Page:A Dictionary of Music and Musicians vol 2.djvu/497

NUNC DIMITTIS. Compline, the 1st Lesson and Magnificat being taken from the former, the 2nd Lesson and the Nunc Dimittis from the latter. In the Second Service Book of Edward VI (published in 1552), the 67th Psalm (Deus Misereatur), which the Sarum Use had rendered familiar, was allowed to be sung instead of the Nunc Dimittis. The fact of this canticle being generally sung at Compline—the least elaborate, as well as the last of the daily services—accounts for the neglect it has received in musical treatment from the hands of the great mediæval masters of Church Music. In Merbecke's 'Booke of Common praier noted' it is adapted to the Fifth Church Tone and to a chant founded on the Seventh Tone; indeed, settings of the hymn are almost entirely confined to the Post Reformation composers of the English school. With these it has always been a favourite, and although it is the shortest of the canticles used in the Anglican Service, yet the peculiar solemnity of the words, and the unity of idea which pervades it have caused the Nunc Dimittis to be more generally set and sung than the alternative Psalm Deus Misereatur. [ W. B. S. ]

NUT. 1. Of the Violin (Fr. Sillet; Ger. Sattel). A slip of ebony or ivory (the former chiefly used) glued to the neck of the violin at the upper end of the fingerboard, and over which the strings pass. It is slightly raised above the level of the fingerboard, and serves to keep the strings from touching it except when pressed down by the finger. It existed in the old instruments which preceded the violin, and in them was ruder and larger.

2. Of the Bow (Fr. Hausse; Ger. Frosch). A piece of ebony or ivory, over which the hairs pass, attached to the end of the bow by a metal shank working in a groove cut in the bow. A screw working in the shank serves to tighten or slacken the hairs. The nut is slightly hollowed in the cheeks, and is accurately fitted to the stick by means of a metallic groove. The nut is as old as the bow itself.

The name in both cases is equivalent to 'knob' or 'projection' [ E. J. P. ]

OAKELEY,, Knt., Mus. Doc., second son of Sir Herbert Oakeley, Bart., born at Ealing, July 22, 1830, was educated at Rugby and Christ Church, Oxford. He graduated as B.A. in 1853, and as M.A. in 1856. He studied harmony under Dr. Stephen Elvey, and the organ under Dr. Johann Schneider at Dresden, and completed his musical studies at Leipsic. In 1865 he was elected Professor of Music in the University of Edinburgh. He received his Mus. Doc. degree from the Archbishop of Canterbury (Tait) in 1871, and was knighted in 1876. [App. p.733 "He received in 1879 the degree of Mus. D. from the University of Oxford, and in 1881 that of LL.D. from the University of Aberdeen; he was created in the same year Composer of Music to Her Majesty in Scotland. In 1886 the University of Toronto conferred on him the degree of D.C.L., and in 1887 he received the degree of Mus. D. from the University of Dublin."] Among his publications are some 20 songs, with pianoforte or orchestral accompaniment [App. p.733 "25, 20 of the songs have been published in a 'Jubilee Album' dedicated to the Queen"], 3 vocal duets, 12 part-songs, Students' songs and choral arrangements of 12 [App. p.733 "18"] Scottish National melodies, [App. p.733 "a Jubilee Cantata for 1887"] and of various others for male voices. For the Church, some dozen anthems, a Morning and Evening Service, and many contributions to collections of church music, including the wellknown setting ('Edina') of 'Saviour, blessed Saviour,' and (Abends) 'Sun of my Soul,' in 'Hymns Ancient and Modern.' He has also published a few of his compositions for pianoforte and organ, and for orchestra, including a festal and a funeral march. [App. p.733 "and a motet with orchestral accompaniment."]

Sir Herbert Oakeley is an organ-player of exceptional ability, and the Recitals which he gives during the session of the university are much esteemed. He has since his appointment given a great impulse to the public performance of music at the Reid Concert and the annual festival, which both in programme and in execution are a great boon to the musical portion of the inhabitants of Edinburgh. [App. p.733 "Add that the annual festival mentioned in the third line from the end of the article, is due to Sir Herbert Oakeley. (See, vol. iii. p. 101.) He has lately (1886) prepared a scheme for musical graduation at the Edinburgh University, which has been approved by the senate, and only awaits the sanction of the Chancellor and the University Court to come into effect."] [ W. H. H. ]

OBBLIGATO, i.e. necessary. A term signifying that the instrument with which it is coupled is indispensable in that place or that piece. It is in this respect the opposite to. [ G. ]

OBERON. A romantic opera in 3 acts; words (English) by J. R. Planché, music by Carl Maria von Weber. Produced at Covent Garden Theatre April 12, 1826. In Italian (by Maggione) at Her Majesty's (in 4 acts) July 3, 1860, with recitatives by Benedict and 6 additional numbers from Euryanthe and elsewhere. In German at Leipzig (Hell's translation) Dec. 23, 1826. [ G. ]

OBERTHÜR, CHARLES, a distinguished performer on and composer for the harp, was born on the 4th of March, 1819, at Munich, where his father carried on a manufactory of strings for musical instruments. His teachers were Elise Brauchle and G. V. Röder, the Court Director of Music. In the autumn of 1837 he was engaged by Charlotte Birch-Pfeiffer as harp-player at the Zurich theatre. He stayed there until September 1839, when, after a concert tour through Switzerland, he accepted an engagement at Wiesbaden. In 1842 he went to Mannheim, where he remained until 1844. A difference with V. Lachner, and the representations of English friends then living at Mannheim, induced Herr Oberthür in October 1844 to come to England, where he found a firm protector in Moscheles, and where he has since lived. He first obtained an engagement at the Italian Opera, but soon gave this up, and has since devoted himself to private teaching and composition, with occasional appearances as a soloist at the principal concerts in England and abroad. The list of Herr Oberthür's compositions