Page:A Dictionary of Music and Musicians vol 3.djvu/662

650 Aria, Opri il fato, Anon.

Do., No non amero. Do.

Do., Due vaghe pupilie. Do.

Do., Del tuo cor tempri. Do.

Do., Se tu credi. Do.

Do., Tanto basti per far. Do.

Do., Bella bocca di cinabro. Do.

Do., Foglio lieve. Do.

Do., Tu fuggisti O caro. Do.

Do., Crine vezzose. Do.

Do., Dolce Amor mi dice spera. Do.

Do., Lusingami speranza. Do.

Do., Begl' oochi perdonstemi. Do.

Do., Col freddo suo velen. Do.

Do., Se il mio labbro. Do.

Do., Gia che amor. Do.

Do., Se versasti da tnoi inmi. Do.

Do., Fantasmi orribili. Do.

Cantata, Taci O cruda. Do.

Aria, Begl' occhi d'amore. Do.

Do., Migravit Juda. Do.

Do., Gloria Patri. Dr. Child.

Do., Dormi dormi ben mio. Cesti.

Part of Cantata, Dite a lel. Stradella.

Cantata, Se gelose, sei Tu. Do.

Canzonet, Chi dira. Do.

Aria, Vado ben Spesso. Salv. Ross.

Gloria Patri. Blow.

Anthem, I will arise. Chreyghton.

Duet, Dormino l'aure estive. Durante.

7th Concerto. A. Corelli.

Part of 2nd Sonata, op. 1. Do.

Fugue from the 4th Sonata, op. 3, Do.

Part of the 7th Solo. Do.

Part of the 11th Solo. Do.

Anthem, Out of the deep, Aldrich.

Do., O God, Thou hest cast us out. H. Purcell.

Gloria Patri. Do.

Do.Do.

Do.Do.

Do. Do.

Part of 1st Sonata. 1st set. Do.

From 6th Sonata. 1st set. Do.

From 9th Sonata. 2nd set. Do.

In guilty night. Do.

Overture to King Arthur. Do.

Chaconne, before the Play. Do.

Brave souls to be renowned. Do.

Gloria Patri. Dr. Croft.

Qui diligit Mariam. Steffani.

Dixit Dominus. Leo.

Part of a Mass. Pergolesl.

'Euridice e dove sei' (Orfeo). Do.

Gloria in Excelsis. Do.

Te gloriosus (Te Deum). Do.

Overture to I Pellegrini. Hasse.

'Le Porte noi diserra.' Do. Do.

Pellegrino è l'uomo. Do. Do.

Overture to Pastor Fido. Handel. Aria, Son confusa (Poro). Do.

He is my God (Israel in Egypt). Do.

Chorus. The listening crowd. Do.

Do. May no rash intruder. Do.

Double Chorus, He gave them Hailstones. Do.

Fugue (in E). Bach.

No. 2 of the 18 solos for the Violin. Tartini.

Air, Pupillette vezzosette, from Ormisda, Vinci.

Air, Infelice abbandonata. Do.

Concerto 6, Op. 3. Geminiani.

Concerto 2. Ricciotti.

Part of Sonata 10. Paradies.

Requiem. Jomelli.

Chorus, Sante Speme (Passione). Do.

Sonata 3. Crispi.

Part of Sonata 4. Do.

Fantasia. C. P. E. Bach.

Concerto for a full Band. J. C. Bach.

Overture to Ifgenie en Aulide. Gluck.

Chorus, Que d'attraits.

Overture, Pierre le Grand. Grétry.

Do., Don Quichotte. Champigny.

Overture. Tolsou D'Or. Vogel.

Part of Sonate 2, Vanhall.

Part of Sonata, op. 9. Schobert.

Minuet and Trio, Sonate 2, op. 5. Do.

Part of Quintet 3, op. 12. Boccherini.

Sonata 3. op. 23. Kozeluch.

Part of Quartet 1. 8th set. Pleyel.

Do. 6. Op. 8. Do.

Part of Sonata 1, op. 12. Krumpholtz.

Do. 2, op. 11. Hullmandel.

Do. 2, op. 4. Clementi.

Adagio from op. 11. Do.

Part of Sonata 4, op. 12. Do.

Recordare from a Requiem. Mozart.

Benedictus from Do. Do.

Overture, Le Nozze di Figaro. Do.

Part of Quartet 3, op. 76. Haydn.

Sinfontia, in E♭, Do.

[ G. ]

SPEECHLEY,, after working 14 years with his uncle J. C. Bishop, and 6 more with Henry Willis, set up on his own account in London as organ-builder in 1862. His best works may be seen at Alton, Bosbury, Dalston (St. Mark's), and in Exeter, where he reconstructed and enlarged Loosemore's organ in the Cathedral. [ V. de P. ]

SPEIDEL, a musical family of Ulm. 1,, well-known singer and director of the 'Ulm Liederkranz' singing society: he died Jan. 29, 1880. 2. His eldest son,, born Sept. 3, 1826, was educated in music first by his father and then by I. Lachner and W. Kuhe. After teaching for two years at Thann in Alsace he made Munich his headquarters, but was widely known as a PF, player throughout Germany, and intimately associated with Schumann, Liszt, and Thalberg, He was music-director at Ulm from 1854 to 1857, but in the latter year joined Stark, Lebert, etc. in founding the Conservatorium at Stuttgart, and remained there as Professor of the PF, till 1874, when he left the Conservatorium to found a private school of his own. He is conductor of the Stuttgart 'Popular Concerts.' His works are numerous, comprising 65 opus numbers in all departments. He has also edited the sonatas of Haydn and Mozart, and the PF. works of Mendelssohn. 3. His brother was born, also at Ulm, April 11, 1830. He received his education at the University of Munich, and joined the staff of the Augsburg Gazette. In 1853 he took up his quarters in Vienna, and was soon engaged on the press of that city, first on the 'Presse,' then on the 'Neue Freie Presse' and the 'Fremdenblatt,' for both of which he still writes. He is one of the most considerable Anti-Wagnerites of the day, of great independence of opinion and remarkable force of expression. Herr Speidel is also well-known as a devoted adherent of Schubert. [ G. ]

SPEYER, or SPEIER,, composer, was born June 21, 1790, at Frankfort-on-the-Main, where he died April 5, 1878. He received his musical education at Offenbach under Thieriot (the friend of Weber) and André. He was already a prominent violinist when he went to Paris in 1812, to become a pupil of Baillot, from whose instruction and from the acquaintance of such men as Cherubini, Boieldieu, Méhul, etc., he derived much benefit. Returning to Germany afterwards, he settled down at Frankfort and exchanged the musical profession for that of a merchant, but continued to compose—at first chiefly chamber music. He published string quartets and quintets, and also violin duets, which are still looked upon as standard works in that class of composition. He afterwards devoted himself chiefly to vocal music, and it is as a writer of songs that his name is best and most widely known. Amongst his Lieder—of which he published several hundred—many, such as 'The Trumpeter,' 'Rheinsehnsucht' (My heart's on the Rhine), 'Die drei Liebchen,' etc., acquired an extraordinary popularity. He also wrote vocal quartets and some choral works.

With Mendelssohn and his family Speyer was on terms of affectionate intimacy, and to him the charming story given in vol. ii. p. 280b is due. [ G. ]

SPIANATO (Ital.), level, even. A word used by Chopin in the Andante which precedes the Polonaise in E♭, op. 22, to denote a smooth and equal style of performance, with but little variety. [ F. T. ]

SPICATO (Ital.), accurately 'separate,' 'distinct.' A term applied in violin-playing to a particular vibratory style of bowing. 'Spicato' and 'Saltato' are both explained under the head of. [ G. ]

SPINA,. The successor of the Diabellis in that famous publishing house at Vienna, which for so long stood in the Graben, No. 1133, at the corner of the Bräunerstrasse. He succeeded them in 1852, and was himself sueceeded by F. Schreiber in July 1872. During this twenty years Spina's activity showed itself especially in the publication of Schubert's works, a mass of whose MSS, he acquired from Diabelli. Chief