for the Academy than to bestow upon it the epithet 'Pontificia.' After the consolidation of the kingdom of Italy the Academy began to make great strides; Victor Emmanuel himself gave it his support and erected it into a Royal Institution. In 1870 Signors Sgambati and Pinelli started their pianoforte and violin classes, which are still the most popular, owing to the excellence of the instruction given and the very moderate price of lessons. It was not till 1877 that the long-wished-for 'Liceo musicale' in connection with the Academy became a fait accompli. Members were now divided into 'Soci di merito, ordinari, illustri, and onorari'; but the titles of the principal officers were not materially altered. Professors were appointed, twenty-nine in number (since increased to thirty-four) for every quality of voice and for every instrument of importance. Alessandro Orsini had the superintendence of the Singing, and Ferdinando Furino of the Violoncello classes. A school was also set up for choral singing; lectures were delivered by the Librarian, Professor Berwin (to whose efforts a great deal of the success of the 'Liceo' may be attributed); prizes were offered; public concerts were given by the members;—in fact it is to the Academy that Rome looks on all public occasions, whether it is for a charity concert or a requiem, as in the cases of Garibaldi and Victor Emmanuel. The Library, which was a very small one when Gregory XVI. bequeathed to it, in 1846, his musical library, has since, in 1875, been enriched by the Orsini collection, and, in 1882, by the musical works which had formerly belonged to the dissolved Monasteries; in the latter year were also added copies of all modern musical publications—since 1500—which were to be found in the various libraries of Rome; so that now the Academy possesses one of the largest and most important musical libraries in Itaty. Owing to the large grants made by the government, the municipality, etc., at the time of the creation of the 'Liceo,'—grants which have been for the most part continued annually and in some cases increased—the institution has been enabled to extend its sphere of operations. It still enjoys Court patronage, King Humbert being honorary president, and Queen Margherita also an associate. There are now nearly 200 members, and it is proposed to erect new schools to meet the increased demands. Interest in the Academy is not by any means confined to Italy; this is often shown in a substantial way, as in the presentation to it of pianofortes by Messrs. Erard and Brinsmead, etc. etc. At the present moment a large concert hall is in course of construction.[1]
The institution has done great service in the past to the Roman musical world, and is still continuing to do so, to such a degree that Rome no need longer fear comparison with any other Italian town, Milan perhaps excepted.
Still, notwithstanding the presence of such excellent musicians as Sgambati and Pinelli, whose classical concerts have done much to elevate the taste of the capital, notwithstanding its national Apollo theatre, its well conducted journal the 'Palestra Musicale,' and its numerous musical critics, the Rome of 1889 reflects but little of its former glories.
[ A. H.-H. ]
ROMEO AND JULIET. Line 8 of article, for Carnival read Jan. 30. Line 11, for the Scala read the Teatro della Canobbiana, and for spring of 1826 read Oct. 31, 1825. Line 15, for 12 read 11. Add date of first performance of Berlioz's symphony, Nov. 24, 1839.
RONCONI. P. 154b, l. 14 from bottom, for Giovannina read Elguerra. Line 13 from bottom, for the previous year read early in the same year. Line 12 from bottom, for St. James' Theatre read Lyceum and King's Theatres. Add date of death of Giorgio, Feb. 1883. P. 155a, l. 3 from bottom, add that his first appearance in England was at the Lyceum as Cardenio in Donizetti's 'Furioso,' Dec. 17, 1836. It is presumed to have been Sebastiano who sang at the Philharmonic Feb. 27, 1837, since Giorgio first appeared in London in 1842.
ROOSE, John, a Brother of the Order of Preaching Friars, repaired one of the organs in York Minster in 1457. This is the first English organ builder of which we have any authentic mention.
[ V. de P. ]
RORE, Cipriano di. Line 14 of article, for almost immediately read after about eighteen months.
ROSA, Carl. Add that in 1882 a season was given at Her Majesty's Theatre, from Jan. 14 to March 11. 'Tannhäuser' and Balfe's 'Painter of Antwerp' ('Moro') were produced, and Mme. Valleria joined the company. For the season of 1883 (March 26–April 21) the company moved to Drury Lane, which was its London centre until 1887. Thomas's 'Esmeralda' and Mackenzie's 'Colomba' were produced, and Mme. Marie Roze appeared as Carmen, etc. In 1884 (April 14–May 10) Stanford's 'Canterbury Pilgrims' was the only new work produced. In 1885 (April 6–May 30) Thomas's 'Nadeschda' and' Massenet's 'Manon' were given. In 1886 (May 23–June 26) Mackenzie's 'Troubadour,' and in 1887 (April 7–June 11) Corder's 'Nordisa' were the novelties. In 1889, a 'Light Opera Company' opened with Planquette's 'Paul Jones' at the Prince of Wales's Theatre.
ROSALIA. P. 160b, 2nd paragraph, add For a fivefold repetition see the Branle given under Form, vol. i. p. 542b.
ROSENHAIN, Jacob. Line 5, for Stuttgart in 1825, read Frankfort in 1823. Line 11, for not so fortunate read never performed. Line 12 from end, for minor read major. Line 11 from bottom, for but not played read played at a Concert Populaire. To list of works add a PF. concerto, op. 73; Sonata, op. 74; do. PF. and cello, op. 98; 'Am Abend' for quartet, op. 99.
ROSSI, Lauro. P. 163b, l. 12, for one of the Milanese theatres read the Teatro della
- ↑ A considerable part of the information relating to the Academy has been derived from Enrico Tosti's 'Appunti storici sull' Accademia di S. Cecilia.'
