Page:A Dictionary of Music and Musicians vol 4.djvu/97

TEMPERAMENT. have been easy to denote the oriental scales and melodies, so as to enable us to reproduce them with strict accuracy, had these authors possessed a practical knowledge of untempered intervals.

It may be useful, in concluding this article, to refer to some current misapprehensions on the subject of temperament. It is sometimes said that the improvement of intonation is a mere question of arithmetic, and that only a mathematician would object to equal tuning. To find fault with a series of sounds because they would be expressed by certain figures, is not the kind of fallacy one expects from a mathematician. In point of fact, equal temperament is itself the outcome of a mathematical discovery, and furnishes about the easiest known method of calculating intervals. Besides, the tenor of this article will show that the only defects of temperament worth considering are the injuries it causes to the quality of musical chords. Next, it is said that the differences between the three main systems of tuning are too slight to deserve attention, and that while we hear tempered intervals with the outward ear, our mind understands what are the true intervals which they represent. But if we put these theories to a practical test, they are at once seen to be unfounded. It has been proved by experiment that long and habitual use of equal temperament does react on the sense of hearing, and that musicians who have spent many years at the keyboard have a dislike to just chords and still more to just scales. The Major Sixth is specially objected to, as differing widely from equal temperament. This feeling is so entirely the result of habit and training, that those who are not much accustomed to listen to keyed instruments do not share these objections, and even equally tempered ears come at last to relish just intervals. We may infer, then, that the contrast between the various kinds of intonation is considerable, and that the merits of each would be easily appreciated by ordinary ears. And although the student may, at first, be unable to perceive the errors of equal temperament or be only vaguely conscious of them, yet by following out the methods detailed above, he will soon be able to realise them distinctly. It need not be inferred that equal temperament is unfit for musical purposes, or that it ought to be abolished. To introduce something new is hardly the same as to destroy something old. An improved system of tuning would only be employed as an occasional relief from the monotony of equal temperament, by no means as a universal substitute. The two could not, of course, be heard together; but each might be used in a different place or at a different time. Lastly, it is said that to divide the scale into smaller intervals than a Semitone is useless. Even if this were true, it would be irrelevant. The main object of improved tuning is to diminish the error of the tempered consonances: the subdivision of the Semitone is an indirect result of this, but is not proposed as an end in itself. Whether the minuter intervals would ever be useful in melody is a question which experience alone can decide. It rests with the composer to apply the material of mean and just intonation, with which he is now provided. The possibility of obtaining perfect tuning with keyed instruments is one result of the recent great advance in musical science, the influence of which seems likely to be felt in no branch of the art more than in Temperament. [ J. L. ]

TEMPESTA, LA. An Italian opera in 2 acts; libretto partly founded on Shakspeare, translated from Scribe; music by Halévy. Produced at Her Majesty's Theatre, London, June 8, 1850 (Sontag, Lablache, Carlotta Grisi, etc.). Produced in Paris, Théâtre Italien, Feb. 25, 1851. Mendelssohn, at the end of 1847, had the libretto under consideration, but it came to nothing. [See vol. ii. 289 b.] [ G. ]

TEMPEST, THE. 'The music to Shakspeare's Tempest' was Arthur Sullivan's op. 1. It consists of twelve numbers:—No. 1, Introduction; No. 2, Act 1, Sc. 2, Melodrama and Songs, 'Come unto these yellow sands,' and 'Full fathom five'; No. 3, Act 2, Sc. 1, Andante sostenuto, Orch. and Melodrama; No. 4, Prelude to Act 3; No. 5, Act 3, Sc. 2, Melodrama, Solemn music; and No. 6, Banquet dance; No. 7, Overture to Act 4; No. 8, Act. 4, Sc. 1, Masque, with No. 9, Duet, SS. 'Honour, riches'; No. 10, Dance of Nymphs and Reapers; No. 11, Prelude to Act 5; No. 12, Act 5, Sc. 1, Andante, Song, 'Where the bee sucks,' and Epilogue. It was first performed at the Crystal Palace April 5, 1862. The music is arranged for 4 hands with, voices by F. Taylor, and published by Cramers. [ G. ]

TEMPLETON,, tenor singer, born at Riccarton, Kilmarnock, July 30, 1802. At the age of fourteen he made his first appearance in Edinburgh, and continued to sing in public until his sixteenth year, when his voice broke. Appointed precentor in Dr. Brown's church, Edinburgh, at the age of twenty, he began to attract attention, until Scotland became too limited for his ambition, and he started for London, where he received instruction from Blewitt in thorough bass, and from Welsh, De Pinna, and Tom Cooke in singing. In vocalisation, power, compass, flexibility, richness of quality, complete command over the different registers, Templeton displayed the perfection of art; though not remarkable for fulness of tone in the lower notes, his voice was highly so in the middle and upper ones, sustaining the A and B♭ in alt with much ease and power. The blending of the chest register with his splendid falsetto was so perfect as to make it difficult to detect the break. He now resolved to abandon his prospects in Scotland and take to the stage. His first theatrical appearance was made at Worthing, as Dermot in 'The Poor Soldier,' in July 1828. This brought about engagements at the Theatre Royal, Brighton, Southampton and Portsmouth, and Drury Lane. He made his first appearance in London, Oct. 13, 1831, as Mr. Belville in 'Rosina.' Two days later he appeared as Young Meadows in 'Love in a Village,' Mr. Wood