taught the viol lyra-way. Some of his songs are contained in the several editions of 'Select Musicall Ayres and Dialogues,' 1652, 1653 and 1659, and some of his instrumental compositions are to be found in 'Courtly Masquing Ayres,' 1662. He was associated with Henry Lawes, Capt. Cooke, and George Hudson in the composition of the music for Sir William Davenant's 'First Day's Entertainment at Rutland House by Declamations and Musick,' 1657 [App. p.594 "1656"]. He died in Fetter Lane in [App. p.594 "July,"] 1664. [App. p.594 adds that "he took the degree of Mus.D. on July 2, 1651, and that in Nov. 1662 he was appointed Composer to the King, with a salary of £40 per annum. He contributed the musical definitions to Phillips' 'New World of Words' (1658)."]
[ W. H. H. ]
[ W. H. H. ]
COLOGNE CHORAL UNION, the English title of a singing society of men's voices only, who visited London in 1853 and 54. [See Männer-Gesang-Verein.]COLOMBANI or COLUMBANI, Orazio, born at Verona in the 16th century, eminent contrapuntist, Cordelier monk, and Chapel-master to the convent of San Francesco at Milan. Besides five collections of Psalms for 5, 6, and 9 voices, and two of madrigals, published in Italy (1576–1587), there is a Te Deum of his in Lindner's 'Corollario cantionum sacrarum,' and two Magnificats and some madrigals in the King of Portugal's Library at Lisbon. One of the Magnificats is in 14 parts. Colombani united with other musicians in dedicating a collection of Psalms to Palestrina (1592).
[ M. C. C. ]
[ V. de P. ]
COLONNA, Giovanni Paolo, was born about 1640, at Brescia according to Cozzando, but at Bologna according to other authorities. He was the son of Antonio Colonna, a maker of organs, who must not be confounded with the Fabio Colonna who constructed the 'Penteconta chordon.' The subject of this notice studied music at Rome under Carissimi, Abbatini, and Benevoli. In 1672 we find him established at Bologna, where he was four times elected Principal of the Musical Academy. Among many pupils of note he numbered the famous and unfortunate Buononcini. Nearly all his compositions were for the church, but he condescended to write one opera, 'Amilcare,' which was performed at Bologna in 1693. He is certainly entitled to take rank among the most distinguished Italians of his century. At all events his music is far above the level of his epitaph, which has been unfortunately preserved:—
'Joannes Paulus cantûs basis atque Columna,
Hic situs est; omnis vox pia juxtà canat.'
[ E. H. P. ]
COLORATUR. Vocal music coloured, that is, ornamented, by runs and rapid passages or divisions, where each syllable of the words has two or more notes to it. It is what the old school called 'figurato'—figured. Coloratur may be employed in slow or fast airs, plaintive or passionate. Almost all the great airs contain examples of it. The following example from the Messiah:—
contains both plain and coloratur passages. On the other hand, 'How beautiful are the feet' (Messiah), or 'Hear ye, Israel' (Elijah), are not coloratur songs. Nor are passages in which each note has its syllable, as in Schumann's 'Die Rose, die Lilie,' or Mozart's 'La piccina' (Madamina), however rapid they may be. ou l'enfant du bûcheron, lyric drama in 3 acts; words by Planard, music by Onslow; produced in Paris Nov. 22, 1827. Given at Drury Lane as 'The Emissary; or, the Revolt of Moscow,' May 13, 1831. The overture was formerly a favourite at classical concerts. Celeste, born at Leghorn 1764, death uncertain [App. p.595 "1817"]; daughter of a poet and a celebrated singer, made her first appearance at Naples in 1781. The Emperor Joseph II engaged her for the Opera at Vienna in 1783, and