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588 for a time, and finally re-appeared in Paris at the Lyrique without success. In '50 he played with Mitchell's company at St. James's Theatre, viz. as Lejoyeux ('Val d'Andorre'), in which he made his début, Jan. 4, as Barnabé (Paer's 'Maïtre de Chapelle'), and in his well-known parts of Zampa, Josselyn and the Postilion. He was well received, on account of his easy, gentlemanly, and vivacious acting, and his command both of humour and pathos, which atoned for loss of voice. Fétis says of him that 'endowed with qualities that should have taken him to the highest point of art, if he had received a better musical education, he had more ingenuity than real ability, more mannerism than style. Sometimes he jerked out his song with affectation; he often altered the character of the music by introducing variations of the phrase and numerous cadenzas in which he made use of his head voice. Vocal studies had not been studied, inasmuch that his 'mezza voce' was defective, and that he executed ascending chromatic passages in an imperfect manner. In spite of these faults, the charm of his voice, his knowledge of what would please the public, and his aplomb as a musician often caused him to make more effect than skilful singers deprived of these advantages. His farewell benefit took place at the Opéra Comique, April 24, 1872, when Roger reappeared in a scene from 'La Dame Blanche,' and Chollet himself as Barnabé in the celebrated duo from Paer's 'Maïtre de Chapelle.' On this occasion Paladilhe's musical setting of Coppée's 'Le Passant' was first produced, with Mme. Galli-Marié and the late Mlle. Priola. [ A. C. ]

CHOPIN. Add the following list of works (for PF. solo, unless otherwise stated). The works marked with an asterisk were published posthumously. Op. 1. Rondo, C minor. 2. 'La ci darem' Variations (with Orchestra). 3. Introduction and Polonaise. in C (PF. and Cello). 4. *Sonata, C minor. 5. *Rondeau à la Mazur. 6. Four Mazurkas. 7. Five Mazurkas. 8. Trio (PF. and Strings). 9. Three Nocturnes. 10. Twelve Studies. 11. Concerto, E minor. 12. Variations (with Orch.), 'Ludovic' (Hérold). 13. Fantasia on Polish airs. 14. Krakovlak Rondo (with Orch.) 15. Three Nocturnes. 16. Rondo, E&#x266d;. 17. Four Mazurkas. 18. Valse, E&#x266d;. 19. Bolero. 20. Scherzo, B minor. 21. Concerto, F minor (with Orch.) 22. Polonaise, E&#x266d; (with Orch.) 23. Ballade, G minor. 24. Four Mazurkas. 25. Twelve Studies. 26. Two Polonaises. 27. Two Nocturnes. 28. Twenty-four Preludes. 29. Impromptu, A&#x266d;. 30. Four Mazurkas. 31. Scherzo, B&#x266d; minor. 32. Two Nocturnes. 33. Four Mazurkas. 34. Three Valses. 35. Sonata. B&#x266d; minor. 36. Impromptu, F&#x266f;. 37. Two Nocturnes. 38. Ballade. F. 39. Scherzo, C&#x266f; minor. 40. Two Polonaises. 41. Four Mazurkas. 42. Valse, A&#x266d;. 43. Tarantella. 44. Polonaise, F&#x266f; minor. 45. Prelude, C&#x266f; minor. 46. Allegro de Concert. 47. Ballade. A&#x266d;. 48. Two Nocturnes. 49. Fantasia, F minor. 50. Three Mazurkas. 51. Impromptu, D&#x266d;. 52. Ballade. F minor. 53. Polonaise. A&#x266d;. 54. Scherzo, E. 55. Two Nocturnes. 56. Three Mazurkas. 57. Berceuse. 58. Sonata, B minor. 59. Three Mazurkas. 60. Barcarolle. 61. Polonaise Fantaisie. 62. Two Nocturnes. 63. Three Mazurkas. 64. Three Valses. 65. Sonata, G minor (PF. and Cello). 66. *Fantalsle Impromptu. 67. *Four Mazurkas. 68. *Four Mazurkas. 69. *Two Valses. 70. *Three Valses. 71. *Three Polonaises. 72. *Nocturne, E minor, Marche funebre in C minor, and three Écossaises. 73. *Rondo for two PFs. in C.

Without opus-number. * Seventeen Songs with PF. acct. Three Studies. * Mazurkas In G, B&#x266d;, D, C, and A minor. * Valses, E major and minor. * Polonaises, G&#x266f; minor and B&#x266d; minor. * Variations in E, 'The Merry Swiss Boy.' Duet Concertante, on 'Robert' (for PF. and Cello, written with Franchomme).

CHORALE. Add to the article in volume i. p. 351, the following:—

In tracing the history of the Chorale it is extremely difficult to distinguish the composer of the melody or canto fermo from the harmonizer (called Tonsetzer by Winterfeld). A large proportion of extant chorales appear to be based on old church tunes, so that they present a continuity with the past which is quite consistent with Luther's earlier practice. As to the ancient origin of these tunes, see, vol. ii. p. 179. The Chorales used in this first period are treated as Motets [see ], as the examples in Winterfeld show: that is, the melody is given out as a canto fermo, generally in a tenor or at least a middle part, with the other parts in more or less florid counterpoint. The music is not yet measured [see ] or divided into equal rhythm (musica mensurabilis). The contrapuntal treatment, which became more elaborate under such musicians as Stephen Mahu and Joh. Kugelmann—both early in the 16th century—advanced greatly in the number of voice-parts and general complexity towards the end of the 16th and first half of the 17th century, the chief writers being Gumpelzhaimer, Joh. Eccard, Mich. Praetorius, Joh. Schopp and Joh. Rosenmüller. This again, when the singing came to be restricted to the canto fermo in unison, originated the school of organ accompaniment to the Chorales such as we see in Bach's organ works, and as it is still occasionally to be heard in Germany.

It has been noticed that some chorales are based on secular songs of an earlier date. The old ecclesiastical forms of music inherited from Saint Gregory were proper to the Latin hymns of the Breviary; but for hymns written in a modern language and forming no part of a prescribed ritual, the freer style used in secular songs was, or was soon found to be, quite natural. Most, however, of the secular melodies thus used were not so employed till towards the end of the 16th or beginning of the 17th century.

Simultaneously with this elaborate contrapuntal treatment, which demanded the resources of a church with a good choir, it is interesting to note the tendency towards a simpler treatment. This is found par excellence in Goudimel's setting of Marot and Beza's Psalms, 1565 [see ], in which there are four voices, with counterpoint note against note, and the melody generally in the tenor, but in twelve psalms in the discant. In the latter point this book is the harbinger of one of the chief revolutions in the history of hymn-music. The revolution is fully effected in 1586 by Lucas Osiander in his 'Geistliche Lieder und Psalmen mit 4 Stimmen auf Contrapunkts weiss … also gesetzt, dass ein