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(L a t . ' W h a t y o u p le a se '), a lso c a l led Q u o t lib e t ( ' As m a n y a s y o u p le a se '), a n d in I ta l ia n Messanza o r Mis t i - chanza ( ' A m ix tu r e '). T h i s wa s a k in d of mu s ic a l jo k e in th e 1 6 th a n d e a r ly p a r t of th e 1 7 th c en tu r ie s , th e fu n of w h ic h c o n s is te d in th e e x tem p o re ju x ta p o s i t io n of d if fe ren t melodies, w h e th e r s a c re d o r s e c u la r , which we re in c o n g ru o u s e i th e r in th e i r m u s ic a l c h a r a c te r , o r in th e w o rd s w i th w h ic h th e y were a s s o c i a t e d ; s om e t im e s , h ow e v e r , th e w o rds we re th e s am e in a ll p a r t s , b u t we re su n g in sn a tc h e s a n d s c rap s , a s in th e q u o d l ib e ts of Melchior F r a n c k .1 T h e re w e re tw o way s of p e r fo rm in g t h i s : o n e wa s to s t r in g th e me lodie s to g e th e r s im p ly a n d w i th o u t a n y a t t em p t a t c o n n e c t in g th em b y p a s s a g e s su ch a s th o s e fo u n d in m o d em ' fa n ta s ia s ' ; th e o th e r , th e m o re e la b o ra te m e th o d , c o n s is te d in s in g in g o r p la y in g th e me lodie s s im u l ta n e o u s ly , th e o n ly mo d if ic a tio n s a llowed b e in g th o s e of time . This pastime was a favourite one with the Bachs, a t whose annual family gatherings the singing of quodlibets was a great feature.2 Sebastian Bach himself has left us one delightful example of a written-down quodlibet, a t the end of the ' 30 variations ' in G major, for a detailed analysis of which see Spitta. The two tunes used in it are ' Ich bin so lang bei dir nicht gewest,' and ' Kraut und Ruben, Haben mich vertrieben.' One of the best modern examples, although only two themes are used, is in Reinecke's variations for two pianos on a gavotte of Gluck's, where, in the last variation, ho brings in simultaneously with the gavotte the well-known musette of Bach which occurs in the third ' English ' l Bee Praetorius, Syntagma muticum. tom. Iii. cap. v. > See Spitta, J . S . Bach (Engl, transl.) , L 154, iii. 172-6. suite. A good instance, and one in which the extempore character is retained, is the singing of the three tunes ' Polly Hopkins,' ' Buy a Broom ' and ' The Merry Swiss Boy ' together, which was formerly sometimes done for a joke. A very interesting specimen of a 16th-century quodlibet by Johann Goldel, consisting of five chorale-tunes-viz. (1) ' Erhalt uns, Herr, bei deincm Wort,' (2) ' Ach Gott von Himmel,' (3) ' Vater unser im Himmelreich,' (4) ' Wir glauben all,' (5) 'Durch Adams F a ll'-is given as an appendix to Hilgenfeldt's Life of Bach. We quote a few bars as an example of the ingenuity with which the five melodies are brought to g e th e r M. Pa rry's music to The Clouds of Aristophanes (see G r e e k P l a y s , M u s i c t o ) contains a brilliant modem example of the quodlibet, and his music of this kind makes liberal use of the principle without necessarily employing the name. c.

(Ger. Kontretanz), a dance executed by an equal number of couples drawn up in a square. The name (which is derived from the Ital. squadra) was originally not solely applied to dances, but was used to denote a small company or squadron of horsemen, from three to fifteen in number, magnificently mounted and caparisoned to take pa rt in a tournament or carousal.1 The name was next given to four, six, eight or twelve dancers, dressed alike, who danced in one or more companies in the elaborate French ballets 2 of the 18th century. The introduction of ' contredanses ' into the ballet, which first took place in the fifth act of Rousseau's ' Fetes de Polymnie ' (1745), and the consequent popularity of these dances, are the origin of the dance which, a t first known as the ' Quadrille de contredanses,' was soon abbreviated into ' quadrille.' The quadrille was settled in its present shape a t the beginning of the 19th century, and it has undergone but little change, save in the simplification of its steps. I t was very popular in Paris during the Consulate and the first Empire, and after the fall of Napoleon was brought to England by Lady Jersey, who in 1815 danced it for the first time a t Almack's 3 with Lady Harriet Butler, Lady Susan Ryde, Miss Montgomery, Count St. Aldegonde, Montgomery, Montague and Standish. The English took it up with the same eagerness which they displayed with regard to the polka in 1845, | and the caricatures of the period abound with I amusing illustrations of the quadrille mania. I t became popular in Berlin in 1821. The quadrille consists of five distinct parts, which bear the name of the ' contredanses ' to which they owe their origin. No. 1 is ' Le Pantalon,' the name of which is derived from a song which began as follows : ' Le pantalon De Madelon N'a pas de fond,* and was adapted to the dance. The music consists of 32 bars in 6 -8 time. No. 2 is * L'Ete ,' the name of a very difficult and graceful ' contredanse ' popular in the year 1800 ; it consists of 32 bars in 2-4 time. No. 3 is ' La Poule ' (32 bars in 6 -8 time) which dates from the year 1802. For No. 4 (32 bars in 2 4 time) two figures are danced, ' La Trenise,' named after the celebrated dancer Trenitz, and ' La Pastourelle,' perhaps a survival of the old ' Pastorale.' No. 5 - ' Finale ' - consists of three parts repeated four times. In all these i Compare th e use of th e Spanish equivalent, euadrilla, for th e p a r ty of four banderilleros associated witn each torero in a bull-tight, and the familiar name of a card-game once very popular. * The Ballets were divided into five acts, each a c t into three, six, nine, or twelve * entr ie s ,' and each ' entree ' was performed by one or more ' quadrilles ' of dancers. 3 See Captain Gronow'e Reminticencet (1861), figures (except the Finale, which sometimes ends with a coda) the dance begins a t the ninth bar of the music, tho first eight bars being repeated a t the end by way of conclusion. The music of quadrilles is scarcely ever original; operatic and popular tunes are strung together, and even the works of the great composers are sometimes made use of.1 Tho quadrilles of Musard, with some by Strauss, are almost the only exceptions. w. b. s. The ' Quadrille des Lanciers ' was invented in 1856 a t Paris by the dancer Laborde. I t is composed of five figures : ' les tiroirs,' ' les lignes,' 'lesmoulinets,' 'les visites,' 'les lanciers,' tho latter giving its name to the whole quadrille. Each figure consists of 24 bars, except the third one with only 16. M. L. p.

se e K o n ig in v o n S a b a , D i e ; R e in e d e S a b a , L a .

(Old Eng. 'Quinible'), to sing in fifths-a French verb, in frequent use among extempore organisers during the Middle Ages. (See O r g a n u m ; P a r t -w r i t i n g . ) w . s . b .

(b. circa 1560), was a musician living in Rome, who in 1608 is indicated as holding the position of organist a t tho Liberian Basilica of Santa Maria Maggiore. In 1585 he edited a collection of Spiritual Canzonets for three voices, containing, besides sixteen numbers by himself, some contributions by Marenzio, Nanino and Giovanelli. His other publications before 1600 consist of two books of Secular Canzonets a 3. Two Canzonets a 4 with cembalo and lute accompaniment appear in Verovio's collection of 1591, which has been republished complete by Alfred Wotquenne. After 1600 he appears to have followed with interest the twofold direction in music emanating from Florence and Venice respectively, the Florentine stile rappresentativo for solo voices, and the Venetian concerted style with basso continuo. In 1606 he composed an opera with libretto by his pupil Pietro della Valle, entitled ' Carro di fedelta d' amore,' which was performed on a Carnival car in the streets of Rome. I t has five solo voices, and was published in 1611, with the addition of several Arie a 1-3. His other works are a book of Concerted Madrigals a 4 for voices and instruments, with a separate book for Basso Continuo, some other books of Spiritual Madrigals a 1-3, and two books of Sacred Motets and Dialogues for two and three choirs in the concerted style with Basso Continuo (Rome, 1612-27). In Diruta's ' II Transilvano ' there appears a toccata by Quagliati for organ or clavier, which has been republished by L. Torchi in L ' arte musicale in Italia, vol. iii. J. R. M.

This hall in Langham Place was built in 1893 by private enterprise and was opened to the public on Dec. 2 of th a t year, when a choral and orchestral concert was conducted by Cowen, the programme including Mendelssohn's ' Hymn of Praise.' The actual first concert, however, was th a t given on Nov. 27 by the Royal Amateur Orchestral Society conducted by George Mount, a t which the Prince of Wales was present, the Duke of Edinburgh occupying his post as leader; a private view had been held on Nov. 25 with various musical performances, including those of the band of the Coldstream Guards. April 8 , 1894, saw the first Sunday afternoon concert, an organ recital, while on Apr. 7, 1895, there took place the first Sunday evening orchestral concert, conducted by Randegger. In the following August the P r o m e n a d e Co n c e r t s (q.v.) began (see also N ew Q u e e n 's H a l l O r c h e s t r a ), and in October the first regular series of Sunday afternoon orchestral concerts, which for two seasons were conducted by Randegger and subsequently by Henry Wood. These were continued regularly down to the autumn of 1924. I t was in 1897 th a t the Sunday Concert Society was formed to undertake the responsibilities of these concerts and meet the objections raised by the London County Council regarding the profits over Sunday entertainments, the Sunday Musical Union taking its place in 1918; in this connexion it may be stated th a t about

the measure of five beats. As a rule quintuple time has two accents, one on the first beat of the bar, and the other on either the third or fourth, the bar being thus divided into two unequal parts, when it can be regarded as a compound of duple and triple, employed alternately. Quintuple time produces an effect sufficiently characteristic and interesting to have induced various composers to make experiments therein, the earliest a ttempt of any importance being a symphony in the second act of Handel's 'Orlando' (1732), in which the hero's perturbation 1 is represented by this peculiar time. The same rhythm occurs in an air to the words ' Se la sorte mi condanna ' in the opera of ' Ariadne ' by Adolfati, wrritten in 1750, and i t is also found in the folk-music of many countries. Thus Reicha, in a note to No. 20 of his set of 36 fugues (each of which embodies some curious experiment in either tonality or rhythm), states th a t in a certain district of the Lower Rhine, named Kochersberg, the airs of most of the dances have a well-marked rhythm of five beats, and he gives as an example the following waltz : In the above example the second accent falls on the third beat, the rhythm being th a t of 2 -8 followed by 3-8, and the same order is observed in a charming movement by Hiller, from the trio, op. 64. In Reicha's fugue above referred to, the reverse is the case, the fourth beat receiving the accent, as is shown by the composer's own time-signature, as well as by his explicit directions as to performance. The following is the su b je c t: Instances of quintuple time in compositions of the early 19th century are to be found in a trio for strings by K. J . Bischoff, for which a prize was awarded by the Deutsche Tonhalle in 1853 ; in Chopin's sonata in C minor, op. 4 ; in Hiller's ' Rhythmische Studien,' op. 52 ; in ' Viens, gentille dame ' ; in Boieldieu's ' La Dame blanche'; Lowe's Ballad 'Prinz Eugen'; a number in Rubinstein's 'Tower of Babel,' etc. Another characteristic example occurs in the ' Gypsies' Glee,' by W. Reeve (1796). This may fairly bo considered an example of genuine quintuple rhythm, for instead of the usual division of the bar into two parts, such as might be expressed by alternate bars of 3^4 and 2-4, or 2-4 and 3-4, there are five distinct beats in i Burney, History, iv. 364, describes i t a s ' a division o f time which can only be borne in such a situation ' every bar, each consisting of an accent and a non-accent. The same true quintuple time, as distinguished from a combination of triple and duple time, distinguishes the second movement of Tchaikovsky's ' Pathetic ' symphony. The i passage in the third a c t of ' Tristan und j Isolde,' occurring a t a most exciting moment | in the drama, is a p t to escape the attention of j many hearers who are only conscious of the | impatient effect it produces. | In the 20th century quintuple time has been ! so freely exploited as to have become almost a mannerism of the age. I t may be said to j have spread wrest over Europe since the Russian nationalists, who consciously based their style on folk-songs, were drawn to use it. In England, Gustav Holst has made a particularly extensive use of it. F. T., re v . ; w i th a d d n s . M. a n d c.

The characteristic feature by which the notes of the different instruments of the orchestra can be distinguished from each * The clever * Bologna Quadrilles ' on themes from Rossini's S ta b a t Mater, were published shortly af ter th e appearance of th a t work. The plates of these quadrilles were destroyed on the publishers learning the source from which the au th o r (popularly supposed to be J . W. Davison) had obtained the melodies. Hans I von Btilow wrote a set of quadrilles on airs from Berlioz's * Benv enuto Cellini.' other is called the quality of the notes. In popular language the word tone is commonly used with the same meaning. (See Acoustics, subsection Quality.) j . w. c.

(b. Doben, near Leipzig, Jan. 11, 1800; d. Leipzig, June 12, 1846), a great trombone-player, born of pool parents. His turn for music showed itself early, and he soon mastered all the ordinary orchestral instruments. He ultimately confined himself to the viola, and to the trombone. In 1817 he was appointed to play the violin and trombone in the town orchestra, and by 1830 had worked his way into the other orchestras of Leipzig, including th a t of the Gewandhaus. He played the viola in Matthai's well-known quartet for many years ; was one of the founders of the Leipzig ' Euterpe,' and led its orchestra for a long time ; and in short was one of the most prominent musical figures in Leipzig during its best period. As a solo trombone-player ho appeared frequently in the Gewandhaus Concerts, with concertos, concertinos, fantasias and variations, many of them composed expressly for him by C. G. Muller, F. David, Meyer, Kummer and others ; and the reports of these appearances rarely mention him without some term of pride or endearment. ' For fulness, purity and power of tone, lightness of lip, and extraordinary facility in passages,' says his biographer, ' he surpassed all the trombone players of Germany.' 1 There was a Leipzig story to the effect th a t a t the first rehearsal of the 'Lobgesang,' Queisser led off the Introduction as follows : to Mendelssohn's infinite amusement. Se non e vero, e ben trovato. Queisser was well known throughout Germany, but never appears to have left his native country. o.

(the Fifth), the fifth pa r t in a composition for five voices ; called also Pars quinta and Quincuplum. In music of the 15th and 16th centuries, the fifth p a r t always corresponded exactly in compass with one of the other four ; it would, therefore, have been impossible to describe it as first or second cantus, altus, tenor or bassus. w. s. r .