By G. Grove
This can be a reissue of the 1st version of George Grove's Dictionary of song and Musicians, which has considering that developed to develop into the most important and so much authoritative paintings of its sort 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 venture, with individuals from Paris, Leipzig, Berlin, Vienna and Boston along these dependent in Britain. It used to be 'intended to provide an excellent and lengthy stated wish' coming up from the elevated curiosity in all points of track, which was once 'rapidly turning 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 overdue Victorian interval.
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Extra resources for A Dictionary of Music and Musicians (A.D. 1450-1880) (Volume 1)
G. Raff's Suite in C). (2) As a time indication, somewhat less alow than adagio. ADAGIO (Ital. ad agio, 'at ease,' 'leisurely'). (1) A time-indication. It is unfortunate that great differences of opinion prevail among musicians as to the comparative speed of the terms used to denote slow time. According to the older authorities adagio was the slowest of all time, then came grave, and then largo. This is the order given by Clementi. In some more modern works however, largo is the slowest, grave being second and adagio third; while others again give the order thus—grave, adagio, largo.
Which post he soon advanced to that of accompanyist at the same theatre. His first independent attempt at dramatic composition was the one-act operetta of 'Pierre et Catherine,' brought out at the Opera Comique in 1829. ' Both were favourably received, and, encouraged by his success, Adam began to compose a number of operatic works with a rapidity and ease of productiveness frequently fatal to his higher aspirations. We subjoin a list of the more important of these works, with the dates of their first performances : 'Le Chalet,' 1834 ; 'Le Postilion de Longjumeau,' 1835 (Adam's best and most successful work) ; 'Le Brasseur de Preston,' 1838; ' Le Eoi d' Yvetot,' 1842; 'Cagliostro,' 1844; 'Richard en Palestine,' same year ; also the ballets of 'Faust,' 1832 (written for London); 'La jolie fille de Gand,' 1839 ; and 'Giselle,' 1841.
His relations however to the ' queen of instruments' were by no means of an elevated or even lasting kind. Unabashed by the great traditions of Frescobaldi, Bach, or Handel, he began to thrum little tunes of his own on the organ, which however he soon abandoned for its miniature counterpart the harmonium. Adam's first success indeed was due to his clever improvisations on that instrument in fashionable drawing-rooms. It was perhaps owing to his want of early training that even at a more advanced period he was unable to read music at sight.