SGAMBATI the simplest means, to his complete command of harmonic combinations of the subtlest kind, and to the exquisite finish given to even the least of his inspirations. With Sgambati device is rately vident. His figures ot accompaniment. are as spontaneous as the melodies they sustain, Cer- tain of his minor compositions, such as the beautiful intermezzo in op. 21 and certain numbers in his *Pidees Lyriques’ (op. 28) and in his ‘Mélodies poétiques’ (op. 86) may be cited as exemplifying a level of artistic per- fection which in little descriptive pieces of the kind has never, perhaps, been surpassed. His more important pianoforte pieces, his chamber- music, and hisorchestral writings, taken together, place him at the head of those Italian musicians of the latter part of the 19th century, who, not writing for the stage, have moulded their work on classic models. Sgambati, in appro- priating received forms, has invested them with southern feeling, deep but restrained, rich and | even glowing, but utterly free from the mere- tricioussentiment which served towin immediate popularity for Italian composers of lesser claims. His writings, im a word, possess the qualities which endure, His native city owes him a lasting debt as its apostle of classical music, as teacher, per- former, and director. His efforts have not gone unrecognised in high places. His influence has been felt and appreciated at the Itali court, where he was appointed pianist and director of Queen Margherita’s quintet, and named, by motu proprio of King Vietor Emmanuel IIT. in 1903, Commendatore of the Order of SS. Manrice ‘and Layarus. But by his countrymen at large it cannot be said that Sgambati's talent has as yet been esti- | mated at its proper value. ‘This, in a nation so quick to recognise and even exaggerate any in- dication of artistic eminence, is little short of astounding. The omission may be explained im part by a certain indifference in the musician nself, though not sufficiently to account for the slow awakening of Rome and Italy to the merits of a man who was honoured as a confrére by Liszt and Wagner. Yet it is certain, as M. Kugéne d'Harcourt wrote in 1906, after he had been commissioned by the French government to report on the state of music in Italy, that ‘quand la musique symphonique italienne anra tne histoire et qu'on I'éerira, i faudra Ini reconnaitre, pour véritable fondateur, Je Romain Giovanni Sgambati.” Some of the works mentioned above are still unprinted ; his published works include the followin, ibut f fe Sege Qamted ph ale stetnge, manor. SREr ESE cee pase "“Miotniod of Ceword wud Sear, Seutaguee” Vou. IV a inor, written for the SHAKE 433 ogi volants for pt, 8 pieces, EXRiMo ep act artanged ny author ‘Quatre in D fat for ata Qusts eee for be "Pretaaio, Veoeho minuetto, Nentay Four Tushan tougs, Produ eth, ‘iste fork tri, Value, Air, interment, Btude méodinae) Pandas wclenne, for strings snd orga {Tho following aro without opus nusaber.) Kevennta, per cinta e punoturte, Bitte lt tons, Rismelid tiene er una voce e planoforte, nat hiner, Gvotta chantde, La sim sella ete he, and = duet), ene 6.; with additions in square brackets, by MAL w, SHAKE or TRILL (Fr. 7rillz, formerly Tremblement, Cadence ; Ger. Trifler ; Teal Trillo). The shake, one of the earliest in use among the ancient graces, is also the chief and ‘most frequent ornament of modern music, both vocal and instrumental. It consists of the regular aud rapid alternation of a given note with the note above, such alternation continuing for the full duration of the written note. [On other instruments and on the voice, this defi- nition of the shake holds good; text-books and methods will give examples of how the shake should be performed, Lut it is original: one of the ornaments designed for the Keyboard, and most effective there. ] ‘The shake is the head of a family of orma- ments, all founded on the alternation of a | principal note with a subsidiary note one degree either above or below it, and comprising the MoxvENT and PRaLLrnii2Er still in use, and the Kiuarrura (Ger, Zuricksehilag) and Batte- ment’ (Ex. 1), both of which are now obsolete. (See Acree: ¥ Rouesoau (Diet. de Musique) denariben the Battement na s tril mich Ieee Cri onadence oy au So ‘Deinclpal wow with the cbs balan Qr434 SHAKE ‘The sign of the shake is in modern music fr. (generally followed by a waved line ~~~ if over a long note), and in older musie tr. ax, «1+, and occasionally’ +, placed over or under the note ; and it is rendered in two different ways, beginning with either the principal or the upper note, as in example 2:— 2. Written. Performed. Or thus. oye These two modes of performance differ con- siderably in effect, because the accent, which is always perceptible, however slight ‘it may be, is given in the one ease to the principal and in the other to the subsidiary note, and it is therefore important to aseortain which of the two methods shonld be adopted in any given ease. Tho question has been discussed with much fervour by various writers, and the conclusions arrived at have usually’ taken the form of a fixed adherence to one or other of the two motes, even in apparently unsuitable cases. Most of the eatlier masters, including Emanuel Bach, Marpurg, Turk, ote., held that all trills should begin with the upper note, while Hummel, Czerny, Moscheles, and moilern teachers generally (with some exeeptions) have preferred to begin on the principal note. This diversity of opinion indicates two different viows of the very nature and meaning of the shake; according to the latter, it isa trembling or pulsation—the reitoration of the principal note, though subject to continual momentary interruptions from the subsidiary note, gives a certain undulating effect not unlike that of the tremulant of the organ; according to the former, the shake is derived from the still older appoyyiatura, and consists of a series of wp- poggiaturas with their resohitions—is in fact a Kind of elaborated appogaiatura,—and as such the accent: to fall upon the upper or iary note. This view is enforced by most of the earlior authorities ; thus Marjmrg says, “ the trill derives it3 origin from an appoggiatiira (Porschiag con oben) aud is in fact a series of descending ‘appoggiaturas oxeouted with the greatest rapidity.” And Emanuel Bach, speaking of the employment of the shake in ancient (German) music, says ‘formerly the trill was usually only introduced after an appoggiatura,” and ho gives the following example s— $= Nevertheless, the theory which derives the shake fiom a trembling or pulsation, and ther fore places the accent on the principal note, which manner most shakes in modern musio are executed, has the advantage of considerable, if not the highest antiquity.! For Caceini,” in SHAKE his Singing School (published 1601), describes the érid/o as taught by him to his pupils, and says that it consists of the rapid repetition of a single note, and that in learning to execute it tho singer must begin with a eiotchet and strike each note afresh upon the vowel @ (reditiore ciascuna nota con ta gota, sopra la voale a). Curiously enough he also mentions another grace which he calls Gruppo, which closely resembles the modern shake. And Playford, in his Dntroduetion to the Skilt of Musick (1655) quotes an anonymous treatise on ‘the Italian’ manner of singing,’ in w precisely the same two graces are descr Commenting on the shake Playford says, ‘T have heard of somo that have attained it after this manner, in singing a plain-song of six notes up and six down, they have in the midst of every note beat or shaked with their finger upon their throat, whieh by often practice came to do the same notes exactly without.’ Tt seems then clear that the original intention of a shake was to produce a trembling effect, and so the modern enstom of beginning with ‘the principal note may be held justified. In performing the works of the great masters from the time of Bach to Beethoven then, it should be understood that, according to the rule laid down by contemporary teachers, the shake Dogins with the upper or subsidiary note, but it would not be safe to conelude that this rule is to be invariably followed. In some cases we find the opposite effect definitely indicated by a small note placed before the principal note of the shake, and on the same line or space, thus 5. Mozanr (ascribed to), ‘Une fidvre,’ Var. 8. tr " $ and even when there is no small note it is no doubt correct to perform all shakes which are situated like thoss of the above example in the same manner, that is, beginning with the principal note. So therefore a shake at the commencement of a phrase or after a rest (EX. 6), or after a downward Ieap (Ex. 7), or when preceded by a note one degree below it (Ex. 8) non the prineipal note, Tris also customary to begin with the neipal spot the sebbnatd Spree eile Pala sia ala asSHAKE 6. BacH, Prelude No. 16, Book I. tr. SHAKE 435 When the note carrying a shake is preceded by a short note of the same name (Ex. 12), the upper note always begins, unless the anticipating note is marked staccato (x. 13), in which case the shake begins with the principal note. co Bact, Chromatic Fantasia, —_ ts=foee te 7 Bacu, Art of Fugue, No. 8, GS 8. Baca, Sonata for PF, and Flute, No. 6. note when the note bearing the shake is preceded by anote one degree above it (Ix. 9), especially if the tempo be quick (Ex. 10), in’ which ease the trill resembles the Praliéridler or inverted mordent, the only difference being that the three notes of which it is composed are of equal length, instead of the last being the longest (see vol. iii. p- 808). 9. Bacu, Organ Fugue in F. Ssc= 10. 13, Mozart, Sonata in C minor. Played. pair : f ea ve a gored Eeryiiateet eae In modern music, when a trill beginning with the subsidiary note is required, it is usually indi- cated by a smallgrace-note, written immediately Vefore the trill-note (Ex. 14). ‘This grace-note is occasionally met with in older music (see Clementi, Sonata in B minor), but its employ- ment is ‘objected to by Turk, Marpurg, and others, as liable to be confused with the real appoggiatura of the bound trill, as in Ex. 11, This objection does not hold in modern music, since the bound trill is no longer used. ua Brernoven, Sonata, Op. 58, Finale. ptr Ja If, however, the note preceding the shake is slurted to it (x. 11a), or if the trill note is preceded by an appoggiatura (Ex. 114), the trill begins with the upper note; and’ this upper note is tied to the preceding note, thus delaying the ontrance of the shake in a manner precisely similar to the ‘bound Pralltriller’ (see vol. iii. p. 260, Ex. 13). A trill so situ- ated is called in German der gebuncene Trillor (the bound trill), U1. (a) Bacn, Concerto for two Pianos, Played Gey 3 @ Haypy, Trio in B minor. ete. Immediately before the final note of a shake a new subsidiary note is generally introduced, situated one degree Uelow the principal note. ‘This and the concluding principal note together form what is cailed the turn of the shake, though the name is not strictly appropriate, since it properly belongs to a soparate species of ornament of which the turn of a shake forms in fact the second half only.! [See Tvun.] The turn is variously indicated, sometimes by two small grace-notes (Ex. 15), sometimes by notes of ordinary size (Ex. 16), and in old music by the signs ai: 17, or arco. 15, ChEmenri, Sonata in G, 16. Hanpet, Gigue (Suite 14). Sometimes the turn is not indicated at all, but it has nevertheless to be introduced if the shake is followed by an accented note (Ex. 17). If, however, the next following note is un- accented, no turn is required, but an extra arity ture, of tile betior donertbed by ite German name436 SHAKE principal note is added to the last couple of notes, that the trill may end as well as begin with ‘the principal note (Ex. 18). trill is followed by a rest, a turn is generally made, thongh it ix perhaps not necessary unless specially indicated (Ex. 19). 17, Mozanr, ‘ Lison dormait,’ Played. Var. 8 1s Guar, Sonata in. tr > se Gee eee a. Brernoven, Trio, Op. 97. ‘When the | SHAKE ‘Trills on very short notes require no turn, but consist merely of a triplet—thns, 2. Mozanr, ‘Ein Weil Var. 6. Besides the several modes of ending a shake, the commencement can also be varied by the addition of what is called the upper or lower prefix. ‘The upper prefix is not met with in modern music, but ocenrs frequently in the works of Bach and Handel. Its sign is a tail tured upwards from the beginning of the ordinary trill mark, and its rendering is as follows — 24, Bacn, Partita No. 1, Sarsbande. ‘When a note ornamented by a shake is fol- lowed by another note of the same pitch, the lower subsidiary note only is added to the end of the shake, and the succeeding written note serves to complete the turn. Even when the trill-note is tied to the next following, this extra lower note is required, provided the second written note is short, and occurs on an accented beat (Ex. 20). If the second note is long, the two tied notes are considered as form- ing one long note, and the shake is therefore continued throughout the whole value, 20. Bac, Fugue No. 15, Vol. IL. tr. ‘The lower prefix consists of as sidiary note prefixed to the first note of a shake which begins with the principal note, or of two notes, lower and principal, prefixed to the first note of a shake beginning with the upper note. Th is indicated in various ways, by a single small grace-note (Ex. 25), by two (Ex. 26), or three grace-notes (Ex. 27), and in old music by a tail turned downwards from the commencement of the trill mark (Ex. 28), the rendering in all cases being that shown in Ex. 29. oS Very similar is the rendering of @ shake on a dotted note :—the turn ends on the dot, which thus takes the place of the second of the two notes of the same pitch. ‘Thus the elfect of the two modes of writing shown in Ex. 21 a and 8, would be the same. If, however, the dotted note is followed by a note a degree lower, no turn is, required (Ex. 22), Allemande. 22, HANDEL, Suite 10. on Played. Allegro. Le ee | From a composer's habit of wiiting the lower prefix with one, two, or three notes, his iuten- tions respecting the commencement of the or dinary shake without prefix, as to whether it shonld begin with the principal or the subsidiary note, may generally be inferred. For since it would be incorrect to render Ex. 26 or 27 in the manner shown in Ex. 30, which involves the repetition of a note, and a consequent break of legato —it follows ‘that a composer who chooses the form Ex, 26 to express the prelix intends the shake to begin with the upper note, while the use of Ex. 27 shows that a shake beginning with the principal note is generally intended. ‘That the form Ex. 25 always implies the shake beginning with the prineipal note is not so clear (although there is no doubt that it usually does so), for a prefix is possible whichSHAKE leaps from the lower to the upper subsidiary | note. ‘This exceptional form is frequently em ployed by Mozart, and is marked as in Ex. 31. It bears a close resemblance to the Double Appoggiatura. [See that word, vol. i. p. 99.] a ot Among modern composers, Chopin and Weber almost invariably write the prefix with two notes (Ex. 26); Beethoven uses two notes in his earlier works (see op. 2, No. 2, Largo, bar 10), but afterwards generally one (see op. 57). ‘The upper note of a shake is always the next degree of the scale above the principal note, and may therefore be either a tone or a semitone distant from it, according to its position in the scale, In the case of modulation, the shake must be made to agree with the new key, independently of the signature, Thus in the second bar of Ex. 82, the shake must be made with Br instead of Bo, the key having changed from © minor to © major. Sometimes such modulations are indicated by a small accidental placed close to, or above the sign of the trill (x. 33), Cuorrs, Ballade, Op. 67. Mozarr, Sonata in F. Adagio. c we 33, tr.) SHAKE 437 A series of shakes ascending or descending either diatonically or chromatically is called a Chain of Shakes (Ital, Catena di Trilte ; Ger. Trillerkette). Unless specially indicated, the last shake of the series is the only one which requires a turn. Where the chain ascends dia- tonically, as in the first bar of Ex. 86, each shake must be completed by an additional principal note at the end, but when it ascends by the chromatic alteration of a note, as from, Ge to Gg, or from A to Ag, in bar 2 of the example, the same subsidiary note serves for both prineipal notes, and the first of such a pair of shakes requires no extra principal note to complete it. 36. BEETHOVEN, Concerto in Ep. trey i gt opt In pianoforte music, a shake is frequently made to serve as accompaniinent to a melody played by the same hand, When the melody ies near to the trill-note there need be no interruption to the trill, and either the principal or the subsidiary note (Hummel prescribes the former, Czeray the latter) is struck together with each note of the melody (Ex. 37). But when the melody lies out of reach, as is often the ease, a single note of the shake is omitted cach time a melody-note is struck (Ex. 88). In this case the accent of the shake must be upon the upper note, that the note omitted may be a subsidiary and not a principal note. a. Orastmn, Study, No. 11.4 gs ‘Tho lower subsidiary note, whether employed in the turn or as prefix, is usually a semitone distant from the principal note (Ex. 34), unless the next following written note is a whole tone below the principal note of the shake (Ex. 35). In this respect the shake follows the rules whieh govern the ordinary turn. [See Trn.] a, BeerHoven, Sonata, Op. 10, No. 2. piss SES Played. ! é fee ee SS ete. 38. EN, Sonata, Op. 109, eet Be! Cramer's stuaion, interprets this wats Suge to fin given abe aneceOe438 SHAKE The above arrangement constitutes what is called a faise trill, the etfect of a complote trill being produced in spite of the occasional omission of one of the notes. ‘There are also other kinds of false trills, intended to produce the eftect of real ones, when the latter would be too difficult. ‘Thus Ex, 39 represents a shake in thirds, Ex. 40 a shake in octaves, aud EX. 41 a three-part shake in sixths. 30. Many ssoHN, Concerto in D minor. 40, Liszt, Transcription of Mendelssohn's “Wedding Mareh.’ eeeeeee See et Sea. The above method of producing a shake in | three parts is geverally resorted to when great force is required, otherwise the ordinary method | is quite practicable, and both double and triple shakes are frequently met with in modern brilliant music (Ex. 42, 43). 2 ooo ms Polonaiee, Op. 25. 42, Bexruovis, Polonaise, Op. 89. ‘The speci! of a shake cannot be exactly defined in notes, sinco it is usually better, except in the caso of very short trills (asin Fx. 23), that the notes of the shake should bear no definite pro- | Portion to the value of the written note. Generally, the shake should be as rapid as is consistent with distinctness. When a propor- tional shake is required it is usnally written out in full, as at the end of the Adagio of Beethoven's Sonata in Eb, op. 72, No. 1. F. 7. SHALIAPIN SHAKESPEARE, Wrztam, composer, vocal- ist, pianist, born at Croydon, June 16, 1849. At the age of thirteen he was appointed organist at the church where formerly he had attracted attention in the choir. In 1862 he commenced f three years’ course of study of harmony and counterpoint under Molique ; but alter that master’s death, having in 1866 gained the King’s Scholarship at the Royal Academy of Music, continued his studies there for five years under Sir W. Sterndale Bennett, Whilst at the Royal Academy he produced and pertormed at the students’ coneerts a piauotorte sonata, a pianoforte trio, a capriecio for pianotorte and orehestra, and a pianoforte coueeito ; and attracted some notice as a solo-player. He was elected Mendelssohn Scholar in 1871, for composition and pianotorte- playing, and in accordance with the wish of the Committee entered the Conservatorium at Leipzig. There, whilst under the instruction of the director, Carl Reinecke, he produced and condueted in the Gewandhaus a symphony in € minor, Having discovered himself to be the possessor of a. tenor voice he was sent by the Mendelssolm Scholar- ship Committes to stady singing with Lamperti at Milan, and there remained for two and a half years, But thongh singing was his chic! pursuit, hedid notneglect composition, and while in Italy wrote two avertites, two string quartets, and other works. In 1875 he returned to England, and entered upon the career of a concert and oratorio singer. He was appointed in 1878 Professor of Singing, and in 1880 conductor of the concerts, at the Royal Academy of Music. [‘This latter office he resigned in 1886. Shakespeare was conductor of the Strolling Players’ Orchestrai Society in 1901-5.] His voice, though both sweet and sympathetic quality, is somewhat deficient in power 5 and his success as a singer must therefore be attri. buted to the purity of his vocal production and to his complete mastery of all styles of music. His compositions, which are marked by con- siderable charm and elegance, show the influence of Schumann and Bennett ; and in his overture, performed at the Crystal Palace in 1874, and his forte Concerto, at the Brighton Festival of 1879, he proves himselt an adept at mus cal form. 3... 0, SHALIAPIN, Fenon Ivaxovicn, celebrated opera-singer, born Feb. 11, 1878, at Kazan, His father was a peasant, and unable to give his son any odueati-nal advantages, musical or other- wise. enteen the young man joined a provincial opera-company, and was soon en- trusted with Ieading parts.” In 1892, after a tour in the region of the Caspian Sea and the Caneasus, he fornd himself in Tiflis, where ho studied for a year with Oussatov. Two years later he began to sing in St. Petersburg, at the Summer Theatre, the Aquarium aud