Page:A Dictionary of Music and Musicians vol 4.djvu/590

From Wikisource
Jump to: navigation, search
This page has been proofread, but needs to be validated.
574
CAGNONI.
BYRD.

no trace of boyish immaturity, but rather belong to the composer's best works. They were probably printed (without title-pages) in 1588: the type of the mass for five voices being that which Easte used when he began to print music as Byrd's assignee in this year. The initial-letters are the same as those used in Yonge's Musica Transalpina (1588). Byrd's arms (Visitation of Essex, Harl. Soc. vol. xiii.) were 'three stags' heads cabossed, a canton ermine.' He had live children:—(1) Christopher, who married Catherine, daughter of Thomas Moore, of Bamborough, Yorkshire, and had a son named Thomas, who was living at Stondon Place in 1634; (2) Thomas, a musician, who acted as deputy to John Bull at Gresham College—in 1634 he was living in Drury Lane; (3) Elizabeth, who married first, John Jackson, and second,—Burdett; (4) Rachel, who married Edward Biggs; and (5) Mary, who married Thomas Falconbridge.

Many MS. compositions by Byrd are still extant. The British Museum contains the largest number, including some autographs, but others are preserved in the collections of Her Majesty the Queen, the Marquess of Abergavenny, Christchurch (Oxford), Peterhouse (Cambridge), and the Bodleian, Lambeth Palace and Fitzwilliam Museum Libraries.

In conclusion, it may be mentioned that the statement that Byrd and members of his family lived 'at the end of the 16th century' in the parish of St. Helen's, Bishopgate, is inaccurate. The Byrds who lived there belonged to another family, and were probably not even relatives of the composer's.

[ W. B. S. ]

C.

C.P. 289 a, 6-7 lines from bottom, for the line on which the clef mark stands, read the line enclosed by the horizontal lines in the clef mark.

CABEL, Mme. Correct the existing article by the following:—Her name was properly Cabu; she studied at the Conservatoire in 1848–9, and in the latter year made her début at the Opéra Comique, with little effect, in 'Val d'Andorre' and 'Les Mousquetaires de la Reine.' She was next engaged at Brussels for three years, and obtained a great success. After performances at Lyons and Strassburg she was engaged at the Lyrique, Paris, for three years, and made her first appearance Oct. 6, '53, as Toinon, on production of 'Le Bijou Perdu ' (Adam). She also appeared in new operas, viz. 'La Promise' (Clapisson), Mar. 16, '54, and 'Jaguarita l'Indienne' (Halévy), May 14, '55. In 1854 she came to England with the Lyrique company. She first appeared on June 7 in 'Le Bijou' and made a great success in the 'Promise,' 'Fille du Régiment,' and 'Sirène,' in spite of the inferior support given by the above company. On Feb. 23, '56, she reappeared at the Opéra Comique on the production of 'Manon Lescaut' (Auber), and remained there until 1861, her best new parts being Catherine,[1] on the revival of 'L'Étoile du Nord'; and April 4, '59, as Dinorah on the production of 'Le Pardon de Ploërmel.' In 1860 she played the Figlia, etc., as described in vol. i., renewed her successes in revivals of 'Le Bijou,' 'Jaguarita,' and appeared as Féline on the production of 'La Chatte merveilleuse' (Grisar), March 18, '62. In 1861 she was again at the Lyrique, and on March 21, '63, played in 'Così fan Tutte,' with a new libretto adapted to 'Love's Labour's Lost.' From 1865–70 she was again at the Opéra Comique, and among her new parts were Philine in 'Mignon,' Nov. 17, '66, and 'Hélène, Le Premier Jour de Bonheur,' Feb. 15, '68. In '71 she sang at the New Philharmonic and other concerts, and in '72 sang in French opera at the Opéra Comique, London, in the 'Fille du Régiment,' 'L'Ambassadrice,' and 'Galathée,' and was well received, though the company was bad, and the theatre much too small for important opera. She played in the French provinces until 1877, but in '78 was struck with paralysis, from which she never wholly recovered. She died at Maisons Laffitte, May 23, '85.

A brother-in-law (or son) of hers, Edouard, was a singer at the Opéra Comique and the Lyrique, and sang the song of Hylas in 'Les Troyens a Carthage.' See Berlioz' Memoirs. His song was well received, but it was nevertheless cut out, in order that Carvalho should not have to pay him extra salary.

[ A. C. ]

CABINET PIANO. Line 13 of article, for Lond read Loud. (Corrected in late editions.) The improvement described in the next following sentence was due to Isaac Hawkins, not to Loud.

CADENZA. P. 294 a, l. 27, for F♯ read F♯ minor.

CÆCILIA. Line 7 from end of article, for 1834 read 1836.

CÆCILIAN SOCIETY. P. 295 a, 1. 6 from bottom, for a few read nearly thirty.

CÆSAR, JULIUS. Add that he was probably the same Julius Cæsar who was a son of Joseph Cæsar, and a grandson of Dr. Gerard Cæsar of Canterbury, and who died at Strood on Apr. 29, 1712, aged 55.

CAFARO, PASQUALE. Line 3 of article, for in 1708, read Feb. 8, 1706. Line 12, add day of death, Oct. 23.

CAGNONI, ANTONIO, born Feb. 8, 1828, at Godiasco, in the district of Voghera, entered the

  1. Mme. Vandenheuvel, then Caroline Duprez, daughter of the tenor, was the heroine on its production, not Mme. Catel, as stated in vol. i.