Page:A Dictionary of Music and Musicians vol 4.djvu/68

52 Savorini (born at Forli, 1809), whom he had married shortly before, and resumed his old functions till 1839, when he once more returned to Italy, and died at Bologna Nov. 29, 1872. His operas are 'La Fata Alcina' (Venice, 1814); 'La Principessa di Navarra' (Bologna, 1816?); 'Il Credulo deluso' (Rome, 1820?); 'Tamerlano' (Bologna, 1822?) 'Moctar' (Milan, 1824?); 'Mitridate' (Venice, 1826?); 'Almanzor' (Trieste, 1828?). One of his canzonets, 'Eco di Scozia,' with horn obligato, was much sung by Rubini. Tadolini was at one time credited with having written the concluding fugue in Rossini's Stabat (see Berlioz, 'Soirées de l'orchestre' 2ème Epilogue). The above is chiefly compiled from Fétis. [ G. ]

TÄGLICHSBECK,, born of a musical family at Ansbach, in Bavaria, Dec. 31, 1799, studied at Munich under Rovelli and Gratz, and by degrees became known. Lindpaintner in 1820 gave him his first opportunity by appointing him his deputy in the direction of the Munich theatre, and about this time he produced his first opera, 'Weber's Bild.' After this he forsook Munich and wandered over Germany, Holland, and Denmark, as a violinist, in which he acquired great reputation. He then settled in Paris, and on Jan. 24, 1836, a symphony of his (op. 10) was admitted to the unwonted honour of performance at the Conservatoire. It must have had at least the merit of clearness and effect, or it would not have been followed by a second performance on April 2, 1837—a rare honour for any German composer but a first-rate one.

In 1827 he was appointed Kapellmeister of the Prince of Hohenzollern Hechingen, a post which he retained till its dissolution in 1848. The rest of his life was passed between Löwenberg in Silesia, Dresden, and Baden Baden, where he died Oct. 5, 1867. His works extend to op. 33, and embrace, besides the symphony already mentioned, three others—a mass, op. 25; a psalm, op. 30; a trio for PF. and strings; a great quantity of concertos, variations, and other pieces for the violin; part-songs, etc., etc. [ G. ]

TAGLIAFICO,, born Jan. 1, 1821, of Italian parents, at Toulon, and educated at the College Henri IV, Paris. He received instruction in singing from Piermarini, in acting from Lablache, and made his début in 1844 at the Italiens, Paris. He first appeared in England April 6, 1847, at Covent Garden Theatre, as Oroe in 'Semiramide,' on the occasion of the opening of the Royal Italian Opera. From that year until 1876 he appeared at Covent Garden season by season, almost opera by opera. His parts were small, but they were thoroughly studied and given, and invariably showed the intelligent and conscientious artist. In the intervals of the London seasons he had engagements in St. Petersburg, Moscow, Paris, and America; was stage manager at the Théâtre des Italiens, Monte Carlo, etc., and for many years corresponded with the 'Menestrel' under the signature of 'De Retz.' In 1877, on the death of M. Desplaces, he was appointed stage manager of the Italian Opera in London, which post he resigned in 1882 on account of ill health. Mme. Tagliafico, formerly Cotti, was for many years a valuable 'comprimaria' both at Covent Garden and Her Majesty's. [ A. C. ]

TALEXY,. A pianist and voluminous composer, born about 1820; produced between 1872 and 1878 six one-act operettas at the Bouffes-Parisiens and other Paris theatres, none of which met with any special favour. He is the author of a 'Méthode de piano'; 20 'Etudes expressives,' op. 80 (with Colombier); and of a large number of salon and dance pieces for piano solo, some of which enjoyed great popularity in their day. In 1860 M. Talexy conducted a series of French operas at the St. James's Theatre, London, for Mr. F. B. Chatterton, beginning with La Tentation, May 28, which however did not prove a good speculation. He died at Paris in 1881. [ G. ]

TAILLE. Originally the French name for the tenor voice, Basse-taille being applied to the baritone; but most frequently employed to designate the tenor viol and violin. It properly denominates the large tenor, as distinguished from the smaller contralto or haute-contre: but is often applied to both instruments. The tenor violoncello clef was originally appropriated to the Taille. [See .] [ E. J. P. ]

TALISMANO, IL. Grand opera in 3 acts; music by Balfe. Produced at Her Majesty's Opera, June 11, 1874. The book, founded on Walter Scott's 'Talisman,' was written by A. Mattheson in English, and so composed; but was translated into Italian by Sig. Zaffira for the purpose of production at the Italian Opera. The work was left unfinished by Balfe, and completed by Dr. G. A. Macfarren. [ G. ]

TALLYS (as he himself wrote his name), TALYS, or TALLIS (as it is usually spelled),, the father of English cathedral music, is supposed to have been born in the second decade of the 16th century. It has been conjectured that he received his early musical education in the choir of St. Paul's Cathedral under Thomas Mulliner, and was removed thence to the choir of the Chapel Royal; but there is no evidence to support either statement. The words 'Child there' which occur at the end of the entry in the Cheque-book of the Chapel Royal recording his death and the appointment of his successor, and which have been relied upon as proving the latter statement, are ambiguous, as they are applicable equally to his successor, Henry Eveseed, and to him. It is however highly probable that he was a chorister in one or other of the metropolitan choirs. He became organist of Waltham Abbey, which appointment he retained until the dissolution of the abbey in 1540, when he was dismissed with 20s. for wages and 20s. for reward. It is probable that he soon after that event obtained the place of a Gentleman of the Chapel Royal. His celebrated Preces, Responses and Litany, and