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opera in one a c t ; tex t by Giuseppe Adami (from Didier Gold's La HouppelancU.); music by Puccini. Produced Metropolitan Opera House ; New York, Dec. 14, 1918 ; Costanzi Theatre, Rome, Jan. 11, 1919 ; Covent Garden, June 18, 1920.

opera in 2 acts ; libretto by Rossi, after Voltaire, music by Rossini. Produced Teatro Fenice, Venice, Feb. 6 , 1813 ; in i See S u th e r la n d E dw a rd s , H i s to r y o f the Opera, ii. Italian, Theatre des Italiens, Paris ; in French (Castil Blaze) Odeon; in Italian, King's Theatre, London, May 4, 1820. G.

(b. Birmingham, Feb. 5, 1843; d. Mar. 19, 1919), a well-known pianoforte-player and teacher in London, began music a t a very early age ; learned the pianoforte under Chas. Fla veil, and the organ under T. Bedsmore, organist of Lichfield Cathedral, where a t the age of 13 he was able to take the service. Returning to Birmingham soon after- I wards, he appeared as a pianist and composer, and was appointed organist of the Old Meetinghouse. In 1859 he went to Leipzig and studied in the Conservatorium together with Sullivan, J . F. Barnett, etc., under Plaidy and Moscheles for pianoforte, and Hauptmann, Richter and Papperitz for theory. He left in 1861, and made some stay in Paris, where he had lessons from Mme. Schumann, and was in close intercourse with Heller, Schulhoff, Mme. Viardot, etc. In 1862 he returned to England, settled permanently in London, and began teaching, and playing a t the Crystal Palace (Feb. 18, 1865, etc.), the Monday Popular Concerts (Jan. 15, 1866, etc.), as well as a t the Liverpool Philharmonic, Birmingham Chamber Concerto and elsewhere. At the same time he was organist successively of St. Peter's, Charlotte Street, Buckingham Gate, Twickenham Parish Church and St. Michael's, Chester Square. In 1876 he joined the National Training School as teacher, and in 1882 the R.C.M. as professor of the pianoforte, a position which he retained till his death. He was president of the Academy for the higher development of piano forte-playing from its foundation by Oscar Beringor in 1873 until its dissolution in 1897. His Primer of the Pianoforte (1879)-emphatically a ' little book on a great subject,' and a most useful and practical book too- wa s translated into German. He also compiled a PF. Tutor, and a valuable series of Progressive Studies in 56 books. He contributed extensively to tho first edition of this Dictionary. He translated Richter's treatises on Harmony, Counterpoint and Canon and Fugue ; and arranged Sullivan's ' Tempest ' musio for four hands on its production. His attention to his pupils was unremitting, and his power of imparting tone, touch and execution to them remarkable. Gifted with a fine musical organisation himself, he invoked the intelligence of his pupils, and succeeded in making them musicians a s well a s fine technical performers. G.: addns. from Mus. T., 1899, p. 798, et seq.

(b. Magdeburg, Dec. 26, 1800 ; d. Dresden, May 7, 1883), studied singing and composition under Zelter and Klein a t Berlin, and afterwards went to Italy, where his acquaintance with the Abbe Santini was the means of inducing him to take a greater interest in the older church music, both Latin and German. Returning to Germany, he settled in Berlin as a teacher of singing on Italian principles, and published various collections of Italian solfeggi, as well as some of his own. But his name is even better known by his republication, in score, of such works as H. L. Hassler's ' Psalmengesango ' of 1008, Eccard's ' Geistliche Lieder ' of 1597, Eccard and Stobaeus's ' Preussische Festlieder ' of 1642-44, and by his editorship of other collections of sacred and secular music of the 16th and 17th centuries. J . R. M.

(b. Bridgend, Glamorganshire, Mar. 1, 1826 ; d. Mar. 19, 1913), known in Wales as ' Pencerdd Gwalia,' i.e. chief of the Welsh minstrels, a title conferred on him a t the Aberdare Eisteddfod of 1861, was a very distinguished harpist, born on St. David's Day. He played the piccolo when only 4, and when 11 won a harp a t an Eisteddfod. In 1840 he was placed by Ada, Countess of Lovelace (Byron's daughter), a t the R.A.M., where he studied under J . B. Chatterton (harp), C. J . Read (piano) and Lucas and Cipriani Potter (composition). He remained there for about eight years, during which time he composed a harp concerto, a symphony, several overtures, quartets, two operas, etc. On leaving the R.A.M. he was made in succession Associate, Honorary Member and professor of the harp. In 1851 he played in the orchestra of Her Majesty's Opera, and in the same year went a concert tour on the continent, a practice he continued during the winter months of the next ten years, playing successively in France, Germany, Russia, Austria and Italy. He played a harp concerto of his own a t a Philharmonic Concert in 1852. In 1862 Thomas published a valuable collection of Welsh melodies, and in the same year gave with great success the first concert of Welsh music in London. In 1871 he was appointed conductor of a Welsh Choral Union, which for six years gave six concerts annually. In 1872, on the death of J . B. Chatterton, he was appointed harpist to Queen Victoria ; he also taught the harp a t the R.C.M. Thomas always took a deep interest in the music of his native country. There was scarcely an Eisteddfod of importance a t which he did not appear as judge or performer, and he collected a large sum with which in 1883 he endowed a permanent scholarship for Wales a t the R.A.M. In 1866, a t the Chester Eisteddfod, he was presented with a purse of 500 guineas in recognition of his services to Welsh music. Thomas was a member of the Academies of St. Cecilia and the Philharmonic of Rome, the Florentine Philharmonic, and the R.A.M., Royal Philharmonic, and Royal Society of Musicians, of London. His compositions include a large amount of harp music, amongst which are two concertos ; ' Llewelyn,' a cantata for the Swansea Eisteddfod (1863) ; and 4 The Bride of Neath Valley,' for the Chester Eisteddfod (1866). ' Llewelyn ' was revived a t the Chicago Exhibition of 1893, where he acted as judge a t an Eisteddfod. w. b . s . (2) T h om a s (Ap T h om a s ) (b. Bridgend, 1829 ; d. Ottawa, Canada, May 1913), younger , brother of the above, was also a distinguished harpist. He gave many successful concerts in ! Europe (1851-67), appeared attheGewandhaus, Leipzig (Jan. 18, 1872) and went to America in | 1895. His compositions include a cantata, j ' The Pilgrim's Progress,' and he wrote a history of the harp. (See Mus. T., Juno 1913, p. 388.)

(b. Hamburg, July 17, 1831 ; d. Oct. 3, 1877), opera singer, came of Hungarian parentage. Her voice, even in childhood, gave so much promise of future excellence th a t she was educated for the lyric stage. She appeared for the first time a t the Hamburg Opera, in 1849, as Lucrezia Borgia, and achieved an immediate success. She proceeded to Frankfort, and thence, in 1856, to Vienna, where her performance of Valentine raised her a t once to the highest rank. Madame Jullien heard her a t this time, and it was largely due to her glowing accounts th a t Mile. Tietjens was quickly engaged by Lumley for his last season a t Her Majesty's Theatre in London ; and when, on Apr. 13, 1858, she appeared in 4 The Huguenots,' her impersonation of Valentine achieved a success which increased with every repetition of the opera. England from th a t time became her home, and with tho exception of a visit to Paris in 1863 and to America in 1876, she never henceforth appeared elsewhere. She remained a t Her Majesty's Theatre during the successive managements of E. T. Smith and Mapleson, and after the burn- | ing of the theatre in 1867 followed the fortunes i of the company to Drury Lane. She sang a t j Covent Garden during the two years' coalition of the rival houses in 1869 and 1870, returning * to Drury Lane in 1871, and finally, just before her death, to the new house in the Haymarket. Her voice had none of a soprano's shrillness or of th a t peculiar clearness called 4 silvery *; when it declined, as it eventually did, in power, it never became wiry. I t had a mezzo-soprano quality extending to the highest register, perfectly even throughout, and softer than velvet. Her acting in no way detracted from her singing ; she was earnest, animated, forcible, in all she did conscientious and hearty, but not electric. Her style of singing was noble and pure. When she first came to England her rapid execution left much to be desired ; it was heavy and imperfect. Fluency and flexibility were not hers by nature, but by dint of hard work she overcame all difficulties, so as to sing with success in the florid music of Rossini and Bellini. Indeed she attempted almost everything, and is perhaps the only singer, not even excepting Malibran, who has sung in such completely opposite roles as those of Semiramide and Fides. But her performance of light or comic parts was a mere tour de force ; her true field was grand opera. As Lucrezia, Semiramide, Countess Almaviva, she was g r e a t ; as Donna Anna and Valentine she was g re a te r ; best of all as Fidelio, and as Medea in Cherubini's opera, revived for her and not likely to be forgotten by any who heard it. In the 4 Freischutz,' as in 4 Fidelio,' her appearance was unsuited to her part, b u t she sang the music as no one else could sing it. In her later years she sot a good example by undertaking the role of Ortrud in ' Lohengrin.' The music, however, did not show her voice to advantage, and this was still more the case with the music of Fides, although her acting in both parts was very fine. Her repertory also included Leonora (' Trovatore '), the Favorita, Alice, Lucia, Amalia (' Un ballo in maschera '), Norma, Pamina, Margherita, Marta, Elvira (' Ernani '), Reiza (' Oberon ') and Iphigenia (in Tauris). Her voice was as well suited to sacred as to dramatic music, and she applied herself assiduously to the study of oratorio, for which her services were in perpetual request. The first symptoms of the internal disorder which proved fatal to her appeared in 1875, but yielded to treatment. They recurred during a visit to America in the next year, but were again warded off for the time, and throughout a subsequent provincial tour in England she sang 1 as well as she had ever done in her life.' In 1876 she had her last benefit concert a t tho Albert Hall, but she sang a t a benefit concert in Dublin on Jan. 8, 1877. In Apr. 1877 her illness increased to an alarming extent, and her last stage appearance was on May 19, as Lucrezia. She fainted twice during the performance, in her dressing-room ; but she would appear, though she had to undergo a painful operation on the following Tuesday. ' If I am to die,' she said to a friend, ' I will play Lucrezia once more.' Those who then heard her will always recall her rendering of the despairing cry after Gennaro's death. She died Oct. 3, 1877, and was buried in Kensal Green Cemetery. F . A . M .

the name given in harmonic music to the K e y n o t e , i.e. the note from which tho key is named. The functions of the tonic are in all respects identical with those of the final of the ancient modes. The tonic harmony is the common chord or triad, major or minor as tho case may be, which is built upon the keynote as its bass. (See T o n a l it y .)

name of an agrement of tho French School, also called Chute (see Orn a m en t s ). e . bl .

(b. Dijon, c. 1745 ; d. Dresden, Nov. 29, 1813), violoncellist, formed a string quartet with Schick, Benda and Hofmann, touring in Germany c. 1782. He was appointed a t the Dresden court in 1783. He composed concertos and sonatas for violoncello, and wrote two theoretical treatises (E. v. d. Straeten, Hist, of Violoncello).

' lyric poem,' words and music by Berlioz ; originally forming one long opera, but afterwards divided into two- (1) ' La Prise de Troie ' ; (2) ' Les Troyens k Carthage.' No. 1 was performed a t the Paris Opera, Nov. 15, 1899, after the composer's death.1 No. 2 was produced a t the Theatre Lyrique, Nov. 4, 1863, revised a t the Opera- Comique, June 9, 1892, Opera, June 10, 1921, and published in PF. score by Choudens. (See Berlioz's Memoires.) The first performance of the work as a whole took place on Dec. 6 and 7, 1890,2 a t Carlsruhe, under Mottl. G., rev.