By John S. Sainsbury
The writer John Sainsbury produced this two-volume biographical dictionary of musicians in 1824. The publication, 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 outstanding English predecessors, Dr Burney and Sir John Hawkings. It encompasses a 'summary of the historical past of music', in addition to biographies and memoirs of musicians. the variety of the knowledge supplied is significant, together with the main imprecise in addition to the main well-known: 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 dwelling and composing, albeit by way of deafness. This paintings is a mine of data on musical lifestyles and perceptions of song 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
E. those executed by voices alone, without the assistance of any instruments ; and accompanied madrigals, i. e. those in "which the voices are supported by the organ or piano-forte; for in this kind of composition, no other instruments are used with the voices. Simple madrigals appear to have been the first invented, but it is impossible to say by whom. Many authors have considered James Arcadelt, chapel-master to 'the cardinal of Lorraine, who flourished towards the close of the sixteenth century, as the first who composed this species of music ; but on reading P.
Many authors have considered James Arcadelt, chapel-master to 'the cardinal of Lorraine, who flourished towards the close of the sixteenth century, as the first who composed this species of music ; but on reading P. Aaron, and other didactic authors of that time, and subsequent to it, it will be seen, that this assertion is evidently erroneous, other madrigals of more ancient masters being there cited, and even some by the composers of the ancient Flemish school. We may thence conclude, that simple madrigals are an invention of the commencement of the sixteenth century.
Thus, although it is much admired, this style is now so little in use, that it would be difficult perhaps to find throughout Europe three composers who would agree in the manner of using it. The decline of the style ci capella, all the varieties of which, in the course of the sixteenth century, had risen to a degree of perfection since unparalleled, was useful to the other kinds of ecclesiastical music, and particularly to the accompanied and concerted styles. I mean by accompanied style, that in which the voices are accompanied by the organ alone, or, at most, with some other low instruments to sustain the basses; and by the concerted style, I mean that in which the voices are accompanied by all sorts of instruments, as well those of a high as of a low pitch.
A Dictionary of Musicians, from the Earliest Ages to the Present Time. Volume 1 by John S. Sainsbury