Page:A Dictionary of Music and Musicians vol 4.djvu/591

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Milan Conservatorio in 1842, remaining there until 1847. Two operas of small calibre were performed in the theatre connected with the establishment, but his first essay before the public was with 'Don Bucefalo,' given at the Teatro Rè in Milan in 1847. This opera buffa, although it has kept the stage in Italy, has never attained success outside its own country; it was given at the Italiens in Paris, but very coldly received. His successive operas have not been received with uniform favour, though several, especially among his later works, have been attended by good fortune. Between 1856 and 1863 he held the post of maestro di capella at Vigevano, and while there devoted himself entirely to religious music. The following is a complete list of his operas:—'Rosalia di San Miniato' (1845); 'I due Savojardi' (1846); 'Don Bucefalo' (1847); 'Il Testamento di Figaro' (1848); 'Amori e Trappole' (1850); 'La Valle d'Andorra' (1854); 'Giralda' (1852); 'La Fioraja' (1855); 'La Figlia di don Laborio' (1856); 'Il Vecchio della Montagna' (1863); 'Michele Perrin' (1864); 'Claudia' (1866); 'La Tombola' (1869); 'Un Capriccio di Donna' (1870); 'Papa Martin' (1871), produced by Carl Rosa at the Lyceum in 1875 as 'The Porter of Havre'; 'Il Duca di Tapigliano' (1874); 'Francesca da Rimini' (1878). In that year he retired to Novara, where he became maestro di cappella in the cathedral, and director of the Istituto musicale. He has since produced nothing but sacred music. Two motets, 'Inveni David' and 'Ave Maria,' were published in 1886. In February of that year Cagnoni was made a commander of the order of the Corona. He is at present (1886) maestro di cappella at Santa Maria Maggiore in Bergamo.

[ M. ]

CALAH, JOHN. Add that in 1781–1785 he was organist of the parish church and master of the Song-school at Newark-upon-Trent. Correct the date of his death to Aug. 5.

CALASCIONE. Last line but one of article, for Cola read Colæ.

CALDARA. Line 9 of article, correct date of death to Aug. 28, 1763, on the authority of Paloschi and Riemann.

CALLCOTT, John Wall. Add that in 1780 he wrote music for a play performed at Mr. Young's school. P. 298 a, l. 14, for In the latter year read About 1782; and add that he occasionally played the oboe in the orchestra of the Academy of Ancient Music. P. 298 b, l. 27, for 1801 read 1795; and add that the band was formed, as stated, in the former year. Line 41, for appointed to succeed Dr. Crotch as lecturer on music, read appointed in 1807 to lecture on German music; and compare Crotch in vol. i. and in Appendix. For date of death read May 23, and add that it took place at Bristol, though he was buried at Kensington. (Dict. of Nat. Biog.) Add the dates of William Hutchins Callcott, 1807–Aug. 4, 1882.

CALVARY. The performance at the Norwich Festival was not the first, as the work had been given in the Hanover Square Rooms by the Vocal Society, under Mr. Edward Taylor, March 27, 1837.

[ G. ]

CAMBERT, Robert. Omit the words Sometimes called Lambert. Line 12 of article, add date of production of 'La Pastorale' April, 1659. Line 14, for in read on June 28. Line 19, add day of production of 'Pomone,' March 19.

CAMBINI. Add day of birth, Feb. 13.

CAMBRIDGE QUARTERS. The most frequent application in our own country of the principle of Carillons is in the short musical phrases which are used to mark the divisions of the hour. Among these the quarter-chimes of Cambridge or Westminster, and those of Doncaster have become most famous. There is an interesting account of the origin of the Cambridge or Westminster chimes. It is said that Dr. Jowett, Regius Professor of Law, was consulted by the University authorities on the subject of chimes for the clock of St. Mary's, Cambridge, and that he took a pupil of the Regius Professor of Music into his confidence. The pupil, who was no other than the afterwards famous Dr. Crotch, took the fifth bar of the opening symphony of Handel's 'I know that my Redeemer liveth,' and expanded it into the musical chime, which is as follows:—

{ \override Score.TimeSignature #'stencil = ##f \key d \major \relative f'' { fis4^"First quarter." e d a \bar "||" d fis^"Second quarter." e a, d e fis d \bar "||" fis d^"Third quarter." e a, a e' fis d fis e d a \bar "||" d fis^"Fourth quarter." e a, d e fis d fis d e a, a e' fis d \bar "||" d,1^"Hour." \bar "||" } }

The old 'Whittington' chimes, famous at one time in London

{ \time 6/8 \cadenzaOn \relative c'' { c8[ e g] f[ d b] d,[ f a] g[ e c] } }

have apparently become old-fashioned and out of date.

The chimes of the Royal Exchange (London) present the Cambridge arrangement; but with this difference, that bar 2 of the second quarter, and bar 2 of the third quarter, are transposed. It is generally considered that the old arrangement is best.

The Doncaster and Fredericton chimes are arranged to come in upon a set or ring of eight bells, whereas the Cambridge or Royal Exchange chimes need a set or part of a set of ten bells, and as so many churches have an octave of ringing bells the Doncaster arrangement has many advantages for the more general adoption, being arranged thus—

{ \override Score.TimeSignature #'stencil = ##f \time 4/4 \relative b' { b^"First quarter." a g d \bar "||" g b^"Second quarter." a d, g a b g a^"Third quarter." d, b' g d a' b g b a g d \bar "||" c1^"Hour." \bar "||" } }