C. P. E. Bach, Rondo in C.
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Like the shake, the turn can occur in two parts at once, and Hummel indicates this by a double sign, 
; this is however rarely if ever met with in the works of other composers, the usual method being to write out the ornament in full, in ordinary notes. A strikingly effective instance of the employment of the double turn occurs in the first movement of Beethoven's Concerto in E♭,[1] and Schumann, in No. 4 of the 'Kreisleriana,' has a three-part turn, written in small notes.
TURNER, Austin T., born at Bristol, 1823, was a chorister at the Cathedral there, and at the age of 20 was appointed vicar choral at Lincoln. He went to Australia in 1854, and was selected as singing master to the Government School at Ballarat, where he now resides. He was the pioneer of music in that place, being the first conductor of the Philharmonic Society, which among other oratorios has performed Mendelssohn's 'St. Paul' and Spohr's 'Last Judgment,' and, for the first time in Australia, Sullivan's 'Prodigal Son.' His sacred cantata 'Adoration,' for solos, chorus, and full orchestra, was produced by the Melbourne Philharmonic Society on Nov. 24, 1874. He is also the author of a choral song; two masses, sung with full orchestral accompaniments at St. Francis' Church, Melbourne; several glees, madrigals, and minor works. He has been organist of Christ Church, Ballarat, for many years.
TURNER, William, Mus. Doc., born 1651, son of Charles Turner, cook of Pembroke College, Oxford, commenced his musical education as a chorister of Christ Church, Oxford, under Edward Lowe, and was afterwards admitted a chorister of the Chapel Royal under Captain Henry Cooke. Whilst in the latter capacity he joined his fellow choristers, John Blow and Pelham Humfrey in the composition of the 'Club Anthem.' After quitting the choir his voice settled into a fine countertenor, and he became a member of the choir of Lincoln Cathedral. On Oct. 11, 1669, he was sworn in as a gentleman of the Chapel Royal, and soon afterwards became a vicar choral of St. Paul's, and a lay vicar of Westminster Abbey. He graduated as Mus. Doc. at Cambridge in 1696. He composed much church music; 2 services and 6 anthems (including 'The king shall rejoice,' composed for St. Cecilia's Day, 1697, and 'The queen shall rejoice,' for the coronation of Queen Anne) are contained in the Tudway collection (Harl. MSS. 7339 and 7341). Eight more anthems are at Ely Cathedral, and others in the choir books of the Chapel Royal and Westminster Abbey. Boyce printed the anthem 'Lord, Thou hast been our refuge' in his Cathedral Music. Many of Turner's songs were printed in the collections of the period. He died at his house in Duke Street, Westminster, Jan. 13, 1739–40, aged 88, having survived his wife, with whom he had lived nearly 70 years, only 4 days, she dying on Jan. 9, aged 85. They were buried Jan. 16, in one grave in the west cloister of Westminster Abbey. Their youngest daughter, Anne, was the wife of John Robinson, organist of Westminster Abbey. [See Robinson, John.]
TURPIN, Edmund Hart, distinguished organist, was born at Nottingham May 4, 1835; was local organist at the age of thirteen; also studied composition and piano, and became practically acquainted with the instruments of the orchestra and military band. In 1857 he came to London, and since 1869 has been fixed at St. George's, Bloomsbury, and is one of the most prominent of the London organists. In 1875 he became Hon. Secretary of the College of Organists, to which excellent institution he has devoted much attention, especially in developing the examinations. Mr. Turpin has been for long connected with the musical press of London, and since 1880 has edited the 'Musical Standard.' He conducts various societies, and in 1883 was conductor of the London orchestra at the Cardiff Eisteddfod. His published works embrace 'A Song of Faith,' produced in London, 1867; 'Jerusalem,' a cantata; anthems and services; pianoforte pieces; songs, hymn-tunes, and much organ music. He has also edited the 'Student's Edition' of classical pianoforte music (Weekes and Co.), with marginal analyses and directions. In MS. he has several masses, a Stabat Mater, etc., etc.
TUSCH, probably a form of Touche, that is, Toccata, and that again related to Tuck, Tucket. The German term for a flourish or ensemble-piece for trumpets, on state or convivial occasions. Weber has left one of 4 bars long for 20 trumpets, given in Jähns's Verzeichniss, 47 a. [See Fanfare.]
In Germany the term is also used for a thing unknown in this country, namely, for the sort of impromptu, spontaneous, acclamations of the wind instruments in the orchestra after some very great or successful performance. After the audience and the players have gone on for some time with ordinary applause, cries of 'Tusch, Tusch,' are gradually heard through the hall, and then the Trumpets, Horns, and Trombones begin a wild kind of greeting as if they could not help it, and were doing it independent of the players. To an Englishman on a special occasion, such as the Beethovenfest or Schumannfest at Bonn in 1870 and 1873, it is a very new and interesting experience.
- ↑ In the subject which is accompanied by descending chromatic triplets in the bass.
