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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Arrangements of folk and traditional songs
BIBLIOGRAPHY G. Lowe: ‘The Music of Roger Quilter’, MO, xlii (1918–19), 210–11 S. Goddard: ‘The Art of Roger Quilter’, The Chesterian, vi (1925), 213–17 R. Bennett: ‘Song-Writers of the Day, II: Roger Quilter’, Music Teacher, v (1926), 409–11 Obituaries: L. Woodgate, MT, xciv (1953), 503–5; M. Raphael, Tempo, no.30 (1953–4), 20 only; Q. Hill, ML, xxxv (1954), 15–16 T. Armstrong: ‘The Frankfort Group’, PRMA, lxxxv (1958–9), 1–16 S. Banfield: ‘Roger Quilter: a Centenary Note’, MT, cxviii (1977), 903–6 L. East: ‘Roger Quilter: 1877–1953’, Music and Musicians, xxvi/3 (1977–8), 28–30 P. Cahn: ‘Percy Grainger’s Frankfurt Years’, SMA, xii (1978), 101–13 T. Hold: The Walled-In Garden: a Study of the Songs of Roger Quilter (Rickmansworth, 1978, 2/1996) S. Banfield: Sensibility and English Song (Cambridge, 1985) VALERIE LANGFIELD Quinault, Jean-Baptiste-Maurice [l'aîné] (b Verdun, 9 Sept 1687; d Gien, 30 Aug 1745). French composer, singer and actor. Son of the actor Jean Quinault (1656–1728) and brother of the singer and actress Marie-Anne-Catherine Quinault, he was the eldest of five children, all active in the theatre. Quinault began his acting career at the Comédie Française as Hippolytus in Racine's Phèdre on 6 May 1712. He retired on 22 March 1733 with a pension, but returned for three performances the following year. Although Voltaire chose him for leading roles in his tragedies, he was most applauded for comic roles. It was not uncommon for him to act and sing in a work for which he had composed the music. His gift for comic characterization is seen in the laughing recitative, ‘Enthousiasme de folie’, in M.A. Legrand's Impromptu de la folie (1725). He was elevated to the nobility by the regent, Philip d'Orléans. Quinault composed at least 24 divertissements and intermèdes for the French theatre, 1714–32. They include incidental music for plays by Louis Fuzelier, Le Grand, P.-C. Roy, S.-J. Pellegrin and Molière (Le bourgeois gentilhomme, 1716, and La princesse d'Elide, 1722). His divertissements for Roy's comedy Les captifs (1714) were described as ‘extraordinary, beautiful and well characterized’ (Mercure galant, October 1714). His only work for the Paris Opéra is the ballet héroîque Les amours des déesses (libretto by Fuzelier). At its first performance it consisted of a prologue and three entrées (‘Vénus et Adonis’, ‘Diane et Endimion’ and ‘Melpomène et Linus’); a fourth entrée, ‘L'Aurore et Céphale’, was added for the performance on 25 August 1729. For a complete list of Quinault's works for the French theatre see DEUMM and LaMusicaD. JAMES R. ANTHONY Quinault, Marie-Anne-Catherine (b Strasbourg, 26 Aug 1695; d Paris, 1791). French singer, sister of Jean-Baptiste-Maurice Quinault. Mlle Quinault (known as ‘l'aînée’) made her début at the Paris Opéra in 1709 in Lully's Bellérophon and remained there until 1713. From 1714 to 1722 she acted and sang at the Comédie-Française. According to F.-J. Fétis (Biographie universelle), she composed several motets for the royal chapel at Versailles, one of which won for her the decoration of the order of St Michel, never before given to a woman. JAMES R. ANTHONY Quinault, Philippe (b Paris, bap. 5 June 1635; d Paris, 26 Nov 1688). French dramatist, librettist and poet. Son of a master baker, he received an excellent literary education from the poet Tristan l'Hermite, through whom he was introduced to Parisian salons précieux. He was only 18 when his first comedy, Les rivales, was performed at the Hôtel de Bourgogne. He became a jurist at about the same time, having, according to Charles Perrault (Parallèle … des anciens et des modernes, Paris, 1688–97), studied law for only two or three years. After Tristan's death in 1655, Quinault became private secretary to the Duc de Guise, and on 29 April 1660 marriage to a wealthy widow, Louise Goujon (née Bouvet), brought him a degree of economic independence. In 1668 he composed verses for a court divertissement, La grotte de Versailles, thereby joining the select group of poets chosen to pay continual homage to Louis XIV. In 1670 he was made a member of the Académie Française and in 1674 of the Académie des Inscriptions et Belles-Lettres. In 1671, with Molière and Corneille, he was asked to write the text for Lully to set to music in the spectacular court divertissement, Psyché. Thus was inaugurated a 15-year collaboration with Lully in the composition of 11 tragédies en musique and two large-scale ballets (Le tríomphe de l'Amour and Le temple de la paix). The gap of three years between Isis and Proserpine is explained by the temporary eclipse of Quinault at court after Juno in Isis had been interpreted as an unflattering caricature of Mme de Montespan. By both temperament and artistic inclination, Quinault was ideally suited to collaborate with Lully. His livrets, for each of which he received 4000 livres, were judged first as dramatic poetry, although Quinault was actually a lyric poet. Despite the general agreement that the unities might be overlooked in opera, Quinault was expected to observe unity of action. Sacrificed to this demand were the comic scenes found in Cadmus, Alceste and Thésée, as well as the subplots usually involving persons of lower rank who mirrored the action of the main plot. Quinault’s subject matter was derived from classical mythology (in his first eight operas) and the familiar legends of chivalry (in the final three). It remains fairly constant: a pair of lovers, a powerful rival and the mingling of gods and goddesses in the affairs of mortals. Although the librettos occasionally treat the Corneillean theme of conflict between ‘glory and duty’ (Roland and Armide), the amorous intrigues of gods and men are generally more galant than heroic and tragic. In fact, with regard to the former, Rosow has observed that both Roland and Renaud are flawed heroes: Roland is so blinded by love that a dea ex machina must point out his duty, and in Armide Renaud’s need to choose between love and duty disappears as soon as his enchantment is broken. Of all Quinault’s livrets, only Atys may be considered genuinely tragic. Quinault was attacked for his limited vocabulary, especially when contrasted with Racine. There was little understanding of the fact that in opera words must be easily understood when given a musical setting. Perrault came to Quinault’s defence in his Parallèle … des anciens et des modernes, where he stated that the words in a livret must be ‘very natural, very well known and very much in common use’. Quinault skilfully varied the length of his lines from two to 12 syllables. To avoid monotony he rarely used more than three alexandrines (the standard line of French tragedy) in a row, reserving their use, rather, for simple recitative or for moments of serious import. He preferred shorter lines and lines with an odd number of syllables for airs and more lyrical passages (see Norman, 1989, p.185). The galant tone of many of Quinault's lyrics earned him the enmity of the clergy and of the conservative professors of the Sorbonne (Bossuet referred to ‘corruption reduced to maxims’). Quinault, himself in bad health, may have partly succumbed to the repressive moral climate. After Armide he retired from the stage and wrote a long poem on the extinction of heresy which begins: Je n'ai que trop chanté les Jeux & les Amours, Besides his opera librettos and the 17 tragedies, tragi-comedies and comedies that he wrote between 1653 and 1671, Quinault left several poems and epigrams and over 60 verses set to music by Lully, Le Camus, Bacilly, Lambert, Charles Mouton and others, all found in collections of airs issued between 1662 and 1700. WRITINGS tragédies en musique unless otherwise stated; all first settings by Lully La grotte de Versailles (eclogue), 1668; Psyché (tragédie-ballet, with Molière and P. Corneille), 1671; Les fêtes de l'Amour et de Bacchus (pastorale, with I. de Benserade and the Président de Périgny), 1672; Cadmus et Hermione, 1673; Alceste, 1674; Thésée, 1675 (Strungk, 1683; Mondonville, 1765); Atys, 1676; Isis, 1677; Proserpine, 1680 (Paisiello, 1803); Le triomphe de l'Amour (ballet), 1681 (Campra, 1705); Persée, 1682; Phaëton, 1683; Amadis, 1684 (La Borde, 1771; J.C. Bach, 1779); Le temple de la paix (ballet), 1685; Roland, 1685; Armide, 1686 (Gluck, 1777) BIBLIOGRAPHY AnthonyFB ES (P.F. Butler) MGG1 (R. Schaal) GroveO (L. Rosow) [with further bibliography] F. Lindemann: Die Operntexte Philippe Quinaults vom literarischen Standpunkte aus betrachtet (diss., U. of Leipzig, 1904) E. Gros: Philippe Quinault: sa vie et son oeuvre (Paris, 1926) [includes the most comprehensive list of 17th- and 18th-century sources] T. Wright: Lully and Quinault: Musico-Dramatic Synthesis in the tragédie en musique (diss., U. of Kansas, 1984) W. Brooks: Bibliographie critique du théâtre de Quinault (Paris, 1988) B. Norman: ‘Ancients and Moderns, Tragedy and Opera: the Quarrel over Alceste’, French Musical Thought, 1600–1800, ed. G. Cowart (Ann Arbor, 1989), 177–96 B. Norman: ‘Le héros contestataire dans les livrets de Quinault: politique ou esthétique?’, Ordre et contestation au temps des classiques: Marseilles 1991 (Paris, 1992), i, 289–300 B. Norman: ‘The tragédie-lyrique of Lully and Quinault: Representation and Recognition of Emotion’, Continuum [New York], v (1993), 111–42 B. Norman: ‘Le théâtre est un grand monument: l'évocation du passé et des passions dans l'Alceste de Quinault’, Les lieux de mémoire et la fabrique de l’oeuvre: Kiel 1993 (Paris, 1993), 321–9 B. Norman and M. Vialet: ‘A Woman's Fate in the Balance: the Persephone Myth in Quinault and Lully's Proserpine’, Images of Persephone: Feminist Readings in Western Literature, ed. E.T. Hayes (Gainesville, FL, 1994), 45–74 JAMES R. ANTHONY Quinet, Fernand (b Charleroi, 29 Jan 1898; d Liège, 24 Oct 1971). Belgian composer, conductor and cellist. He showed musical talent at an early age and studied the cello and theory at the Brussels Conservatory (1913–15), completing his studies with d’Indy; in 1921 he won the Belgian Prix de Rome for the cantata La guerre. He played in the Pro Arte Quartet from 1916, but gave up his career as a cellist in 1923. He was director of the Charleroi Conservatoire (1924–38), professor of harmony at the Brussels Conservatory (1927–38) and director of the Liège Conservatoire (1938–63). As a conductor, he had an international reputation in French music; in Belgium he conducted numerous first performances, most of them with the Liège PO, which he founded in 1948 and directed until 1965. He was elected a member of the Belgian Royal Academy in 1954. Throughout his career Quinet gave progressively less attention to composition. One of the first Belgian composers to reject the Franck tradition, he was most indebted to Fauré in achieving his concise art. The harmony of such a piece as the Trois mouvements symphoniques suggests an Impressionist origin, and Quinet’s ironic spirit led to some surprising chord progressions, as well as a lightness of touch and lively, incisive rhythms, as in L’école buissonnière for string quartet. These qualities are also found in his vocal music, which avoids extreme lyricism. WORKS (selective list)
BIBLIOGRAPHY R. Wangermée: La musique belge contemporaine (Brussels, 1959) Music in Belgium (Brussels, 1964) R. Bernier: ‘La leçon de Fernand Quinet’, Bulletin de la classe des beaux-arts de l’Académie Royale de Belgique, liii (1971), 243–51 R. Bernier: ‘Notice sur Fernand Quinet’, Annuaire de l’Académie Royale de Belgique, cxli (1975), 95–120 M. Barthélemy: ‘Fernand Quinet’, Nouvelle Biographie Nationale, iv (Brussels, 1997), 316–20 HENRI VANHULST Quinet, Marcel (Alfred) (b Binche, Hainaut, 6 July 1915; d Woiuwe-Saint-Lambert, 16 Dec 1986). Belgian composer and pianist. He began studies at the Mons Conservatory and then transferred to the Brussels Conservatory, where he obtained a premier prix for harmony (1936), a second prix for counterpoint (1937, under R. Moulaert), a premier prix for fugue (1938, under L. Jongen) and a higher piano diploma (1943). Then he studied composition with Absil, and won the Belgian Prix de Rome in 1945 for his cantata La vague et le sillon; in 1946 his orchestral Divertissement was awarded the Agniez Prize. He was put in charge of the piano courses at the Brussels Conservatory in 1943, and he also taught harmony (1948) and fugue (1959) there; in 1956 he was appointed professor at the Chapelle Musicale Reine Elisabeth. Awarded second prize in the 1957 Queen Elisabeth Composition Competition, his Piano Concerto no.1 was used as a test piece in the 1964 session of the same contest. In 1976 he was elected a member of the Royal Academy of Belgium. Quinet’s music is distinguished by formal clarity and the absence of lyrical effusion; his objective art has affinities with that of Hindemith. At first influenced by Absil, he began, with the Three Orchestral Pieces (1951), to evolve a more individual style that shows his closeness to French music (particularly Ravel) and his admiration for Bartók’s orchestration. He has generally turned to established models, such as the passacaglia or old dance forms: the orchestral Variations are cast as a Baroque suite, and the ballet La nef des fous is built as a symphony with a rapid principal theme alternating with slow, expressive passages. Evolving from polytonality to atonality, his music has remained clear in timbre and texture. WORKS (selective list) Orchestral
Instrumental
Stage and vocal
BIBLIOGRAPHY CeBeDeM directory R. Wangermée: La musique belge contemporaine (Brussels, 1959) J.-M. Simonis: ‘Notice sur Marcel Quinet’, Annuaire de l’Académie Royale de Belgique, clvi (1990), 323–53 HENRI VANHULST Quinible (Middle Eng.: ‘fivefold’; from Lat. quin[que] and ‘ible’). A voice or part apparently pitched even higher than Quatreble. But the 15th-century English treatises which refer to the quatreble do not mention the quinible; and although quintuplum can mean the fifth voice of a motet, or the five-part motet itself (Franco of Cologne: ‘Qui autem quadruplum vel quintuplum facere voluit’), the English word seems to be used only in the general sense of a high-pitched song or voice (Chaucer, The Miller’s Tale, line 146: ‘Ther to he song som tym a loud quynyble’; Skelton, The Image of Ypocrisy, iii, line 78: ‘They finger ther fidles, And cry in quinibles’). JOHN CALDWELL Quint (i). The 4th partial tone of a bell when it is tuned a 5th above the strike note (see Bell (i), §2). Quint (ii). When prefixed to the name of an instrument, as in ‘Quintfagott’ or ‘Quintposaune’, an indication that the instrument in question plays a 5th lower than the normal type. Quint (iii). An organ pipe that is sometimes used to produce, when sounded with another pipe tuned at the 5th below, a difference tone imitating the sound of a pipe an octave below the lower one. See also Organ stop. Quinta (i) (Lat.: ‘fifth’). A term occasionally used in medieval writings instead of ‘diapente’ for the interval of a 5th; it has become the standard term in Italian. Quinta (ii). [quinta vox, quintus]. A part (see Part (ii)) in 16th-century polyphony for five or more voices. Quintadecima (It.). See under Organ stop. Quintadena (Ger.). See under Organ stop. Quintanar, Héctor (b Mexico City, 15 April 1936). Mexican composer and conductor. He studied at the Escuela Superior Nocturna de Música (1950–56) and played the horn in the Banda de Música del Estado Mayor for eight years. In 1959 he entered the Mexico City Conservatory, where he studied harmony and analysis with Rodolfo Halffter, counterpoint with Blas Galindo and composition with Jiménez Mabarak; he also studied with Chávez (1960–64) and in 1963 served as Chávez’s assistant in the composition workshop, which from 1965 to 1972 he directed. A state grant enabled him to study electronic music at Columbia University, New York, with Andrés Lewin Richter (1964), and he studied musique concrète with Jean Etienne-Marie in Paris (1967) and Mexico City (1968). He was head of the Secretaría Técnica of the Instituto Nacional de Bellas Artes music department (1965—70), within which he organized major festivals of contemporary music. Founder (1970) and director of the Mexico City Conservatory electronic music studio, he was also sub-director of the Mexico City Opera Orchestra. Other appointments as chief conductor include the National University SO (1975–80), the Michoacán SO (1986–7) and, since 1992, the University of Guanajuato SO, with whom he has recorded for the first time many works by Mexican composers. His conscientious activity as a promoter of new music has included giving concerts in unorthodox locations and, through his group Proa, bringing contemporary music to the church. His works from Aclamaciones (1967) have been concerned with non-linear sequences of contrasting materials, such as tape loops of natural sounds (Ostinato) and improvisatory or aleatory elements (Sideral III). He was the first Mexican to compose an electronic film score, that for Una vez un hombre. WORKS (selective list)
BIBLIOGRAPHY Compositores de América/Composers of the Americas, ed. Pan American Union, xv (Washington, DC, 1969), 176 Y. Moreno: La composición en México en el siglo XX (Mexico City, 1994) GERALD R. BENJAMIN/RICARDO MIRANDA-PÉREZ Quintatön (Ger.). See under Organ stop (Quintadena). Quintavalle, Antonio (fl 1688–?1724). Italian composer and organist. In 1703 and perhaps earlier he was chamber organist at the Mantuan court. He wrote music for three operas produced there, one in collaboration with the maestro di cappella Caldara. According to Lunelli, Quintavalle was maestro di cappella of Trent Cathedral from 1712 to 1724. An Antonio Quintavalle, chaplain at Torcello, near Venice, died on 28 January 1721 at the age of 45. WORKS all lost Operas
Oratorios
BIBLIOGRAPHY RicordiE SchmidlD O.G.T. Sonneck: Library of Congress: Catalogue of Opera Librettos Printed before 1800 (Washington DC, 1914/R) D. Alaleona: Studi su la storia dell’oratorio musicale in Italia (Turin, 1908, 2/1945 as Storia dell’oratorio musicale in Italia) A. Liess: ‘Die Sammlung der Oratorienlibretti (1679–1725) und der restliche Musikbestand des Fondo San Marcello der Biblioteca Vaticana in Rom’, AcM, xxxi (1959), 63–80 U. Kirkendale: Antonio Caldara: sein Leben und seine venezianisch-römischen Oratorien (Graz, 1966) R. Maroni and C. Lunelli, eds.: La musica nel Trentino dal XV al XVIII secolo (Trent, 1967)
Quinte (Fr. and Ger.: ‘fifth’). The French and German term for the interval of a 5th. It was also used for the fifth part of 17th-century French orchestral music and of music in the French style by contemporary German composers, applied by extension to the players assigned to that part in French court orchestras. Mersenne (Harmonie universelle, 1636–7) used ‘quinte’ or ‘cinquième’ to describe the highest inner part of the 24 Violins du Roi, played by the first of the three viola parts, but in lists of the group and in musical sources the terms denote the lowest inner part, and is therefore equivalent to quintus, the standard name for the fifth part of 16th- and early 17th-century vocal and instrumental polyphony. The term dropped out of use in the early 18th century, when four-part orchestral writing became the norm in France, although J.-B. de La Borde still referred to the ‘Viola (alto) ou Quinte’ in his Essai sur la musique (1780). PETER HOLMAN Quinte de hautbois (Fr.). A basset oboe in D. See Oboe, §III, 2(iii). Quintenzirkel (Ger.). See Circle of fifths. Quinterne [quintern]. One of the many terms for the medieval Gittern; the term was later used for a small guitar. From at least the 13th century the small, lute-like, treble plucked instrument was known as the quitaire, quinterne or guisterne in French, the gyterne (later gittern) in English, the quintern(e) in German, the guitarra in Spanish, and the chitarra or chitarino in Italian. It was not until well into the 16th century that these terms began to be applied to various small guitars. Under the name Mandore the instrument survived in France into the early 18th century, while under the names mandola and mandolino (see Mandolin) it survived in Italy into the 20th. JAMES TYLER Quinteros, Abelardo (b Valparaiso, 10 Dec 1923). Chilean composer. He studied industrial design at the Universidad S Maria, Valparaiso (1936–41) and composition in Santiago with Allende (1942–8) and Focke (1949–51). A scholarship from the Austrian Embassy in Chile enabled him to study serial techniques with Steinbauer and voice with Kern at the Steinbauer Academy in Vienna (1954–6). On returning to Chile he began to take a place among the leading composers of his generation; Horizon carré, Cantos al espejo and the Piano Studies received awards at successive Chilean Music Festivals. His lyrical and expressive music has its basis in 12-note thinking. WORKS (selective list)
JUAN A. ORREGO-SALAS/LUIS MERINO Quintet (Fr. quintette, quintuor; Ger. Quintett; It. quintetto). A composition or part of a composition for five voices or instruments, or a group that performs such a composition. Vocal quintets include many madrigals, ballettos and other chamber music for voices of the 16th century when there was a certain preference for five-part writing. With the development of dramatic ensemble writing in opera during the 18th century accompanied quintets became frequent and there are several examples in Mozart’s mature operas, notably Act 1 of Così fan tutte. The most celebrated operatic quintet, however, is ‘Selig, wie die Sonne meines Glückes lacht’ from Act 3 of Wagner’s Die Meistersinger. The most important chamber music forms are the String quintet (normally for a string quartet of two violins, viola and cello with an additional viola or cello), the Piano quintet (usually for piano and string quartet) and the Wind quintet (flute, oboe, clarinet, bassoon and horn); these repertories are discussed in separate entries (see also Brass quintet). Among works for less regular combinations, Mozart’s great quintet for piano and wind k452 (oboe, clarinet, bassoon and horn) set a standard, which has not been surpassed, for the euphonious combination of five diverse timbres, though Beethoven imitated it in his op.16 and Danzi, Spohr and Rimsky-Korsakov wrote for similar combinations. A number of works add a wind instrument to the normal string quartet. For example, there are clarinet quintets by Mozart, Reicha, Weber, Reger, Brahms, Hindemith and Bliss, and a horn quintet (with two violas) by Mozart. Quintets formed from various mixed combinations abound especially in the 18th century. It is known that Mozart greatly admired J.C. Bach’s six quintets of op.11 for flute, oboe, violin, viola and bass which indulge in charming antiphonal effects between the two wind instruments and bass as against the two strings and bass. The same composer’s Quintet in F for oboe, violin, viola, cello and harpsichord, the last sometimes continuo in function, sometimes obbligato, is similarly adept in layout. Mozart’s ability to make almost any combination effective is shown in his quintet for flute, oboe, viola, cello and glass harmonica. Some of this ability apparently passed to his pupil Süssmayr whose quintet for oboe, english horn, violin, cello and guitar is another engaging contribution to the vast miscellany of such works from the 18th century. Of 20th-century mixed quintets Milhaud’s Les rêves de Jacob, Nielsen’s Serenata in vano and Prokofiev’s attractive op.39 for oboe, clarinet, violin, viola and double bass may also be mentioned. For further information and bibliography see also Chamber music. MICHAEL TILMOUTH/R Quintiani [Quinziani], Giulio Cesare (b Piacenza, c1550; d after 1599). Italian composer. The title-page of his sole publication, Sesto Himeneo Ingemmato (Venice, 1600, inc.) calls him maestro di cappella at Piacenza Cathedral. His tenure there most likely fell between the death of Luigi Roince, in 1597, and the appointment of Tiburzio Massaino, in 1605. Quintiani belonged to the artistic circle around Ranuccio I Farnese; the Himeneo, a book of madrigals, was dedicated to Ranuccio and to his wife, Margherita Aldobrandini, and written for performance at the duke’s wedding in May, 1600. BIBLIOGRAPHY L. Balestrieri: Feste e spettacoli alla corte dei Farnese (Parma, 1909/R) Piacenza musicale, ed. Liceo Musicale Pareggiato ‘Giuseppe Nicolini’ (Piacenza, 1940) F. Bussi: Panorama musicale piacentino (Piacenza, 1955) F. Bussi: Alcuni maestri di cappella e organisti della cattedrale di Piacenza(Piacenza, 1956) M.L. Bussi: Musica e musicisti presso i Ser.mi Duchi Farnese in Piacenza, 1545–1731 (Piacenza, 1991) F. Bussi: ‘Sacro e profano in musica alla corte di Ranuccio I Farnese’, NRMI, xxix (1995), 221–34 FRANCESCO BUSSI/MARCO GAIO Quintiani [Quinziani], Lucrezio (b Cremona, c1550–60; d after 1595). Italian composer. A member of the Cistercian order, he served at the monasteries of S Maria delle Cave and S Benedetto in Cremona and S Ambrogio in Milan. According to Lucchini he was maestro di cappella at Cremona Cathedral. The music of his Primo libro de madrigali shows the influence of Ingegneri and the young Monteverdi. Quintiani’s double-choir church music is largely homophonic in texture; madrigal-like procedures are used at times to emphasize aspects of the words. WORKS
BIBLIOGRAPHY R. Monterosso: Musicisti cremonesi nella mostra bibliografica della Biblioteca governativa (1949) (Cremona, 1951) L. Lucchini: Il duomo di Cremona (Mantua, 1894) For further bibliography see Quintiani, Giulio Cesare. FRANCESCO BUSSI/MARCO GAIO Quinticlave. An alto Ophicleide. Quintilian [Marcus Fabius Quintilianus] (b Calagurris, Spain, 30–35 ce; d Rome, after c94 ce). Roman orator and writer on rhetoric. He may have begun his studies in Spain; he completed them at Rome and there went on to gain both fame and wealth. In recognition of his remarkable skill at teaching rhetoric, he received a regular income from the imperial treasury, the first of his profession to be granted this honour. The literary testimonial to his gifts is the Institutio oratoria (completed c95 ce), a treatise in 12 books on the training of the ideal orator from earliest childhood to maturity. In this one surviving work the references to music form an unusual commentary, since they are based on wide reading and sympathetic interest rather than deep knowledge. The recognition of a relationship between music and rhetoric goes back to earlier Roman writers such as Cicero, and beyond them to Aristotle himself. Quintilian, accordingly, felt himself to be on firm ground. He did not hesitate to include music, admittedly as a counsel of perfection, among the arts which boys should study before beginning rhetoric (i.10.1–4). The extended eulogy of music that follows (i.10.9–33) seeks to demonstrate its antiquity, importance and power through a large number of examples, most of them familiar. The latinized term musice used here includes dancing but otherwise conveys much the same meaning as ‘music’ in modern usage; there is nothing of the broad sense (practically ‘culture’) that mousikē had for Hellenic writers. Quintilian seldom mentioned details of instrumental technique or construction. The occasional references bespeak close observation of external details, as in the account of a kitharode's movements (i.12.3) with its rare evidence for deadening the strings of the lyre. At such times, however, understanding may go no further than the comprehension of outward appearances or elementary facts of performance. Thus a maladroit lyre player supposedly might find it necessary to ‘take the measure’ of individual strings (demensis singulis, v.10.124) in order to match them with vocal pitches – an apparently meaningless supposition. Also found is the unsupported statement that musicians considered the lyre to have five basic notes (xii.10.68). Although he reserved the term ‘ethos’ for a wholly non-musical context (vi.2.18–20), Quintilian clearly assented to a doctrine of musical ethos. He even stated his wish to possess a knowledge of its fundamental principles (cognitionem rationis, i.10.31). A spirited passage (ix.4.10–13) deals with Man's natural affinity for musical sounds and devotes special attention to the tacita vis, the secret power of rhythm and melody that gives instrumental music affective power even apart from the voice (so also i.10.25; cf xi.3.66, on dancing). Quintilian nevertheless considered it a power that reaches the height of effectiveness in rhetorical eloquence, not in musical performance. This assessment seems typical. Music has almost no importance in the Institutio oratoria save as a propaideutic. Despite express adherence to a belief in musical ethos, Quintilian showed an overriding concern with the spoken word when he dealt with ethical problems. Unquestionably an advocate of musice, he viewed it as the handmaiden of rhetorice, and his comments reveal a limited understanding of its secrets. Quintilian's Institutio oratoria was known (generally in incomplete form) but not much favoured in the Middle Ages. Renaissance humanism, however, responded to its central tenet that the purpose of a rhetorical education was to produce a man of good character and cultivation. The treatise was known to Petrarch (1304–74) only in an imperfect form, but in 1416 Poggio Bracciolini (1380–1459) discovered a complete copy at St Gallen. First printed in 1470, the treatise was widely and generally read, becoming highly influential in the music theory of the 16th–18th centuries. WRITINGS H.E. Butler, ed. and trans.: The Institutio oratoria of Quintilian (London and Cambridge, MA, 1920–22/R) M. Winterbottom, ed.: M. Fabi Quintiliani Institutionis oratoriae libri duodecim (Oxford, 1970/R) BIBLIOGRAPHY G.W. Pietzsch: Die Musik im Erziehungs- und Bildungsideal des ausgehenden Altertums und frühen Mittelalters (Halle, 1932/R), 5ff J. Cousin: Etudes sur Quintilien (Paris, 1936/R) G. Wille: Musica romana (Amsterdam, 1967), esp. 449ff U. Müller: ‘Zur musikalischen Terminologie der antiken Rhetorik: Ausdrücke für Stimmanlage und Stimmgebrauch bei Quintilian, Institutio oratoria, 11,3’, AMw, xxvi (1969), 29–48, 105–24 G. Wille: Einführung in das römische Musikleben (Darmstadt, 1977), 166–71 B.M. Wilson: ‘Ut oratoria musica in the Writings of Renaissance Music Theorists’, Festa musicologica: Essays in Honor of George J. Buelow, ed. T.J. Mathiesen and B. Rivera (Stuyvesant, NY, 1995), 341–68 For further bibliography see Rome, §I. WARREN ANDERSON/THOMAS J. MATHIESEN Quintilianus, Aristides. See Aristides Quintilianus. Quintina (It.; Ger. Quintole; Fr. quintolet). See Quintuplet. Quinton. Small, five-string French viol with violin-like features, also referred to as pardessus de viole (high descant viol), used c1730–89. It was tuned g–d'–a'–d''–g'' (the lower strings like a violin, the upper ones like a viol) and had a violin-like body, sloping shoulders and a wide neck with seven gut frets. It appeared about 1730, when viols with violin-like features began to be made in France in response to the prestige of Italian violin music. The sound of the quinton is distinctive, combining the resonance of the viol's upper register with the solidity of the violin's lower register. It was played like a viol: on the lap, with an underhand bow grip. Around the time of the quinton's invention, the viol-shaped six-string pardessus dropped a string and adopted the quinton's tuning. As a result, two distinct forms of five-string pardessus (high-treble) co-existed, sharing the same name, technique, literature and musical function. The word quinton, however, referred solely to the violin-like form and was never used to designate the viol-shaped pardessus. Favoured by women, the quinton became fashionable; it was played in salons and at the Concert Spirituel, and instruments were built all over France, in England and in Germany, Bohemia and Sweden. In the hands of makers such as Jacques Boquay, Claude Boivin, Augustin Chappuy, Jean Colin, François Gavinies, Paul-François Grosset, Louis Guersan, François Le Jeune, Jean-Baptiste Salomon and the great head-carver La Fille, its peculiar construction achieved a high degree of workmanship and high prices on the market. The years 1750 to 1755 were the golden age of the quinton; after 1760 its popularity diminished and it suffered a loss of character, with the removal of the top string, the adoption of violin tuning and a change in the bow-grip. After its demise with the French Revolution, a cloud of mystery gradually surrounded the quinton; the instrument's hybrid nature combined with the ambiguity of French nomenclature and the imprecision of historical sources led to conflicts in the 20th-century literature on the instrument. On the music of the quinton, see Pardessus. BIBLIOGRAPHY M. Corrette: Méthode pour apprendre facilement à jouer du par-dessus de viole à 5 et à 6 cordes (Paris, 1748/R; Eng. trans., 1990) J. Delusse: ‘Table du rapport de l'entendue des voix et des instruments de musique comparés au clavecin’, Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers, ed. D. Diderot and others (Paris, 1751–80), v, 7, pl.xxii C.R. Brijon: Méthode nouvelle et facile pour apprendre à jouer du par-dessus de viole (Lyon, 1766) C. Duerer: ‘Das Quinton, ein vergessenes Streichinstrument zwischen Violine und Gambe’, IZ, xliii/6 (1989), 28–9 S. Milliot: Histoire de la lutherie parisienne du XVIIIe siècle à 1960, ii: Les luthiers parisiens au XVIIIe siècle/Parisian Violin-Makers of the XVIIIth Century (Spa, 1994, 2/1997) M. Herzog: ‘Is the Quinton a Viol? H Puzzle Unravelled’, EMc, xxviii (2000), 8–31 MYRNA HERZOG, ROBERT A. GREEN Quintón, José I(gnacio) (b Caguas, Puerto Rico, 1 Feb 1881; d Coamo, Puerto Rico, 19 Dec 1925). Puerto Rican composer and pianist. He received lessons in harmony, counterpoint, composition and piano from his father, who was a graduate of the Paris Conservatoire and a church organist. He was also influenced by the Spanish pianist Ernesto del Castillo and the Puerto Rican composer Angel Mislán but was to some extent self-educated. From the age of 12 until his death he lived in Coamo; he became a teacher of instrumental music at the Coamo Municipal Academy of Music and also organized several musical groups as well as the municipal band. As a composer Quintón appropriated Classical forms and a Romantic idiom while searching constantly for sonorities that he called ‘music of the future’ (as a pianist he was one of the first to perform Debussy, Ravel and Schoenberg in Puerto Rico). He took a historic step in elevating the danza to the level of concert music. His several chamber works, including the String Quartet in D (1913), are Brahmsian in style. WORKS (selective list)
BIBLIOGRAPHY F. Ferrer Callojo: Música y músicos puertorriqueños (San Juan, PR, 1915, 2/1971) C. Dower: ‘Quintón Bridges Centuries’, Dateline Puerto Rico, U.S.A., iii/3 (1981), 38 R. Rivera Bermúdez: Biografía de José Quintón [MS in US–NYp] GUSTAVO BATISTA Quintposaune (Ger.). A trombone pitched a 5th below the ordinary trombone. See Quartposaune. Quintteiler. See under Divider. Quintuor (Fr.). See Quintet. Quintuplet (Fr. quintolet; Ger. Quintole; It. quintina; Sp. quíntuplo). A group of five equal notes occurring irregularly, occupying the space of a note or notes of regular metric duration. Quintuple time. A metre of five beats to the bar. Its irregularity has made it an oddity in Western music. It cannot be divided into equal half-bars, and the common division into alternate groups of two and three beats seems as psychologically disturbing as a succession of five unaccented beats. Regular two-bar phrases (as in the Tchaikovsky example mentioned below) tend to mitigate this effect. Quintuple time has been used in a demonstration of technical skill (Tye, Correa de Arauxo, Reicha) or for atmospheric effect (Rachmaninoff, Holst), and it occurs momentarily to suggest unease or unusual excitement (Handel, Wagner). Its common occurrence in folk music (especially east European) was responsible for its more frequent appearance in the works of early 20th-century composers who drew on elements of folk music style. The decline of the use of regular metre has made the occurrence of bars of quintuple time unremarkable in later music. Passages in five-beat groupings could be written from the 14th century to the 16th by using minor or reversed coloration, and examples of these first occur in ‘mannered’ notation of the post-Machaut period (see W. Apel: The Notation of Polyphonic Music 900–1600, 1942, rev. 5/1961, p.400; for five-beat notes see pp.356, 434; see also Notation, §III, 3), and, more continuously, in the ‘Qui tollis’ section of Obrecht’s Missa ‘Je ne demande’ and the Sanctus of Isaac’s Missa Paschalis (see J. Wolf: Handbuch der Notationskunde, i, 1913, p.420). The first complete quintuple-time pieces in Western music appear to be seven villancicos in the Cancionero Musical de Palacio (E-Mp 2.1.5, olim 1335; written 1516–20; ed. in MME, v, 1947, and x, 1951); these are: Pedro de Escobar’s Las mis penas madre (f.43; time signature 5/2), Juan del Encina’s Amor con fortuna (f.63; 5/2), the anonymous Pensad ora’n al (f.87v; C 5/2), Juan de Anchieta’s Dos ánades, madre (f.107; 5/1), Diego Fernández’s De ser mal casada (f.119; 5/2), Anchieta’s Con amores, la mi madre (f.231; 5/1) and Encina’s Tan buen ganadico (f.280; 32/52). The first of these is given as ex.1 (note values reduced). In his De musica (Salamanca, 1577/R), Francisco de Salinas interpreted several ancient Greek metres in quintuple time (p.231); three are found in the above villancicos: bacchic (– –./– –./etc.), palimbacchic (.– –/ .– –/etc.) and cretic metre (–.–/–.–/etc.). Both the first half of a keyboard setting of the offertory Felix namque of about 1530 (in GB-Lbl Roy.App.56, f.1v; ed. in EECM, x, 1969, p.54) and Christopher Tye’s five-part In Nomine Trust (?c1540, Lbl 31390; facs. in RRMR, iii, 1967) deploy each note of the original plainchant as breve + minim (in C mensuration). Spanish keyboard music provides an early 17th-century example, a section of no.41 of Francisco Correa de Arauxo’s Libro de tientos (1626; ed. in MME, xii, 1952, p.31). Quintuple time is used fleetingly in the ‘mad scene’ in Handel’s Orlando (1732). In Act 2 scene xi the crazed hero believes himself to have entered Charon’s boat on the River Styx and sings the words ‘Già solco l’onde’ (‘Already I am cleaving the waves’) to five rising quavers, in unison with the strings, which immediately repeat the figure twice in descending sequence, thus giving three bars of 5/8 time; the figure recurs two bars later. This is within a long accompanied recitative. Adolfati’s opera Arianna (Genoa, 1750) contains an aria written in quintuple time, ‘Se la sorte mi condanna’. Examples of quintuple time proliferate in the 19th century: it occurs in the ballad Prinz Eugen by Carl Loewe, Reicha’s 36 Fugues for piano, the air ‘Viens, gentille dame’ from Boieldieu’s La dame blanche (1825), Chopin’s Sonata in C minor op.4 (1828), and Ferdinand Hiller’s Piano Trio op.64 (?1855) and Rhythmische Studien for piano. As Tristan awaits Isolde’s disembarkation at the beginning of Act 3 scene ii of Wagner’s Tristan und Isolde (1859) his excitement is expressed through seven bars in 5/4 time. Other notable examples of quintuple time are Anton Rubinstein’s Tower of Babel (1870), the waltz-like second movement of Tchaikovsky’s Symphony no.6 (1893), Rachmaninoff’s The Isle of the Dead (1909) and the first movement of Holst’s suite The Planets (1914–16). DAVID HILEY Quintus (Lat.: ‘fifth’). A fifth part in vocal or instrumental polyphony, particularly in the era when such music was published in Partbooks. The term was used quite regularly by the 1540s and continued into the second decade of the 17th century. For parts that were additional to the ‘standard’ four, composers usually preferred designations that indicated ranges or functions: for example ‘primus discantus’ and ‘secundus discantus’, or ‘contratenor 1’ and ‘contratenor 2’. In printed partbooks these additional parts, which often differed from piece to piece within a collection, were placed together in a single volume under the general title ‘quintus’, ‘quinto’ or ‘quinta pars’. Where a sixth voice was involved quintus and sextus were often printed on pages facing one another to permit two musicians to read from the same book. OWEN JANDER Quintzug (Ger.). See under Zug (i). |
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