— ;:
70 ALLEN
moderate rapidity — about an allegretto
common time, and commencing usually with
one short note, generally a quaver or semi-
quaver, at the end of the bar.
Sometimes instead of one there are tliree
short notes at the beginning as in Handel's:
Suites, Book i., No. 5.
The homophonio rather than the polyphonic
style predominates in the music, which fre-
quently consists of a -highly iigurate melody,
with a comparatively simple accompaniment.
Suites are occasionally met with which have
no allemande (e.g. Bach's Partita in B minor),
but where it is introduced it is always, unless
preceded by a prelude, the first movement of
a suite ; and its chief characteristics are the
uniform and regular motion of the upper part
the avoidance of strongly marked rhythms or
rhythmical figures, such as we meet with in
the CouRANTB the absence of all accents on
;
the weak parts of the bar, such as are to be
found in the Sarabande the general preval-
; 27, 1876.
ence of homophony, already referred to a,nd
the simple and measured time of the music.
The allemande always consists of two parts,
each of which is repeated. These two parts
are usually of the length of 8, 12, or 16 bars
sometimes, though less frequently, of 10. In
ttn earlier allemandes, such as those of Couperin,
the second is frequently longer than the first
Bach, however, mostly makes them of the
same length (see Teutsoh).
2. The word is also used as equivalent to
—
,
the Deutscher Tanz a dance in triple time,
closely resembling the waltz. Specimens of
this species of allemande are to be seen in
Beethoven's 12 Deutsche Tanze, fiir Orohester,'
'
the first of which begins thus : tenor.
It has no relation whatever to the allemande
spoken of above, being of Swabian origin.
3. The name is also applied to a German
national dance of a lively character in 2-4 time,
similar to the Conteedanse. e. p.
ALLEN, Henry Kobinson, was born in 1809
at Cork, and received his musical education at
the Royal Academy of Music. His debut took
place on Jan. 11, 1831, as Basilic in a per-
by the students of the
formance of Figaro
'
' Plot.
Academy at the King's Theatre. He first
attracted public attention by his performance
on Feb. 5, 1842, of Damon on the production
of Acis and Galatea under Macready at Drury
' '
Lane. '
He was the only person worth listen-
ing to, in spite of the limited powers of his
;
ALLISON
— in organ. ^ In 1 843, under the same management,
'
he played Acis, and Phaon in Pacini's 'Saffo,'
when the heroine on each occasion was Clara
Novello, and later in the autumn he played at
the Princess's as Edward III. in the English
version of 'Les Puits d' Amour.' From that
time until the close of the Maddox management
in 1850 he was continually engaged at the
latter theatre, where, owing to its small size,
he was heard to advantage. He played in
'Don Giovanni,' 'Otello,' 'Anna Bolena,'
Herold's 'Marie,' 'La Barcarole,' 'Les Dia-
mants,' Auber's 'La Sirene,' etc. ; Hal^vy's
'
Val d'Andorre Balfe's ' Castle of Aymon '
' ;
Loder's 'Night Dancers.' In the early part
of 1846 he was engaged at Drury Lane, where
he played, Feb. 3, Basilius on production of
Macfarren's 'Don Quixote.' Apropos of this
part, Chorley, in the Atheiueum, considered
him, both as singer and actor, as the most
complete artist on the English operatic stage.
Allen retired early from public life, and
devoted himself to teaching and the composition
of ballads, two of which became popular, viz.
'
The Maid of Athens ' and ' When we two
parted.' He died at Shepherd's Bush, Nov.
A. c.
; ALLGEMEINE MUSIKALISCHE ZEIT-
UNG. See Leipzig and Musical Periodicals.
ALLISON, Richard, a teacher of music in
London the reign of Elizabeth, the par-
in
; ticulars of whose birth and decease are unknown.
His name first occurs as a contributor to T.
Este's ' Whole Booke of Psalms,' 1592. few A
years later he published on his own account
'The Psalmes of David in Meter,' 1599, a
collection of old church tunes harmonised by
himself in four parts, with an accompaniment
for the lute, orpharyon, citterne, or base violl,'
'
and important as being one of the earliest to
give the melody in the cantus or soprano part
— the usual practice being to give it to the
Allison advertises it ' to be aolde at
his house in the Duke's-place near Aide-gate,'
and dedicates it to the Countess of Warwick. It
is ushered forth by some complimentary verses
by John Dowland, the celebrated performer on
the lute, and others. He appears to have been
patronised by Sir John Scudamore, to whom he
dedicated his collection of part-songs entitled,
' An
Houres Recreation in Musioke, apt for
Instruments and Voyces,' 1606. This publica-
tion contains a prayer set to music ' for the
'
'
long preservation of the king and his posteritie,'
and a thanksgiving for the deliverance of the
'
whole estate from the late conspiracie'
Gunpowder
the —
Some MS. lute-compositions
are iu the Brit. Mus. (Add. MS. 31,392),
in the Cambridge University Library (Dd. iii.
18, and Dd. xiii. 11), and in the Oxford Music
School collection.
Allison, Roebbt, probably a relative of
1 Kev, J, E. Cox, Musical Heaollectiime.