Page:A Dictionary of Music and Musicians vol 4.djvu/611

COLMAN. in Shirley's 'Contention of Ajax and Ulysses,' on its production in 1653, and that on Jan. 21, 1662, he took Lanier's place in the royal band. L. 5 from end of article, for 19 read 29. 

COLOMBA. Opera in 4 acts; the words, founded on Prosper Merimées story with the same title, by Francis Hueffer; music by A. C. Mackenzie (op. 28). Written for, and produced by, the Carl Rosa company, Drury Lane, April 5, 1883. Given at Hamburg (in German) Jan. 27, 1884, and at Darmstadt, April 29 of the same year.[ M. ]

COLONNE, (called ), violinist and conductor, born at Bordeaux, July 24, 1838, studied music at the Paris Conservatoire, where he gained the first prize for harmony in 1858, and the same for violin in 1863. He became first violin in the Opéra orchestra, but left it in 1873 to establish, with the music-publisher Hartmann, the 'Concert Mational.' These concerts lasted two seasons, and were first held at the Odéon theatre, where Franck's 'Rédemption' and Massenet's 'Marie Magdeleine' were performed for the first time; the concerts were subsequently held at the Châtelet. In 1874, Hartmann having retired, Colonne endeavoured to form an association among artists which should be patronised by amateurs and the public. In this way were founded the Concerts du Châtelet, which though at first unsuccessful, have since gained so wide a reputation. It was not easy to struggle against the established popularity of the Concerts Populaires, conducted by Pasdeloup, but Colonne had the excellent idea of giving more prominence to the works of the younger French composers; he produced several orchestral suites by Massenet, the first and second of which had previously been given at the Concerts Populaires, and various orchestral compositions by Lalo, Dubois, Franck, etc.; but the success of the concerts was not fully assured until Colonne, foreseeing a reaction in favour of Berlioz, and incited by the example of Pasdeloup, in a manner devoted his concerts to the great French composer by producing with great care, and in their entirety, all his works for chorus and orchestra; 'L'Enfance du Christ,' 'Roméo et Juliette,' and particularly 'La Damnation de Faust,' the success of which crowned the popularity of his undertaking. The enterprise, having quite replaced the Concerts Populaires in public favour, became most profitable to all concerned in it, and to its director, who in 1880 was decorated with the Légion d'Honneur; he had before, in 1878, been chosen to conduct the concerts at the Trocadéro during the Exhibition. He is an extremely careful conductor, he rehearses with the most scrupulous care, and succeeds in giving a correct and vigorous interpretation of the works he performs. In his anxiety for clearness he had at one time a tendency to slacken the tempi, and was sometimes lacking in fire and energy; but in this respect he has corrected his deficiencies, and now infuses more warmth into the members of his orchestra.[ A. J. ]

COLTELLINI. Add date of death, 1817.

COLYNS,, a distinguished violinist, was born at Brussels Nov. 25, 1838. He was admitted to the Brussels Conservatoire at the age of 8, where he gained prizes for violin playing, harmony, etc. He became solo violinist at the Théâtre de la Monnaie at a very early age, and soon afterwards was appointed professor of his instrument at the Conservatoire.

He has made many professional tours in Europe with great success, and has at various times received advantageous offers to leave his native city. Among others he was in 1876 invited by the King of Saxony to migrate to Dresden as Concertmeister and Professor at the Conservatorium there. These offers he has declined for family reasons. He visited England in 1873, and played at the Crystal Palace, April 12, and at the Philharmonic, July 7. M. Colyns has occupied himself with composition for his special instrument, and has also produced several dramatic works—for example, an opera in 1 act, 'Sir William' (1877); opera in 3 acts, 'Capitaine Raymond' (1881).[ T. P. H. ]

COMES. See ../Answer, ../Dux, and ../Fugue.

COMMA. Line 5 from end of article, for 551441 read 531441.

COMMER,. Add date of death, Aug. 17, 1887, and that 14 vols. of 'Musica Sacra' have now appeared, of which only the earlier volumes were edited by Commer.

COMMODO, 'easily,' 'at a convenient pace'; a direction of rare occurrence by itself, but generally used with Allegro, as in the Rondo of Beethoven's Sonata in E, op. 14, no. 1. [ M. ]

COMPLINE (Lat. Completorium). The last of the 'Horæ Diurnæ,' or 'Day Hours,' of the Roman Ritual.

Compline is sung after Vespers, either with or without a pause between the two Offices. It begins with the Versicle, 'Jube domine benedicere'; the Benediction, 'Noctem quietam, etc.'; and the Lectio, 'Fratres, sobrii estote.' These are followed by the 'Confiteor,' and 'Absolutio,' with the usual alternations between the Officiant and the Choir; the Versicles and Responses, 'Converte nos, etc.'; and Psalms iv, xxx, xc, and cxxxiii (Vulg. vers.) sung under the Antiphon 'Miserere mihi.' These Psalms never change; nor, except in the last verse, does the Hymn, 'Te lucis ante terminum,' which immediately succeeds them. The Officiant next sings the Capitulum, 'Tu autem'; followed by the Responsorium breve, 'In manus tuas'; the 'Gloria Patri,' and the Versicle and Response, 'Custode nos.' This part of the Office, which changes with the Season, is followed by the Canticle, 'Nunc dimittis,' sung with the Antiphon, 'Salva nos.' On certain days, the Canticle is followed by the Preces, 'Kyrie eleison, etc.,' sung kneeling. When these are omitted, the Officiant proceeds, at once, with the unchanging Prayer, 'Visita, quaesumus, Domine.' Then follows the Benediction, 'Benedicat et custodiat'; and the 