few oratorios, one being the 'Maccabees.' His scores are in the collection of Messrs. Ricordi of Milan.
TRÉSOR DES PIANISTES, LE. A remarkable collection of ancient and modern pianoforte music, made and edited by Madame Farrenc, and published part by part by Leduc of Paris, from June 1861 to 1872. M. Farrenc contributed some of the biographical notices to the work, but his death in 1865 prevented his having any large share in it; the rest of the biographies were written by Fétis jun. The collection has been since superseded by separate publications and more thorough editing, but it will always remain a remarkable work. Its contents are as follows. The reduction that has taken place in the price of music during the last twenty years may be realised when we recollect that this edition, which boasts of being the cheapest then published, was issued at 25 francs or £1 per part.
Part I.
History of the Piano; and treatise on Ornament.
C. P. E.Bach. 6 Sonatas.
Do. 6 do.
J. P. Rameau. 1st Book of Pieces.
Do. 2nd do.
Durante. 6 Sonatas.
Porpora. 6 Fugues.
Part II.
C. P. E. Bach. 6 Sonatas.
Kuhuau. 7 Sonatas.
H. Purcell. Collection of Pieces.
D. Scarlatti. Pieces 1 to 26.
Hummel. Ops. 8, 9, 10, 15.
Lindemann. Pieces.
Schwanenberg. 2 minuets.
Part III.
Pad. Martini. 12 Sonatas.
F. Couperin. 1st Book of Pieces.
Hummel. Ops. 21, 40. 57, 75.
Part IV.
C. P. E. Bach. 6 Sonatas.
Do. 6 do.
Handel. Suites de Pièces, Book 1.
Do. Do. Book II.
Do. Do. Book III.
Do. 6 Fugues.
Part V.
Chambonnières. 1st Bk. of Pieces.
Do. 2nd do.
D. Scarlatti. Pieces 27 to 49.
Beethoven. Sonatas, Ops. 2, 7, 10.
Part VI.
Parthenia. Byrd, Bull, Gibbons.
Pieces by English writers of 16th and 17th centuries. First Collection.
Friedemann Bach. 12 Polonaises and Sonata.
C. P. E. Bach. 6 Sonatas.
Beethoven. Ops. 13, 14, 22, 26, 27.
Part VII.
Th. Muffat. Pieces.
G. Benda. 6 Sonatas.
C. P. E. Bach. 6 Sonatas.
Beethoven. Sonatas, Ops. 31, 49.
Part VIII.
Couperin. 2nd Book of Pieces.
D. Scarlatti. Pieces 50 to 77.
C. P. E. Bach. 6 Sonatas.
Do. 6 do.
Part IX.
Fried. Bach. 8 Fugues.
J. W. Haessler. 2 Fantasies, 6 Sonatas, 4 Solos.
G. Muffat. 12 Toccatas.
Beethoven. Sonatas, Ops. 53, 54, 57. 78, 79. 81, 90.
Part X.
Albrechtsberger. 12 Fugues.
Kuhnau. Exercises, Parts 1 and 2.
W. A. Mozart. 6 Sonatas.
M. Clementi. 3 Sonatas, Op. 2.
2 do. Op. 7.
J. P. Kirnberger. 6 Fugues.
Do. Collection of Pieces.
Part XI.
C. P. E. Bach. 5 Sonatas, 4 Rondeaux.
Ch. Nichelmann. 5 Sonatas; 6 Sonatas, Op. 2.
D. Scarlatti. Pieces 78 to 94.
Froberger. 5 Caprices, 6 Suites.
J. S. Bach. 6 Suites.
Part XII.
Couperin. 3rd Book of Pieces.
Kuhnau. Toccata.
Hummel. Introduction and Rondeau, Op. 19.
Kirnberger. Collection of Pieces, No. 2.
Do. Do. No. 3.
F. V. Buttstedt. 2 Sonatas.
J. E. Eberlin. 6 Preludes and Fugues.
Beethoven. Sonatas, Ops. 101, 106.
Part XIII.
Frescobaldi. 3 Fugues, 6 Canzone.
Fried. Bach. 1 Suite, 4 Fantasies.
W. A. Mozart. 3 Sonatas.
D. Scarlatti. Pieces 95 to 110.
Jos. Haydn. 5 Sonatas.
C. P. E. Bach. 6 Sonatas.
Part XIV.
Mattheson. Pieces.
Beethoven. Sonatas, Ops. 109, 110, 111.
Froberger. 8 Toccatas, 6 Suites.
Albrechtsberger. 18 Fugues.
Hummel. Rondeau brillant, Op. 109; Sonata, Op. 13.
Fasch. 2 Sonatas, 1 Piece.
Goldberg. Prelude and Fugue.
Part XV.
Couperin. 4th Book of Pieces.
W. A. Mozart. 4 Sonatas.
J. S. Bach. 6 English Suites.
Hummel. Sonata, Op. 20.
D. Zipoli. Pieces for Organ and for Clavecin.
Part XVI.
C. M. von Weber. 4 Sonatas. Ops. 24. 39, 49. 70.
D. Scarlatti. Pieces 111 to 130.
L. Claude Daquin. Pieces for Clavecin.
J. W. Haessler. 3 Sonatas.
F. Chopin. 9 Nocturnes.
Part XVII.
P. D. Paradies. 10 Sonatas.
Hummel. Adagio: Sonata, Op. 18.
J. C. F. Bach. Sonatas and Pieces.
J. L. Dussek. 3 Sonatas, Op. 35; Sonata, Op. 64.
Frescobaldi. Pieces.
J.L. Krebs. 3 Fugues.
Part XVIII.
J. Christian Bach. 7 Sonatas.
Beethoven. 6 Airs with variations.
J. Christ. Smith. 9 Suites de pièces.
Clementi. 3 Sonatas, Op. 8; 4 Sonatas and 1 Toccata.
Part XIX.
H. d'Anglebert. Pieces for Clavecin.
W. A. Mozart. 3 Sonatas.
D. Scarlatti. Pieces 131 to 162.
Hummel. Fantasia, Op. 18.
Duphly. Piece for Clavecin.
F. Ries. Sonata, Op. 26.
Haydn. 5 Sonatas.
Part XX.
Various authors, 17th century. Pieces for Clavecin.
Do. 18th century. Do.
Claudio Merulo. Toccata for organ.
J. B. Cramer. 3 Sonatas.
W. A. Mozart. Romance.
D. Steibelt. Sonata, Op. 64.
Chr. Schaffrath. 2 Sonatas, Op. 2.
J. G. Wernicke. 5 Pieces.
F. Mendelssohn. Rondo capriccioso, Op. 14; 8 Fantasias. Op. 16.
TRIAD is a chord of three notes standing in the relation to one another of bottom note, third, and fifth. It is of no consequence what the quality of the combination is, whether consonant or dissonant, major or minor. The following are specimens:—
TRIAL, Jean Claude, French composer, bora at Avignon, Dec. 13, 1732, was educated at the Maitrise, and early studied the violin, for which his first compositions were intended. Settling in Paris he became intimate with Rameau, and was taken up by the Prince de Conti, who made him conductor of his own music, and procured him the joint-directorship with Berton of the Opéra (1767). He composed 'Esope à Cythere' (1766), and 'La Fête de Flore' (1771), each in one act, and with Berton 'Sylvie,' 3 acts (1766), and 'Théonis,' 1 act (1767); also short overtures, orchestral divertissements, cantatas, and the music for 'La Chercheuse d'esprit.' He died of apoplexy June 23, 1771. His brother,
Antoine, his junior by four years, was also born at Avignon, and educated at the Maitrise, but forsook ecclesiastical plainsong for stage ariettas. Having appeared with success as a comedy-tenor in several provincial towns, he went to Paris in 1764, and there quickly rose into favour as a singer of considerable musical attainments, and an actor possessing real wit and originality. For 30 years composers eagerly vied with each other in writing parts for him, and he left permanent traces at the Opéra Comique, where the comedy-tenor part is still called by his name. Like Dugazon, Antoine Trial embraced with fervour the doctrines of the Revolution, and on the fall of Robespierre was constrained by the mob to atone for his previous exploits by singing the 'Réveil du Peuple' on his knees. Forced to give up his post in the municipality, and subjected to many cruel humiliations, his mind gave way, and he poisoned himself Feb. 5, 1795. His wife, Marie Jeanne Milon, sang under the name of Mme. Mandeville, and having a voice of remarkable compass and flexibility, brought into fashion airs full of roulades and vocalises. Their son,
Armand Emmanuel, born in Paris, March 1, 1771, began early to compose, and produced at the Comédie Italienne 'Julien et Colette' (1788), 'Adelaïde et Mirval' (1791); 'Les deux petits
