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GROVE'S
DICTIONARY OF MUSIC
AND MUSICIANS

EDITED BY
J. A. FULLER MAITLAND, M.A., F.S.A.

IN FIVE VOLUMES
VOL. I

LONDON
MACMILLAN AND CO., LTD.
NEW YORK
THE MACMILLAN COMPANY
1904

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CONTENTS

PREFACE	v vi vii
LIST OF CONTRIBUTORS	ix
DICTIONARY OF MUSIC AND MUSICIANS	1
A	1

WHEN Sir George Grove projected the Dictionary of Music and Musicians, the first instalment of which appeared in 1878, he intended it, as he explained in his preface, for the general reader as much as for the musician, and it was in a great measure the fulfilment of this purpose which made the success of the book. Owners of the earlier copies of the old edition will remember that on the title-page of the first volume are the words 'in two volumes,' and the first of what eventually became four volumes includes the greater part of the letter I. It stands to reason, therefore, that the earlier letters of the alphabet were treated far more scantily than the later; as the work went on the scheme enlarged itself, as was indeed inevitable, and finally the more serious omissions under the earlier letters had to be supplied in an appendix, published in 1889. In the present edition an attempt has been made to restore the balance as between the earlier and later letters of the alphabet; but it seems only fitting to stop short of any rectification of balance which might involve tampering with the three great articles which are Sir George Grove's chief work in musical literature, those on Beethoven, Mendelssohn, and Schubert. These monumental articles have not indeed been left intact, but the alterations in them have been made in strict obedience to the writer's own wishes in the matter of additions and corrections. At his death he left a large quantity of material intended for use in a later edition of the Dictionary, in correction or amplification of these great articles, and the work of incorporating them in the text has been done, in the case of the articles on Beethoven and Mendelssohn, by writers to whom he himself entrusted the materials. In these articles, and some others of the longer biographies, dates have been added at the top the pages, to assist the reader who may wish to use the book as a work of reference. References to sources of information which have appeared since Sir George Grove's death have been inserted, but in square brackets, such as have been used throughout the Dictionary to indicate additions for which the writer of the original article is not responsible. When these additions are unsigned, it is to be understood that the Editor is responsible for them. Some such additions were necessary in almost every article, but where circumstances allowed the writers have been asked to correct, and add to, their own contributions. This was not always feasible, for the list of contributors will show a large proportion of names of deceased writers, while in other cases it has been impossible to trace the authors of the articles.

One of the most valued contributors to the old edition, the late Mr. A. J. Hipkins, F.S.A., was actively engaged in correcting and expanding his articles when death overtook him in June 1903; his articles on the keyed instruments and some others, in the present volume, were all corrected by himself, and materials for the correction of those under later letters were left among his papers, and will, it is hoped, be incorporated in the subsequent volumes.

It will be seen that the work of which this is the first volume is not, strictly speaking, a new book: the old arrangement has been kept wherever it was possible, although a great many absolutely new articles appear in the following pages. In the quarter of a century which separates the first volume of the old edition from the first volume of the new, not only have many hundreds of names reached an eminence which makes their inclusion necessary, but many new reputations have been made, both among creative and excecutive musicians. In the department of archæology the standards of research have greatly altered in the years that have passed. At the beginning of the old Dictionary Fétis was considered as altogether trustworthy; later on Mendel's Lexicon succeeded to the place formerly occuped by the Biographie Universelle de Musiciens, and Fétis's statements were, perhaps undeservedly, discredited. Such authorities as Eitner, Wotquenne, and others, such standards of research as were maintained in the Dictionary of National Biography, have put the study of biography and bibliography on a new footing. If the new edition of the Dictionary cannot claim to be based exclusively on original research, it will be found that, in the great majority of cases, the statements made at second-hand are referred to the source from which they were taken.

Upon the first edition a limit of time was imposed, the date 1450 being fixed as the beginning of the music that could be expected to interest modern readers. The study of ancient music, and in particular of that which belongs to ecclesiastical plain-song, has been so widely spread (partly as a result of the scientific articles written by the late W. S. Rockstro in the later part of the Dictionary) that no book on music could now be considered complete which made the starting-point as late as the middle of the 15th century.

The scope of the Dictionary has been greatly enlarged in other ways. There was no article on Acoustics in the first edition, and such composers as Bach, Berlioz, Brahms, and Chopin, were inadequately treated. These five headings, and that of Degrees in Music, may be referred to as indications of the alteration of plan in the new edition. In the case of all composers of real importance, their works have been catalogued systematically under their opus-numbers (where such are used); in like manner, such critical remarks have been admitted, even in the case of living men, as are likely to give the reader a general idea of the special characteristics of the musicians dealt with.

In the new edition, as in the old, no attempt has been made to include the name of every musician who might be held to deserve mention. There is the less need for such an exhaustive treatment (in regard to English musicians, at least) since the publication of British Musical Biography, and other works of the kind, which claim to mention every one of any kind of eminence. The average country organist who, though unknown beyond his own parish, has succeeded in getting an anthem printed, will not find his name in the new edition of the Dictionary any more than in the old. The process of selection may not in all cases meet with universal approval; but it has not been done without careful weighing of the claims of each name, whether among executants or composers. In regard to the younger musicians, particularly executants,only those have been admitted who have attained to real eminence, and whose fame has spread beyond the limits of their own countries.

As the five volumes of the new edition will be published at much closer intervals than the four of the old, it may be confidently expected that the necessity for an appendix at the end will not be as great as it was after the eleven years covered by the publication of the first edition. By more frequent cross-references it is hoped that a final index may also be dispensed with. Since the publication of the first edition, corrections, over and above those which were incorporated in the appendix, have naturally been suggested from many quarters. In many cases the same obvious errors of the press have been corrected by ten or twenty correspondents; the Editor finds it impossible to acknowledge each of these separately, but he takes this opportunity of thanking all those who have taken the trouble to send him corrections that they may have noted. Annotated copies of the whole Dictionary have been placed at his disposal by Messrs. F. G. Edwards, W. Barclay Squire, and Herbert Thompson, to whom his especial thanks are due. To Mr. Nicholas Gatty, for help in the routine of editing, and to all the contributors, who have shown the same interest and enthusiasm in the present work as they or their predecessors showed in the production of the old editon, warm acknowlegments are to be made.

ST. MARTIN'S STREET, W.C.,

October 1, 1904.

A. The name of the sixth degree of the natural scale of C. The reason of its being applied to the sixth instead of the first degree will be found explained in the article ALPHABET. It represents the same note in English and German, and in French and Italian is called La.

A is the note given (usually by the oboe, or by the organ if there is one) for the orchestra to tune to; in chamber music it is usual for the pianist to play the triad of D minor, so that A is the highest note. A is also the note to which French and German tuning forks are set, the English being usually tuned to C.

In all the stringed instruments one of the strings is tuned to A; in the violin it is the second string, in the viola and violoncello the first and in the contrabasso generally the third. A is also the key in which one of the clarinets in the orchestra is set. In German the keys of A major and A minor are occasionally expressed by A sharp and A flat.

Franklin Taylor