Page:A Dictionary of Music and Musicians vol 4.djvu/26

10 he was to have '100 Guineas per annum Salary, a place at Court, and the Devil and all.' This was the somewhat inauspicious beginning of Swiny's theatrical career. Having come up to London, as described, in 1705, he soon found that Rich intended nothing seriously for his advantage; and he announces (in the same letter) that, in consequence of the general discontent of the actors with Rich, and although Rich might have had the house for £3 or £3 10s. a day, he (Swiny) had taken a lease for seven years at £5 a day, and meant to begin in a few days.

In 1707 we find him in partnership with Wilks, Dogget, and Cibber in the King's Theatre, having taken the lease from Vanbrugh, and very soon quarrelling with them and petitioning the Lord Chamberlain's interference in his favour. He was mixed up in most of the quarrels and intrigues of the time.

In May, 1709, Swiny engaged the famous Nicolini for three years, that great singer having recently made a most successful début in London. Before the completion of this term, however, Swiny appears to have 'absented himself from his creditors' and become bankrupt.

After this, he lived for some years in Italy; but, on his return to England, a place in the Custom-house was found for him, and he was appointed Keeper of the King's Mews. While in Italy, with Lord Boyne and Walpole, he wrote to Colman (July 12, 1730) from Bologna, on the subject of engaging singers for the Opera, then in the hands of Handel. Swiny died October 2, 1754, leaving his fortune to Mrs. Woffington. He was the author of several dramatic pieces, viz. 'The Quacks, or Love's the Physician' (1705); 'Camilla' (1706); 'Pyrrhus and Demetrius' (1709); and 'The Quacks, or Love's the Physician,' an altered version of the first piece.

Two years before his death, a fine portrait of Swiny, after Van Loo, was scraped in mezzotint by J. Faber, junr. It represents him, in black velvet, holding in his hand a book, of which the title seems to be 'Don Quixote.' [ J. M. ]

SYLPHIDE, LA. One of the most famous ballets on record: in 2 acts; libretto by A. Nourrit the singer, music by Schneitzhöffer. Produced at the Grand Opera, Paris, March 12, 1832. The part of La Sylphide was danced by Mdlle. Taglioni, and was one of her greatest parts, both in Paris and in London, where the piece was brought out at Covent Garden Theatre, for her benefit, July 26, 1832. Thackeray has embalmed it in 'Pendennis' (chap. xxxviii.) [ G. ]

SYLVANA, accurately. Weber's 3rd opera, composed at Stuttgart, 1810, and produced at Frankfort, Sept. 16, 1810. [See .]

SYLVIA, OU LA NYMPHE DE DIANE. 'Ballet-pantomime' in 2 acts and 3 tableaux; libretto by Barbier, music by Delibes. Produced at the Grand Opéra, Paris, June 14, 1876. [ G. ]

SYMPHONIQUES, ETUDES, i.e. Symphonic Studies. The name of a theme and set of variations in C♯ minor by Robert Schumann, forming op. 13. The work is dedicated to W. Sterndale Bennett, and Mr. Spitta has pointed out that the theme contains a reference to him, inasmuch as it is identical with a part of the romance in Marschner's 'Templer und Judin,' 'Du stolzes England freue dich,' in which this country is called on to rejoice in her famous men. [See vol. iii. p. 410a.] The first edition was published by Haslinger in 1837, as 'Florestan und Eusebius, zwölf Etuden (Etudes Symphoniques).' Those published after that date are entitled 'Etudes en forme de Variations,' and have been materially altered. [ G. ]

SYMPHONISCHE DICHTUNGEN—that is, Symphonic Poems. A title employed by Liszt for twelve pieces of orchestral music of characteristic, i.e. descriptive, kind, and of various dates—one feature of which is that the movements are not divided, but lead into each other without interruption.

Of these the following have been performed at Mr. Bache's annual concerts: no. 3, May 26, 1871 and twice besides; no. 4, Nov. 27, 73; no. 2, Nov. 27, 73; no. 6, Feb. 27, 77, and Feb. 25, 79. Nos. 6, 11, and 12 have also been played at the Crystal Palace (Dec. 9. 76; May 17, 79; Apr. 16, 81 respectively); and nos. 2, 9 at the Philharmonic (June 9, 1873; Feb. 23, 1882, respectively).

St. Saëns has adopted the title 'Poèmes symphoniques' for 4 pieces:—

[ G. ]

SYMPHONY. The terms used in connection with any branch of art are commonly very vague and indefinite in the early stages of its history, and are applied without much discrimination to different things. In course of time men consequently find themselves in difficulties, and try, as far as their opportunities go, to limit the definition of the terms, and to confine them at least to things which are not obviously antagonistic. In the end, however, the process of sifting is rather guided by chance and external circumstances than determined by the meaning which theorists see to be the proper one; and the result is that the final meaning adopted by the world in general is frequently not only distinct from that which the original employers of the word intended, but also in doubtful conformity with its derivation. In the case of the word 'Symphony,' as with 'Sonata,' the meaning now accepted happens to be in very good accordance with its derivation, but it is considerably removed from the meaning which was originally attached to the word. It seems to have been used at first in a very general and comprehensive way, to express any portions of music or passages whatever which were thrown into relief as purely instrumental