EVERS, Carl. Line 8 from end of article, add that he died in Vienna, Dec. 31, 1875.
EVACUATIO (Ital. Evacuazione; Germ. Ausleerung; Eng. Evacuation). A term used in the 15th and 16th centuries, to denote the substitution of a 'void' or open-headed note for a 'full,' or closed one; e.g. of a Minim for a Crotchet. The process was employed, both with black and red notes, and continued for some time after the invention of printing; but, its effect upon the duration of the notes concerned differed considerably at different epochs. Morley,[1] writing in 1597, says 'If a white note, wh they called blacke voyd, happened amongst blacke full, it was diminished of halfe the value, so that a minime was but a crotchet, and a semibriefe a minime,' etc. But, in many cases, the diminution was one-third, marking the difference between 'perfection' and 'imperfection'; or one-fourth, superseding the action of the 'point of augmentation.' For the explanation of some of these cases, see vol. ii. p. 471.
EVOVAE (Euouae vel Euouæ). A technical word, formed from the vowels of the last clause of the 'Gloria Patri'—seculorum. Amen; and used, in mediaeval Office-Books, as an abbreviation, when, at the close of an Antiphon, it is necessary to indicate the Ending of the Tone adapted to the following Psalm, or Canticle.
The following example, indicating the Second Ending of the First Tone, is taken from an Office-Book printed at Magdeburg in 1613.
An amusingly erroneous account of the origin of this word is noticed in vol. ii. 462 a, note.
EWER & Co. A firm of music publishers and importers, originally established by John J. Ewer about seventy years ago in small premises in Bow Churchyard. Ewer & Co. were for many years almost the only importers of foreign music in this country. Their publications were chiefly by German composers, and it was their editions of vocal quartets with English words, brought out in score and parts under the title of 'Orpheus,' and also 'Gems of German Song,' that first brought the firm into notice. On the retirement of Ewer, the business passed by purchase into the hands of E. Buxton, who removed it, first to Newgate Street, and afterwards to No. 390 Oxford Street. The business, under Buxton's direction, gained a great importance owing to the acquisition of the copyright for England of all subsequent works to be composed by Mendelssohn. The incident that determined Mendelssohn thus to accept Ewer & Co. is noteworthy. He had offered Addison & Co., through the mediation of Benedict, the copyright of his Scotch Symphony and the fourth Book of the Lieder ohne Worte, with some smaller pieces. Addison & Co. were willing to take the pianoforte compositions, but were not disposed to give the amount asked, £25, for the Symphony, intimating that the first Symphony had not sold well,, and that they had unsaleable copies on hand. They eventually offered £20. Mendelssohn, who disliked bargaining, felt hurt, and at the suggestion of Benedict offered the new works to Buxton, who gladly accepted them, and agreed to publish all Mendelssohn's future compositions. Buxton, who had a large business of another kind, and had only taken to music publishing from his attachment to the art, in 1860 sold his property of Ewer & Co. to Mr. William Witt, who had been the manager of the firm from 1852. Mr. Witt removed the business premises to No. 87 Regent Street, where he added a Musical Library that offered for circulation every branch of musical composition. By sparing neither trouble nor expense his library became one of the most valuable and extensive in existence. Cheap and complete editions of Mendelssohn's works were brought out by him before the like could be done in the composer's own country. Mr. Witt retired in 1867, when the firm of Ewer & Co. went by purchase to Messrs. Novello & Co. [See Novello, Ewer & Co..]
EXPOSITION is the putting out or statement of the musical subjects upon which any movement is founded, and is regulated by various rules in different forms of the art. In fugue the process of introducing the several parts or voices is the exposition, and it ends and passes into episode or counter-exposition when the last part that enters has concluded with the last note of the subject. The rules for fugal exposition are given in the article Fugue. Counter-exposition is the reappearance of the principal subject or subjects, after complete exposition, or such digressions as episodes. In forms of the harmonic order the term Exposition is commonly used of the first half of a movement in Binary form, because that part contains the statement of the two principal subjects. This use of the word is evidently derived from the incomplete and superficial view which was the legacy of theorists of some generations back, that a Binary movement was based on two tunes which for the sake of variety are put into two different keys. Hence it is not so apt in this sense as it is in connection with fugue. But it may be defended as less open to objection when it is used as the obverse to Recapitulation, so as to divide Binary movements into three main portions, the Exposition, Development, and Recapitulation; and though it leaves out of count the vital importance of the contrast and balance of key, it is likely to be commonly accepted in default of a better. See also Form.
EYBLER, Joseph von. Correct the last statement by adding that Dr. Stainer has edited one movement by Eybler.
- ↑ 'A Plaine and Easie Introduction.' Annotation at the end of the volume, referring to p. 9.
