Page:A Dictionary of Music and Musicians vol 3.djvu/153

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warm expressions of gratitude, but with the characteristic words 'While I think a professional man should expect his fair remuneration, yet his chief object may be something higher and nobler—the advancement of art in his native city.'

He has written a variety of songs, concerted pieces and anthems, beside arranging a number of standard songs and Irish melodies.

Mrs. Robinson also passed a very active musical life, though often interrupted by nervous illness. In teaching she had a peculiar power of infusing her own ideas into others. She played from time to time at concerts of a high class, and herself gave a very successful concert in Paris, at the Salle Erard (Feb. 4, 1864). Her pianoforte compositions are numerous and graceful. Her sacred cantata, 'God is Love,' has been repeatedly performed throughout the kingdom, and has realised for charities about £1000.

On Oct. 31, 1879, she met a sudden and tragic end, which caused profound regret. On her tomb is inscribed the motivo of the Chorus of Angels from her own Cantata:—

\relative f' { \time 2/2 \key f \major f2 e4. f8 | g1 | g2 f4. g8 | a1 \bar "||" }
\addlyrics { Rest in the Lord. Blessed in the Lord. }

[ H. M. D. ]

ROBINSON, Thomas, was author of a curious work published at London in folio in 1603, bearing the following title—'The Schoole of Musicke: wherein is taught the perfect method of the true fingering of the Lute, Pandora, Orpharion, and Viol de Gamba; with most infallible general rules both easie and delightfull. Also, a method, how you may be your own instructor for Pricksong by the help of your Lute without any other teacher; with lessons of all sorts for your further and better instruction.' Nothing is known of his biography.

[ W. H. H. ]

ROCHE, Edward [App. p.773 "Edmond"], born at Calais Feb. 20, 1828, died at Paris Dec. 16, 1861, began life as a violin player, first as Habeneck's pupil at the Conservatoire, but quickly relinquished music for literature. Roche translated the libretto of Tannhäuser under the eys of Wagner himself, for its representation at the Opéra, March 13, 1861, and in a preface to his 'Poésies posthumes' (Paris, Lévy, 1863) M. Sardou has described the terrible persistence with which Wagner kept his translator to his task. (See the article in Pougin's supplement to Fétis.) The opera failed, and Roche's labour was in vain; he had not even the satisfaction of seeing his name in print, in connexion with the work, for even Lajarte (Bibl. Mus. de l'Opera, ii. 230) gives Nuitter as the author of the French words. Besides the poems contained in the volume cited, Roche contributed critical articles to several small periodicals.

[ G. ]

ROCHLITZ, Friedrich Johann, critic, and founder of the 'Allgemeine musikalische Zeitung,' born of poor parents at Leipzig. Feb. 12, 1769. His fine voice procured his admission at 13 to the St. Thomas-school, under the Cantorship of [[Page:A Dictionary of Music and Musicians vol 3.djvu/Doles, Johann|Doles\\, where he spent six years and a half. He began to study theology in the University, but want of means compelled him to leave and take a tutorship, which he supplemented by writing. He also attempted composition, and produced a mass, a Te Deum, and a cantata, 'Die Vollendung des Erlösers.' In 1798 he founded the 'Allgemeine musikalische Zeitung' (Breitkopf & Härtel), and edited it till 1818, during which period his articles largely contributed to the improved general appreciation of the works of the three great Austrian composers, Haydn, Mozart, and Beethoven, in North Germany. The best of these were afterwards re-published by himself under the title of 'Für Freunde der Tonkunst'—for friends of music—in 4 vols. (1824 to 1832, reprinted later by Dörffel). It contains, amongst other matter, an interesting account of a visit to Beethoven at Vienna in 1822. Another important work was a collection in 3 vols. (Schott, 1838 to 1840) of vocal music, from Dufay to Haydn, in chronological order, of which the contents are given below. The first two volumes of the A. M. Z. contain a series of anecdotes on Mozart, whose acquaintance he made during Mozart's visit to Leipzig; but Jahn, in the preface to his 'Mozart,' has completely destroyed the value of these as truthful records.—Rochlitz was a good connoisseur of paintings and engravings. In 1830 he was one of the committee appointed by the Council of Leipzig to draw up a new hymn-book, and some of the hymns are from his own pen. He also wrote the librettos for Schicht's 'Ende des Gerechten,' Spohr's 'Last Judgment' and 'Calvary,' and for Bierey's opera 'Das Blumenmädchen.' He was a Hofrath of Saxony, and died Dec. 16, 1842.

[ F. G. ]

The following are the contents of the collection mentioned above—'Sammlung vorzüglicher Gesangstücke vom Ursprung gesetzmässiger Harmonie bis auf die neue Zeit' (Important Pieces from the origin of regular Harmony to modern times).

FIRST PERIOD (1380–1560).

  1. Dufay. Kyrie à 4. So la face ay pale.
  2. Do. Kyrie. à 4. 'L'omme armé.'
  3. Ockeghem. Kyrie and Christe, à 4.
  4. Josquin de Prés. Hymnus, à 4. Tu pauperum refugium.
  5. Do. Zwischengesang einer der grössten Messen des Meisters, et Incarnatus à 4.
  6. Do. Motet, Misericordlas Domini, à4.
  7. O. Lasso. Regina Cœli, à 4.
  8. Do. Salve Regina, à 4.
  9. O. Lasso. Angelus pastores, à 5.
  10. Do. Miserere. Amplius. Cor mundum. Ne proficeas, Redde mihi, etc., à 5.
  11. C. Goudimel. Domino quid multiplicati, à 4.
  12. Ch. de Morales. Kyrie et Christe, à 4.
  13. Do. Gloria.
  14. T. Tallis. Verba mea, à 4.
  15. L. Senff. Motet on a Choral, 'Mag ich ungluck.' à 4.
  16. Do. Deus propitius esto, à 5.
  17. Do. Nunc dimittis, à 4.

SECOND PERIOD (1550-1630).

  1. Palestrina. Adoramus, à 4.
  2. Do. Gloria, 2 choirs, à 4.
  3. Do. Fleni sunt, à 3.
  4. Do. O bone Jesu, à 4.
  5. Do. Populo meus, 2 choirs, à 4.
  6. Do. Madrigal, 'Cedro gentil,' à 5.
  7. Do. Lauda anima mea, à 4.
  8. G. M. Nanini. Stabat mater, à 4.
  9. Do. Exaudi nos, à 4.
  10. Do. Haec dies, à 5.
  11. Vittoria. Jesu dulcis, à 4.
  12. Do. O quam gloriosum, à 4.
  13. F. Anerio. Adoramus, à 4.
  14. Do. Christus factus est, à 4.
  15. Allegri. Miserere, 2 choirs, à 5.
  16. Gabrieli. In excelsis. Soprano solo. Tenor solo and chorus, à 4, with 3 horns, 2 trombones and violins.
  17. Do. Benedictus, 3 choirs, à 4.
  18. Böhm, Brüder. 2 Lieder, à 4: Der Tag vertreibt; Die Nacht ist kommen.
  19. Do. 2 Lieder, à 4: Verleih' uns Frieden; Nimm' von uns.
  20. Walther. Æterno gratias, à 4.
  21. Gesänge Martin Luthers, à 4: Mit Fried und Freud; Es woll' uns Gott: Nun komm der Heiden Heiland; Christ lag; Jesus Christus.