Page:A Dictionary of Music and Musicians vol 4.djvu/67

TABLE ENTERTAINMENT. caricatures, accompanied with a whimsical and satirical dissertation on each character'; and in the June following George Saville Carey gave at the same place 'A Lecture on Mimicry,' in which he introduced imitations of the principal theatrical performers and vocalists of the period. John Collins, an actor, in 1775 gave in London a table-entertainment, written by himself, called 'The Elements of Modern Oratory,' in which he introduced imitations of Garrick and Foote. After giving it for 42 times in London he repeated it in Oxford, Cambridge, Belfast, Dublin, and Birmingham. He subsequently gave, with great success, an entertainment, also written by himself, called 'The Evening Brush,' containing several songs which became very popular; among them the once well-known 'Chapter of Kings'—'The Romans in England once held sway, etc.' Charles Dibdin commenced in 1789 a series of table entertainments in which song was the prominent feature, and which he continued with great success until 1801. Dibdin's position as a table entertainer was unique. He united in himself the functions of author, composer, narrator, singer, and accompanyist. [See, in which article it was by mistake stated that Dibdin was the originator of this class of entertainment.] On April 3, 1816, the elder Charles Mathews gave, at the Lyceum Theatre, his 'Mail Coach Adventures,' the first of a series of table-entertainments which he continued to give for many years, and with which he achieved an unprecedented success. Into these his wonderful power of personation enabled him to introduce a new feature. After stooping behind his table he quickly reappeared with his head and shoulders in costume, representing to the life some singular character. The old Scotch-woman, the Thames waterman, and the Milton-struck ironmonger were a few only of such personations. Mathews's success led to similar performances by others. Foremost among these were the comedians John Reeve and Frederick Yates, whose forte was imitation of the principal actors of the day. W. S. Woodin gave for several seasons, with very great success, table-entertainments at the Lowther Rooms, King William Street, Strand; a place now known as Toole's Theatre.—Henry Phillips, the bass singer, and John Wilson, the Scotch tenor, gave similar entertainments, of a more closely musical kind: and Edney, the Frasers, and others, have followed in their wake. [See ; and .] [ W. H. H. ]

TABOR. A small drum used to accompany a pipe, both being played by the same man. [See and .] Tabret is a diminutive of Tabor. [ V. de P. ]

TABOUROT. [See, vol. i. p. 80.]

TACCHINARDI,, a distinguished tenor singer, born at Florence in September 1776 [App. p.798 "Leghorn, Sept. 3, 1772"]. He was intended for an ecclesiastical career, but his artistic bias was so strong that he abandoned the study of literature for that of painting and modelling. From the age of eleven he also received instruction in vocal and instrumental music. When 17 he joined the orchestra at the Florence theatre as violin-player, but after five years of this work, his voice having meanwhile developed into a beautiful tenor, he began to sing in public. In 1804 he appeared on the operatic stages of Leghorn and Pisa; afterwards on those of Venice, Florence, and Milan, where he took a distinguished part in the gala performances at Napoleon's coronation as king of Italy.

At Rome, where his success was as permanent as it was brilliant, his old passion for sculpture was revived by the acquaintance which he made with Canova, in whose studio he worked for a time. Canova executed his bust in marble, thus paying homage to him in his worst aspect, for he was one of the ugliest of men, and almost a hunchback. When he appeared at Paris in 1811, his looks created a mingled sensation of horror and amusement; but such was the beauty of his voice and the consummate mastery of his style, that he had only to begin to sing for these personal drawbacks to be all forgotten. He is said to have taken Babini for his model, but it is doubtful if he had any rival in execution and artistic resource. The fact of so ugly a man sustaining the part (transposed for tenor) of Don Giovanni, with success, shows what a spell he could cast over his audience.

After three successful years in Paris, Tacchinardi returned in 1814 to Italy, where he was appointed chief singer to the Grand Duke of Tuscany, with liberty to travel. He accordingly sang at Vienna, and afterwards, in Spain, distinguishing himself especially at Barcelona, although then 50 years old. After 1831 he left the stage, and lived at his country house near Florence. He retained his appointment from the Grand Duke, but devoted himself chiefly to teaching, for which he became celebrated. He built a little private theatre in which to exercise his pupils, of whom the most notable were Mme. Frezzolini, and his daughter Fanny, Mme. Persiani, perhaps the most striking instance on record of what extreme training and hard work may effect, in the absence of any superlative natural gifts. His other daughter, Elisa, was an eminent pianiste. Tacchinardi was the author of a number of solfeggi and vocal exercises, and of a little work called 'Dell' opera in musica sul teatro italiano, e de' suoi difetti.' He died in 1860 [App. p.798 "at Florence, March 14, 1859"]. [ F. A. M. ]

TACET. i.e. 'is silent.' An indication often found in old scores, meaning that the instrument to which it refers is to leave off playing. [ G. ]

TADOLINI,, born at Bologna in 1793, learned composition from Mattei, and singing from Babini, and at the age of 18 was appointed by Spontini accompanyist and chorus-master at the Théâtre des Italiens, Paris. He kept this post till the fall of Paris in 1814, when he returned to Italy. There he remained, writing operas and occupied in music till 1830, when he went back to the Theâtre Italien, with his wife, Eugenia