Page:A Dictionary of Music and Musicians vol 3.djvu/697

Mater' is a treasury of refined and graceful Melody. (3) Next in importance to this we must rank a very fine one, for six Voices, with Accompaniments for two Violins, three Viole, Basso, and Organo, composed by Steffani, who presented it to the 'Academy of Antient Musick' in London, on his election as Honorary President for life, in 1724. (4) Clari wrote another beautiful one, which is among the Fitzwilliam MSS. at Cambridge. (5) A nearly contemporary work, by Astorga, is one of the best Italian productions of its period.^[1] (6) Winter's Stabat Mater may be taken as a happy example of his refined and graceful style; and, if not a great work, is at least a remarkably pleasing one. (7, 8, 9, 10) The Royal College of Music possesses a Stabat Mater à 3 by Pietro Raimondi; with one composed by Padre Vito, in 1783, and two others, by Gesualdo Lanza, and the Spanish Composer, Angelo Inzenga. (11) The Chevalier Neukomm also wrote one which was very popular among his disciples. (12) Very different from all these is the setting of the text which has made its words familiar to thousands, if not millions, who would never otherwise have heard of them. We do not pause to enquire whether the sensuous beauty of Rossini's 'Stabat Mater' is worthy of the subject, or not: but we do say, of critics who judge it harshly, and dilettanti who can listen to it unmoved, that they must either be casehardened by pedantry, or destitute of all 'ear for Music.' (13) Yet, even this does not represent the latest interpretation of these beautiful verses, which have been illustrated, in still more modern, and very different musical phraseology, by Dvorák.^[2]

[ W. S. R. ]

STACCATO (Ital.; Ger. abgestossen), 'detached,' in contradistinction to legato, 'connected.' The notes of a staccato passage are made short, and separated from each other by intervals of silence. Staccato effects are obtained on the pianoforte by raising the hand from the keys immediately after striking, usually by a rapid action of the wrist (this is called 'wrist-touch'), though sometimes, especially in fortissimo, from the elbow; and there is also a third kind of staccato-touch called 'finger-staccato,' which is less frequently used, and which, as described by Hummel, consists in 'hurrying the fingers away from the keys, very lightly and in an inward direction.' This kind of touch is of course only applicable to passages of single notes.

On stringed instruments staccato passages are generally bowed with a separate stroke to each note, but an admirable staccato can also be produced, especially in solo music, by means of a series of rapid jerks from the wrist, the bow travelling meanwhile in one direction, from the point to the nut. [See also Paganini, vol. ii. p. 632.] Staccato on wind instruments is effected by a rapid thrusting forward of the tongue, so as to stop the current of air; and in singing, a staccato sound is produced by an impulse from the throat upon an open vowel, and instantly checked. A striking example of vocal staccato occurs in Mozart's air, 'Gli angui d'inferno,' from 'Die Zauberflöte.' Upon the harp, or any similar instrument, and likewise upon the drum, a staccato note requires the immediate application of the palm of the hand to the vibrating string or parchment, to stop the sound.

The signs of staccato are pointed dashes , or round dots, • • • •, placed over or under the notes, the former indicating a much shorter and sharper sound than the latter. [See Dash, vol. i. p. 431.] But besides the difference thus shown, the actual duration of staccato notes depends to some extent upon their written length. Thus in the following example the minims must be played longer than the crotchets (though no exact proportion need be observed), in spite of the fact that both are marked staccato alike:—

Beethoven, Sonata Pathétique.

When dots placed over or under notes are covered by a curved line, an effect is intended which is of great value in the rendering of expressive and cantabile phrases. This is called mezzo staccato (half-detached), and the notes are sustained for nearly their full value, and separated by a scarcely appreciable interval. On stringed and wind instruments indeed they are frequently not separated at all, but are attacked with a certain slight emphasis which is instantly weakened again, so as to produce almost the effect of disconnection; on the pianoforte however they must of necessity be separated, though but for an instant, and they are played with a close firm pressure, and with but little percussion. The following is an example of the use of mezzo staccato, with its rendering, as nearly as it is possible to represent it in notes:—

Beethoven, Sonata in C, Op. 53.

When a movement is intended to be staccato throughout, or nearly so, the word is usually written at the commencement, with the tempo-indication. Thus Mendelssohn's Prelude in B minor, op. 35, no. 3, is marked 'Prestissimo Staccato,' and Handel's Chorus, 'Let us break their bonds asunder,' is 'Allegro e staccato.'

[ F. T. ]

STADLER, Albert, intimate friend of Schubert's, born at Steyer in Upper Austria, April 4,

1. Published in score by Breitkopf & Härtel (1879).
2. 'Stabat Mater für Soli, Chor, u. Orchester' (Simrock, 1881). Performed by the London Musical Society, March 1883.