Criterion Theatres. His compositions include a setting of Gray's Elegy, written for the Leeds Festival (Oct. 10, 1883), a Suite Symphonique for orchestra, various songs and PF. pieces, among which latter must be mentioned a charming 'Danse pompeuse,' 1880, dedicated to and frequently played by Mme. Montigny-Remaury. But Mr. Cellier is best known as a composer of light opera or opera bouffe. Besides much incidental music to plays, etc., he has produced the following:—'Charity begins at Home,' Gallery of Illustration, 1870, 'The Sultan of Mocha,' produced at the Prince's Theatre, Manchester, Nov. 16, 1874, with great success, and at St. James's Theatre, London, April 17, 1876; 'The Tower of London,' Oct. 4, 1875; 'Nell Gwynne,' Oct. 16, 1876; 'Bella Donna, or the Little Beauty and the Great Beast,' Apr. 27, 1878, all produced at Manchester; 'The Foster Brothers,' 1876 (St. George's Hall); 'Dora's Dream,' Nov. 17, 1877; 'The Spectre Knight,' Feb. 9, 1878; 'After all,' Dec. 16, 1879; 'In the Sulks,' Feb. 21, 1880, operettas in one act, all produced at the Opera Comique Theatre. 'Pandora,' a grand opera in three acts, words by Longfellow, was produced in Boston in 1881. Few of the larger works obtained other than provincial popularity, in spite of the pleasing and elegant music contained therein, probably owing to weak librettos; but on Sept. 25, 1886, in his opera of 'Dorothy, 'produced at the Gaiety Theatre, a fresh setting of his 'Nell Gwynne' to a new book, Mr. Cellier gained his first real success, thanks to the musical merits of the work, which ran through the entire autumn season, and on Dec. 20, was transferred to the Prince of Wales' Theatre, where it has been performed ever since. A lever du rideau entitled 'The Carp,' was produced at the Savoy Theatre on Feb. 13, 1886, and another 'Mrs. Jarramie's Genie,' at the same, Feb. 14, 1888. On Sept. 21, 1887, the 'Sultan of Mocha' was revived at the Strand Theatre, with a new libretto by Lestocq. Mr. Cellier has of late resided in America and Australia, but returned to England in 1887. (Died Dec. 28, 1891.)
CEMBAL D'AMORE. Add that the instrument should be regarded as a double clavichord, the two instruments being separated by the tangents.
CEMBALO. P. 330 b, l. 24, for Pedal read Pedals, I.
CERTON. Line 12 of article, for 1533–49 read 1527–36, and for 1543–50 read 1543–60.
CESTI, Antonio. Add that he died at Venice, 1669, and refer to the last sentence of the article Carissimi, for another composition attributed to him.
CHABRIER, Alexis Emmanuel, born at Ambert (Puy de Dôme) Jan. 18, 1841,[1] at first took up music as an amateur, while he was studying law at Paris, and was employed at the Ministere de l'Intérieur. While at the Lycée St. Louis he had been taught the piano by Edouard Wolff, and he afterwards studied harmony and counterpoint with Aristide Hignard; but in reality he was self-taught. His first works of any importance were two operettas, more worthy of notice than most compositions of their kind: 'L'Étoile' (Bouffes Parisiens, Nov. 28, 1877), and 'L'Éducation manquée' (Cercle de la Presse, May 1, 1879). Two years later, having devoted himself entirely to music, he published 'Dix Pièces pittoresques' for piano; and in Nov. 1883, a Rhapsody on original Spanish airs, entitled 'España,' was very successful at the concerts of the Château d'Eau, where he was for two years (1884–5) chorus master, and where he helped Lamoureux to produce the first two acts of 'Tristan und Isolde.' While there he produced a scena for mezzo-soprano and female chorus, 'La Sulamite' (March 15, 1885), also selections from his opera 'Gwendoline,' which was given in its entirety at the Théâtre de la Monnaie, Brussels, April 10, 1886; finally he produced, at the Opéra Comique in Paris, a more extensive work, 'Le Roi malgré lui' (May 18, 1887), which, after three performances, was stopped by the fire of May 25; it was reproduced at the temporary establishment on Nov. 16, 1887. M. Chabrier's works show a rare power of combining all the musical materials at his disposal, and his 'España' is a model in this respect; but in his original compositions a lack of spontaneity is apparent, and his orchestration, though not deficient in variety of colouring, is noisy and too thick. He is a gifted composer, but his attachment to various schools shows him to be without settled artistic convictions.
CHANGING-NOTE. See Nota Cambita, ii. 466, and Wechselnote, iv. 430.
CHANSON. P. 335 b, l. 27, for Vive Henri Quatre read Henri Quatre (Vive).
CHANT. P. 337 a, l. 6 from bottom, for 1613 read 1623. P. 338 a, l. 10, for Camidge read Crotch.
CHAPPLE, Samuel. Add date of death, 1833.
CHARD, G. W. Line 5 of article, for some years later read in 1802, and add date of appointment to the College, 1832.
CHARTON-DEMEUR. See Demeur in Appendix, vol. iv. p. 611.
CHATTERTON, J. B. Line 2 of article, for 1810 read about 1802. Line 3, add first appearance at a concert of Aspull's in 1824. Line 4, for 1844 read 1842. Line 7, for in read April 11.
CHAULIEU, Charles. Add day of birth, June 21.
CHELARD. Line 8 of article, add date of his obtaining the Grand Prix de Rome, 1811. P. 341 b, l. 7, for in read Feb. 12.
CHELL, William. Add that the works mentioned in the article appear to be nothing but copies of the treatises of John de Muris,
- ↑ Date verified by the registrar of birth.
