Page:A Dictionary of Music and Musicians vol 3.djvu/234

222  Virginal Book (preserved at Cambridge in the Fitzwilliam Museum) there is an elaborate 'Galiarda Passamezzo' by Peter Philips (dated 1592) which consists of ten 8-bar 'divisions,' the 9th of which is entitled 'Saltarella.' The Saltarello, or Proportio, was always founded on the air of the first part of the dance, played in 3 time with a strong accent on the first beat of the bar. The manner in which this was done will be seen by examining the following example, from the 2nd book of Caroso da Sermoneta's 'Nobilta di Dame' (Venice, 1600). It is part of a Balletto 'Laura Soave,' the second part of which (a Gagliarda) and the last 40 bars of the Saltarello are not printed here for want of space.

II. A popular Roman dance, in 3–4 or 6–8 time, danced by one or two persons, generally a man and a woman, the latter of whom holds up her apron throughout the dance. The step is quick and hopping, and the dance gradually increases in rapidity as the dancers move round in a semicircle, incessantly changing their position, and moving their arms as violently as their legs. The music is generally in the minor, and is played on a guitar or mandoline, with tambourine accompaniment. The finale to Mendelssohn's Italian Symphony contains two Saltarellos—

in each of which the jumping or hopping step is very apparent. In contrast to these is a Tarantella, used as a third subject, a continuous flow of even triplets. [ W. B. S. ]

SALVAYRE,, born June 24, 1847, at Toulouse, and educated at the Maitrise and the Conservatoire, where he studied the piano and harmony, and took a first prize for cello. He then went to Paris, entered the Conservatoire, and studied composition under Ambroise Thomas, and the organ under Benoist. He made his way upwards slowly, taking the first organ-prize in 1868, and the Grand Prix not till 1872, though he had been a competitor since 1867. At that time Bazin was professor of composition, Thomas having become director of the Conservatoire. During his two years in Rome Salvayre learned the mandoline, and made himself thoroughly acquainted with the bella lingua Romana; and his first publications (Milan, Ricordi) were some Italian songs—'Sospiri miei,' 'Inamoramento,' 'Dolore del tradimento,' 'Serenata romana,' and 'Serenata di Francesca da Rimini.' Industrious to a degree, he brought back (besides the regulation compositions as government student, which he had punctually forwarded) a number of compositions in various styles, and was thus ready for any opportunity which might bring him into notice. Among these Roman works were a 'Stabat Mater'; an orchestral piece, 'Les Bacchantes'; the 113th Psalm for orchestra, solos and chorus; and an oratorio, 'Le Jugement dernier,' which he subsequently remodelled, and produced at the Châtelet concerts as 'La Résurrection' (1876). Other compositions were an 'Ouverture Symphonique' (Concerts populaires), and a brilliant divertissement for the ballet inserted in Grisar's 'Amours du Diable' on its revival (Châtelet, Nov. 1874). Having at length found his way to the boards, Salvayre produced at the Gaieté (then recently transformed into an opera under Albert Vizentini) 'Le Bravo' (April 18, 1877), libretto by Blavet, from Cooper's novel. The piece was transformed from an opera comique into a spectacular drama, and had an immense success, partly owing to the singing of Bouhy the baritone, and Heilbron the prima donna. It has since been performed at several theatres of importance both in France and elsewhere. 'Le Fandango,' a one-act ballet (Opéra, Nov. 26, 1877), was less fortunate. So far M. Salvayre's gift seems rather for stage and dramatic music than for light comedy, or more poetical conceptions. [ G. C. ]

SALVE REGINA. One of the 'Antiphons of the Blessed Virgin Mary,' appointed, in the Roman Breviary, to be sung, from the Feast of the Holy Trinity to the Saturday before the First Sunday in Advent, either at the end of Compline, or, when Compline is not sung, at the end of Vespers.

The Plain Chaunt Melody of 'Salve Regina' a noble example of the use of the Mixed Dorian Mode rarely fails, by its melodious Intervals, and rich Ligatures, to attract the attention of English visitors to foreign Cathedrals.

