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( Ital.) , ' in t im e .' When the time of a piece has been changed, e ithe r temp o r arily by an ad libitum, a piacere, etc., or for a longer period by a p iu lento, p iu allegro, or some similar term, the indication a tempo shows th a t the ra te of speed is again to be t h a t of the beginning of the movement.

(b. I.odeve, Herault, Feb. 15, 1899), studied first a t the Paris Conservatoire, and afterwards a t the Schola Cantorum under the direction of Vincent d 'lndy. His earliest a t tem p ts a t composition betrayed a great admiration for the methods of Maurice Ravel, b u t when 18 years of age he came under the influence of Erik Satie and was, with Durey an d Honegger, one of the original founders of the group which, by the subsequent adhesion of three others, soon became widely known as the ' Six.' The group avowed no common method, th a t of Auric, for instance, having some kinship with th a t of Poulenc, his contemporary, b u t none with those of Durey an d Honegger, his seniors. He adopted in those days Satie's precept th a t in simplicity lies nowadays the greates t audacity, and flirted for a time ironically with the vernacular of popular music (' Adieu, New York,' fox-trot). L a te r compositions show this to have been a passing phase. Of these the work generally considered to be a t this date the most representative is the overture an d dances composed as incidental music to Les Farheux (Molicre), an d subsequently converted into a ballet. Although the frequent harshness of his polyphony is an a t t r i bu te which he shares with others of Satie's disciples, and he has recently been strongly influenced by Stravinsky, his style is steadily developing towards an emancipated personal quality reflecting his musical outlook, which is alert, intelligent an d perhaps somewhat sceptical. He contributes musical criticism to the Nouvelles litteraires. E. E. LIST OF WORKS Bonos.-Trois Interludes ; 8 Podmes; ' Les Joues en feu,' 3 Podmes ; ' Alphabet,' 6 Po^mes ; 5 Melodies. P iano.-Trois Pastorales ; 4 Adieu, New York,' F o x -T ro t ; Sonatine. P iano D uet.-C'handelles romaines. O r c h e s t r a .-F o x -T ro t ; Nocturne ; Suite. S t a g e .-' Les Noces de Gamache,' b a l le t ; * La Reine de coeur ' ; * Les Fftcheux ' ; * Les Pelicans ' ; * Les Matelots,' ballet ; incidental music to ' Malbruck s 'en va-t-en guerre' and 'Mariage de M. le Trouhadec.'

a musical in te r lude in one a c t ; libre tto tak en from Shakespe are's ' Henry IV . ', music b y Gus tav Holst. P roduc ed by B.N.O.C., Opera House, Manchester, Apr. 3, 1925.see ' Falstaf f ' and ' Merry Wives of Windsor ' for o the r operas dealing with the ch a ra c te r of Falstaff. see ' Falstaf f ' and ' Merry Wives of Windsor ' for o the r operas dealing with the ch a ra c te r of Falstaff.

was one of those who accompanied Handel in his visit to I reland, a t the end of 1741. In the newspapers of the time she is called ' an excellent singer,' and she h ad the honour of sharing with Mrs. Cibber the soprano music of ' Messiah ' a t its first and succeeding performances in Dublin. Handel, in a le t te r to Jennens , Dec. 29, 1741, says- * Sig

(b. Manchester, Ju n e 1813; d. Leamington, Aug. 19, 1832), an English pianist who, in a sh o r t b u t successful career, is credited with having given the first performance in this country of Weber 's Concertstiick. George h ad a t least 4 brothers, of whom one, William, was organist of St. Ma ry's Church' N o ttin g h am (1830-35). Af ter a v isit to Par is in Apr. 1825 he u nde r took a n um b e r of concert tours th ro u g h o u t Gre a t Br itain a n d Ireland. Aspull left several m an u s c r ip t compositions for the pianoforte, which were subsequently p u b lished, with his p o r t ra i t prefixed, u n d e r the t i t le of ' George Aspull's posthumous Works for the Pianoforte.'see Mus. World, Feb. 14, 1839; Harmonicon, 1832, p. 212; D .N .B . s. v. ; Q. Mus. Rev. vol. vi. pp. 240, 241 ; M .L ., 1922, p. 200, The Most Extraordinary Creature in Europe. see Mus. World, Feb. 14, 1839; Harmonicon, 1832, p. 212; D .N .B . s. v. ; Q. Mus. Rev. vol. vi. pp. 240, 241 ; M .L ., 1922, p. 200, The Most Extraordinary Creature in Europe.

the well-known public garden on the Au, or meadow, between the Danube and the Donau-Canal, in the Leopolds tadt suburb of Vienna, interesting to the musician from its having been, like our own Vauxhall and Ranelagh, the place of performance-often first performance-of many a masterpiece. I t was dedicated to the public by the Empe ror Joseph I I . , and was opened Apr. 30, 1775. At first it appears to have been merely a wood ; then a garden-' the Tuileries garden of Vienna '- b u t a f te r a time a concert-room was built, and in 1782 summer morning concerts were s ta r ted by Martin, a well-known en trepreneur of the day, in association with Mozart, then a t the height of his genius. Mozart mentions the proje c t in a le tte r (May 18, 1782) to his father, and the first series of the concerts opened on May 26, under brilliant patronage, a t t r a c te d alike by the novelty of music so nearly in the open air, by the beauty of the spot, an d by the excellence of the music announced. The e n te r prise changed hands repeatedly, until, a b o u t the year 1799, the concerts were directed by Schuppanzigh, the violin-player, of Beethoven notoriety. They did not, however, maintain the ir high character or the ir popular ity, b u t had to suffer the inevitable fate of all similar in s titu tio n s which aim over the heads of those whom they wish to a t t r a c t . In 1813 they were in the hands of the ' Hof -Tra iteur ' and Wranitzky the musician. By 1830 performers of eminence had ceased to appear. B u t the musical glories of the Augar ten can n o t be for gotten. Here Mozart was to beseen an d heard in a t least one series of concerts, a t each of w hich some g reat symphony or concerto was doubtless heard for the first t im e ; and here Beethoven p ro duced one (if n o t more) of his masterpieces -the Kreu tz e r sona ta, which was played there (Mayl803) by Bridgetower and himself, the two first movements being read from autograph an d copy dashed down oidy ju6t before the beginning of the concert. Besides this, his first 5 symphonies, his overtures, and 3 first pianoforte concertos were stock pieces in the programmes of the Augarten. The concerts took place on T hursday mornings, a t the curiously early hour of half -pas t seven, an d even seven. Mayseder, Czerny, S tein, Clement, L inke, Moscheles, an d many other g re a t a r t is ts were he a rd there. (The above information is obtained from Hans lick's Concertwesen in Wien, an d Ries's Notizen.) o. seen an d heard in a t least one series of concerts, a t each of w hich some g reat symphony or concerto was doubtless heard for the first t im e ; and here Beethoven p ro duced one (if n o t more) of his masterpieces -the Kreu tz e r sona ta, which was played there (Mayl803) by Bridgetower and himself, the two first movements being read from autograph an d copy dashed down oidy ju6t before the beginning of the concert. Besides this, his first 5 symphonies, his overtures, and 3 first pianoforte concertos were stock pieces in the programmes of the Augarten. The concerts took place on T hursday mornings, a t the curiously early hour of half -pas t seven, an d even seven. Mayseder, Czerny, S tein, Clement, L inke, Moscheles, an d many other g re a t a r t is ts were he a rd there. (The above information is obtained from Hans lick's Concertwesen in Wien, an d Ries's Notizen.) o.

an 18th-century English song composer. His songs, published in London between 1735 an d 1750, were : ' Arise, brave Br itons all,' words by Webb ; ' C omus' Court,' words by Howard ; ' Cupid's power re s to r 'd ' ; ' Gin e 'e r I 'se in Love,' a Scotch song ; ' 'Tis tru e , my Celia, th o u a r t fa ir .' E. v . d. s.

(d. circa 1779), a composer of the Roman school, maestro di cappella a t the Spanish chapel of S. Giacomo, Rome. He wrote masses, psalms an d other church music, also secular vocal music. Some airs by him were sung in the opera 'Atta lo ,' performed in London, 1758. Before his d e a th he was custodian of the libra ry of the Accademia di San Cecilia, Rome. e . v. d. s.

(b. London, Nov. 23, 1765 ; d. Chelsea, Mar. 24, 1838), organist of St. P au l 's Ca thedral, an d composer of church music as well as of more or less ephemeral music for the s tage, was the son of a t rump e te r , viola-player, a n d coal-merchant. A t nine years of age he became a chorister in the Chapel Royal, where he h ad for his mas te rs successively Dr. Nares an d Dr. Ayrton. In his s ix te e n th year, performing in a concert a t Buckingham House, he a t t r a c te d the a t te n t io n of the Prince of Wales (afterwards George IV.), who sent him to I ta ly to study. In 1783 he went to Naples, where h e remained for two years u n d e r the tu it io n of Filippo Cinque and Gaetano Latilla. From Naples he went to Vienna, an d s tudied under Mozart-who expressed a highly favourable opinion of his ta le n t (Kelly's Reminiscences, i. 228)-until Feb. 1787, when he accompanied the Storaces to England. He became organist (or more probably d ep u ty to F. C. Reinhold, organist) of St. George the Martyr, Queen Square, an d a member of the Prince of Wales's chamber band. He was appointed musical in s t ru c to r to the Duchess of York in 1791, an d to the Princess of Wales in 1795. In 1796, on the decease of Jo h n Jones, organist of St. P a u l 's Cathedral, Attwood became his suc c e s sor ; and in Ju n e 1796, on the d e a th of Dr. Dupuis, he was a ppointed composer to the Chapel Royal. In 1821 he was nominated organist of George IV.'s p r iv a te chapel a t Brighton. Attwood was one of the original members of the Philharmonic Society on its es tablishment in 1813, was t re a su re r in 1820, an d for some years occasionally conducted its concerts. On the fo u n d a tio n of the R.A.M. in 1823, he was one of the professors. In 1836, on the decease of Jo h n Stafford Smith, he succeeded him as organist of the Chapel Royal. Attwood died a t his residence in Cheyne Walk, Chelsea, an d was buried in St. P a u l 's Cathedral, u nde r the organ. I n the early p a r t of his life Attwood was much engaged in dramatic composition, in which he was very successful. The pieces se t by him were : The Prisoner, 1792; The Mariners, 1793; Caernarvon Castle, 1793; The Adopted Child. 1795; The Poor Sailor. 1795; The Smugglers, 1796; The Mouth of the Nile, 1798; The Devil of a Lover. 1798; A Day a t Rome, 1799; The Castle of Sorrento, 1799; The Red Cross Knights, 1799; The Old Clothesman, 1799; The Magic Oak, 1799; True Friends, 1800 ; Harlequin's Tour, 1800 ; The Domination of Fancy, 1800; The Escapes, or the Water Carr ier (partly selected from Cherubini's ' Les Deux Jo u rn& s ,' a nd par tly original), 1801; St. David's Day, 1801 ; 11 Bondocani, 1802; Adr iau and Orilla, 1806. and The Curfew. 1807; Elphin Boy, 1817. He also c o n tr ibuted two songs to 'Guy Mannering,' 1816. L a te r in life Attwood devoted his a t ten t io n more to ca thedra l music. A volume of his church compositions, containing 4 services, 8 anthems , an d 9 chants , was published ab o u t 15 years a f te r his de a th , u nder the editorship of his godson, Dr. Thomas Attwood W a lm i s l e y . Besides these compositions Attwood produced a fifth service in B flat (unpublished), two anthems w ith o rchestral a c comp an imen ts ; one, ' I was glad ' (a remarkably fine composition), for the coronation of G eorge IV., and the other, ' O Lord, g r a n t the King a long life,' for th a t of William IV. ; an d he had begun a third, intended for the coronation of Queen Victoria, when his career was closed by death. Nine o the r anthems are mentioned in the long and valuable article in Mus. T . , 1900, p. 788, etc. His se tting of the hymn ' Come, Holy Ghost ' still holds a wo r th y place in the music of the English Church. Attwood produced many sonatas an d lessons for the pianoforte, an d numerous songs and glees. Of his songs, ' The Soldier's Dream ' long maintained its popular ity ; an d of his glees, ' In peace Love tunes the shepherd's reed,' and ' To all th a t bre a the the a ir of Heaven,' were long popular among admirers of th a t species of music. Attwood's compositions are distinguished by p u r i ty and ta s te as well as by force and expression. I t is interesting to notice th a t Attwood, a favourite pupil of Mozart, was one of the first among English musicians to recognise the genius of the young Mendelssohn. A friendship sprang u p between the two composers which was only broken by the d e a th of the elder. Several of Mendelssohn's published letters were wr itten from Attwood's villa a t Norwood, his three Preludes and Fugues for the o rgan are dedicated to him, and the autograph of a Kyr ie in A minor is inscribed ' F o r Mr. Attwood ; Berlin, March 24, 1833.' w. h . h., with addns.

(b. Lisbon ; d. there, 1782), a Portuguese composer of operas an d oratorios, who played the violin in the royal band and a f terwards joined a monastic order. After the Lisbon e a r th q u ak e of 1755 he took an im p o r ta n t p a r t in the reorganisation of the brotherhood of S an ta Cecilia, to which most of the musicians belonged. His father was Pie tro Giorgio Avondano, a Genoese musician who settled in Lisbon. Among his works are : 1. II Mondo della L una (1765). Comic opera, in which the female p a r ts were sung by Ita lian rastrali. (Bibl. d a Ajuda ; MS. score.) 2. II Voto de Jef te , dramma sacro . . . posto in musica dal sig. Pietro Antonio Avondano, Virtuoso di Camera dl S.M.F., Lisbon, 1771. (Libretto only.) 3. Adamo ed Eva, dramma sacro, . . . Lisbon, 1772. (Libretto only.) 4. Sinfonia, for 2 vlns., viola and v'cl. (MS. Brussels, Bibl. du Conservatoire.) Besides these, two or three scenas exis t from unidentified operas. Avondano is also said to have composed pieces for the harpsichord and a small q u a n t i ty of church music. J . b . t.