- Callus. Ecce quomodo moritur justus, à 4.
- Do. Adoramus, à 6.
- Do. Media vitæ, 2 choirs, à 4.
- Vulpius. Exultate justi, à 4.
- Do. Surrexit Christus, 2 choirs, à 4.
- Walliser. Gaudent in cœlis, 2 choirs, à 4.
- Prætor jus. Ecce Dominus, à 3.
Appendix.
Palestrina. Et incarnatus, etc. (from mass 'Assumpta est'), à 6.
Praetorius. Ovos omnes.
THIRD PERIOD (1600-1700).
- Caccini. Solo and chorus, Funeste piaggie.
- Do. Chorus, Biondo arcier.
- Carissimi. Recitative and Chorus. Turbabuntur (from Cantata 'Plaintes des reprouvés').
- Do. Ardens est cor, 4 solos and chorus.
- Do. O sacrum convivium, 3 solo voices.
- Do. Cantemus omnes, chorus and scena (Jefta). Florate, à 6.
- Benevoli. Sanctus, 4 choirs, à 4.
- Do. Christe, à 4.
- Bernabei. Alleluja, à 4.
- Do. Salve regina, à 4.
- A. Scarlatti. Kyrie, à 4.
- Do. Gloria, à 5.
- Do. Vacuum est. Canto solo and chorus, with violins.
- Do. Sanctus, à 4, and Agnus, à 7.
- Caldara. Salve regina, à 3.
- Do. Agnus, alto and tenor.
- Do. Qui tollis, à 4.
- Astorga. Stabat.
- Do. Fac me.
- Do. O quam.
- Durante. Kyrie.
- Do. Regina angelorum.
- Do. Requiem æternum.
- Do. Domine Jesu.
- Lotti. Crucifixus, à 6.
- Do. Qui tollis, à 4.
- Do. Crucifixus, à 8.
- Marcello. Udir' le orecchie, Ps. xliv, à 4.
- Do. Et incarnatus, à 4.
- Hasler. Pater noster, à 7.
- H. Schutz. Selig sind die Todten, à 4.
- Do. Chorus, Christus ist hier, à 4.
- Do. Psalm, Was betrübst du?
- Do. Vater unser.
- V. Leisring. Trotz ey dem Teufel, 2 choirs, à 4.
- Grimm. Gloria, à 5.
- J. J. Fux. Domine Jesu, à 4.
- Do. Tremò la terra. Coro from oratorio 'La Deposizione.'
FOURTH PERIOD (1700-1760).
- Handel. Te Deum, in D. Gloriæ tuæ.
- Do. He sent a thick darkness.
- Do. He rebuked the Red Sea.
- Do. And Israel saw.
- Do. Behold the Lamb of God.
- Do. He was despised.
- Do. Thy rebuke.
- Do. Lift up your heads.
- Do. Hear Jacob's God.
- Do. Zadok the Priest.
- Christoph Bach. Ich lasse dich nicht.
- J. S. Bach. Nimm' von uns Herr.
- Do. Mache dich mein Geist.
- Do. Wir setzen uns Thränen nieder.
- Do. Wie sich ein Vater. Lobet den Herrn.
- Zelenka. Credo.
- Telemann. Amen. Lob und Ehre, à 8.
- Stölzel. Gloria.
- Homilius. Vater unser, à 4.
- Pasterwitz. Requiem.
- Hasse. Duet and Chorus, Le portea noi.
- Do. Alto solo, Ad teclamamus.
- Hasse. Miserere, and Benigni.
- Do. Te Deum, à 4.
- Graun. Machet die Thüre weit.
- Do. Tu rex gloriæ, a 4.
- Do. Freuet euch (Tod Jesu).
- Do. Wir hier liegen. Do.
- Rolle. Der Herr ist König.
- Do. Welt-Richter (Tod Abel).
- Wolf. Laus et perennis gloria, à 4.
- Do. Des Lebens Fürsten.
- C. P. E. Bach. Et misericordis, à 6, from Magnificat.
- Do. Heilig, 2 choirs, à 4.
- M. Haydn. Salvos fac nos.
- Do. Tenebræ factæ.
- Do. Miserere.
- Leo. Coro, Di quanta pena, (S. Elena).
- Do. Et incarnatus.
- Do. Miserere; Ecce enim, à 8.
- Jomelli. Confirma hoc Deus, 5 solos and chorus.
- Do. Miserere.
- Pergolesi. Eja ergo (Salve Regina).
- Do. Qui tollis, à 6.
- Do. Stabat Mater.
ROCK, Michael, was appointed organist of St. Margaret's, Westminster, June 4, 1802, in succession to William Rock, junr., who had filled the office from May 24, 1774. He composed some popular glees—'Let the sparkling wine go round' (which gained a prize at the Catch Club in 1794), 'Beneath a churchyard yew,' etc. He died in March, 1809.
RODE, Pierre [App. p.773 "properly Jacques Pierre Joseph], a great violinist, was born at Bourdeaux, Feb. 26 [App. p.773 "16"], 1774. When 8 years of age he came under the tuition of Fauvel ainé, a well-known violinist of his native town, and studied under him for six years. In 1788 he was sent to Paris. Here Punto (or Stich), the famous horn-player, heard him, and being struck with the boy's exceptional talent, gave him an introduction to Viotti, who at once accepted him as his pupil. With this great master he studied for two years, and in 1790 made his first public appearance, when he played Viotti's 13th Concerto at the Théâtre de Monsieur with complete success. Although then but 16 years of age, he was appointed leader of the second violins in the excellent band of the Théâtre Feydeau. In this position, appearing at the same time frequently as soloist, he remained till 1794, and then started for his first tour to Holland and the north of Germany. His success, especially at Berlin and Hamburg, was great. From the latter place he took passage to his native town. But the vessel was compelled by adverse winds to make for the English coast. So Rode came to London; but he only once appeared in public, at a concert for a charitable purpose, and left England again for Holland and Germany. Finally he returned to France and obtained a professorship of the violin at the newly established Conservatoire at Paris [App. p.773 "add that he was solo violin at the Opéra until Nov. 17, 1799"]. In 1799 he went to Spain, and at Madrid met Boccherini, who is said to have written the orchestration for Rode's earlier concertos, especially for that in B minor. On his return to Paris in 1800 he was appointed solo-violinist to the First Consul, and it was at that period that he achieved his greatest success in the French capital. A special sensation was created by his joint performance with Kreutzer of a Duo concertante of the latter's composition. In 1803 he went with Boieldieu to Petersburg. Spohr heard him on his passage through Brunswick, and was so impressed that for a considerable time he made it his one aim to imitate his style and manner as closely as possible. Arrived at the Russian capital Rode met with a most enthusiastic reception, and was at once attached to the private music of the Emperor with a salary of 5000 roubles (about 750l.). But the fatigues of life in Russia were so excessive that from this period a decline of his powers appears to have set in. On his return to Paris in 1808 his reception was less enthusiastic than in former times, and even his warmest friends and admirers could not but feel that he had lost considerably in certainty of execution and vigour of style. From 1811 we find him again travelling in Germany. Spohr, who heard him in 1813 at Vienna, says in his autobiography (i. 178): 'I awaited with feverish excitement the performance of Rode, to whom ten years before I had looked up to as my highest ideal. But he had hardly finished his first solo before I thought that he had much fallen off. His playing appeared to me cold and manneristic. I missed his former boldness in the execution of technical difficulties, nor could I feel satisfied with his cantilène. The concerto also which he played appeared to me in no way equal to his 7th in A minor, and when he played his variations in E major—the same I had heard him play ten years ago—I felt sure that he had lost much of his execution; for he not only had simplified many of the difficult passages, but even in this modified form played them in a timid and uncertain manner. The audience also seemed hardly satisfied. By the incessant repetition of the same few pieces his
