longed to Signor Rauzzini, and after his death his master put up a memorial to him in his garden at Bath, in which he was spoken of as his master's 'best friend.' Haydn and Burney visited Rauzzini at Bath in 1794, and Haydn was so much struck by the memorial as to set a part of the inscription—apparently the concluding words—as a canon or round for 4 voices.
Canon a quattro.
![{ << \new Staff \with { instrumentName = "1" } \relative b' { \key bes \major \time 3/4 \autoBeamOff \override Score.BarNumber #'break-visibility = #'#(#f #f #f)
bes4\fermata a8 bes c16.[ d32 ees16.] d32 |
c4 r8 ees d16.[ ees32 f16.] ees32 |
d4 r8 f d bes | g4 r8 ees'8 c a \bar "||" \stopStaff \once \override Score.Stem #'stencil = ##f \once \override NoteHead.stencil = #ly:text-interface::print \once \override NoteHead.text = \markup \lower #0.5 "2" bes4 }
\addlyrics { Turk was a faith -- ful dog; a faith -- ful dog, and not a man, And not a }
\addlyrics { dog. }
\new Staff \with { instrumentName = "2" } \relative b' { \key bes \major \autoBeamOff
bes4\fermata r8 g ees c | f16.[ g32 a16.] bes32 c4 r8 a |
bes16.[ c32 d16.] ees32 f4 r8 d | bes g ees c f f \stopStaff \once \override Score.Stem #'stencil = ##f \once \override NoteHead.stencil = #ly:text-interface::print \once \override NoteHead.text = \markup \lower #0.5 "3" bes4 }
\addlyrics { man. Turk was a faith -- ful dog, a faith -- ful dog, and not a man, And not a }
\new Staff \with { instrumentName = "3" } \relative b' { \key bes \major \autoBeamOff
bes4\fermata r8 bes g c16.[ bes32] |
a16.[ bes32 c16.] bes32 a8 c a f |
f' d bes d bes d, | ees4 g8 r a r \stopStaff \once \override Score.Stem #'stencil = ##f \once \override NoteHead.stencil = #ly:text-interface::print \once \override NoteHead.text = \markup \lower #0.5 "4" bes4 }
\addlyrics { man. Turk was a faith -- ful dog, and not, and not a man, and not a man; Turk, Turk, }
\new Staff \with { instrumentName = "4" } \relative b' { \key bes \major \autoBeamOff \override Staff.Rest #'style = #'classical
bes4\fermata r r | f'2 f8 f | f2 f4 | f8[ ees] r ees ees c \stopStaff \once \override Score.Stem #'stencil = ##f \once \override NoteHead.stencil = #ly:text-interface::print \once \override NoteHead.text = \markup \lower #0.5 "1" bes4 }
\addlyrics { Turk! Turk was a faith -- ful dog a faith -- ful } >> }](http://upload.wikimedia.org/score/5/6/56p993qqxpp4pthla1ppc2vyh1jb7ye/56p993qq.png)
The house was then known as 'Perrymead' (not 'The Pyramids,' as Pohl[1] gives it), but now as 'Warner's,' and is situated in the south-east part of Bath. All trace of the memorial seems to have disappeared.[2]
TURKISH MUSIC (Türkische, or [3]Janitscharen musik; Ital. Banda turca). The accepted term for the noisy percussion instruments—big-drum, cymbals, triangle—in the orchestra. The most classical instance of its use is in the brilliant second number of the Finale to the Choral Symphony, alla marcia. There, and in the last chorus of all, Beethoven has added 'Triangolo,' 'Cinelli,' and 'Gran Tamburo,' to the score; and these noisy additions were evidently part of his original conception, since they are mentioned in an early memorandum, long before the vocal part of the symphony had assumed at all its present shape. In the autograph of the Dervish Chorus in the Ruins of Athens, which is scored for horns, trumpets, and alto and bass trombone, in addition to the usual strings, he has made a memorandum that 'all possible noisy instruments, such as castanets, bells, etc.,' should be added.
TURLE, James, born at Taunton [App. p.805 "Somerton"], March 5, 1802, was a chorister at Wells Cathedral, under Dodd Perkins, from July 1810 to Dec. 1813. He was organist of Christ Church, Surrey, from 1819 to 1829, and from the latter date to 1831 organist of St. James, Bermondsey. From 1819 to 1831 he was assistant to Thomas Greatorex as organist and master of the choristers of Westminster Abbey, and upon Greatorex's death in 1831 was appointed his successor. [App. p.805 "add that from 1840 to 1843 he was part conductor of the Ancient Concerts."] In 1875 he was released from active duty by the appointment of Dr. J. F. Bridge as his assistant. From 1829 to 1856 he was music master at the School for the Indigent Blind. He composed and edited many services, anthems, and chants, and edited, with Professor E. Taylor, 'The People's Music Book.' He also composed many glees, which yet remain in MS. His remarkable skill and ability as a teacher were strikingly manifested by the number of those who received their early training from him, and rose to eminence in their profession. He died June 28, 1882.
Robert Turle, his brother, born March 19, 1804, was a chorister at Westminster Abbey from 1814 to Aug. 1821, was organist of Armagh Cathedral from 1823 to 1872, and died March 26, 1877.
William Turle, first cousin of the preceding two, born at Taunton in 1795, a chorister of Wells Cathedral from 1804 to 1810. After quitting the choir he paid a short visit to America, and on his return to England in 1812 became organist of St. James's, Taunton, which he quitted upon being appointed organist of St. Mary Magdalen's in the same town.
TURN (Fr. Brisée; Germ. Doppelschlag; Ital. Grupetto). An ornament much used in both ancient and modern music, instrumental as well as vocal. Its sign is a curve 𝆗 placed above or below the note, and it is rendered by four notes—namely, the note next above the written note, the written note itself, the note below, and the written note again (Ex. 1). It is thus identical with a figure frequently employed in composition, and known as the halfcircle (Halbzirkel, Circolo mezzo). The written note is called the principal note of the turn, and the others are termed respectively the upper and lower auxiliary notes.
![{ \time 3/4 \mark \markup \small "1." \override Score.TimeSignature #'stencil = ##f \cadenzaOn s4 c''4\turn^\markup { \italic "Written." } s4. \bar "||" s4 d''16[^\markup \italic { "Played." } c'' b' c''] s4 \bar "||" }](http://upload.wikimedia.org/score/4/4/445pbj0nqw5qa1z9i21xmqjx7pc1nmr/445pbj0n.png)
On account of its gracefulness, and also no doubt in consequence of its presenting little difficulty of execution, the turn has always been a very favourite ornament, so much so that Emmanuel Bach says of it, 'This beautiful grace is
