Page:A Dictionary of Music and Musicians vol 4.djvu/129

THREE CHOIRS. F. Mori's 'Fridolin,' Worcester, 1851; an anthem (1852) and Jubilate (1855) by G. T. Smith, Hereford; anthems by G. J. Elvey, Gloucester, 1853, and Worcester, 1857; and Sullivan's 'Prodigal Son,' Worcester, 1869; Beethoven's Mass in D, Mendelssohn's Lobgesang and Elijah, Spohr's Oratorios, and other favourite works. In later years new compositions were more frequently produced, and recently scarcely a year has passed without some new work being given. At the Gloucester Meeting of 1883 no fewer than three new works were performed for the first time, viz. sacred cantatas by Drs. Stainer and Arnold, and a secular choral work by Dr. Hubert Parry. This is not the place to discuss, from either an artistic or a financial point of view, the desirability of such a course, but it may be noted that at the Gloucester Festival of 1883 the excess of expenditure over receipts from sale of tickets exceeded 500l.

[App. p.799 "The following is a list of the new works produced at these festivals since the article was written:—

[ W. H. H. ]

THURNAM,, born at Warwick, Sept. 24, 1825, was organist of Reigate Parish Church from 1849, and from 1849 to 1876 conductor of the Reigate Choral Society, and also an able violinist, and the composer of a Cathedral Service, and several songs and pieces for various instruments, of considerable merit. He died Nov. 25, 1880. [ W. H. H. ]

THURSBY,, born at Brooklyn, New York, Nov. 17, 1857, is the daughter of an Englishman, and is descended by her mother from an old United States family. She received instruction in singing first from Julius Meyer and Achille Erani, then in 1873 at Milan from Lamperti and San Giovanni, and finally completed her studies in America under Madame Rudersdorff. In 1875 she undertook a tour through the United States and Canada. She made her début in England May 22, 1878, at the Philharmonic, with such success that she was engaged at a subsequent concert of the Society in the same season. She remained in England until the end of 1879, singing with acceptance at the Crystal Palace, the Popular Concerts, Leslie's Choir, etc., and in the summer of the same year sang in Paris and the French provinces. In 1880–81 she made an extended concert-tour through Germany, Austria, Holland, Belgium, Spain, Norway, Denmark, etc., and returned to America at the end of 82. In 1883 she was singing in the States and Canada.

Her voice is a soprano, of remarkable compass, ranging from middle C to E♭ above the lines; not large but rich; somewhat veiled, but noble and sympathetic. 'Miss Thursby's technique is extraordinary; her legato and staccato are models of certainty and correctness, her respiration is admirably managed, and her shake as rippling as it is long enduring.' [ A. C. ]

TICHATSCHEK,, born July 11, 1807, at Ober Weckelsdorf, in Bohemia. He began by studying medicine, but abandoned it for music, and received instruction in singing from Ciccimara, a favourite Italian singing master. In 1830 he became a chorus singer at the Kärnthnerthor theatre, was next appointed chorus inspector, played small parts, and afterwards, those of more importance, viz. Idreno ('Semiramide'), Alphonse ('Stumme'), and Raimbaud ('Robert'). He sang for two years at Gratz, and again at Vienna, as principal tenor. On Aug. 11, 1837, he made his début at Dresden as Gustavus III. (Auber), with such success as to obtain an engagement for the following year. At this period he attracted the attention of Schroeder-Devrient, who gave him the benefit of her advice and experience, with the result of a long and intimate friendship, which terminated only with her death. Until his retirement in 1870, he remained permanently in Dresden, where, on Jan. 16, as Idomeneo, he celebrated the 40th anniversary of his professional career, having previously, on Jan. 17, 1863, celebrated his 25th anniversary at Dresden, as Hernando Cortes [App. p.799 "Fernando"] (Spontini). His repertoire consisted of the tenor parts in the operas of Gluck, Mozart, Beethoven, Weber, Marschner, Méhul, Boieldieu, Auber, Nicolo, Meyerbeer, Spontini, Flotow, Spohr, etc.; and on Oct. 20, 42, and Oct. 19, 45 respectively, was the original Rienzi, and Tannhäuser. In 1841 he sang for a few nights in German at Drury Lane Theatre as Adolar, Tamino, Robert, etc.; also at Liverpool and Manchester, and is thus described by a contemporary 'Herr Tichatschek has proved himself the hit of the season; he is young, prepossessing, and a good actor; his voice is excellent, and his style, though not wanting in cultivation, is more indebted to nature than art.' [App. p.799 "add date of death, Jan. 18, 1886."] [ A. C. ]

TIE. A curved line uniting two notes of the same pitch, whereby they form a single note which is sustained for the value of both. The tie is also called the Bind, and by some writers the Ligature, although this term properly refers to certain slurred groups of notes which occur in ancient music. [, vol. ii. p. 136.] It has already been described under the former heading, but to what was there stated it may be added, that ties are occasionally met with in pianoforte music where the note is actually repeated. [See, vol. i. p. 242.] To effect this repetition properly some skill and care are required; the finger which strikes the first of the two tied notes is drawn inwards, and the following finger falls over it as closely and rapidly as possible, so as to take its place before the key has had time to rise to its full distance, and therefore before the damper has quite fallen. Thus there is no actual silence between the two sounds, the repetition takes place before the first sound has ceased, and an effect is produced which resembles the old effect of as nearly as the modern pianoforte can imitate it. [See vol. i. p. 160.] The particular occasions on which this effect is required are not indicated