By George Grove
It is a reissue of the 1st variation of George Grove's Dictionary of tune and Musicians, which has considering that developed to turn into the biggest and so much authoritative paintings of its variety 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 world project, with members from Paris, Leipzig, Berlin, Vienna and Boston along these dependent in Britain. It used to be 'intended to provide an outstanding and lengthy stated wish' coming up from the elevated curiosity in all points of tune, which was once 'rapidly turning into a necessary department of education', and to cater for the pro whereas being obtainable to the beginner. it's a interesting rfile of musical tastes and values within the overdue Victorian interval.
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Additional info for A Dictionary of Music and Musicians (A.D. 1450-1880): By Eminent Writers, English and Foreign. Volume 4
It is probable that his form of art could not without some modification have produced the great orchestral symphonies. In order to get to these, composers had to go to a different, and for some time a decidedly lower, level. It was much the same process as had been gone through before. After Palestrina a backward move was necessary to make it possible to arrive at the art of Bach and Handel. After Bach men had to take up a lower line in order to get to Beethoven. In the latter case it was necessary to go through the elementary stages of defining the various contrasting sections of a movement, and finding that form of harmonic treatment which admitted the great effects of colour or varieties of tone in the mass, as well as in the separate lines of the counterpoint.
Both Haydn and Mozart, in the course of their respective careers, made decided progress in managing the orchestra, both as regards the treatment of individual instruments, and the distribution of the details of musical interest among them. It has been already pointed out that one of the earliest expedients by which contrast of effect was attempted by writers for combinations of instruments, was the careful distribution of portions for 'solo' and 'ripieno' instruments, as illustrated by Scarlatti's and later concertos.
However, even in these two symphonies there is a massiveness and breadth and seriousness of purpose, which mark them as products of a different and more powerfully constituted nature than anything of the kind produced before. At the time when the 1st Symphony appeared, the opening with the chord of the minor 7th of C, when the key of the piece was SYMPHONY. C major, was looked upon as extremely daring; and the narrow-minded pedants of the day felt their sensitive delicacy so outraged that some of them are said never to have forgiven it.