By John S. Sainsbury
The writer John Sainsbury produced this two-volume biographical dictionary of musicians in 1824. The booklet, as he recognizes on his identify web page, borrows from the formerly released works of Choron and Fayolle (in French), Gerber (in German), Orloff (Russian, writing in French), and his striking English predecessors, Dr Burney and Sir John Hawkings. It includes a 'summary of the historical past of music', in addition to biographies and memoirs of musicians. the variety of the data supplied is colossal, together with the main imprecise in addition to the main recognized: fourteen pages on Mozart are through paragraphs on his spouse Constanza and at the now thoroughly forgotten B. F. Mozin, a French piano instructor and composer, whereas Beethoven is defined whilst nonetheless residing and composing, albeit bothered by way of deafness. This paintings is a mine of knowledge on musical lifestyles and perceptions of track heritage within the early 19th century.
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Additional info for A Dictionary of Musicians, from the Earliest Ages to the Present Time. Volume 1
Vecchi, 1597 : all of which were represented nt Venice. The music of these works was completely in the madrigal style ; and if it had its beauties, it had also its absurdities, which were still more apparent on the stage, where every thing should appear true. Amongst these inconveniences, we shall name, as one of the most remarkable, the use of monologues, sung by several voices, on account of the want of instruments for accompaniment. It is not precisely ascertained when the recitative was introduced into lyric comedy.
Thus the tonal harmony became known ; and his principle being once admitted, all its consequences were naturally deduced, and musicians arrived, almost insensibly, at the conclusion, that only three essential harmonies were to be acknowledged in the mode, namely, that of the HISTORY OF MUSIC. XS13C tonic, of the dominant, and of the sub-dominant; which are all that should be placed, either direct or inverted, on these notes and on those comprised in their harmony. Charles Monteverde likewise introduced into composition double dissonances, which were soon succeeded by triple dissonances, and diminished and altered chords.
The first distinction between the severe and ideal •Style is here easily perceived. A collection of popular songs of the middle age, mostly composed by the troubadours, successors of the ancient bards, or by priests and musicians of the same period, such as Raoul de Coney, Thibaut, count of Champagne, and others, will give a correct notion of the ideal style ; whilst as to the severe style, it was confined to plain-chant and the counterpoints composed on it. At the period, however, to which we now allude, counterpoint rapidly advanced; the invention of canons soon leading to that of fugues, and many other artificial compositions : the revolution was indeed so sudden and complete, that the art of composition appeared entirely new.
A Dictionary of Musicians, from the Earliest Ages to the Present Time. Volume 1 by John S. Sainsbury