Page:A Dictionary of Music and Musicians vol 4.djvu/750

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OCTAVE. Add that an explanation of the term 'Short Octave' will be found in vol. ii. p. 588, and vol. iii. p. 653.

ODINGTON, Walter de, or Walter of Evesham, as he appears to have been indifferently called, probably took his name from Oddington, in Gloucestershire. It has been the fashion among musical historians to identify him with the Walter, monk of Canterbury, whose election to the primacy was quashed by the Pope in 1229; but unfortunately the true spelling of his name was Einesham or Eynsham. The subject of this article could not have been born much before the middle of the 13th century, if, as appears beyond doubt, he was the Walter de Evesham who is referred to in a list of mathematicians as living in 1316. Upon this supposition we may accept the date, 1280, at which Leland states that Odington was flourishing. In all probability his musical works were written early in his life, his latter days being given up to astronomy, in which science he is known to have been proficient, from several treatises which have come down to us. His only known musical work was the 'De Speculatione Musices,' of which there is a MS. copy in Corpus Christi College, Cambridge. Another copy is supposed to have been contained in one of the Cotton MSS. of which the remains are now at the British Museum. In this treatise Walter shows himself a sound musician as well as a learned writer, supplying in almost all cases examples of his own composition. The principal subjects he handles are musical intervals, notation, rhythm, musical instruments, and harmony, which latter term he uses instead of the old 'discantus'; he gives interesting definitions of such words as rondeau, motet (which he calls 'motus brevis cantilense'), etc. But the treatise is especially important for the study of rhythm in the 13th century. All that is known of his life is that he was a Benedictine of the monastery at Evesham, and that he was at Oxford, as stated above, in 1316.

[ A. H.-H. ]

OEDIPUS. Add that incidental music, choruses, etc. were written to the play by Dr. C. V. Stanford, for the performance at Cambridge on Nov. 22–26, 1887.

OFFENBACH. Add that he died of gout on the heart, at his residence on the Boulevard des Capucines, Oct. 5, 1880. His posthumous works include 'La belle Lurette,' composed within a short time of his death, and 'Les Contes d'Hoffmann,' opéra comique. The former was revised by Léo Delibes, and produced at the Renaissance, Oct. 30, 1880, with Jane Hading, Milly Meyer, Vauthier, Jolly, etc. (in English at the Avenue Theatre, March 24, 1883). The second opera was the composer's most cherished work, on which he had been working for years. For some time Offenbach had felt his end approaching, and said to M. Carvalho, 'Make haste, make haste to mount my piece; I am in a hurry, and have only one wish in the wrld—that of witnessing the premiére of this work.[1] 'It was finally revised and partly orchestrated by Guiraud, and produced at the Opéra Comique, Feb. 10, 1881, with Adele Isaac, Marguérite Ugalde, Talazac, Taskin, Grivot, etc. It was played no less than 101 nights in the year of its production. It was given in Germany, and at the King Theatre, Vienna, at the time of its conflagration. Some of the music was adapted to a one-act farce by Leterrier and Vanloo, 'Mlle. Moucheron,' produced at the Renaissance, May 10, 1881. Offenbach's widow died April 10 1887.

[ A. C. ]

OLD HUNDREDTH TUNE, THE. This tune, as well as others in the Genevan Psalter, has been so often erroneously ascribed to Goudimel, or the name of that composer appended to harmonies which are not his, that it will be interesting to give here a transcript of the melody by Bourgeois, 1552, as harmonized by Goudimel, 1565.

<< \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \time 2/2 \new Staff << \key f \major
\new Voice { \relative a' { \cadenzaOn \stemUp a1 a2 g g e d f1 e2 f1 \bar "|" f1 f2 f e a1 g f2 g1 \bar "|" d1 e2 f e a g1 g a \bar "|" f f d d2 g1 f e2 f\breve \bar "||" } }
\new Voice { \relative c' { \cadenzaOn \stemDown c1 c2 c bes a a1 c c c d2 c c a d1 d d a c2 c c a b1 c c a c bes bes2 d c1 c c\breve } } >>
\new Staff << \clef bass \key f \major
\new Voice { \relative f { \override NoteHead #'style = #'petrucci \huge \cadenzaOn \stemUp f1 f2 e d c f1 g a | a a2 a g f bes1 a g f g2 a g f d1 e f c' a f g2 bes a1 g f\breve } }
\new Voice { \relative f, { \cadenzaOn \stemDown f1 f2 c' g a d1 c f, f' d2 f c d bes1 d g, d' c2 f, c' d g,1 c f, f f bes g2 g a1 c f,\breve } } >> >>

In 1561 Kethe wrote versions of twenty-five psalms for the enlarged edition of Knox's Anglo-Genevan Psalter published in that year. One of these was the Long Measure version of Psalm C, 'All people that on earth do dwell,' to which the Genevan tune was then for the first time adapted.

[ G. A. C. ]

OPERA. P. 499a, l. 13, for Mantua read Modena. P. 501a, l. 3, for 1613 read 1615. P. 502a, l. 30. The drama called 'Il Ritorno di Angelica,' etc., is ascribed, in Lady Morgan's 'Life and Times of Salvator Rosa,' to a composer named Tignali. This name is considered by Mr. S. S. Stratton to be a corruption of Tenaglia, whose 'Clearco' was produced at

  1. 'Daily Telegraph,' Paris Correspondence, Oct. 7, 1880.