and when they began to come into use in the early middle ages as so-called imperfect consonances the major third used was that commonly known as the Pythagorean third, which is arrived at by taking four fifths from the lower note. The ratio of this interval is 64:81, and it is therefore considerably sharper than the just or natural third; while the major third of equal temperament generally used in modern music lies between the two, but a little nearer to the Pythagorean third.
The resultant tones of thirds are strong. That of the major third is two octaves lower than the lowest of the two notes, and that of the minor third two octaves and a major third.
Diminished thirds are rough dissonances; they occur in modern music as the inversions of augmented sixths, as F♯—A♭ (e); and their ratio is 225:256. They are of powerful effect, but are sparingly used by great masters of the art. They rarely appear in the position of actual thirds, but more commonly in the extended position as diminished tenths.
THIRLWALL, John Wade, born Jan. 11, 1809, at a Northumbrian village named Shilbottle, was the son of an engineer who had been the playmate of George Stephenson. He appeared in public before he was 8 years old, at the Newcastle Theatre, afterwards became music director at the Durham Theatre, and was engaged by the Duke of Northumberland to collect Northumbrian airs. He subsequently came to London, was employed in the Opera band, and was music director at Drury Lane, the Haymarket, Olympic, and Adelphi Theatres successively. After the death of Nadaud in 1864 he was appointed conductor of the ballet music at the Royal Italian Opera. In 1843 he composed the music for 'A Book of Ballads,' one of which, 'The Sunny Days of Childhood,' was very popular; also many songs, violin solos, and instrumental trios. He was for some time music critic to the 'Pictorial Times,' 'Literary Gazette,' and 'Court Circular.' Besides music he cultivated poetry and painting, and in 1872 published a volume of poems. He died June 15, 1875.
His daughter and pupil, Annie, a soprano singer, first appeared at the National Concerts, Exeter Hall, in 1855. On Feb. 4, 1856, she first performed on the stage at the Strand Theatre, whence she removed to the Olympic, Oct. 12, 1856. In Oct. 1859 she joined the Pyne and Harrison company at Covent Garden. A few years afterwards she became the leading member of an English-Opera company which performed in the provinces, and retired in 1876.
THOINAN, Ernest, the nom de plume of Ernest Roquet, a distinguished amateur and collector of works on music. From collecting he advanced to writing, first as a contributor to 'La France musicale,' 'Art musical,' and others. His essays in these periodicals he has since published: 'La Musique à Paris en 1862' (Paris, 1863); 'L'Opera des Troyens au Pére La chaise' (1863); 'Les origines de la Chapelle musique des souverains de France' (1864); 'Les deplorations de Guillaume Crestin' (1864); 'Mangars' (1865); 'Antoine de Consu' (1866); 'Curiosités musicales' (1866); 'Un Bisaïeul de Molière: recherches sur les Mazuel' (1878); Louis Constantin, roi des violons' (1878); 'Notes bibliographiques sur la guerre des Gluckistes et des Piccinnistes' (1878). These pamphlets contain much curious information, and many corrections of Fétis's mistakes. He has also republished the very scarce 'Entretien des musiciens,' by Annibal Gantaz (1878), with notes and explanations. He has in preparation a book on Lully, said to embody many unpublished documents.
THOMAS, Arthur Goring, born at Ratton, Sussex, in November, 1851, was educated for another profession and did not begin to study music seriously until after he came of age. In 1875 he went to Paris, and studied for two years under M. Emile Durand. On his return to England he entered the Royal Academy, studied there for three years under Messrs. Sullivan and Prout, and twice gained the annual prize for composition. His principal compositions are an opera in 3 acts (MS.), libretto by Mr. Clifford Harrison, on Moore's poem 'The Light of the Harem'; four Concert-scenas, two of which have been performed in London and one at the Crystal Palace; an anthem for soprano solo, chorus, and orchestra, performed at S. James's Hall in 1878; some detached pieces for orchestra; ballet music, etc.; a number of songs; and a cantata, 'The Sun-worshippers,' given with success at the Norwich Festival in 1881. His 4-act opera, 'Esmeralda,' words by Randegger and Marzials, was produced by Carl Rosa at Drury Lane, March 26, 1883, with great success, and has since been reproduced at Cologne. [App. p.799 "Add that his four-act opera ' Nadeschda,' set to a libretto by Julian Sturgis, was produced by the Carl Rosa Company at Drury Lane, April 16, 1885. An orchestral 'Suite de ballet' was performed by the Cambridge University Musical Society on June 9, 1887. (Died Mar. 20, 1892.)"]
THOMAS, Charles Ambroise, eminent French composer, born at Metz, Aug. 5, 1811. The son of a musician, he learnt his notes with his alphabet, and while still a child played the piano and violin. Having entered the Paris Conservatoire in 1828, he carried off the first prize for piano in 1829, for harmony in 1830, and the Grand Prix in 1832. He also studied the piano with Kalkbrenner, harmony with Barbereau, and composition with the venerable Lesueur, who used to call him his 'note sensible' (leading-note), because he was extremely sensitive, and the seventh of his pupils who had gained the Prix de Rome. His cantata 'Hermann und Ketty' was engraved, as were also the works composed during his stay in Italy, immediately after his return. The latter comprise a string-quartet and quintet; a trio for PF., violin, and cello; a fantasia for PF. and orchestra; PF. pieces for 2 and 4 hands; 6 Italian songs; 3 motets with organ; and a 'Messe de Requiem' with orchestra.
Early works of this calibre gave promise of a musician who would work hard, produce much, and by no means rest content with academical honours. He soon gained access to the Opéra Comique, and produced there with success 'La double Echelle,' 1 act (Aug. 23, 1837); 'Le
