��Aria, Oprl 11 fato. Anon.
�Part of the 7th Solo. Do.
�Do., No non amero. Do.
�Part of the Uth Solo. Do.
�Do., Due vaghe pupllle. Do.
�Anthem, Out of the deep. Al-
�Do., Del tuo cor tempri. Do.
�Do., 8e tu credl. Do.
�Do.. O God. Thou hast cast us
�Do., Tanto basti per far. Do.
�Do., Bella bocca di cinabro. Do.
�Gloria Patrl. Do.
�Do., Fogllo lieve. Do.
�Do., Tu fuggistl O caro. Do.
�Do., Crine vezzose. Do.
�Do., Dolce Amor mi dice spera.
�Fart of 1st Sonata. 1st set. Do.
�From 6th Sonata. 1st set. Do.
�Do., Lusingami speranza. Do.
�From 9th Sonata. 2nd set. Do.
�Do., Begl' occhi perdonateml.
�In guilty night. Do.
�Overture to King Arthur. Do.
�Do., Col freddo suo velen. Do.
�Chaconne, before the Play. Do.
�Do., Se 11 mio labbro. Do.
�Brave souls to be renowned. Do.
�Do., Uia che amor. Do.
�Gloria Patri. Dr. Croft.
�Do., Seversastidatuoiluml. Do.
�Qui diligit Mariam. SteffanL
�Do.. Fantasmi orribili. Do.
�Dixit Dominus. Leo.
�Cantata, Tacl cruda. Do.
�Part of a Mass. Pergolesl.
�Aria, Begl' occhi d'amore. Do.
�' Euridice e dove sei ' (Orfeo). Do.
�Do., Migravit Juda, Do.
�Gloria In Ezcelsis. Do.
�Do., Gloria Patrl. Dr. Child.
�4th Psalm. Marcello.
�Do., Dormi dormi ben mio. Cesti.
�7th Psalm. Do.
�Fart of Cantata, Dite a lei. Stra-
�From Der Tod Jesu. Graun.
�Te gloriosus (Te Deum). Do.
�Cantata, Se gelose, set Tu. Do.
�Overture to I Pellegrini. Hasse.
�Canzonet, Chi dira. Do.
�' Le Forte noi diserra.' Do. Do.
�Aria, Yado ben Spesso. Sal v. Bosa.
�Pellegrino e 1'uomo. Do. Do.
�Gloria Fatri. Blow.
�Overture to Pastor Fido. Handel.
�Anthem, I will arise. Chreyghton.
�Aria, Son confusa (Poro). Do.
�Duet, Dormino 1'aure estive. Du-
�He is my God (Israel in Egypt).
�7th Concerto. A. Corelli.
�Chorus, The listening crowd. Do.
�Part of 2nd Sonata, op. 1. Do. Fugue from the 4th Sonata, op. 8.
�Do. May no rash intruder. Do. Double Chorus, He gave them
�Fugue (in E). Bach.
�Overture. Toisou D'Or. Vogel.
�No. 2 of the 12 solos for the Violin.
�Part of Sonata 2. Vanhall.
�Fart of Sonata 2. op. 9. Schobert.
�Air, Pupillette vezzosette, from
�Minuet and Trio, Sonata 1, op. 6.
�Air, Infelice abbandonata. Do.
�Part of Quintet 3, op. 12. Boc-
�Concerto 6, op. 3. Geminiani.
�Concerto 2. Ricciotti.
�Sonata 3. op. 23. Kozeluch.
�Fart of Sonata 10. Faradies.
�Part of Quartet 1. 8th set. Pleyel.
�Do. 6. op. 8. Do.
�Chorus, Santa Speme (Fassione).
�Part of Sonata 1, op. 12. Krump-
�Do. 2, op. 11. Hullmandel.
�Fart of Sonata 4. Do.
�Do. 2, op. 4. Clementi.
�Fantasia. C. P. E.Bach.
�Adagio from op. 11. Do.
�Concerto for a full Band. J. C.
�Part of Sonata 4, op. 12. Do.
�Becordare from a Requiem. Mo-
�Overture to Iflgenle en Aullde.
�Benedictus from Do. Do.
�Chorus, Que d'attraits.
�Overture, Le Nozze di Figaro. Do.
�Overture, Pierre le Grand. Gre'try.
�Part of Quartet 3, op. 76. Haydn.
�Do., DonQuichotte. Champigny
�Sinfonia, in Eb. Do.
SPEECHLEY, HENRY, after working 14 years with his uncle J. C. Bishop, and 6 more with Henry Willis, set up on his own account in London as organ-builder in 1 862. His best works may be seen at Alton, Bosbury, Dalston (St. Mark's), and in Exeter, where he reconstructed and enlarged Loosemore's organ in the Cathedral. [V. de P.]
SPEIDEL, a musical family of Ulm. i. KONBAD, well-known singer and director of the 'Ulm Liederkranz ' singing society: he died Jan. 29, 1880. a. His eldest son, WILHELM, born Sept. 3, 1836, was educated in music first by his father and then by I. Lachner and W. Kuhe. After teaching for two years at Thann in Alsace he made Munich his headquarters, but was widely known as a PF. player throughout Germany, and intimately associated with Schu- mann, Liszt, and Thalberg. He was music- director at Ulm from 1854 to l8 57> but in the latter year joined Stark, Lebert, etc. in founding the Conservatorium at Stuttgart, and remained there as Professor of the PF. till 1874, when he left the Conservatorium to found a private school
of his own. He is conductor of the Stuttgart 'Popular Concerts.' His works are numerous, comprising 65 opus numbers in all departments. He has also edited the sonatas of Haydn and Mozart, and the PF. works of Mendelssohn. 3. His brother LUDWIG was born, also at Ulm, April n, 1830. He received his education at the University of Munich, and joined the staff of the Augsburg Gazette. In 1853 he took up his quarters in Vienna, and was soon engaged on the press of that city, first on the Presse,' then on the Neue Freie Presse ' and the ' Fremden- blatt,' for both of which he still writes. He is one of the most considerable Anti-Wagnerites of the day, of great independence of opinion and remarkable force of expression. Herr Speidel is also well-known as a devoted adherent of Schubert. [G.]
SPEYER, or SPEIER, WILHELM, composer, was born June 21, 1790, at Frankfort-on-the- Main, where he died April 5, 1878. He received his musical education at Offenbach under Thieriot (the friend of Weber) and Andre". He was already a prominent violinist when he went to Paris in 1812, to become a pupil of Baillot, from whose instruction and from the acquaintance of such men as Cherubini, Boieldieu, Me*hul, etc., he derived much benefit. Returning to Germany afterwards, he settled down at Frankfort and exchanged the musical profession for that of a merchant, but continued to compose at first chiefly chamber music. He published string quartets and quintets, and also violin duets, which are still looked upon as standard works in that class of composition. He afterwards devoted himself chiefly to vocal music, and it is as a writer of songs that his name is best and most widely known. Am on gat his Lieder of which he published several hundred many, such as 'The Trumpeter,' 'Rheinsehnsucht' (My heart's on the Rhine), 'Die drei Liebchen,' etc., acquired an extraordinary popularity. He also wrote vocal quartets and some choral works.
With Mendelssohn and his family Speyer was on terms of affectionate intimacy, and to him the charming story given in vol.ii. p. 2806 is due. [G.]
SPIAN ATO ( Ital.), level, even. A word used by Chopin in the Andante which precedes the Polonaise in Eb, op. 22, to denote a smooth and equal style of performance, with but little variety. [F.T.]
SPICATO (Ital.), accurately 'separate,' 'dis- tinct.' A term applied in violin-playing to a particular vibratory style of bowing. ' Spicato ' and ' Saltato ' are both explained under the head of SPRINGING Bow.
SPINA, CARL ANTON. The successor of the Dia- bellis in that famous publishing house at Vienna, which for so long stood in the Graben, No. 1 133, at the corner of the Braunerstrasse. He succeeded them in 1852, and was himself succeeded by F. Schreiber in July 1872. During this twenty years Spina's activity showed itself especially in the publication of S'chubert's works, a mass of whose MSS. he acquired from Diabelli. Chief