Page:A Dictionary of Music and Musicians vol 4.djvu/751

OPERA. Rome in 1661. P. 506a, l. 32 from bottom, for 1669 read 1671. P. 507a, l. 15 from bottom, for (1677), 'Abelazor' (ib.), read (1675), 'Abdelazar' (1677). Line 10 from bottom, correct date of 'Amphitrion' to 1690, and four lines below, for date of 'Don Quixote,' read 1695. P. 514b, l. 3, for written in 1734 read performed in 1733. P. 522a, l. 14 from bottom, for 1844 read 1843. P. 524a, l. 29, omit 'The Castle of Andalusia,' since that opera is not by Shield but by Arnold. Same col., l. 9 from bottom, for 1810 read 1811. P. 525a, l. 20 from bottom, for the same read the previous. Nine lines below, for 1814 read 1813.

OPÉRA COMIQUE (second article with that title). At end add that the theatre was burnt down on May 25, 1887.

ORATORIO. P. 549a, l. 13, for 1745 read 1750.

ORAZZI E CURIAZI. Line 3 of article, for 1794 read 1796.

ORCHESTRA. P. 562a, last line but one, for 1549 read 1649.

ORCHESTRINA DI CAMERA. The title of a series of little instruments of the harmonium tribe. They were invented and are made by W. E. Evans, of London, and represent the orchestral clarinet, oboe, flute, French horn, and bassoon. They imitate the timbre of the respective instruments after which they are called, and have the same compass of notes. The clarinet and French horn are furnished with shifting keyboards, in order to arrange for the mechanical transposition of the parts when these are not written in the key of C. The different qualities of tone are obtained by making the vibrating reeds of varying dimensions, and by the peculiar shape of the channels conveying the wind to them. The orchestrinas are chiefly intended to be employed as convenient substitutes for the real instruments at performances where players of the orchestral instruments cannot be obtained. Dr. Hullah, in his 'Music in the House,' recommends them as valuable for the practice of concerted music, as well as for the purpose of supplying obbligato accompaniments. [ T. L. S. ]

ORDRES. Another name for, used by Couperin and some of his contemporaries. There is no difference of arrangement or structure which would account for the employment of the two names. [ J. A. F. M. ]

ORGAN. P. 599b, l. 31, for he read Mr. Barker.

ORGANISTS, COLLEGE OF, an association founded in 1864 on the initiative of the late Mr. R. D. Limpus, with a view (1) to provide a central organization in London of the profession of organist; (2) To provide a system of examinations and certificates for the better definition and protection of the profession, and to secure competent organists for the service of the church; (3) to provide opportunities for intercourse amongst members of the profession and the discussion of professional topics; (4) to encourage the composition and study of sacred music. A council was chosen, and the College was opened at Queen Square, Bloomsbury, and afterwards located at 95 Great Russell Street. The College of Organists is incorporated under the Companies' Acts; it consists of a President, Vice-Presidents, Musical Examiners, Hon. Treasurer, Hon. Secretary, Hon. Librarian, Hon. Auditors (2), Fellows, Associates, Hon. Members and Ordinary Members. The Archbishop of Canterbury and the Bishop of London are Patrons of the College, and the names of some notable musicians appear among the office-bearers—Elvey, Goss, Hullah, Macfarren, Ouseley, Stewart, Sullivan, Stainer, Hopkins, Bridge, etc.—from the commencement up to the present time. A council of twenty-one Fellows, with the Hon. Secretary and Hon. Treasurer, hold the reins of government, retiring annually; two-thirds of the number are re-elected with seven other Fellows who have not served during the preceding year. The trustees are Messrs. M. E. Wesley, E. J. Hopkins, and E. H. Turpin. At the general meeting every July the retiring council present their report on the state of the College.

Arrangements are made for the half-yearly holding of Examinations in Organ Playing, General Knowledge of the Organ, Harmony, Counterpoint, Composition, Sight-reading, and general musical knowledge, after passing which a candidate is entitled to a First Class diploma admitting him to a fellowship in the College. This examination is only open to candidates who have previously been examined for and obtained the certificate of associateship, and to musical graduates of the English Universities. An idea of the growth of this institution may fairly be gained by comparing the numbers of candidates for examination in different years. Whereas 7 presented themselves in July 1866, 38 came up in 1876, and 244 in 1886. Of Fellows, Associates and Members the College now numbers about 600, a position which the Hon. Secretary, Mr. E. H. Turpin, and the Hon. Treasurer, Mr. Wesley, have greatly assisted in securing and maintaining for the institution. To the latter gentleman is due the proposal to establish a Pension Fund for organists incapacitated by age or illness, a proposal which is likely to be followed up. Other features of the College work are the Organists' Register, and the prizes for composition.

Since June, 1887, the press representation of the College has been effected through the 'Musical World,' a part of which weekly paper is under the superintendence of Mr. E. H. Turpin, and is devoted to organ news and articles of special importance to organists, besides occasional reports of the lectures delivered at the College meetings. It would be impossible in a small space to give an adequate idea of the number and interest of these addresses, which are largely attended by strangers and friends; the list of those that were heard in