief works. He has always striven to attain a success equal to that which distinguished the opening of his career, nor does he yet despair of doing so, as he is now working upon a new opera, in spite of his eighty-three years.
TROMBONE. At end of article, omit the words after Symphony in C; as the passage in the 'Manfred' overture of Schumann is for trumpets, not trombones.
TROUBADOUR, THE. Grand opera in four acts; the words by Francis Hueffer, the music by A. C. Mackenzie. Produced by the Carl Rosa Company, at Drury Lane, June 8, 1886.
TRUMPET. Add the following supplementary notice:—
It is well known that the trumpet parts in the works of Bach and Handel are written very high and floridly; so high that they cannot be performed on the modern slide-trumpet.
Prætorius (1618) gives for the trumpet in D, the higher range that should be produced (a), that is to say from the 17th to the 21st proper tones of the instrument. All these notes are beyond the highest limits of the modern trumpet. [See vol. iv. p. 181.] Bach wrote up to the 20th of these partial tones, and in his scores, as well as Handel's (see the Dettingen Te Deum), the parts for the trumpets are divided into Principal, an instrument resembling the modern trumpet, and Clarini, which were probably of smaller bore. The 1st clarino began at the 8th proper tone (b), and ascended to the extreme limit of its compass (c). The 2nd clarino, beginning at the 6th (d) very rarely went beyond the 12th (e).
Each required a special trumpeter, who had probably a particular mouthpiece. The clarini had disappeared before the time of Mozart, who had to change Handel's trumpet parts to suit the performance of the contemporary trumpeters. It was the merit of Herr Kosleck of Berlin to introduce a high trumpet specially to perform Bach's trumpet parts in their integrity in the B minor Mass, which was produced under Joachim's direction at Eisenach on the occasion of the unveiling of the statue of J. S. Bach in September 1884. A performance of the same work, in which Herr Kosleck again took part, was given by the Bach Choir in the Albert Hall, London, March 21, 1885. His trumpet is not bent back but straight, and is corrected by two pistons for the 11th and 13th proper tones, which are naturally out of tune for our Diatonic scale. It is an A trumpet with post-horn bore and bell. Herr Kosleck's trumpet has been since improved by Mr. Walter Morrow, a well-known English trumpeter, who has altered the bore and bell to that of the real trumpet. Mr. Morrow's trumpet, which, like Herr Kosleck's, is straight and has two pistons, measures in length 58½ inches. It is also an A trumpet. With it he can reach the 20th, and at French pitch the 21st proper tone. The sacrifices, involving loss of engagements, to which Mr. Morrow has submitted in order to gain a command of the Bach trumpet, should not be passed over without a recognition of the artistic devotion which has impelled him to adopt and improve Heir Kosleck's invention.
TSCHAIKOWSKY. P. 183b, to list of works add:—
Op. 58. Symphony, 'Nach Byron's Manfred.'
61. 'Mozartiana,' movements from Mozart arranged for orchestra.
62. Pezzo capriccioso for vcello. and orchestra.
Op. 64. Symphony, No. 5.
Operas and Ballets:—
9. Tscharodeika (The Charmer). Nov. 13, 1887.
Works without opus number:—
Die Tochter des Hauptmann.
Add that the composer visited England in 1888 and 1889, and appeared at the Philharmonic Concerts of both seasons.
TUCKERMAN, S. P., Mus.D. Line 2, for Feb. 17 read Feb. 11. Add that he succeeded Dr. Hodges as Organist of Trinity Church, New York.
TUDWAY, T., Mus.D. Line 25 of article, add that the records of Pembroke College, Cambridge, state that Dr. Tudway was 'proved guilty of speaking words highly reflecting upon Her Majesty and her administration.'
TUNSTED, Simon, the reputed author of the treatise 'De Quatuor Principalibus Musice,' though himself born at Norwich, derived his surname from Tunstead in Norfolk, of which place his father was a native. He became one of the Fratres Minores of the Order of St. Francis at Oxford, and it was there that he is said to have taken the degree of Doctor of Theology. He appears to have been well versed in all the seven liberal arts, but, like Walter Odington, especially in music and astronomy. The only literary works attributed to Tunsted, besides that above referred to, are a commentary on the 'Meteora' of Aristotle and additions to Richard Wallingford's 'Albion'; but the work by which his name has been, rightly or wrongly, handed down to posterity is the musical one. Of this there are two MSS. in the Bodleian Library, numbered Bodley 515 and Digby 90. Owing to the former MS. being described in the old
