Page:A Dictionary of Music and Musicians vol 3.djvu/173

ROSALIA. cannot believe. With equal reason might we condemn the 'monotony-producing' effect of a regular Figure. It is, indeed, quite possible to make such a Figure monotonous to the last degree; yet nearly the whole of Beethoven's 'Andante in F' (op. 34), is founded on the rhythmic form of the first four notes of the opening Subject—

The truth is, that, in the hands of a Great Master, all such devices are made productive of pure and beautiful effects; while all are 'vicious,' when viciously misused. [ W. S. R. ]

ROSAMUNDE FÜRSTIN VON CYPERN (Rosamond, Princess of Cyprus). A romantic play in 4 acts; written by Wilhelmine Christine Chezy, the overture and incidental music by Franz Schubert (op. 26). Produced at the Theatre an-der-Wien, Vienna, Dec. 20, 1823, and only performed twice. The music as then played is as follows:—

* 1. Overture (D minor). † 2. Entracte between Acts 1 and 2 (B minor). † 3. Ballo (B minor), and Andante un poco assai (G). 4. Entracte between Acts 2 and 3 (D). 8. Shepherds' Melody. †11. Air de Ballet (G).
 * 5. Romance for soprano 'Der Vollmond strahlt' (F minor).
 * 6. Chorus of Spirits.
 * 7. Entracte between Acts 3 and 4 (B♭).
 * 9. Shepherds' Chorus.
 * 10. Huntsmen's Chorus.

The overture played at the performances was published in 1827, for PF. 4 hands, by Schubert himself, as op. 53, under the title of 'Alphonso und Estrella' (now op. 69). The overture (in C), known as the 'Overture to Rosamunde' (op. 26) was composed for the melodrama of the 'Zauberharfe,' or Magic Harp (produced Aug. 19, 1820), and was published by Schubert with its present name and opus-number for PF. 4 hands, in 1828. The pieces marked have been published—those marked with * by Schubert himself, as op. 26; those marked with † more recently. For particulars see Nottebohm's Thematic Catalogue, p. 46, 84. The Entracte in B minor is one of the finest of all Schubert's works; the Romance, the Entracte no. 7, the Shepherds' Melody, and the Air de Ballet in G, are all admirable, the Shepherds' Melody for 2 clarinets especially characteristic. The 2nd Trio to the Entracte no. 7 was previously composed, in May 1816, as a song, 'Der Leidende.' [ G. ]

ROSE or KNOT (Fr. Rosace; Fr. and Germ. Rosette; Ital. Rosa). The ornamental device or scutcheon inserted in the soundhole of the belly of stringed instruments, such as the lute, guitar, mandoline, dulcimer, or harpsichord, serving not only a decorative purpose, but in the Netherlands especially as the maker's 'trade mark.' In the harpsichord and spinet there was usually but one soundhole with its rose; but owing to the origin of these keyboard instruments from the psaltery, their analogy with the lute, and the fact of the Roman lutes having three, several soundholes were sometimes perforated. In fact, a clavicembalo dated 1531 was lately seen in Italy by the eminent art critic, Mr. T. J. Gullick, which possessed no less than five, each with a rose inserted. From the analogy above referred to, the old Italian harpsichord makers named the bottom of the instrument 'cassa armonica' (soundchest); as if its office were like that of the back of the lute or viol, while the belly was the 'piano armonico' (soundflat). The Flemings, retaining the soundhole, doubtless adhered more or less to this erroneous notion of a soundchest. The Hitchcocks in England (1620 and later) appear to have been the first to abandon it; no roses are seen in their instruments. Kirkman in the next century still adhered to the rose and trade scutcheon, but Shudi did not. In the 'Giornale de' Litterati d'ltalia' (Venice, 1711, tom, v.), Scipione Maffei, referring to Cristofori, who had recently invented the pianoforte, approves of his retention of the principle of the rose in his ordinary harpsichords, although contemporary makers for the most part had abandoned it. But Cristofori, instead of a large rose, to further, as he thought, the resonance, used two small apertures in the front. Under the head will be found illustrations of the rose or rosace, as used by those great makers. [ A. J. H. ]

ROSE OF CASTILE. An opera in 3 acts; compiled by Messrs. Harris and Falconer (from Le Muletier de Tolede), music by M. W. Balfe. Produced at the Lyceum Theatre (Pyne and Harrison), London, Oct. 29, 1857. [ G. ]

ROSEINGRAVE, or ROSINGRAVE,, was educated in the Chapel Royal under Pelham Humfrey. In 1693 he became organist of Salisbury Cathedral, which appointment he quitted in 1698 and was chosen organist and vicar-choral of St. Patrick's Cathedral, Dublin. He held these posts for 20 years, when he resigned them in favour of his son, who held them from April 1719 until his death in Oct. 1747.

, another son, received his early musical education from his father, and manifesting great aptitude, was allowed a pension by the Dean and Chapter of St. Patrick's to enable him to travel for improvement. He went to Italy in 1710, and at Rome was on friendly terms with the Scarlattis. In 1712 he composed, at Venice, an anthem, 'Arise, shine,' preserved in the Tudway collection (Harl. MS. 7342). In 1720 we find him in London, bringing out at the King's Theatre an adaptation of D. Scarlatti's opera 'Narcissus,' with additional songs composed by himself. In 1725 he was selected, from seven competitors, as the first organist of St. George's, Hanover Square, at a salary of £45 per annum; the judges were Drs. Croft and Pepusch, with Buononcini and Geminiani, each of whom gave a subject upon which the candidates were to make an extempore fugue. Some years afterwards, a disappointment in love so seriously affected Roseingrave's reason that he was compelled to desist from his duty, and from 1737 it was performed by Keeble, who received half the salary. 