The regal was a small reed instrument of the harmonium class, but with small pipes to enhance the sound of the reeds. It could easily be carried about, and was placed on a table when played. It could be made so small as to take the size and shape of a large book, hence sometimes called Book or Bible-regal.
Schubart, Christian F. Daniel. Born 1739. Master of Philosophy, Theatre director, Court poet of Stuttgart, a good amateur musician. Was a good organist and held various posts. In 1777 to 1787 he was imprisoned in a castle on account of some views expressed in his political paper “Deutsche Chronik.” Burney, who met him, remarks on his great facility as a clavier player. He published several compositions and works on music.
Schütz, Heinrich. 1585-1672. Brought opera from Italy to Germany and also composed Passions. He was considered the best German composer of his century. He wrote music to the Passions of Matthew, Luke and John for the Court of Dresden, where he was Capellmeister. These are the greatest works of the kind next to those of Bach. His compositions are in the old church tones, but strongly influenced by the coming tonality of modern music.
Solo Cantatas. Those written for one or more solo voices without a chorus. They sometimes conclude with the chorale in four parts.
Spinet. Is defined by Hipkins (“The Pianoforte,” p. 121) as “a Jack keyboard instrument with one string to a note,” as opposed to the cembalo, harpsichord, &c., which had several strings to a note. Adlung says the spinet was of limited compass, its lowest octave being “short” and it was tuned a fifth above chorus pitch. It was sometimes triangular in shape and could be placed on a table; its strings ran from right to left of the performer, as in the “Instrument.”
Rück-positiv. The name given to the choir manual when its pipes stand behind the rest of the organ.
Telemann, G. Philipp. 1681-1767. A poet and musician who composed no less than 600 overtures, 12 complete year courses of cantatas, 44 passions, 32 compositions for the instalment of preachers, 32 so-called oratorios, 20 coronation pieces, 40 operas, and a mass of other music. Besides all this he is described by Walther as the “greatest Polygraph that Germany can show,” having written a number of books on music, besides a quantity of bad poetry. He was successively organist and director of the New Church at Leipsic (during which time he mastered the English, Italian and French languages), Capellmeister in Sorau, Concertmeister in Eisenach, Kapellmeister at Frankfort-on-the-Maine, Music Director at Hamburg, where he formed one of the trio of musicians, Keiser and Matheson being the others. He was on very friendly terms with Bach and Handel. He was a candidate for the post of Cantor at St Thomas, having during his previous residence in Leipsic (1701-4) founded a flourishing “Collegium Musicum” among the students. He had a great reputation throughout Germany. Bach copied some of his music, and the influence of Telemann, at that time very popular, is seen in Bach’s cantata “Herr Gott dich loben wir.”
Theorbo. A lute with an extra neck bearing the bass strings.
Tromba da tirarsi. A slide trumpet, the soprano of the trombone. Often used in Bach’s scores.
Viola d’amore. A tenor viol of a specially agreeable and silvery tone (Walther). It sometimes had sympathetic strings, though these were not a necessary adjunct.