Page:A Dictionary of Music and Musicians vol 4.djvu/814
��the Venetian blind so called because it was worked on the same principle as the harpsichord swell.
SWEETLAND, W., established an organ factory at Bath, in 1847. The Church of St. Cuthbert (Wells, Somerset) and the Wesleyan Chapel in Cardiff contain instruments of his making. He also built a chamber organ in his own house, for which he has invented a mechanism whereby the Voix celeste, or tremulant, can be applied to, or withdrawn at pleasure from, a solo stop. [V. de P.]
SWINNERTON HEAP, C. Add to list of works a sonata for violin and pianoforte, and a cantata ' The Maid of Astolat.'
SYMPHONY. P. 29 a, 1. 9 from bottom,/or an Ambrosianischer Lobgeaang read the Te Deum. P. 42 b, 1. 17 from bottom, for Nor- wegian read Scandinavian.
SYMPHONY CONCERTS. For continu- ation see BOSTON in Appendix, and add that in the winter seasons from 1886 to 1889, Mr. Henschel organized a series of orchestral Sym- phony Concerts in St. James's Hall, on much the same footing as that of the concerts described in the Dictionary.
SYNCOPATION. The first note of the musical example should be E, not C (i. e. on the highest space of the treble stave).
��mACCHINARDI, N. Line 2, for Florence [_ in September 1776, read Leghorn, Sept. 3, 1772. Last line of article,ybr in 1860 read at Florence, March 14, 1859.
TALLYS, T. P. 54 a, 1. 25, omit the words Bung upside down. P. 54 c, under ' Let the wicked ' add that ' Calvert's list ' refers to his anthem book, published 1844. P. 54 d, 1. 4 omit the anthem ' thou God Almighty ' as it occurs again in its right place in the list. For further information see BYRD in Appendix.
TAMBERLIK. Add date of death, Mar. 1 3, .1889.
TANNHAUSER. Line 4 of article,/or Oct. 20 read Oct 19.
TANS'UR, W. Add that he was the son of Edward and Joan Tanzer of D unchurch, and was baptized Nov. 6, 1 706.
TARANTELLA. To the list of works on the bite of the tarantula given in vol. iv. p. 59 b, add J. Miiller, De Tarentula et vi musicae in ejus curatione. Hafniae, 1679.
TAUSIG, CARL. P. 64 J, last line but one, add that his father, AloysTausig,died March 24, 1885.
TEDESCA, ALLA. P. 67 a, after the musical example, add that in one of the sketches for this movement (in B b) it is inscribed ' Allemande Allegro.'
TE DEUM. P. 68 b, 1. 21 from bottom, add that Berlioz's work was performed at the Crystal Palace, April 18, 1885, and by the Bach Choir, May 17, 1887. The latter body sang the work again, with several anthems, etc., in West- minster Abbey June 28, 1888, the Jubilee of Her Majesty's coronation.
TELFORD & TELFORD'S organ factory in Dublin was established in 1830 by William Tel- ford. His first work was to add German pedals (till then unknown in Ireland) to the organ of Christ Church Cathedral, Dublin. Since then they have built organs for Limerick and Lismore Cathedrals, and many others in England, Ireland, and the colonies. [V. de P.]
��TEMPERAMENT. P. 70 I, I. 7, omit the words see Appendix.
TEMPUS PERFECTUM, TEMPUS IM- PERFECTUM. See articles MODB, NOTATION, PROLATION, TIME.
TENOR. Line 10 from end of article,/or soprano clef read treble, or G clef.
TENOR VIOLIN. P. 91 a, 1. 12 from bottom, for quintet read sextet.
TESTORE, a family of violin-makers at Milan in the first half of the i8th century, con- sisting of a father, CARLO GIUSEPPE (1690-1715), and two sons, CARLO ANTONIO and PAOLO AN- TONIO (1715-1745). Carlo Giuseppe was the best of the three. His instruments have often passed for the work of his master, Giovanni Grancino. In 1884 the well-known violoncello called the ' Lindley Grancino ' being under re- pair, the removal of its spurious Cremona label revealed the fact that it is the work of the old Testore, the original label, which was found well preserved, running thus: 'Carlo Giuseppe Testore allievo di Gio. Granzino in Contrada Larga di Milano, 1690.' x Sig. Bottesini's famous double-bass is another well-known specimen of the old Testore's work. His instruments are strongly made, and often irregular in design. The model is generally of medium height, and the finish varies considerably, many being left very rough, and extremely plain in appearance. The tone, however, is usually good, and in exceptional cases very powerful and telling. The varnish, a brownish-yellow, sparingly applied, adds little to the attractions of these instruments, and vigorous hands are necessary to develop their tone. The instruments of the sons are less esteemed : they are lighter in colour, and a tendency to imitate Joseph Guarnerius is ob- servable. The Testores worked at the sign of the Eagle in the same narrow street where the Grancinos worked at the sign of the Crown. Alberti, Landolfi, Tanegia, Mantegazza, Giuseppe
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