��28. Praetor jus. Ecce Dominus, a<3.
��22. Callus. Eccequomodomoritur
Justus, a 4.
23. Do. Adoramus, A 6.
24. Do. Media vitae, 2 choirs, ft 4.
25. Vulpius. Exultate justi, A 4. 20. Do. SurrexitChristus, 2 choirs,
27. Walliser. Gaudent in ccelis, 2 choirs, a 4.
THIRD PERIOD (1600-1700).
1. Caccinf. Solo and chorus, Fu- 18. Astorga. Stabat.
neste piaggie. 19. Do. Fac me.
2. Do. Chorus, Biondo arcier. 20. Do. O quam.
Palestrina. Et incarnatus, etc. (from mass 'Assumpta est '), ft 6. Praetorius. Ovos omnes.
��Jtecitative and 21. Durante. Kyrie.
��arus, Turbabuntur (from Cantata '1'laintes des re-
��4. Do. Ardens est cor, 4 solos 25. Lotti. Crucifixus, ft 6.
��6. Do. O sacrum convivium, 3 27. Do. Crucifixus, ft 8.
��solo voices. . Do. Cantemus omnes, chorus
and scena (Jefta). Plorate, a 6.
7. Benevoli. Sanctus, 4 choirs, a 4.
8. Do. Christe, ft 4.
9. Bernabei. Alleluja, a 4.
10. Do. Salve regina, ft 4.
11. A.Scarlatti. Kyrie. a t.
12. Do. Gloria, a 5.
13. Do. Vacuum est. Canto solo
and chorus, with violins.
14. Do. Sanctus, ft 4, and Agnus.
15. Caldara. Salve regina. ft 3.
16. Do. Agnus, alto and tenor.
17. Do. Qui tollis, 44.
��22. Do. Regina angeiorum.
23. Do. Requiem aeternam.
24. Do. Domine Jesu.
��Do. Qui tollis, ft 4.
��28. Marcello. Udir' le orecchie.
Ps. xliv, ft 4.
29. Do. Et incarnatus, a 4.
30. Hasler. Pater noster, a 7.
31. H. Schutz. Selig sind die
Todten, ft 4.
32. Do. Chorus, Christus ist hier,
33. Do. Psalm, Was betrflbstdu?
34. Do. Vater unser.
35. V. Leisring. Trotz ey dem
Teufel, 2 choirs, ft 4.
36. Grimm. Gloria, ft 5.
37. J. J. Fux. Domine Jesn, a 4.
38. Do. Tremd la terra. Coro
from oratorio 'La Deposi- zione.'
��FOURTH PERIOD (1700-1760).
��1. Handel. Te Deur Glorias tuae.
��2. Do. He sent a thick darkness. 25. Graun. Machet die Thiire weit.
3. Do. He rebuked the Red Sea. 2(5. Do. Tu rex gloriae, a 4.
��4. Do. And Israel saw.
5. Do. Behold the Lamb of God.
- . Do. He was despised.
7. Do. Thy rebuke.
- . Do. Lift up your heads.
9. Do. Hear Jacob's God.
10. Do. Zadok the Priest.
11. Christoph Bach. Ich lasse dich
12. J. S. Bach. Kimm* von uns
13. Do. Mache diah mein Geist.
14. Do. Wir setzen uns Thranen
15. Do. Wie sich ein Vater. Lobet
16. Zelenka. Credo.
17. Telemann. Amen. Lob und
Ehre. a 8. IS. Stolzel. Gloria.
19. Homilius. Vater nnser, a 4.
20. Fasterwitz. Requiem.
��21. Basse. Duet and Chorus, Le 44. Do. Qui tollis. ft 6.
��porteanoi. 22. Do. Alto solo, Ad teclamamus.
��23. Hasse. Miserere, and Benigni.
24. Do. Te Deum, a 4.
��27. Do. Freuet euch (Tod Jesu).
28. Do. Wlr hier liegen. Do.
29. Rolle. Der Herr ist Konig.
30. Do. Welt-Eichter(TodAben. . Wolf. Laus et perennis gloria,
32. Do. Des Lebens Fiirsten.
33. C. P. E.Bach. Et misericordl,
a 6, from Magnificat.
34. Do. Heilig, 2 choirs, a 4.
35. M. Haydn. Salvos fac nos.
36. Do. Tenebras fact*.
37. Do. Miserere.
38. Leo. Coro, Di quanta pena,
39. Do. Et incarnatus.
40. Do. Miserere ; Ecce enim.a 8.
41. Jomelli. Confirma hoc Deus, 5
solo-! and chorus.
42. Do. Miserere.
43. Pergolesi. Eja ergo (Salve
��45. Do. Stabat Mater.
ROCK, MICHAEL, was appointed organist of St. Margaret's, Westminster, June 4, 1802, in succession to William Rock, junr., who had filled the office from May 24, 1774. He composed some popular glees ' Let the sparkling wine go round ' (which gained a prize at the Catch Club in 1 794), ' Beneath a churchyard yew,' etc. He died in March, 1 809. [ W.H.H.]
RODE, PIERRE, a great violinist, was born at Bourdeaux, Feb. 26, 1774. When 8 years of age he came under the tuition of Fauvel aine', a well-known violinist of his native town, and studied under him for six years. In 1788 he was sent to Paris. Here Punto (or Stich), the famous horn-player, heard him, and being struck with the boy's exceptional talent, gave him an introduc- tion to Viotti, who at once accepted him as his pupil. With this great master he studied for two
years, and in 1790 made his first public appear- ance, when he played Viotti's itfh Concerto at the The'a'tre de Monsieur with complete success. Although then but 16 years of age, he was appointed leader of the second violins in the excellent bafW of the Theatre Feydeau. In this position, appearing at the same time frequently as soloist, he remained till 1794, and then started for his first tour to Holland and the north of Germany. His success, especially at Berlin and Hamburg, was great. From the latter place he took passage to his native town. But the vessel was compelled by adverse winds to make for the English coast. So Rode came to London ; but he only once appeared in public, at a concert for a charitable purpose, and left England again for Holland and Germany. Finally he returned to France and obtained a professor- ship of the violin at the newly established Con- servatoire at Paris. In 1 799 he went to Spain, and at Madrid met Boccherini, who is said to have written the orchestration for Rode's earlier concertos, especially for that in B minor. On his return to Paris in 1800 he was appointed solo-violinist to the First Consul, and it was at that period that he achieved his greatest success in the French capital. A special sensation was created by his joint performance with Kreutzer of a Duo concertante of the latter's composition. In 1803 he went with Boieldieu to Petersburg. Spohr heard him on his passage through Bruns- wick, and was so impressed that for a considerable time he made it his one aim to imitate his style and manner as closely as possible. Arrived at the Russian capital Rode met with a most enthusi- astic reception, and was at once attached to the private music of the Emperor with a salary of 5000 roubles (about 7502.). But the fatigues of life in Russia were so excessive that from this period a decline of his powers appears to have set in. On his return to Paris in 1808 his recep- tion was less enthusiastic than in former times, and even his warmest friends and admirers could not but feel that he had lost considerably in cer- tainty of execution and vigour of style. From 1811 we find him again travelling in Germany. Spohr, who heard him in 1813 at Vienna, says in his autobiography (i. 178) : 'I awaited with feverish excitement the performance of Rode, to whom ten years before I had looked up to as my highest ideal. But he had hardly finished his first solo before I thought that he had much fallen off. His playing appeared to me cold and manneristic. I missed his former boldness in the execution of technical difficulties, nor could I feel satisfied with his cantilene. The concerto also which he played appeared to me in no way equal to his 7th in A minor, and when he played his variations in E major the same I had heard him play ten years ago I felt sure that he had lost much of his execu- tion ; for he not only had simplified many of the difficult passages, but even in this modified form played them in a timid and uncertain manner. The audience also seemed hardly satisfied. By the incessant repetition of the same few pieces his