longed to Signor Rauzzini, and after his death his master put up a memorial to him in his garden at Bath, in which he was spoken of as his master's 'best friend.' Haydn and Burney visited Rauzzini at Bath in 1794, and Haydn was so much struck by the memorial as to set a part of the inscription—apparently the concluding words—as a canon or round for 4 voices.
Canon a quattro.
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1 Turk was a faith -- ful dog; a faith -- ful dog, and not a man, And not a
2 man. Turk was a faith -- ful dog, a faith -- ful dog, and not a man, And not a
3 man. Turk was a faith -- ful dog, and not, and not a man, and not a man; Turk, Turk,
4 Turk! Turk was a faith -- ful dog a faith -- ful
The house was then known as 'Perrymead' (not 'The Pyramids,' as Pohl[1] gives it), but now as 'Warner's,' and is situated in the south-east part of Bath. All trace of the memorial seems to have disappeared.[2]
[ G. ]
TURKISH MUSIC (Türkische, or [3]Janitscharen musik; Ital. Banda turca). The accepted
term for the noisy percussion instruments—
big-drum, cymbals, triangle—in the orchestra.
The most classical instance of its use is in the
brilliant second number of the Finale to the
Choral Symphony, alla marcia. There, and in
the last chorus of all, Beethoven has added
'Triangolo,' 'Cinelli,' and 'Gran Tamburo,' to
the score; and these noisy additions were
evidently part of his original conception, since they
are mentioned in an early memorandum, long
before the vocal part of the symphony had
assumed at all its present shape. In the autograph
of the Dervish Chorus in the Ruins of
Athens, which is scored for horns, trumpets, and
alto and bass trombone, in addition to the usual
strings, he has made a memorandum that 'all
possible noisy instruments, such as castanets,
bells, etc.,' should be added.
[ G. ]
TURLE, James, born at Taunton, March
5, 1802, was a chorister at Wells Cathedral,
under Dodd Perkins, from July 1810 to Dec.
1813. He was organist of Christ Church, Surrey,
from 1819 to 1829, and from the latter date to
1831 organist of St. James, Bermondsey. From
1819 to 1831 he was assistant to Thomas Greatorex
as organist and master of the choristers of
Westminster Abbey, and upon Greatorex's death
in 1831 was appointed his successor. In 1875
he was released from active duty by the
appointment of Dr. J. F. Bridge as his assistant.
From 1829 to 1856 he was music master at the
School for the Indigent Blind. He composed and
edited many services, anthems, and chants, and
edited, with Professor E. Taylor, 'The People's
Music Book.' He also composed many glees,
which yet remain in MS. His remarkable skill
and ability as a teacher were strikingly manifested
by the number of those who received their early
training from him, and rose to eminence in their
profession. He died June 28, 1882.
Robert Turle, his brother, born March 19,
1804, was a chorister at Westminster Abbey
from 1814 to Aug. 1821, was organist of Armagh
Cathedral from 1823 to 1872, and died March
26, 1877.
William Turle, first cousin of the preceding
two, born at Taunton in 1795, a chorister of
Wells Cathedral from 1804 to 1810. After
quitting the choir he paid a short visit to America,
and on his return to England in 1812 became
organist of St. James's, Taunton, which he quitted
upon being appointed organist of St. Mary
Magdalen's in the same town.
[ W.H.H. ]
TURN (Fr. Brisée; Germ. Doppelschlag;
Ital. Grupetto). An ornament much used in
both ancient and modern music, instrumental as
well as vocal. Its sign is a curve (
Music characters) placed
above or below the note, and it is rendered by
four notes—namely, the note next above the
written note, the written note itself, the note
below, and the written note again (Ex. 1). It
is thus identical with a figure frequently employed
in composition, and known as the halfcircle
(Halbzirkel, Circolo mezzo). The written
note is called the principal note of the turn, and
the others are termed respectively the upper and
lower auxiliary notes.
1.
![{ \time 3/4 \override Score.TimeSignature #'stencil = ##f \cadenzaOn s4 c''4\turn^\markup { "Written." } s4. \bar "||" s4 d''16[^\markup { "Played." } c'' b' c''] s4 \bar "||" }](http://upload.wikimedia.org/score/q/7/q7jcsg9yc3vg8t6n04tisowo2ecv6ev/q7jcsg9y.png)
On account of its gracefulness, and also no doubt in consequence of its presenting little difficulty of execution, the turn has always been a very favourite ornament, so much so that Emmanuel
Bach says of it, 'This beautiful grace is
