By George Grove
This can be a reissue of the 1st version of George Grove's Dictionary of song and Musicians, which has considering developed to turn into the most important and so much authoritative paintings of its type in English. The undertaking grew within the making: the identify web page of quantity 1 (1879) refers to 'two volumes', yet by the point quantity four seemed in 1889 there has been additionally a 300-page appendix and a separate index quantity. The dictionary was once a global project, with participants from Paris, Leipzig, Berlin, Vienna and Boston along these established in Britain. It was once 'intended to provide an exceptional and lengthy stated wish' coming up from the elevated curiosity in all facets of tune, which was once 'rapidly changing into a vital department of education', and to cater for the pro whereas being obtainable to the beginner. it's a attention-grabbing record of musical tastes and values within the past due Victorian interval.
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Additional resources for A Dictionary of Music and Musicians (A.D. 1450-1880): By Eminent Writers, English and Foreign. Volume 4
When he descends from this distant height, he assumes a cheerful and sometimes playful vein, as in the second principal subject of the first movement, and in the subsidiary or cadence subject that follows it. This may not be altogether in accordance with what is popularly meant by the name 'Jupiter,' though that deity appears to have been capable of a good deal of levity in his time ; but it has the virtue of supplying admirable contrast to the main subjects of the section; and it is so far in consonance with them that there is no actual reversal of feeling in passing from one to the other.
The divisions of key, the short • working-out' portion, and the recapitulation, are generally present, but not pointedly defined. Examples of this condition of things are supplied by some MS. symphonies by Paradisi in the Fitzwilliam Museum at Cambridge, which in other respects possess excellent and characteristically modern traits. The first thing attained seems to have been the relative definition and balance of the two subjects. In Stamitz, Abel, J. C. Bach, and Wagenseil, this is already commonly met with.
It is surrounded on both sides by some of his noblest achievements. ' Opus 53 is the Sonata in C major, dedicated to Count Waldstein. Opus 54 is the admirable little Sonata in F ma,jor. ' It appears that Beethoven had the idea of writing this symphony as early as 1798, but the actual work was probably done in the summer and autumn of 1803. There seems to be no doubt that it was written under the influence of his admiration for Napoleon. His own title-page had on it' Sinfonia grande, Napoleon Bonaparte,' and, as is well known, the name ' Eroica' was not added till Napoleon became Emperor; after which event Beethoven's feelings about him naturally underwent a change.