Page:A Dictionary of Music and Musicians vol 3.djvu/503

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SI CONTRA FA. [See Mi CONTRA FA.] SIBONI, GIUSEPPE, a distinguished tenor singer, born 1 at Forli Jan. 27, 1780, made his de"but at Florence in 1797, and after singing in Genoa, Milan, and Prague, appeared at the King's Theatre, London, in 1806, and sang for the following three seasons. In 1810, II, 12, 13 and 14 he was in Vienna, where he sang at the first performances of Beethoven's 'Welling- ton's Sieg' and 'Tremate empi.' In 1813 he sang at Prague, and after engagements at Naples and St. Petersburg (1818) settled at Copenhagen in Oct. 1819, where he lived for the rest of his life, occupying the post of Director of the Royal Opera and of the Conservatorium. He was mar- ried three times, his second wife being a sister of Schubert's friend von Schober, and died at Copenhagen, March 29, 1839. His style is said to have been very good, although his tone was somewhat guttural. His compass was two octaves, from Bb to Bb. He was a good actor and possessed a fine stage presence. Many of Paer's tenor parts were written for him. His son,

ERIK ANTON WALDEMAR, born at Copenhagen Aug. 26 (not 28, as stated in Mendel), 1828, learnt the pianoforte from Courlander and Goetze, com- position from F. Vogel, and harmony from Prof. J. P. E. Hartrnann. In Sept. 1847 he went to j Leipzig, and studied under Moscheles and Haupfc- mann, but on the outbreak of the Schleswig Hoi- stein insurrection he enlisted as a volunteer in the Danish army, and took part in the campaign of 1848. In 1851 he went to Vienna and studied counterpoint under Sechter until 1853, when he returned to Copenhagen, visiting Paris on his way. Among his pupils at this time were the Princess of Wales, the Empress of Russia, and the Land- grave Frederick William of Hesse Cassel. In 1864 Herr Siboni was appointed organist and professor of music at the Royal Academy of Music of Sorb, in Seeland, a post he still holds. The following are his chief compositions :

1. PUBLISHED. of Copenhagen; Psalm 111, for

S Impromptus for PF for 4 Bass Solo, Chorus, and Orchestra ; hands (op. 1); Organ Preludes ;! ' Stabat Mater, 1 for Soli. Chorus, Quartet lor PF. and Strings (op.! Orchestra, and Organ; Cantata. 10) ; Tragic Overture in C minor 1 *J he Battl ot Murten,' for Soil.



��(op. 14) ; Songs and PF. pieces. 2. UNPUBLISHED.

��2 Danish operas' Loreley,' In 1 2 Symphonies ; Concert Overture ;

��act ; ' Carl den Andens Flugt,' In 3 acts (Libretto on subject from English History by Professor Thomas Overskou), successfully performed at the Royal Theatre

��Male Chorus, and Orchestra ; ' The Assault of Copenhagen,' Cantata for Soli, Chorus, and Orchestra;

��PF. Concerto ; String Quartets ; PF. Trio; Duet for 'I PFs. , So- natas for PF. and Violin, and PF. and Cello, etc., many of them per- formed at concerts In Copenhagen.

��His wife, JOHANNA FREDERIKA (nte CRULL), an excellent pianist, born at Rostock Jan. 30, 1839, is the daughter of Hofrath Dr. Crull and Catherine Braun. She found an early protectress in the Duchess of Cambridge, who placed her under Marschner. On the death of her father, she lived in Sweden with the Baroness Stjernblad, who in 1860 sent her to Leipzig, where she was one of Moscheles's most promising pupils. In the following winter she went to Copenhagen, and played with great success. She was married

i F4tis gives his birthplace as Bologna, and the date as 1782, but the above details are from autobiographical notes supplied by his son.

��to Herr Siboni Sept. i, 1866, since when she has only occasionally performed at concerts ;it Copenhagen and Sorb'. [W. B. S.]

SICILIANA, SICILIANO, SICILIENNE, a dance rhythm closely allied to the Pastorale. The name is derived from a dance-song popular in Sicily, analogous to the Tuscan Rispetti. a Walther (Lexicon, 1732) classes these composi- tions as canzonettas, dividing them into Nea- politan and Sicilian, the latter being like jigs, written in rondo form, in 12-8 or 6-8 time. The Siciliana was sometimes used for the slow- movement of Suites and Sonatas (as in Bach's. Violin Sonata in G minor), but is of more fre- quent occurence in vocal music, in which Handel, following the great Italian masters, made great use of it. Amongst later composers, Meyerbeer has applied the name to the movement * O for- tune, a ton caprice' in the finale to Act i. of Robert le Diable, although it has little in com- mon with the older examples. The Siciliana is generally written in 6-8, but sometimes in 12-8 time, and is usually in a minor key. In the bar of six quavers, the first note is usually a dotted quaver, and the fourth a crotchet, fol- lowed by two semiquavers. The Siciliana is sometimes in one movement, but usually ends with a repetition of the first part. It should be played rather quickly, but not so fast as the Pastorale, care being taken not to drag the time and to avoid all strong accentuation, smoothness being an important characteristic of this species of composition. For examples we may refer to Pergolesi's ' Ogni pena piu spietate ' (Gemme d* Antichitk, no. 24), and Handel's airs ' Let me wander not unseen' (L' Allegro), and 'Die Rosen- kronen ' (The Passion). [W. B. S.]

SICILIAN BRIDE, THE. A grand opera in 4 acts ; words translated by Bunn from St. Georges, music by Balfe. Produced at Drury Lane Theatre March 6, 1852. [G.]


melody which, fifty years ago, was in great request as a hymn-tune, chiefly in Nonconformist chapels in England. We give the first two strains.

��f r g.r

J 1 1 j


It appears as 'Sicilian Mariners' in Miller's 'Dr. Watts' s Psalrns and Hymns set to new music/ which was entered at Stationers' Hall Oct. 18, 1 800 ; but it exists on a sheet, also containing 4 Adeste Fideles,' which was probably published some years before the close of last century. On, this sheet it is set to the words of a hymn to the Virgin Mary. 'O sanctissima, o purissima.'

This is all the information which the writer has been able to collect concerning it. [G.]

SIDE-DRUM. This is used in the army to mark the time in marching, either with or with- out fifes ; also for various calls and signals. [See SIGNALS.] Modern composers often use it in

For an account of these Sicilian songs see G. PitnJ. 'Sui Cantl Fopolari Sicilian!, ' Palermo, 1868.

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