Page:A Dictionary of Music and Musicians vol 3.djvu/500

488 third positions, and other passages occur about the same date, which extend even to the fourth position. Practically the commonest and easiest method of shifting is to advance by intervals of a third, for instance from the first into the third position (hence probably the denomination 'whole shift,' which the latter position has acquired), and from the third position into the fifth. The same thing prevails in the fingering of the violoncello. In both instruments this shift of a third is effected by means of the first and second finger, which are employed alternately in ascending or descending the scale on a single string. So inveterate does this practice of shifting by thirds become with many players, that they are unable to shift in any other way, and consequently never resort to the second position. Eminent modern violinists, indeed, have frankly confessed to not being masters of this position. The doctrine and practice, however, of the old Italian school was that the half-shift or second position should be mastered thoroughly before advancing to the third position; and the works of Bach, Handel and Tartini presume a fundamental knowledge of the half shift as well as the whole shift. Unnecessary shifting should always be avoided; that is, all passages should be played with as few alterations in the position of the left hand as possible. To carry out this rule fully demands a thorough knowledge of the fingerboard, for a player who is only at home in certain positions will be driven to the shift in passages which ought to be executed without its aid. The following simple passage, for instance, can be played in the second position or half-shift without any change:—

But if the player is not master of this position, he will be forced to shift on every alternate note.

Another rule is that the shift should be effected quietly and firmly. In order to do this, it must be effected not by a sudden or jerky motion, proceeding from the shoulder, but by rapidly altering the grasp of the thumb and fingers, the thumb moving slightly in advance, and guiding the fingers into the required position. The position of the hand and arm should be disturbed only so far as is absolutely necessary. [ E. J. P. ]

SHIRREFF,, soprano singer, pupil of Thomas Welsh, appeared at Covent Garden, Dec. 1, 1831, as Mandane in Arne's 'Artaxerxes,' with great success. In 1832 she sang at the Concert of Ancient Music, the Philharmonic Concert, and Gloucester Festival, and in 1834 at the Westminster Abbey Festival. Her engagement at Covent Garden continued from 1831 to 1834–5. In 1835 she commenced an engagement at Drury Lane, but in 1837 returned to Covent Garden. In 1838 she went to America, in company with Wilson, E. Seguin and Mrs. E. Seguin, where she became a universal favourite. On her return to England she married and retired into private life. Her voice was full-toned, and powerful in the higher, but somewhat weak in the lower notes; her intonation was perfect, and she was a much better actress than the generality of singers. [App. p.792 "Add date of death, Dec. 23, 1883."] [ W. H. H. ]

SHORE,, who in 1685 was one of the trumpeters in ordinary to James II., was, a few years afterwards, promoted to the post of Sergeant Trumpeter, in which he distinguished himself by the rigorous exaction of his fees of office. [See .] He died in 1700, leaving three children:

1., also one of the King's trumpeters in ordinary, succeeded his father as Sergeant Trumpeter, died in Dec. 1707, and was buried at St. Martin's-in-the-Fields. He followed his father's example in the severe exaction of fees.

2., born about 1668, who was a pupil of Henry Purcell for singing and the harpsichord. In 1693 she became the wife of Colley Cibber, without consent of her father, who manifested great displeasure at the match. His resentment was not, however, of very long duration, as when he made his will, March 5, 1695–6, he bequeathed to her one third of the residue of his property. Shortly after her marriage Mrs. Cibber appeared on the stage as a singer, and, among other songs, sang the second part of Purcell's air 'Genius of England' (Don Quixote, Part II.), to her brother John's trumpet accompaniment. She is said to have died about 1730.

3., the most celebrated trumpeter of his time, in 1707 succeeded his brother William as Sergeant Trumpeter. Purcell composed for him obbligato trumpet parts to many songs, which may be seen in the Orpheus Britannicus, and which fully attest his skill. His playing is highly commended in the 'Gentleman's Journal' for January, 1691–2, where, in an account of the celebration on St. Cecilia's day in the preceding November, we read 'Whilst the company is at table the hautboys and trumpets play successively. Mr. Showers hath taught the latter of late years to sound with all the softness imaginable; they plaid us some flat tunes made by Mr. Finger with a general applause, it being a thing formerly thought impossible upon an instrument designed for a sharp key.' His name appears in 1711 as one of the 24 musicians to Queen Anne, and also as lutenist to the Chapel Royal. He is said to have been the inventor of the tuning-fork, and also to have split his lip in sounding the trumpet, thereby incapacitating himself for performing. He died Nov. 20, 1750 [App. p.792 "1752"], at the alleged age of 90, but it is very probable that his age was overstated and did not exceed 80. [ W. H. H. ]

SHUDI, famous harpsichord-maker, and founder of the house of Broadwood. Burkat Shudi, as he inscribed his name upon his instruments, was properly, and was a cadet of a noble family belonging to Glarus