Page:A Dictionary of Music and Musicians vol 4.djvu/813

STONARD. STONARD, WILLIAM, Mus. D. Add that an Evening Service by him is printed in the Motet Society's publications, vol. ii. p. 78.

STOPPING is the term used for the action of the fingers of the left hand in playing instruments with strings stretched over a fingerboard, in order to produce the intermediate sounds lying between the notes sounded by the 'open' strings. When a higher note than the fundamental sound of the string is required, the vibrating part of the string must be shortened by stopping the vibration at a certain point between nut and bridge, i.e. by using one of the fingers of the left hand as an artificial nut or stopping-point. The nearer this point is to the bridge, the shorter the vibrating part of the strings, and the higher in pitch therefore the sound produced. A correct intonation or playing in perfect tune obviously depends entirely on exactness of stopping. See also under and. [ P. D. ]

STRADELLA,. P. 723b, l. 17 from bottom, add that internal evidence makes it very probable that Francesco Rossi was the composer of 'Pieta, Signore!' although the authorship is still doubtful. Line 5 from bottom of same column, add to references, vol. i. p. 654b. P. 724a, l. 6, for 1578 read 1678.

STRAKOSCH. Add date of death of, Oct. 9, 1887.

STRAUS,. Line 12 of article, for Prince Czartoryski read Ober-Finanzrath Baron von Heintl. Line 9 from end of article, for settling after a time at Manchester, read dividing his time between London and Manchester. Line 7 from end add He now lives in London. Add that in the spring of 1888 he resigned his post as leader of Mr. Halle's orchestra.

STRAUSS,. Add to list of operas, 'Blindekuh' (1878), 'Das Spitzentuch der Königin' (1880), 'Eine Nacht in Venedig' (1883), 'Der Zigeunerbaron' (1885), 'Simplicius' (1887). Add that brought his orchestra to the Inventions Exhibition in 1885, when the daily concerts created a furore in London.

STREICHER, J. A. Line 7 of article, for in read Dec. 13. Line 11 of article for in 1794 read Jan. 3, 1796. Line 12, for in 1832 read May 25, 1833. Line 15 for in read March 28.

STRING. Line 1 of article for Fr. Chord, read Fr. Corde.

STROHFIEDEL. Add that the instrument is more usually called by its other names, Xylophone or Gigelira. A fourth name for the instrument is Ligneum Psalterium.

STROHMEYER,. Line 4 from end of article, for 1870 read 1780.

SUCHER. Add that Frau Sucher gained great renown by her singing of Isolde at Bayreuth in 1886. In 1887 her husband was appointed to the post of conductor at the Hofoper at Berlin, she remaining at Hamburg to fulfil her engagement.

SÜSSMAYER. See also in Appendix.

SULLIVAN. P. 762a, l. 24, add that he conducted the Leeds Festivals of 1883 and 1886, composing for the latter 'The Golden Legend,' to words selected from Longfellow's poem. P. 764 in list of works, add among the dramatic works, 'Princess Ida,' 1884; 'The Mikado,' 1885; 'Ruddigore,' 1887; 'The Yeomen of the Guard,' 1888; all published by Chappell. Among the vocal works add the cantata 'The Golden Legend,' produced at the Leeds Festival of 1886, and published by Novello; and the trio 'Morn, happy morn,' for soprano, alto and tenor, with flute obbligato, written for the play of 'Olivia,' by W. G. Wills. Among the incidental music to plays add Overture and incidental music to Macbeth, produced Dec. 29, 1888.

SUNDERLAND,, whose maiden name was , was born at Brighouse, Yorkshire, in 1819. It was as a member of the Halifax Choral Society that her voice first attracted attention, and she was taken in hand first by Luke Settle, a blacksmith of Brighouse, and then by Dan Sugden of Halifax, both renowned local musicians. Under their training she became a very prominent member of the old-fashioned quartet choirs, which then existed in Yorkshire churches. Her first appearance as a solo singer was on Feb. 19, 1838, at a concert given in the Exchange Rooms, Bradford. She at once became a local celebrity, was styled the 'Yorkshire Queen of Song,' and for more than a quarter of a century was the leading vocalist in the North of England. She was physically robust, and her voice was a high soprano of great force and volume, which she managed with much expression. Her repertoire was chiefly composed of the principal songs in the Messiah, Judas, and the Creation; but she had also some secular songs, mostly of a popular kind. Her first appearance in London was in the Messiah at Exeter Hall, Nov. 2, 1849, and she continued to sing first soprano for the Sacred Harmonic Society and other bodies in the Messiah, Creation, Elijah, etc., until 1856. The directors of the Antient Concerts esteemed her voice and expression so much that they offered to send her abroad for further tuition. Indeed had her early training equalled the quality of her voice and her natural feeling, there can be little doubt that she would have risen to very great general eminence. Her last appearance in public was in the Messiah, at Huddersfield, June 3, 1864. Mrs. Sunderland married at the age of 19, and now lives at Calder View, Brighouse. [ G. ]

SVENDSEN, J. S. Add that in 1888 he visited England, conducting his Symphony in D at the Philharmonic Concert of May 31, as well as the last concert of the season on June 16.

SVENDSEN,. Add date of death, May 15, 1888.

SWELL-ORGAN. The sentence in lines 5–8 of article is to be corrected, as the Venetian Swell was not named from the Venetian blind, but