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628 executors and is still (1888) unpublished. While however this, his magnum opus, was in progress, he wrote a contribution to 'Notes and Queries' on Anthropology, pp. 110–114 (Stanford, 1874), Musical Myths and Facts' (Novello, 1876), and articles in the 'Musical Times,' from which 'The Literature of National Music' (Novello, 1879) is a reprint. Among these articles the descriptions of his four Clavichords possess an unusually lasting interest and value. They were published in July&mdash;Sept. 1879, and were followed by 'Music of the Gipsies,' May&mdash;Aug. 1880, and 'Æolian Music,' Aug. and Sept. 1882. A posthumous publication of considerable importance is 'Researches into the Early History of the Violin Family' (Novello, 1883). There remain in manuscript, besides the great work already mentioned, 'The Musical Opinions of Confucius' and 'Vox Populi' (a collection of National Airs). After the death of his wife in 1881, he thought of living again in Germany, and sold his library by public auction, while the more valuable part of the musical instruments (excepting his favourite harpsichords, clavichord and lute, now in the possession of Mr. Herbert Bowman and the present writer) was acquired by South Kensington Museum. But, after a short visit to Hanover he returned to England, and died at his house in Addison Road, Kensington, Nov. 17, 1882. [ A. J. H. ]  ENGLISH OPERA. P. 488 b, l. 24 from bottom, add the name of Christopher Gibbons as collaborating with Lock in the music to 'Cupid and Death.' P. 489 a, lines 25–29 to be corrected by a reference to ../Macbeth Music, vol. ii. p. 184, and in Appendix. Line 30, for 1677 read 1676. Line 40, add the date of 'King Arthur,' 1691. Line 50, for 1760 read 1743.

ENHARMONIC. See.  ENTFÜHRUNG AUS DEM SERAIL. Line 5 of article, for July 12 read July 16.

ENTR'ACTE. See.  EPINE,. Line 5 from end of article, for appears read is said. Add that she frequently signed herself Françoise Marguérite. In May, 1703, she received '20 ggs for one day's singing in ye play call'd the Fickle Shepherdess.' (MS. in the writer's collection.) At end of article add 'It appears from a MS. diary (in the writer's possession) kept by B. Cooke (i.e. Dr. Cooke), a pupil of Dr. Pepusch, that Mme. Pepusch began to be ill on July 19, 1746, and that, on the 10th August following, in the afternoon he (B. Cooke) went to Vaux-Hall with the Doctor, Mrs. Pepusch being dead. She was "extremely sick" the day before.' [ J.M. ]

EPISODES are secondary portions of musical works, which stand in contrast to the more conspicuous and definite portions in which the principal subjects appear in their complete form, through the appearance in them of subordinate subjects, or short fragments only of the principal subjects.

Their function as an element of form is most easily distinguishable in the fugal type of movement. In the development of that form of art composers soon found that constant reiteration of the principal subject had a tendency to become wearisome, however ingenious the treatment might be; and consequently they often interspersed exposition and counter-exposition with independent passages, in which sometimes new ideas, and more often portions of a counter-subject, or of the principal subject, were used in a free and fanciful way. By this means they obtained change of character, and relief from the stricter aspect of those portions in which the complete subject and answer followed one another, in conformity with certain definite principles. In connection with fugue therefore, episode may be defined as any portion in which the principal subject does not appear in a complete form.

There are a certain number of fugues in which there are scarcely any traces of episode, but in the most musical and maturest kind episodes are an important feature. It is most common to find one beginning as soon as the last part which has to enter has concluded the principal subject, and therewith the exposition. Occasionally a codetta in the course of the exposition is developed to such dimensions as to have all the appearance of an episode, but the more familiar place for the first one is at the end of the exposition. As an example of the manner in which it is contrived and introduced, the Fugue in F minor, No. 12 of the first book of J. S. Bach's Wohltemperirte Clavier may be taken. Here the subject is clearly distinguishable at all times from the rest of the musical material by its slow and steadily moving crotchets. The counter-subject which at once follows the first statement of the subject, as an accompaniment to the first answer, introduces two new rhythmic figures which afford a marked contrast to the principal subject

and out of these the various episodes of the movement are contrived. The manner in which it is done may be seen in the beginning of the first episode, which begins at bar 16, and into which the former of the two figures is closely woven.

