Page:A Dictionary of Music and Musicians vol 4.djvu/201

TUCKET. Italian Toccata, which Florio ('A Worlde of Wordes,' 1598) translates 'a touch, a touching.'

Like most early musical signals, the tucket came to England from Italy, and though it is always mentioned by English writers as a trumpet sound, the derivation of the word shows that in all probability it was originally applied to a drum signal. [See vol. iii. p. 642, etc.] Francis Markham ('Five Decades of Epistles of Warre,' 1622) says that a 'Tucquet' was a signal for marching used by cavalry troops. The word still survives in the French 'Doquet' or 'Toquet,' which Larousse explains as 'nom que l'on donne à la quatrième partie de Trompette d'une fanfare de cavallerie.' There are no musical examples extant of the notes which were played.

Closely allied with the word Tucket is the Scotch term 'Tuck' or 'Touk,' usually applied to the beating of a drum, but by early writers used as the equivalent of a stroke or blow. Thus Gawin Douglas's 'Virgil' has (line 249) 'Hercules it smytis with ane mychty touk.' The word is also occasionally used as a verb, both active and neuter. In Spalding's 'History of the Troubles in Scotland' (vol. ii. p. 166) is the following: 'Aberdeen caused tuck drums through the town,' and in Battle Harlaw, Evergreen (i. 85) the word is used thus: 'The dandring drums alloud did touk.' 'Tuck of Drum' is of frequent occurrence in Scotch writers of the present century (see Scott's 'Rokeby,' canto iii. stanza 17); Carlyle's Life of Schiller; Stevenson's 'Inland Voyage,' etc.; also Jamieson's Dictionary of the Scottish Language, s.v. 'Tuck' and 'Touk'). [.] [ W. B. S. ]

TUCZEK, a Bohemian family of artists—the same name as Duschek or Dussek. The compilers of dictionaries have fallen into much confusion between the different members, of whom the first,

(1), was choirmaster of S. Peter's at Prague in 1771, and died about 1780. His son and pupil,

(2), a singer in Count Sweert's theatre, became accompanyist to the theatre at Prague in 1796, Capellmeister at Sagan to the Duke of Courland in 1798, conductor of the theatre at Breslau in 1800, of the Leopoldstadt theatre in Vienna in 1801, and died about 1820 at Pesth. He was a versatile composer, writing masses, cantatas (one was performed at Sagan in 1798, on the recovery of the King of Prussia), oratorios ('Moses in Egypt,' and 'Samson '), operettas (second-rate), in German and Czech, and music for a tragedy, 'Lanasse,' his best work. His only printed work is the PF. score of 'Damona,' a fairy opera in 3 acts. Another,

(3), born at Königgratz, Jan. 29, 1782, died at Charlottenburg near Berlin, Aug. 4, 1850, A musician first in Vienna, and afterwards in Berlin, had two daughters, of whom one married Rott the well-known actor, and the other,

(4), a pupil of Fräulein Fröhlich's at the Vienna Conservatorium from 1829–34, played little parts at the Court theatre with Unger, Garcia, and Moriani, from the tune she was 13, and thus formed herself as an actress. She was also thoroughly trained as a singer by Mozatti, Gentiluomo, and Curzi, and made her first appearance in Weigl's 'Nachtigall und Rabi.' In 1841, on the recommendation of Franz Wild, Count Redern offered her a star-engagement in Berlin, as successor to Sophie Lowe in ingenue parts. Her Susanna, Zerlina, Sonnambula, Madeleine, etc., pleased so much as to lead to an offer of engagement on liberal terms, which she accepted on her release from the Court theatre at Vienna. She sang at the unveiling of the Beethoven memorial in Bonn (1845). She made her farewell appearance in Berlin, Dec. 6, 1861, when the king himself threw her a laurel-wreath, and sent her a miniature laurel-tree in silver, bearing 65 leaves, on which were written the names of her parts, including Mrs. Ford in 'The Merry Wives of Windsor.' Her voice had a compass of 2½ octaves, and her refined and piquant acting made her a model soubrette. She married an official of some position at Herrenburg. She was afflicted with partial paralysis during her later years, and frequently resorted to Baden near Vienna, where she died Sept. 1883. [ F. G. ]

TUDWAY,, Mus. Doc., was admitted a chorister of the Chapel Royal in or soon after 1660. On April 22, 1664, he was elected a lay vicar (tenor) of St. George's Chapel, Windsor. About Michaelmas, 1670, he became organist of King's College, Cambridge, in succession to Henry Loosemore (whose name disappears from the College accounts after Midsummer, 1670), and received the quarter's pay at Christmas, and an allowance for seven weeks' commons. He obtained the post of instructor of the choristers at King's College at Christmas, 1679, and retained it until Midsummer, 1680. He was also organist at Pembroke College. In 1681 he graduated as Mus. Bac. at Cambridge. On Jan. 30, 1704–5, he was chosen as Professor of Music in the University on the death of Dr. Staggins. Shortly afterwards he proceeded Mus. Doc., his exercise for which—an anthem, 'Thou, O God, hast heard our desire'—was performed in King's College Chapel on April 16, in the presence of Queen Anne, who bestowed upon the composer the honorary title of Composer and Organist extraordinary to her. On July 22, 1706, he was suspended from his offices for, it is said, in the exercise of his inveterate habit of punning, having given utterance to a pun which was considered to be a libel on the University authorities. [App. p.804 "add that the records of Pembroke College, Cambridge, state that Dr. Tudway was 'proved guilty of speaking words highly reflecting upon Her Majesty and her administration.'"] His suspension continued until March 10, 1707. He resigned his organistship at King's College at Christmas, 1726, when he was paid £10 in addition to his stipend. He then repaired to London, where he passed the remainder of his life. He was employed by Edward, Lord Harley, afterwards Earl of Oxford,