Reginald Lane-Poole

Name: A Dictionary of Music and Musicians
Author: Reginald Lane-Poole

A Dictionary of Music and Musicians (1900)

Summary

“A Dictionary of Music and Musicians”, published in 1900, is a work by Reginald Lane-Poole. It explores elements such as Willaert, Mantua and Viadana.

Quotes from A Dictionary of Music and Musicians (Reginald Lane-Poole)

Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ Among modern critics, [8] Fétis admires the correctness, want of affectation, and religious character, of his writing; he did not care, like so many of the composers of that time, to strain after merely learned, or pedantic, effects. ”

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Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ Indeed, in departing to some extent from the severity of his predecessors and creating for himself a richer style of his own, Willaert ventured to be more distinctively declamatory than any one before him. The complexion, therefore, of his writing, though it might appear 'dry' to M. Fétis, is markedly more modern than that of his masters. ”

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Source: Wikisource

Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ VENOSA, Carlo Gesualdo, Prince of, nephew of Alfonso Gesualdo, archbishop of Naples, was born about the middle of the 16th century. He became the pupil of Pomponio Nenna of Bari, and excelled both as a composer and performer on the organ, clavichord, and lute: on the last he is said to have had no equal in his day. ”

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Source: Wikisource

Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ Viadana however was the first thus to accompany solemn church-compositions, and therefore the first to use the organ for the purpose. He is also the inventor of the name basso continuo. Nor had any one previously thought of writing pieces for a solo voice, or for two or three voices, expressly with the object of their being accompanied by a thorough-bass. [2] The way thus opened by Viadana enabled him to employ a freer and lighter style than his contemporaries of the Roman school. ”

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Source: Wikisource

Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ VAET, [1] Jacques (or Jacob) , Flemish composer of the 16th century, [2] attached to the imperial Kapelle at Vienna in the capacity of chanter and apparently also of court-composer, as early as 1520–1526, when he wrote a motet 'in laudem eerenissimi principis Ferdinandi archiducis Austriae.' After a long life of this service [3] he was appointed 'obrister Kappelmeister,' Dec. 1, 1564, and died Jan. 8, 1567. That he remained active as a composer to the court, is shown by his motet 'in laudem invictissimi Romanorum imperatoris Maximiliani II.,' who ascended the throne in July 1564. ”

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Source: Wikisource

Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ He was chapelmaster in the cathedral of Fano in Urbino, and at Concordia in the states of Venice; but the order of his preferments is doubtful. All that is certain is that he occupied the same office ultimately at Mantua, where he is known to have been living as late as 1644. ”

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Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ In one instance he advanced to the conception of an entire narrative, that of the history of Susannah, set for five voices. [7] It would be absurd to describe such a work as an oratorio, yet the idea of it is not dissimilar. ”

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Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ She went to live with her mother at Mantua, where she died in 1617; but it does not appear that she ever resumed her intimacy with the musician. De Wert, however, was still resident in the town, as we learn from the 'Canzonette Villanelle,' which he published at Venice in 1589, and dedicated to Leonora, Duchess of Mantua. The tenth and last volume of his madrigals is dated Venice, Sept. ”

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Source: Wikisource

Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ The contents are principally (1) materials for a dictionary of Dutch musicians, most valuable for local statistics and bibliography, (2) catalogues of little-known musical collections, (3) particulars respecting the organs, carillons, etc. ”

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Source: Wikisource

Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ The last-named has been plausibly identified with him, and M. Vander Straeten has found himself reduced to distinguishing an elder and a younger De Wert. [3] The biographical materials, however, which this writer has for the first time brought together, appear not incompatible with their reference to a single person. ”

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Source: Wikisource

Reginald Lane-Poole, A Dictionary of Music and Musicians (1900)

“ Three madrigals by Schuijt, and two chansons by Sweelinck (ed. R. Eitner, 1873) . Eight Psalms by Sweelinck (ed. R. Eitner) , with Life by F. H. L. Tiedeman (1876) . Chanson by Sweelinck (ed. R. Eitner, 1877) . Selections from Johannes Wanning's 'LII Sententiae' (ed. R. Eitner, 1878) . Mass 'Fortuna Desperata,' by Jacob Obrecht (ed. R. Eitner, 1880) . Old Dutch Dances arranged for piano (4 hands) , by J. C. M. van Riemsdijk (1882) . The Vereeniging has also published a volume entitled Musique et Musiciens an XVIIe Siècle. ”

Reginald Lane-Poole

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