where. (Dickson's Cat. of Musical MSS. at Ely ; Rimbault, Bib. Madrigaliana.)
[ E. F. R. ]
[ E. F. R. ]
[ J. M. ]
[ G. ]
ANACREON, ou l'amour fugitif, an opera-ballet in two acts, the libretto by Mendouze, and the music by Cherubini, produced at the Opera in Paris on Oct. 4, 1803. It is now only known by its magnificent overture.ANACREONTIC SOCIETY. The meetings of this aristocratic society, established by several noblemen and other wealthy amateurs, were held at the Crown and Anchor Tavern in the Strand towards the close of the last century. The concerts, in which the leading members of the musical profession took part as honorary members, were given fortnightly during the season, and were followed by a supper, after which the president or his deputy sang the constitutional song 'To Anacreon in Heaven.' This was succeeded by songs in every style, and by catches and glees sung by the most eminent vocalists of the day. The privilege of membership was greatly valued, and names were frequently placed on the list for a long period in advance. The society was dissolved in 1786, when Sir Richard Hankey was president, owing, as Parke states in his 'Musical Memoirs,' to the annoyance of the members at a restraint having been placed upon the performance of some comic songs which were considered unfit for the ears of the Duchess of Devonshire, the leader of the haut-ton of the day, who was present privately in a box specially fitted up under the orchestra. The members resigned one after another, and shortly afterwards the society was dissolved at a general meeting.
[ C. M. ]
ANALYSIS. The practice now prevalent in England of accompanying the titles and words of the music performed at concerts by an analysis of the music is one of comparatively recent date. The identity of the pieces in the programmes at the end of the last and the beginning of the present century is rarely certain. 'New Grand Overture, Haydn,' or 'Grand Overture, MS., Haydn,' is the usual designation of Haydn's symphonies as they were produced at Salomon's concerts in 1791, '92. The programmes of the Philharmonic Society are at first almost equally vague—'Symphony, Mozart,' 'Symphony, Beethoven,' 'Symphony, never performed, Beethoven,' is with rare exceptions the style in which the pièces de resistance at the Society's concerts are announced. It is not until the fifth season (1817) that the number or the key indicates which works the audience might expect to hear. The next step was to print on the fly-leaf of the programme the words of the vocal pieces, with, in the case of Spohr's 'Weihe der Töne' (Feb. 23, 1835), a translation of Pfeiffer's 'Ode,' or of the 'Pastoral Symphony' (May 11, 1835), some verses from Thomson's 'Seasons,' or at the first performance of the overture to 'Leonora,' No. 1 (due to Mendelssohn), a short account of the origin and dates of the four overtures.
[App. p.521 "It should be added that the first suggestion as to the desirability of explaining the structure of compositions to the audience was in a letter written to the 'Musical World' of Dec. 2, 1826, by the late C. H. Purday, Esq."]
The first attempt to assist amateurs to follow the construction of classical music during its performance which the writer has met with is that of Mr. Thomson, late Professor of Music in the University of Edinburgh, who in the year 1841, and even earlier, added analytical and historical notices of the pieces in the programmes of the concerts of the Professional Society of