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in that year, is preserved in the British Museum (Sloane MSS., 2329). He subsequently entered into Holy Orders, and in 1622 became Vicar of Tillingham, Essex, and in 1627 Rector of Stoke Newington. He died at the latter place in August, 1638.

[ W. H. H. ]

TAYLOR, Edward, was born Jan. 22, 1784, in Norwich, where, as a boy, he attracted the attention of Dr. Beckwith, who gave him instruction. Arrived at manhood he embarked in business in his native city, but continued the practice of music as an amateur. He possessed a fine, rich, full-toned bass voice, and became not only solo vocalist, but an active manager of the principal amateur society in Norwich. He took a leading part in the establishment in 1824 of the existing triennial Norwich Musical Festival, training the chorus, engaging the band and singers, and making out the entire programmes. In 1825 he removed to London, and, in connection with some relatives, entered upon the profession of civil engineer, but not meeting with success he, in 1826, adopted music as a profession, and immediately attained a good position as a bass singer. In 1830 he translated and adapted Spohr's 'Last Judgment.' This led to an intimacy with Spohr, at whose request he subsequently translated and adapted the oratorios, 'Crucifixion' (or 'Calvary'), 1836, and 'Fall of Babylon,' 1842. On Oct. 24, 1837, he was appointed professor of music in Gresham College in succession to R. J. S. Stevens. He entered upon his duties in Jan. 1838, by the delivery of three lectures, which he subsequently published. His lectures were admirably adapted to the understanding of a general audience; they were historical and critical, excellently written, eloquently read, and illustrated by well chosen extracts from the works described efficiently performed. In 1839 he published, under the title of 'The Vocal School of Italy in the 16th century,' a selection of 28 madrigals by the best Italian masters adapted to English words. He conducted the Norwich Festivals of 1839 and 1842. He wrote and composed an ode for the opening of the present Gresham College, Nov. 2, 1843. In 1844 he joined James Turle in editing 'The People's Music Book.' In 1845 he contributed to 'The British and Foreign Review,' an article entitled 'The English Cathedral Service, its Glory, its Decline, and its designed Extinction,' a production evoked by some then pending legislation connected with the cathedral institutions, which attracted great attention, and was afterwards reprinted in a separate form. He was one of the originators of the Vocal Society (of which he was the secretary), and of the Musical Antiquarian Society (for which he edited Purcell's 'King Arthur'), and the founder of the Purcell Club. [See Musical Antiquarian Society, Purcell Club, and Vocal Society.] Besides the before-named works he wrote and adapted with great skill English words to Mozart's 'Requiem,' Graun's 'Tod Jesu,' Schneider's 'Sündfluth,' Spohr's 'Vater Unser,' Haydn's 'Jahreszeiten,' and a very large number of compositions introduced in his lectures. He was for many years music critic to 'The Spectator' newspaper. He died at Brentwood, March 12, 1863. His valuable library was dispersed by auction in the following December.

[ W. H. H. ]

TAYLOR, Franklin, a well-known pianoforte-player and teacher in London, born at Birmingham, Feb. 5, 1843, began music at a very early age; learned the pianoforte under Chas. Flavell, and the organ under T. Bedsmore, organist of Lichfield Cathedral, where at the age of 11 he was able to take the service. In 1859 he went to Leipzig and studied in the Conservatorium with Sullivan, J. F. Barnett, etc., under Plaidy and Moscheles for pianoforte, and Hauptmann, Richter, and Papperitz for theory. He left in 1861 and made some stay in Paris, where he had lessons from Mme. Schumann, and was in close intercourse with Heller, Schulhoff, Mme. Viardot, etc. In 1862 he returned to England, settled permanently in London, and began teaching, and playing at the Crystal Palace (Feb. 18, 1865, etc.), the Monday Popular Concerts (Jan. 15, 66, etc.), as well as at the Liverpool Philharmonic, Birmingham Chamber Concerts, and elsewhere. At the same time he was organist successively of Twickenham Parish Church, and St. Michael's, Chester Square. In 1876 he joined the National Training School as teacher, and in 1882 the Royal College of Music as Professor of the Pianoforte. He is President of the Academy for the higher development of pianoforte-playing.

His Primer of the Pianoforte (Macmillan 1879)—emphatically a 'little book on a great subject,' and a most useful and practical book too—has been published in German. He has also compiled a PF. tutor (Enoch), and has edited Beethoven's Sonatas 1–12 for C. Boosey. He has translated Richter's treatises on Harmony, Counterpoint, and Canon and Fugue (Cramer & Co.); and arranged Sullivan's Tempest music for four hands on its production. With all his gifts as a player it is probably as a teacher that his reputation will live. His attention to his pupils is unremitting, and his power of imparting tone, touch, and execution to them, remarkable. Gifted with a fine musical organisation himself, he evokes the intelligence of his pupils, and succeeds in making them musicians as well as mere fine technical performers.

[ G. ]

TECHNIQUE (Germ. Technik). A French term which has been adopted in England, and which expresses the mechanical part of playing. A player may be perfect in technique, and yet have neither soul nor intelligence.

[ G. ]

TEDESCA, ALLA (Italian), 'in the German style.' 'Tedesca' and 'Deutsch' are both derived from an ancient term which appears in mediæval Latin as Theotisca. Beethoven employs it twice in his published works—in the first movement of op. 79, the Sonatina in G,—