Page:A Dictionary of Music and Musicians vol 1.djvu/390

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taught the viol lyra-way. Some of his songs are contained in the several editions of 'Select Musicall Ayres and Dialogues,' 1652, 1653 and 1659, and some of his instrumental compositions are to be found in 'Courtly Masquing Ayres,' 1662. He was associated with Henry Lawes, Capt. Cooke, and George Hudson in the composition of the music for Sir William Davenant's 'First Day's Entertainment at Rutland House by Declamations and Musick,' 1657 [App. p.594 "1656"]. He died in Fetter Lane in [App. p.594 "July,"] 1664. [App. p.594 adds that "he took the degree of Mus.D. on July 2, 1651, and that in Nov. 1662 he was appointed Composer to the King, with a salary of £40 per annum. He contributed the musical definitions to Phillips' 'New World of Words' (1658)."]

[ W. H. H. ]

COLMAN, Edward, son of Dr. Charles Colman, was a singing master and teacher of the lute and viol. In 1656 he and his wife took part in the performance of the first part of Sir William Davenant's 'Siege of Rhodes,' at Rutland House, she playing Ianthe, and the little they had to say being spoken in recitative. Upon the re-establishment of the Chapel Royal in 1660 Colman was appointed one of the gentlemen. Of Mrs. Colman, who was one of the first females who appeared on the English stage, Pepys, who was well acquainted with both her and her husband, writes, under date of Oct. 31, 1665, 'She sung very finely, though her voice is decayed as to strength, but mighty sweet, though soft.' Colman died at Greenwich on Sunday, Aug. 19 [App. p.595 "29 (Dict. of Nat. Biog.)"], 1669. Some of his songs are printed in 'Select Musicall Ayres and Dialogues,' 1653, and other of his compositions in Playford's 'Musical Companion,' 1672. [App. p.594 & 5 adds that "he was the original composer of the music in Shirley's 'Contention of Ajax and Ulysses,' on its production in 1653, and that on Jan. 21, 1662, he took Lanier's place in the royal band."]

[ W. H. H. ]

COLOGNE CHORAL UNION, the English title of a singing society of men's voices only, who visited London in 1853 and 54. [See Männer-Gesang-Verein.]

COLOMBANI or COLUMBANI, Orazio, born at Verona in the 16th century, eminent contrapuntist, Cordelier monk, and Chapel-master to the convent of San Francesco at Milan. Besides five collections of Psalms for 5, 6, and 9 voices, and two of madrigals, published in Italy (1576–1587), there is a Te Deum of his in Lindner's 'Corollario cantionum sacrarum,' and two Magnificats and some madrigals in the King of Portugal's Library at Lisbon. One of the Magnificats is in 14 parts. Colombani united with other musicians in dedicating a collection of Psalms to Palestrina (1592).

[ M. C. C. ]

COLOMBE LA. A comic opera in two acts, words by Barbier and Carre, music by Gounod; produced at the Opéra Comique, June 7, 1866. The libretto was translated by Farnie as 'The Pet Dove,' and produced at the Crystal Palace on Sept. 20, 1870.

[ G. ]

COLOMBI, Vincenzo, an Italian, built the magnificent organ in the church of St. John Lateran at Rome, in 1549.

[ V. de P. ]

COLONNA, Giovanni Paolo, was born about 1640, at Brescia according to Cozzando, but at Bologna according to other authorities. He was the son of Antonio Colonna, a maker of organs, who must not be confounded with the Fabio Colonna who constructed the 'Penteconta chordon.' The subject of this notice studied music at Rome under Carissimi, Abbatini, and Benevoli. In 1672 we find him established at Bologna, where he was four times elected Principal of the Musical Academy. Among many pupils of note he numbered the famous and unfortunate Buononcini. Nearly all his compositions were for the church, but he condescended to write one opera, 'Amilcare,' which was performed at Bologna in 1693. He is certainly entitled to take rank among the most distinguished Italians of his century. At all events his music is far above the level of his epitaph, which has been unfortunately preserved:—

'Joannes Paulus cantûs basis atque Columna,
Hic situs est; omnis vox pia juxtà canat.'

He died on Nov. 28, 1695. Fétis, in his 'Biographie universelle des Musiciens' gives a list of his works extending to no less than 44 items. A Magnificat and Nunc Dimittis of his for two choirs are printed in the collection of the Motet Society, and four other pieces in the Fitzwilliam music.

[ E. H. P. ]

COLOPHONIUM, the German term for the rosin used for fiddle bows, from κολοφωνία, so called because the best rosin came from Colophon, in Asia Minor, the same place which gave its name to the imprints of early books, and has thus left a double mark on modern times. In French, Colophane is the term used.

[ G. ]

COLORATUR. Vocal music coloured, that is, ornamented, by runs and rapid passages or divisions, where each syllable of the words has two or more notes to it. It is what the old school called 'figurato'—figured. Coloratur may be employed in slow or fast airs, plaintive or passionate. Almost all the great airs contain examples of it. The following example from the Messiah:—

{ \override Score.TimeSignature #'stencil = ##f \time 4/4 \key bes \major \override Score.Rest #'style = #'classical \relative f' { r4 r8 f bes4 r8 f | c'4 r8 f, d'( bes16 c d8 e) | f4 f, r2 | r4 r8 f8 f'16( ees d f ees d c ees | d c bes d c8) a bes g c8. bes16 | a8. g16 f4 }
\addlyrics { Re -- joice, re -- joice, re -- joice great -- ly re -- joice O daugh -- _ ter of Zi -- _ on. } }

contains both plain and coloratur passages. On the other hand, 'How beautiful are the feet' (Messiah), or 'Hear ye, Israel' (Elijah), are not coloratur songs. Nor are passages in which each note has its syllable, as in Schumann's 'Die Rose, die Lilie,' or Mozart's 'La piccina' (Madamina), however rapid they may be.

[ G. ]

COLPORTEUR, LE, ou l'enfant du bûcheron, lyric drama in 3 acts; words by Planard, music by Onslow; produced in Paris Nov. 22, 1827. Given at Drury Lane as 'The Emissary; or, the Revolt of Moscow,' May 13, 1831. The overture was formerly a favourite at classical concerts.

[ G. ]

COLTELLINI, Celeste, born at Leghorn 1764, death uncertain [App. p.595 "1817"]; daughter of a poet and a celebrated singer, made her first appearance at Naples in 1781. The Emperor Joseph II engaged her for the Opera at Vienna in 1783, and