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FOR  READING  ROOM  ONUt 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 

MUSIC 
LIBRARY 

G-ift  of 
Francis  L.  Peycke 


Digitized  by  tine  Internet  Arciiive 

in  2007  witii  funding  from 

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THE 

AMERICAN  HISTORY 

AND 

ENCYCLOPEDIA 

OF 

MUSIC 

W.  L.  HUBBARD 

EDITOR  IN  CHIEF 


ARTHUR  FOOTE 
GEO.  W.  ANDREWS         EDWARD  DICKINSON 

Associate  Editors 


Special  Contributors 

G.  W.  CHADWICK  FREDERICK  STARR 

FRANK  DAMROSCH  H.  E.  KREHBIEL 

FREDERICK  STOCK     EMIL  LIEBLING 

W.  J.  HENDERSON 


Irving  Squire 

Toledo 

New  York  Chicago 


THE  AMERICAN  HISTORY  AND  ENCYCLOPEDIA 
OP  MUSIC 


PHIES 


IRVING  SQUIRE 

Toledo 
New  York  Chicago 


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THE  AMERICAN  HISTORY  AND  ENCYCLOPEDIA 
OF  MUSIC 


MUSICAL 
BIOGRAPHIES 


COMPILED 
BY 

JANET  M.  GREEN 


W.    L.    HUBBARD 

EDITOR 


VOLUME    I 


IRVING  SQUIRE 

Toledo 
New  York  Chicago 


Copyright  1908  by 

IRVING   SQUIRE 

Entered  Stationers'  Hall 
LONDON 


Musio 
laHuraxj 

ML 
V.5- 


PREFACE 

In  the  preparation  of  these  volumes  the  aim  has  been  to 
make  the  list  of  musicians  include  a  selection  of  those  that  will 
be  most  useful  in  a  book  of  reference  for  the  general  reader  or 
student  as  well  as  for  the  musician.  To  this  end  the  following 
classes  have  been  particularly  emphasized:  Great  composers; 
noted  artists  and  performers;  successful  teachers;  musicians  who 
have  made  inventions  or  improvements  in  the  instruments  they 
represent;  musical  critics  and  writers;  all  musicians  who  are  im- 
portant in  the  history  of  music;  and  representatives  of  special 
schools  or  epochs  of  music.  An  especial  effort  has  been  made 
to  include  as  many  contemporary  musicians  as  possible,  and 
American  musicians  have  been  given  proportionately  more  space 
than  those  of  foreign  countries.  Names  of  musicians  from  whom 
personal  information  has  been  obtained,  either  directly  or  from 
members  of  their  families,  are  marked  with  a  star. 

The  publisher  of  these  volumes  wishes  to  express  thanks  to 
the  following  libraries  for  their  generous  aid  and  for  the  courtesy 
and  helpfulness  of  the  members  of  the  various  staffs:  The 
Lenox  Library  at  New  York;  The  Boston  Public  Library;  The 
Congressional  Library  of  Washington;  The  Chicago  Public 
Library;  The  Newberry  Library  of  Chicago;  The  Toledo  Public 
Ivibrary. 

Indebtedness  is  acknowledged  to  Grove's  Dictionary  of 
Music  and  Musicians;  Champlin  and  Apthorp's  Cyclopedia  of 
Music  and  Musicians;  Riemann's  Dictionary  of  Music;  Moore's 
Encyclopedia  of  Music;  Baker's  Biographical  Dictionary  of 
Musicians;  Elson's  Modern  Composers  of  Europe,  and  Rupert 
Hughes'  Musical  Guide  and  Famous  American  Composers,  all 
of  which  have  been  freely  consulted. 


13921^0 


LIST  OF  ILLUSTRATIONS 

Page 

Alexander  Theatre  -------        Frontispiece 

Franz  Apt     ------.-...16 

Hector  Berlioz  •.----.....        90 

Gustave  Charpentier     -       -       -       -       --       -       -       -  154 

Frederick  Francois  Chopin       -------      2I8 

Antonin  Dvorak    ----------  272 

Robert  Franz     --•--•-•..      336 

Niels  Wilhelm  Gade      ---------400 

Michael  Ivanovitch  Glinka        -       -       -       -    .  -       •       -      464 


KEY  TO  PRONUNCIATION 


a  as  in  ah 

a  as  in  mate 

a  as  in  cat 

b  as  in  bat 

c  used  only  in  ch  as  in  churlish.  The 
Scotch  and  German  gutteral,  as 
loch  and  ich,  is  represented  by  kh. 

d  as  in  deem 

dh  as  in  thine 

dj  as  in  adjure 

e  as  in  be 

e  as  in  get 

f  as  in  file 

g  as  in  go 

h  as  in  hail 

i  as  in  light 

i  as  in  tin 

j  as  in  joke 

k  as  in  kite 

1  as  in  lump 

m  as  in  mine 


n  as  m  nme 

n  represents  the  French  nasal  n  or  m. 

6  as  in  mote 

6  as  in  on 

6  as  in  song 

oo  as  in  loon 

ow  as  in  bow 

p  as  in  post 

r  as  in  roll 

s  as  in  sent 

t  as  in  tap 

th  as  in  thank 

th  as  these  is  represented  by  dh 

u  as  in  blue 

ti  as  in  utter 

The   French  u  and  the  German  long 

u  are  represented  by  u 
V  as  in  survive 
w  as  in  well 
y  as  in  yet 
z  as  in  zone 


MUSICAL  BIOGRAPHIES 


A  BBOTT,  Emma.  1850-1888. 
/-\  Dramatic  soprano.  Born  in 
Chicago.  Her  father  was  a  mu- 
sic teacher.  She  showed  great  love 
of  music  in  childhood.  Her  family 
moved  to  Peoria,  111.,  in  1854,  where 
her  father  had  difficulty  in  earning  a 
living.  To  help  with  the  finances,  he 
gave  concerts  in  Peoria  and  many 
other  towns  in  which  Emma,  then  nine 
years  old,  and  her  brother  George 
appeared.  At  the  age  of  ten,  Emma 
was  given  lessons  on  the  guitar  and 
George  on  the  violin,  their  mother 
partly  paying  for  the  lessons  by 
boarding  the  teacher.  After  three 
years  of  instruction,  Emma  was  able 
to  teach  the  guitar  and  had  several 
pupils.  She  attended  school  in  Peoria, 
until,  at  the  age  of  sixteen,  she  was 
obliged  to  teach  district  school  to  help 
support  the  family.  She  also  sang  in 
the  synagogue  in  that  town.  About 
this  time,  she  joined  the  Lombard 
Concert  Company  and  toured  with 
them  through  Iowa,  Illinois  and  Wis- 
consin, but  they  soon  disbanded  and 
Emma,  determined  to  study  music, 
undertook  to  work  her  way  to  New 
York  by  giving  concerts.  This  she 
accomplished,  but  was  unable  to  make 
any  headway  in  that  city.  Soon  after 
this,  she  met  Clara  Louise  Kellogg  in 
Toledo,  Ohio.  Miss  Kellogg  was  so 
pleased  with  her  voice  that  she  paid 
her  expenses  and  gave  her  a  letter  to 
Erani,  a  celebrated  teacher.  While 
studying  with  Erani,  she  sang  in  a 
church  choir  at  a  good  salary  and  was 
helped  by  the  congregation  to  go  to 


Europe.  She  went  to  Milan  and 
worked  for  some  time  under  San  Gio- 
vanni and  later,  for  several  years  in 
Paris,  with  Delle  Sedie  and  Wartel 
Her  first  appearance  in  Paris  was  a 
great  success  and  she  remained  for 
several  years  in  Europe.  In  1878  she 
returned  to  the  United  States  where 
she  had  great  success.  She  mar- 
ried Mr.  Eugene  Wetherell,  a  New 
York  business  man,  the  year  she 
returned  from  abroad  and  he  managed 
all  her  tours  until  her  death,  in  1888. 
Miss  Abbott  was  also  very  sucessful 
financially  and  is  said  to  have  been  a 
very  wealthy  woman. 

Abel    (a'-bel),  Karl  Friedrich.     1725- 

1787. 

Very  noted  performer  on  the  viol  da 
gamba.  He  was  a  pupil  of  Sebastian 
Bach,  at  the  Thomasschule,  Leipsic, 
and  afterward  belonged  to  the  Court 
band  at  Dresden.  He  went  to  Lon- 
don in  1759,  where  he  gave  concerts 
composed  entirely  of  his  own  music, 
and  was  appointed  chamber-musician 
to  Queen  Charlotte,  with  a  salary  of 
two  hundred  pounds.  For  many  years 
he  conducted  Mrs.  Cornely's  Subscrip- 
tion concerts  with  Johann  Christian 
Bach.  These  concerts  were  also 
known  as  "Bach  and  Abel's  Concerts," 
and  were  continued  until  Bach's  death 
in  1782.  During  the  next  year  they 
were  conducted  by  Abel  alone  but 
were  unsuccessful.  He  returned  to 
Germany  in  1783,  but  did  not  stay, 
going  back  to  London  in  1785.  He 
was  the  greatest  and  last  performer 
upon  his  instrument,  which  after  his 


2 


BIOGRAPHIES 


Abel 


death  fell  into  disuse.  His  composi- 
tions consist  of  overtures,  concertos, 
quartets,  sonatas  and  symphonies. 
Among  his  best  known  works  are  A 
Fifth  Set  of  Six  Overtures  and  A  Set 
of  Six  Sonatas.  His  instrumental 
pieces  are  in  seventeen  works.  He 
also  wrote  two  operas,  Love  in  a  Vil- 
lage, in  1760,  and  Bernice,  in  1764. 
His  works  excel  particularly  in  har- 
mony. Abel  played  usually  on  a  six- 
stringed  English  viol  da  gamba,  in- 
stead of  on  the  seven-stringed  one 
generally  used  on  the  continent.  A 
very  fine  three-quarter  length  portrait 
of  Abel  with  his  instrument  was 
painted  by  his  friend  Gainsborough. 
Among  his  pupils  was  the  noted 
pianist,  T.  B.  Cramer. 

Abell,  John.    About   1660-after  1716. 

Famous  alto  singer  and  lute  player. 
Began  his  musical  education  in  the 
choir  of  the  Chapel  Royal  and  was 
later  sent  by  Charles  II.  to  study  in 
Italy.  Returned  to  England  in  1683. 
He  was  dismissed  from  the  choir  of 
the  Chapel  Royal  in  1688,  and  after 
traveling  on  the  Continent  for  a  num- 
ber of  years,  during  which  time  he 
supported  himself  by  his  voice  and 
lute,  he  returned  and  settled  at  Cam- 
bridge in  1700.  He  published  a  col- 
lection of  songs  in  several  languages 
in  1701,  dedicated  to  WilHam  III.  and 
a  collection  of  songs  in  English,  also 
in  1701. 

Abert  (a'bert),  Johann  Joseph.    1832- 

Bohemian  orchestral  and  operatic 
composer.  Received  his  first  musical 
instruction  in  the  choir  of  the  church 
at  Gastdorf.  At  the  age  of  eight,  he 
entered  the  Augustine  convent  at 
Leipa,  where  he  stayed  until  he  was 
fifteen,  when  he  ran  away  to  Prague 
and  became  a  pupil  in  the  Conserva- 
tory there,  studying  with  Tomaczek 
and  Kittl.  He  studied  doublebass 
first,  and  the  works  which  he  wrote 
for  this  instrument  are  very  fine.  In 
1852  he  became  contrabassist  in  the 
Court  Orchestra  at  Stuttgart  and  the 
next  year  produced  his  first  symphony 
in  C  minor.  His  first  opera,  Anna  von 
Landskron,  was  written  in  1859,  after 
which  he  lived  in  Paris  and  London 
for  several  years.  In  1865  he  was 
appointed  Royal  Music  director  at 
Stuttgart  and  in  1867  Royal  Orchestra 
conductor  at  the  Court  Theatre.     Is 


Acton 

best  known  by  his  orchestral  tran- 
scriptions of  Bach's  organ  fugues. 
He  also  wrote  overtures  and  operas. 
In  1877  he  was  appointed  music  direc- 
tor and  conductor  at  the  Stuttgart 
Court  Theatre.  His  best  known  work 
is  a  five  act  opera,  Ekkehard. 

Abt,  Franz.    1819-1885. 

Born  at  Eilenburg,  Prussia.  His 
father  was  a  clergyman,  and  the  son 
was  intended  for  the  same  profession. 
He  was  sent  to  the  Thomasschule 
and  the  University  of  Leipsic,  to 
study  theology,  but  was  allowed  to 
take  up  music  at  the  same  time  and 
received  a  thorough  musical  educa- 
tion. After  his  father's  death  he  gave 
up  theology  entirely.  He  was  ap- 
pointed musical  director  of  the  Court 
Theatre  at  Bernburg  in  1841  and  later 
on  held  the  same  position  at  the 
Aktien  Theatre  at  Zurich.  In  1852, 
he  went  to  the  Hof-Theatre,  Bruns- 
wick, as  Court  conductor,  where  he 
stayed  until  his  retirement  in  1882,  after 
which  he  lived  at  Wiesbaden.  He  vis- 
ited the  United  States  in  1872,  as  the 
guest  of  several  singing  societies  and 
conducted  at  the  Gilmore  Jubilee  the 
same  year.  Abt's  piano  pieces,  which 
were  of  a  light  character,  are  almost 
forgotten,  but  he  was  a  most  prolific 
song-writer,  his  compositions  consist- 
ing of  between  four  and  five  hundred 
works,  almost  entirely  songs.  These 
consist  of  solos,  duets,  trios  and 
choruses  and  of  part-songs  for  men's 
voices,  which  were  particularly  popu- 
lar and  successful.  Some  of  these 
pieces  .  have  become  really  German 
folk-songs,  among  them,  Gute  Nacht 
du  Mein  Herziges  Kind,  and  his  popu- 
lar and  familiar,  When  the  Swallows 
Homeward  Fly.  He  also  wrote  a 
number  of  successful  cantatas  for 
female  voices,  the  most  popular  being 
Red  Riding  Hood;  Little  Snowdrop; 
and  Cinderella. 

Acton,  John.    1863- 

English  composer  and  vocal  teacher. 
Studied  first  at  Manchester  and 
later  at  Milan  under  Lamperti.  From 
1882-1893  was  organist  in  various 
churches.  He  has  been  professor  of 
singing  at  the  Royal  College  of  Music, 
Manchester,  since  its  opening  m  1893. 
Became  conductor  of  the  St.  -Cecilia 
Choral  Society  of  Manchester  in  1894. 
His  compositions  consist  of  two  can- 


BIOGRAPHIES 


Acton 

tatas  for  female  voices,  Forest  Bells, 
and  The  Rose  and  the  Nightingale;  a 
chorus  for  male  voices,  For  Home  and 
Liberty,  which  was  awarded  a  prize, 
offered  by  the  South  London  Musical 
Club  in  1888;  also  duets;  many  songs; 
and  piano  pieces, 

Adam    (ad-an),    Adolphe    Charles. 

1803-1856. 

Born  in  Paris.  His  father  was 
Louis  Adam,  a  French  operatic  com- 
poser, who  was  also  a  musician  of 
note  but  objected  to  the  same  ten- 
dency in  his  son.  The  boy  was  al- 
lowed no  musical  instruction  and  his 
talents  along  this  line  were  strongly 
discouraged.  His  perseverance  finally 
prevailed,  however,  and  he  was  al- 
lowed to  enter  the  Conservatory  in 
1817,  but  only  on  condition  of  his 
promising  never  to  write  for  the 
stage,  a  promise  which,  it  is  needless 
to  say,  was  broken  later  on.  He  first 
studied  the  organ  under  Benoist,  later 
taking  up  the  harmonium,  upon  which 
he  became  a  clever  improviser.  He 
also  studied  counterpoint  with  Eler 
and  Reicha,  but  seems  to  have  made 
little  progress  until  he  became  a 
pupil  of  Boieldieu,  at  that  time  pro- 
fessor of  composition  at  the  Con- 
servatory. Adam's  first  work  was 
piano-music  of  all  kinds,  including 
transcriptions  and  songs  In  1829,  he 
published  his  first  opera,  Pierre  and 
Catherine,  in  one  act.  This  was  pro- 
duced at  the  Opera  Comique  and  was 
successful.  In  1830  his  three  act 
opera  Danilow  was  brought  out  and 
was  also  a  success.  This  was  followed 
by  a  large  number  of  works,  among 
them  the  operas,  Le  Chalet,  Le  Postil- 
ion de  Longjumeau,  Le  Brasseur  de 
Preston,  Le  Roi  d'Yvetot,  Cagliostro, 
and  Richard  en  Palestine;  and  the 
ballets,  Faust,  La  Jolie  Fille  de  Gand, 
and  Giselle.  Of  his  operas,  Le  Postil- 
ion de  Longjumeau,  produced  in  1836, 
was  the  best  and  the  one  which  made 
him  famous.  This  popular  opera  is 
often  produced  in  Germany,  France 
and  other  countries  of  Europe.  In 
1847,  after  a  quarrel  with  the  director 
of  the  Opera  Comique,  he  started  an 
opera  house  of  his  own,  but  this  was 
not  a  financial  success  and  after  1848 
he  again  devoted  himself  to  composi- 
tion, becoming  professor  of  composi- 
tion at  the  Conservatory  in  1849. 
Besides   operas   and  ballets  and   can- 


Adam 

tatas,  Adam  composed  two  masses. 
Adam's  work  may  be  divided  into 
three  classes,  his  grand  operas, 
which  were  failures;  his  ballets, 
which  were  melodious  and  beautiful; 
and  his  comic  operas,  in  which  his 
talent  really  lay  and  which  were  truly 
successful.  He  may,  perhaps,  be  con- 
sidered the  successor  and  imitator  of 
Boieldieu  and  Auber.  His  works 
were  written  in  a  flowing  and  rhythm- 
ical style  and  contain  much  humor 
and  melody. 

Adam  (ad-aii),  Louis.     1758-1848. 

Celebrated  pianist  and  teacher  and 
father  of  the  preceding.  He  was  born 
in  Alsace  but  went  to  Paris  early  in 
his  life  and  began  composing  when 
very  young,  as  two  of  his  symphonies 
for  the  harp,  piano  and  violin,  were 
performed  at  the  Concerts  Spirituels, 
when  he  was  only  seventeen.  He  was 
a  close  student  of  Bach,  Handel,  Scar- 
latti and  Mozart  and  was  a  very  thor- 
ough teacher.  Adam  was  professor 
of  piano  at  the  Paris  Conservatory 
from  1797  to  1843.  He  trained  many 
famous  pupils,  among  whom  were 
Herold,  Henri  Lemoine,  Kalkbrenncr 
and  Adolphe  Charles  Adam,  his  cele- 
brated son.  He  published,  beside 
many  piano  compositions,  a  new 
method  for  the  piano  which  was 
translated  by  Czerny  in  1826.  Adam's 
work  was  remarkable,  on  account  of 
his  being  almost  entirely  self-trained. 

Adam   de   la   Hale    (ad-ah   du   la-al), 

About  1240-1287. 

The  best  known  of  the  French 
Troubadours,  called  The  Hunchback 
of  Arras.  He  was  a  gifted  poet  and 
a  composer  of  high  importance.  His 
works  are  said  to  be  of  the  greatest 
value  for  the  musical  history  of  the 
times  in  which  he  lived.  Many  of 
these,  which  have  been  preserved, 
were  published  in  1872,  by  Cousse- 
maker.  He  wrote  the  text  as  well  as 
the  music  of  his  compositions.  He  is 
the  author  of  the  earliest  known 
comic  opera,  which  is,  Le  Jeu  de 
Robin  et  de  Marion.  This  piece  has 
eleven  characters.  It  is  written  in 
dialogue,  is  divided  into  scenes  and  is 
interspersed  with  airs  and  a  kind  of 
duet,  in  which  two  voices  sing  alter- 
nately but  never  together.  A  per- 
formance of  this  first  comic  opera 
was  given  at  Arras,  in  1896,  at  fetes 


BIOGRAPHIES 


Adam 
in  honor  of  the  composer.     He  also 
wrote  thirty-four  chansons,  seventeen 
rondeaux,  seventeen  motets,  and  six- 
teen part-songs. 

Adam  von  Fulda  (at'-am  fon  fool'- 
da).  About  1450-after  1537. 
A  Franconian  monk,  who  was  a 
musical  theorist,  a  composer  of  sacred 
songs  and  the  author  of  a  famous 
treatise.  The  Theory  of  Music.  He 
was  one  of  the  oldest  of  German  mu- 
sicians and  his  compositions  were  very 
highly  considered  in  their  day. 

Adamberger  (at'-am-berkh-er),  Valen- 

tm.     1743-1804. 

Famous  tenor  singer  and  vocal 
teacher.  Born  at  Munich.  He  was  a 
pupil  of  Valesi  and  on  his  advice  went 
to  Italy,  where  he  was  very  successful 
under  the  Italian  name  Adamonti. 
In  1777  he  visited  London  and  sang 
at  the  King's  Theatre,  in  Sacchini's 
Creso.  At  the  command  of  Emperor 
Joseph,  he  returned  to  Vienna,  where 
he  made  his  first  appearance  in  Ger- 
man opera  in  1780  at  the  Hof-und- 
National-Theatre.  Was  an  intimate 
friend  of  Mozart  and  was  said  by 
him  to  have  been  a  man  of  whom 
Germany  might  well  be  proud.  Mozart 
composed  for  him  the  part  of  Bel- 
monte  in  the  Seraglio,  as  well  as  a 
number  of  his  fine  airs. 

Adamowski     (ad-a-mof-shki),    Timo- 
thee.     1858- 

A  Polish  violin-player  of  much  dis- 
tinction. He  has  made  his  home  in 
the  United  States  since  1879.  Ada- 
mowski was  born  at  Warsaw,  studied 
under  Kontchi  at  the  Warsaw  Con- 
servatory and  later  under  Massart  at 
the  Paris  Conservatory.  On  coming 
to  America,  he  traveled  as  soloist 
with  Moritz  Strakosch,  also  with 
Clara  Louise  Kellogg;  and  with  a 
company  of  his  own  played  in  various 
of  the  large  cities  here  The  Adamow- 
ski String-Quartet  was  organized  in 
1888  with  Fidler,  Kunz  and  Campa- 
nari  as  the  other  members.  In  1890  it 
was  reorganized,  the  members  in  addi- 
tion to  Timothee  Adamowski  being 
his  brother  Joseph,  a  very  fine  violon- 
cellist, and  Zach  and  Moldauer. 
Adamowski  is  known  in  this  country 
not  only  as  an  eminent  violin-player 
but  also  as  a  conductor.  From  1890 
to  1894  he  was  conductor  of  the  sum- 


Adams 


mer  concerts  of  the  Boston  Symphony 
Orchestra.  Several  of  his  songs  have 
been  published.  He  taught  at  the 
New  England  Conservatory  from  1885 
to  1886,  the  following  year  appeared 
in  London,  visited  both  Paris  and 
London  in  1895,  and  three  years  later 
was  heard  in  Warsaw,  where  he 
appeared  with  the  Philharmonic  Or- 
chestra and  Musical  Society  For 
some  years  he  has  been  heard  annual- 
ly in  London  and  Paris  during  the 
summer  season.  His  Quartet  gives 
annual  concerts  in  the  principal  towns 
of  the  United  States. 

*  Adams,  Suzanne.    1873- 

Distinguished  American  operatic  and 
concert  singer.  She  was  born  in  Cam- 
bridge, Massachusetts,  is  a  daughter  of 
Mr.  John  Gedney  Adams,  and  inherits 
a  taste  for  music  from  both  sides  of 
the  family.  On  the  maternal  side  of 
Irish  and  Spanish  ancestry,  Suzanne 
Adams'  appearance  and  personality 
bespeak  the  rich  Celtic  and  Latin 
strains.  She  is  instinctively  dramatic, 
infusing  into  her  roles  her  own  per- 
sonality. She  early  showed  musical 
talent,  went  abroad  for  study  and  was 
a  pupil  of  Jacques  Bouhy  in  Paris. 
Her  career  has  been,  on  the  whole,  an 
easy  one.  When  she  made  her  debut, 
as  Juliet,  at  the  Grand  Opera,  Paris, 
in  1895,  she  was  yielded  appreciation 
by  both  critics  and  public.  She 
remained  at  the  Grand  Opera,  Paris, 
for  three  years,  where  she  sang  the 
roles  of  Juliet,  Marguerite,  Gilda,  and 
appeared  in  The  Huguenots.  Then 
followed  a  season  at  Nice,  where  she 
sang  all  her  repertory.  In  1898  she 
was  engaged  by  Maurice  Grau  at 
Covent  Garden,  London.  Suzanne 
Adams  was  very  successful  her  first 
season  in  London,  singing  at  the  first 
state  concert,  at  Buckingham  Palace 
and  before  the  Queen  at  Windsor 
Castle,  In  November,  1898,  she  made 
her  debut  in  America,  as  Juliet,  at 
the  Auditorium,  Chicago,  and  for  suc- 
cessive seasons  in  America  and  Eng- 
land was  one  of  the  chief  stars  of  the 
Grau  Grand  Opera  Company.  Both  in 
America  and  England  she  has  sung  in 
concert  tours.  She  sang  every  season 
at  Buckingham  Palace,  was  a  great 
favorite  with  Queen  Victoria,  and 
sang  Marguerite  in  Faust  in  the  last 
performance    ever    given    before    the 


BIOGRAPHIES 


Adams 
late  Queen.  She  possesses  several 
gifts  presented  her  by  Victoria,  among 
them  an  autographed  photograph  and 
a  diamond  and  sapphire  bracelet. 
Suzanne  Adams  was  married  to  Leo 
Stern,  the  celebrated  English  violon- 
cellist in  1898,  toured  with  him  in  this 
country  in  1902  and  1903,  and  the  lat- 
ter year  settled  in  London,  where  she 
has  a  house  and  now  makes  her  home. 
On  his  death,  which  occurred  in  1904, 
she  retired  from  the  stage  for  a  year. 
In  1905  she  returned  to  public  life. 
She  sings  in  opera,  concerts,  and  ora- 
torios, and  appears  regularly  at 
Covent  Garden.  In  November,  1907, 
at  the  Auditorium,  Chicago,  she  made 
her  first  appearance  on  the  vaudeville 
stage  Suzanne  Adams  has  won 
eminent  success  as  Juliet,  Marguerite, 
Gilda,  Micaela,  Zerline,  and  Donna 
Elvira,  and  is  especially  fond  of 
Mozart  roles. 

Adams,  Thomas.     1785-1858, 

English  organist  and  composer.  He 
was  a  pupil  of  Busby  and  was  organ- 
ist for  several  large  English  churches 
in  succession.  He  obtained  a  posi- 
tion at  St.  Paul's  Church  by  competi- 
tion, playing  with  twenty-eight  other 
organists.  He  also  superintended  the 
performances  on  the  Apollicon,  an 
organ  of  peculiar  construction.  He 
excelled  in  extemporizing  and  did  a 
great  deal  of  work  for  organ  builders 
in  testing  new  organs.  Adams  wrote 
many  pieces  for  the  organ,  including 
fugues,  interludes,  voluntaries  and  vari- 
ations. He  also  published  piano-pieces 
and  many  vocal  selections,  anthems, 
hymns  and  sacred  songs.  He  was 
known  as  "the  Thalberg  of  the  organ." 

Addison,  John.    1765-1844. 

English  composer  of  operettas  much 
admired  in  their  day,  and  doublebass 
player.  The  son  of  an  ingenious 
mechanic,  he  early  evinced  a  taste  for 
music,  and  as  a  child  learned  to  play 
on  the  flute,  flageolet,  bassoon  and 
violin.  His  marriage  to  a  singer.  Miss 
Williams,  niece  of  the  bass  singer, 
Reinhold,  led  him  to  adopt  music  as 
a  profession.  His  wife  obtaining  an 
engagement  at  Liverpool,  he  accepted 
a  place  in  the  orchestra  there,  playing 
first  violoncello  and  then  doublebass, 
from  now  on  in  his  orchestra  work, 
confining  himself  to  the  latter  instru- 
ment. He  continued  his  musical  career 


Adler 

in  Dublin,  here  having  opportunity  to 
improve  in  composition.  At  Man- 
chester, Addison  was  persuaded  to 
enter  into  the  business  of  cotton 
manufacture,  but  this  proving  unsuc- 
cessful he  returned  to  the  musical 
profession.  He  composed  several 
operas  for  Covent  Garden  and  the 
Lyceum,  the  most  successful  being 
The  Sleeping  Beauty,  and  The  Rus- 
sian Impostor.  He  had  considerable 
vogue  as  a  teacher  of  singing,  and  for 
many  years  played  doublebass  at  the 
opera  and  at  concerts.  Mrs.  Addison 
sang  successfully  at  Vauxhall  Gardens, 
and  at  Covent  Garden  Theatre,  ap- 
pearing as  Rosetta  in  Love  in  a  Vil- 
lage and  in  other  roles.  She  was 
highly  esteemed  as  an  opera  singer. 

Adler,  Guido.    1855- 

Famous  German  writer  and  theorist 
on  music.  He  was  born  in  Moravia 
and  was  educated  at  Vienna  at  the 
Gymnasium,  the  Conservatory  and  the 
University.  In  1874,  with  Mottl  and 
Wolf,  he  founded  the  academic  Wag- 
ner Society,  which  later  became  an 
important  organization.  In  1878  he 
took  the  degree  of  Doctor  of  Laws 
and  in  1880  of  Doctor  of  Philosophy, 
while  in  1881  he  became  teacher  of 
musical  science  at  the  University.  In 
1882  he  was  sent  as  delegate  to  the 
International  Liturgical  Congress  at 
Arezzo,  of  which  meeting  he  wrote  a 
detailed  report.  With  Spitta  and 
Chrysander,  he  founded  in  1884  the 
Vierteljahrsschrift  fiir  Musikwissen- 
schaft,  of  which  he  was  editor  for  a 
year.  In  1885  he  was  made  professor 
of  the  science  of  music  at  the  Uni- 
versity of  Prague  and  in  1898  was 
appointed  to  the  same  position  at  the 
University  of  Vienna,  where  he  suc- 
ceeded Hanslick.  Since  1894  he  has 
been  editor-in-chief  of  the  Series  of 
Denkmaler  der  Tonkunst  in  Oester- 
reich.  He  has  also  written  important 
treatises  on  counterpoint  and  harmony. 

Adler,  Vincent.    1826-1871. 

A  young  composer  who  lived  in 
Paris  and  belonged  to  the  school  of 
Stephen  Heller.  He  was  born  in 
Hungary,  studied  at  Pesth,  Vienna, 
and  Paris,  and  was  professor  at  the 
Geneva  Conservatory  in  1865.  Author 
of  many  interesting  piano  pieces,  and 
some  vocal  music.  His  compositions 
are  light  in  character. 


BIOGRAPHIES 


Agnelli 
Agnelli  (an-yel-le),  Salvatore.  1817- 
An  Italian  composer.  He  was  born 
at  Palermo,  studied  at  the  Naples 
Conservatory,  under  Furno,  Zingarelli, 
and  Donizetti.  Agnelli  is  the  author 
of  several  operas.  He  began  his  pro- 
fessional career  in  Naples,  and  there 
produced,  in  1839,  II  Lazzarone  Napol- 
itano,  and  La  Locanderia  di  Spirito. 
He  went  to  Marseilles  in  1846,  and  in 
this  city  brought  out  the  operas  La 
Jacquerie,  Leonore  de  Medicis,  and 
Les  Deux  Avares.  He  has  written  sev- 
eral operas  in  addition  to  those  men- 
tioned; a  Stabat  Mater;  a  Miserere; 
several  ballets;  and  the  cantata, 
Apotheose  de  Napoleon  I. 

Agnesi,    (an-ya'-se)    Louis   Ferdinand 

Leopold.    1833-1875. 

Belgian  opera  and  concert  singer, 
whose  real  name  was  Agniez.  Agnesi 
was  a  famous  bass.  He  was  born  at 
Erpent,  in  the  province  of  Namur, 
Belgium,  studied  at  the  Brussels  Con- 
servatory, for  a  time  was  choirmaster 
at  the  Church  of  Saint  Catherine,  and 
in  Brussels  conducted  several  singing 
societies.  He  did  some  work  as  a 
composer,  but  the  limited  success  of 
his  opera,  Harold  le  Normand,  in- 
fluenced him  to  devote  most  of  his 
attention  to  smging,  though  he  has 
several  compositions  in  addition  to 
the  opera,  principally  songs  and 
motets.  He  studied  under  Duprez, 
and  as  a  member  of  Merelli's  Italian 
Opera  Company  made  a  tour  of  Ger- 
many, Holland  and  Belgium.  He  sang 
for  several  seasons  in  Paris  and  Lon- 
don, in  the  latter  city  as  oratorio  and 
concert  singer,  adding  greatly  to  his 
fame.  His  success  in  opera  roles  was 
distinguished,  and  he  was  justly 
famed  both  as  actor  and  musician. 

Agramonte  (ag-ra-mon'-ta),  E m i li o. 

1844- 

Born  in  Cuba.  Composer,  teacher, 
pianist,  and  singer.  He  studied  com- 
position in  Spain  under  Botessini  and 
Balart  and  later  in  Paris,  under  David 
and  Maiden.  His  masters  in  piano 
were  Biscani  and  Jovell  in  Spain,  and 
Marmontel  in  Paris.  He  studied  sing- 
ing with  Selva,  Roger  and  Delle 
Sedie.  Received  the  degree  of  LL.D. 
from  the  University  of  Madrid,  in 
1865.  He  began  his  work  as  a  teacher, 
in  Barcelona  in  1865,  taught  in  Cuba 
from  1866  to  1868  and,  since  1868,  he  has 


Agricola 

lived  in  New  York,  conducting  and 
teaching.  He  has  conducted  the 
Gounod  Society  of  New  Haven,  Conn., 
since  1886,  and  has  conducted  many 
other  well-known  choral  societies.  Is 
the  author  of  many  songs  and  sacred 
compositions  and  of  a  Stabat  Mater  in 
manuscript  and  has  also  delivered 
musical  lectures. 

Agricola,    Alexander.    About    1470- 

about  1506. 

A  great  celebrity  of  the  Fifteenth 
Century.  He  was  in  the  service  of 
Lorenzo  de  Medici  at  Florence  and 
afterward  at  Milan.  In  1505,  he  fol- 
lowed Philip  I.  to  Castile,  where  he 
remained  till  he  died,  probably  about 
1506.  He  wrote  many  masses  and 
motets,  also  sacred  and  secular  songs. 
He  was  particularly  noted  for  a  grand 
and  heavy  style  of  music  but  lacked 
lightness  and  humor.  A  volume  of 
five  of  his  masses  was  published  at 
Venice  in  1503. 

Agricola,     Johann      Friedrich.    1720- 

1774. 

German  musician,  who  was  said  to 
be  the  best  organist  in  Berlin  in  his 
day,  but  whose  compositions  had  no 
permanent  value.  He  was  educated 
at  the  University  of  Leipsic  and 
studied  music  for  three  years  with 
the  great  Johann  Sebastian  Bach. 
Later  he  lived  and  studied  at  Berlin 
and  Dresden.  Under  the  name  Oli- 
brio,  he  published  pamphlets  on 
French  and  Italian  music,  in  1749. 
On  account  of  the  success  of  a  can- 
tata, performed  in  1750,  Agricola  was 
made  Court  composer  by  Frederick 
the  Great,  and  after  1759  was  ap- 
pointed director  of  the  Royal  Chapel. 
Agricola  translated  Tosi's  Method  of 
Singing  and  was  himself  considered  a 
very  good  singing  teacher.  He  com- 
posed eight  operas  and  much  church 
music. 

Agricola,  Martin.    About  1500-1556. 

An  important  German  musical 
writer  of  the  Sixteenth  Century, 
whose  real  name  was  Sohr  or  Soro. 
He  was  one  of  the  principal  authori- 
ties on  the  history  of  musical  instru- 
ments of  his  time,  and  a  factor  in  the 
reform  of  musical  notation.  He  was 
born  about  1500,  at  Sorau,  Branden- 
burg, and  died  at  Magdeburg.  He 
was   private   teacher    in    Magdeburg, 


BIOGRAPHIES 


Agricola 

later  teacher  and  cantor  of  the  first 
Protestant  School  there.  While  en- 
gaged in  the  duties  of  schoolmaster 
he  carried  on  the  study  of  music  by 
himself,  and  made  such  advance  as 
to  take  rank  as  an  authority.  His 
most  important  work  is  his  Musica 
instrumentalis  deudsch.  Mention 
should  be  made  of  his  Musica  fig- 
uralis  deudsch;  Rudimenta  Musices; 
and  Von  den  Proportionibus.  Agricola 
also  published  the  collections  Ein 
kurtz  deudsch  Musica;  Deudsch 
Musica  und  Gesangbiichlein;  Ein 
Sangbtichlien  aller  Sonntags-Evan- 
gelein. 

Agujari     (a-goo-ha're),    Lucrezia. 

1743-1783. 

A  very  remarkable  Italian  singer. 
Mozart  records  that  she  possessed  a 
"  lovely  voice,  a  flexible  throat  and  an 
incredibly  high  range."  She  was  born 
at  Ferrara,  Italy,  the  natural  daughter 
of  a  man  of  high  degree,  and  was 
generally  referred  to  as  La  Bastar- 
della.  She  received  her  training  under 
Abbe  Lambertini,  made  her  debut  in 
Florence,  and  sang  with  brilliant  suc- 
cess in  London  and  various  towns  of 
Italy.  The  prices  she  received  were 
phenomenal  for  the  times,  five  hun- 
dred dollars  a  night  being  paid  her  at 
one  period  of  her  career.  She  was 
married  in  1780  to  Colla,  Court  direc- 
tor to  the  Duke  of  Parma  and  a  cele- 
brated composer,  who  wrote  most  of 
her  songs,  and  was  the  author  of  the 
opera  II  Tolomeo,  in  which  she 
created  a  great  sensation  at  Milan. 

Aib linger  (i-bling-er),  Johann  Kaspar 
1779-1867. 

German  composer,  director  and 
music  collector,  esteemed  as  a  writer 
of  church  music.  Wasserburg,  Ba- 
varia, was  his  native  place  and  he 
died  in  Munich.  He  began  the  study 
of  music  in  Munich,  pursued  the  sub- 
ject at  Vicenza,  Italy,  for  a  number  of 
years  and  settling  in  Vienna,  founded 
in  conjunction  with  the  Abbe  Tren- 
tino,  the  Odeon,  its  aim  being  the  cul- 
tivation of  classical  vocal  music.  In 
1819  he  was  called  back  to  his   own 

I  country,  and  for  a  period  was  director 
of  Italian  Opera  in  Munich,  in  1823 
becoming  Court  director.  He  re- 
turned to  Italy  in  1833  and  resided  at 
Bergamo,  giving  his  attention  to  col- 
lecting ancient  classical  music.  This 
collection  is  now  in  the  Staatsbiblio- 


Albani 

thek  at  Munich.  Aiblinger  was  the 
author  of  ballets;  an  opera,  Rodrigo  e 
Chimene;  and  of  much  church  music, 
masses,  litanies,  psalms,  requiems 
and  offertories.  Riemann  records  that 
his  church  music  was  famous  but  his 
stage  work  much  less  successful. 

Alard    (al-ar),    Jean    Delphin.     1815- 
1888. 

Famous  French  violinist  and  teacher 
of  Sarasate.  Showed  a  wonderful  tal- 
ent for  music  very  early.  At  the  age 
of  twelve,  was  sent  to  Paris,  where  he 
was  allowed  to  enter  the  Conservatory 
as  a  listener  only,  not  being  accepted  as 
a  regular  pupil.  He  made  great  prog- 
ress, however,  soon  taking  a  second 
prize  and  shortly  afterward  a  first,  and 
after  1831  he  began  to  be  considered  a 
great  violinist.  From  1843  to  1875  he 
was  professor  of  the  violin  at  the 
Paris  Conservatory  and  was  also 
leader  of  the  Royal  Orchestra,  author 
of  a  Method  for  the  Violin  and  also 
many  fine  violin  compositions.  His 
compositions  are  very  popular  and 
consist  of  concertos,  etudes  and  fan- 
tasias for  the  violin,  and  duets  for 
the  violin  and  piano.  He  also  wrote 
on  musical  subjects.  His  Method  for 
the  Violin  has  been  translated  into 
German,  Spanish  and  Italian. 

Albani      (al-ba'-ni),      Marie      Emma. 
1852- 

The  stage  name  of  Marie  Louise 
Cecil  Emma  Lajeunesse,  a  distin- 
guished prima  donna.  She  was  born 
near  Montreal,  of  French  Canadian 
parents.  Her  father  was  a  teacher  of 
the  organ  and  harp.  She  received  her 
first  musical  instruction  in  a  convent 
in  Montreal  and  in  1864  went  with  her 
family  to  Albany,  New  York,  where 
she  sang  in  the  choir  of  the  Catholic 
Cathedral,  and  attracted  the  attention 
of  the  bishop,  who  advised  that  she  be 
sent  to  Europe  to  develop  her  voice. 
A  concert  for  her  benefit  was  given  in 
Albany,  and  she  went  abroad  with  her 
father,  studying  first  in  Paris  for  two 
years  and  afterward  in  Milan  with 
Lamperti.  She  made  her  debut  in 
1870,  in  La  Sonnambula,  at  Messina, 
and  has  since  sung  in  all  the  principal 
European  countries  with  great  success, 
and  also  in  America.  In  1878  she 
married  Mr.  Ernest  Gye,  the  lessee  of 
the  Covent  Garden  Theatre.  Madame 
Albani,  besides  singing  in  Italian, 
French   and  German  opera,  has  been 


8 


BIOGRAPHIES 


Albani 
very  successful  in  concert  and  oratorio 
work.  Among  her  most  successful 
parts  were  Elizabeth  in  Tannhauser, 
Elsa  in  Lohengrin,  and  Senta  in  the 
Flying  Dutchman.  Perhaps  her  great- 
est operatic  triumph,  was  when  she 
sang  Isolde  to  the  Tristan  of  Jean  de 
Reszke,  in  1896.  She  has  also  created 
parts  in  many  important  new  works, 
among  them  the  Specter's  Bride,  the 
Redemption,  The  Martyr  of  Antioch, 
St.  Ursula,  The  Golden  Legend,  and 
St.  Ludmila.  Madame  Albani  is  also 
an  excellent  pianist. 

Albeniz  (al-ba'-neth),  Isaac.    1861- 

Spanish  pianist  and  composer,  who 
has  been  markedly  successful.  He  was 
born  at  Comproden,  Spain.  Albeniz 
was  an  infant  prodigy,  beginning  to 
play  on  the  piano  when  but  three 
years  old.  He  was  sent  to  Paris  to 
study  under  the  famous  Marmontel, 
and  in  Barcelona,  at  the  age  of  seven, 
made  a  public  appearance.  In  Madrid, 
the  child  pianist  gave  many  successful 
concerts.  When  only  ten  years  old  he 
left  home,  feeling  able  to  care  for 
himself,  and,  the  following  year,  he 
visited  North  and  South  America, 
where  he  traveled  and  gave  concerts 
in  various  places.  In  Cuba  he  and  his 
father,  from  whom  he  had  been  es- 
tranged, became  reconciled,  and  the 
latter  persuaded  him  to  enter  upon  a 
serious  course  of  study.  His  Ameri- 
can tour  defrayed  expenses  for  a 
period  of  instruction  at  Leipzic,  where 
he  was  under  Reinecke  and  Jadassohn. 
For  further  study  he  was  granted  a 
pension  by  the  Queen,  and  at  Brussels 
studied  the  piano  under  Brassin,  har- 
mony with  Dupont,  and  composition 
with  Gevaert.  Under  Liszt  he  com- 
pleted his  studies.  In  1881  Albeniz 
again  toured  the  United  States,  and  on 
this  tour  was  very  successful.  In 
London  and  other  European  capitals 
he  has  won  many  triumphs  as  a  con- 
cert pianist.  While  occupying  the 
position  of  Court  Pianist  at  Madrid, 
permission  was  obtained  of  Queen 
Christina  for  a  ten  years'  leave  of 
absence  from  Spain,  and  he  took  up 
his  residence  in  London.  Albeniz  has 
published  numerous  compositions  for 
the  piano,  is  the  author  of  the  very 
successful  comic  operas.  The  Magic 
Opal,  Enrico  Clifford,  and  Pepita 
Jimenez;  and  of  San  Antonio  de  la 
Florida,  a  zarzuela. 


Albert 
Albeniz  (al-ba'-neth),  Pedro.    17  9  5- 
1855. 

Spanish  organist  and  teacher.  He 
was  born  at  Logrono,  Spain,  was  the 
son  of  a  musician  and  died  at  Madrid. 
When  only  ten  years  old  he  became  an 
organist,  and  played  in  various  towns 
in  Spain.  After  a  period  of  study 
abroad  under  Henri  Herz  and  Kalk- 
brenner,  Albeniz  returned  to  his  native 
country.  In  Logrono  he  succeeded  his 
father  as  organist  of  the  Church  of 
Santa  Maria,  and  on  a  visit  to  Madrid 
was  honored  with  royal  favor.  He 
was  appointed  professor  of  the  piano 
at  the  newly  instituted  Madrid  Con- 
servatory, and  organist  of  the  Royal 
Chapel.  Later  he  became  maestro  to 
the  Infanta  and  the  Queen,  and  was 
presented  with  several  decorations.  Of 
special  interest  is  the  fact  that  he 
introduced  into  his  country  modern 
methods  of  piano-playing,  the  most 
eminent  pianists  of  Spain  and  South 
America  having  studied  under  him. 
His  Methode  de  Piano  was  adopted  by 
the  Conservatory  of  Madrid.  He  is 
the  author  of  songs  and  about  seventy 
pieces  for  the  piano. 

♦Albert  (dal-bar),  Eugen  d'.  1864- 
One  of  the  most  famous  of  living 
pianists.  His  father,  in  spite  of  his 
French  name,  was  of  German  nation- 
ality and  was  a  composer  of  dance 
music.  Eugen  was  born  at  Glasgow, 
where  his  parents  were  temporarily 
residing,  and  until  the  age  of  twelve 
was  practically  self-taught  in  music. 
In  1876,  the  National  Training  School 
for  Music  was  inaugurated  and  the 
boy  was  elected  Queen  Victoria 
scholar  for  that  institution,  which 
shows  that  he  possessed  remarkable 
musical  gifts.  While  here  his  teachers 
were  Professor  Prout,  Ernst  Pauer, 
Sir  John  Stainer  and  Sir  Arthur  Sul- 
livan. After  playing  at  several  stu- 
dents' concerts,  D'Albert,  at  the  age 
of  sixteen,  appeared  at  the  Monday 
Popular  concert  and  the  following 
spring  at  the  Crystal  Palace  and  Phil- 
harmonic concerts.  In  the  fall  of  the 
same  year,  1881,  he  was  invited  by  the 
great  conductor,  Richter,  to  play  at 
the  Richter  concerts.  In  this  year  he 
also  won  the  Mendelssohn  prize  entit- 
ling him  to  a  year  abroad  and  went  to 
Vienna,  where  he  studied  with  Rich- 
ter, who  called  him  the  "  Young  Tau- 
sig "  on  account  of  his  wonderful 
technical    ability.      In    the    spring    of 


BIOGRAPHIES 


Albert 

1882  he  played  his  own  Piano  Con- 
certo at  the  Vienna  Philharmonic 
Society,  being  the  youngest  pianist 
that  had  ever  appeared  for  that  im- 
portant organization.  In  the  spring  of 
1882  he  visited  England,  appearing 
several  times  with  ever  increasing  suc- 
cess. After  this,  with  one  exception 
in  1885,  D'Albert  was  not  heard  again 
in  England  until  1896,  a  period  of 
fourteen  years.  D'Albert  decided  to 
make  his  home  in  Germany,  largely  on 
account  of  Liszt,  with  whom  he  stud- 
ied and  whose  favorite  pupil  he  was. 
In  1883,  he  gave  his  first  concert  in 
Berlin  and  for  the  next  ten  years 
lived  the  life  of  a  virtuoso,  making 
tours  through  Germany,  Italy,  France, 
Spain,  Russia,  and  twice  to  America. 
In  1893,  he  appeared  at  the  Gewand- 
haus,  Leipsic,  performing  one  of  von 
Biilow's  famous  feats,  by  playing  at 
one  sitting  five  of  Beethoven's  piano 
sonatas.  Besides  many  important 
pieces  for  the  piano  and  orchestral 
works,  D'Albert  has  composed  nine 
operas.  Among  the  best  known  of 
these  are  The  Ruby,  Ghismonda,  Ger- 
not,  Kain,  and  the  Improvisor.  His 
later  operas,  Tiefland,  produced  in 
Prague  in  1903,  and  Flauto  Solo,  per- 
formed in  the  same  city  in  1905,  have 
been  very  successful,  having  been  per- 
formed in  all  the  principal  cities  of 
Germany.  He  has  one  opera  in  manu- 
script which  has  not  yet  been  per- 
formed. His  piano  compositions 
consist  of  concertos,  overtures,  a 
symphony  in  F,  a  suite  for  the  piano 
in  five  movements,  and  a  large  num- 
ber of  short  piano  pieces.  He  has  also 
written  two  string  quartets,  a  violon- 
cello concerto  and  songs.  D'Albert 
in  his  playing  is  said  to  have  "  stupen- 
pendous  mechanism,  beautiful  and  ex- 
pressive touch  and  original  taste  and 
to  show  all  the  fulness  of  masterly 
technique  and  intellectual  insight." 
In  1892  D'Albert  married  Teresa  Car- 
reno,  also  a  famous  pianist,  but  was 
divorced  from  her  in  1895.  His  pres- 
ent wife  is  the  singer,  Hermine  Fink. 
He  lives  in  Berlin  in  the  winter  and 
spends  his  summers  in  his  charming 
country  home  on  Lake  Maggiore,  his 
recreations  being  cycling  and  lawn- 
tennis.  He  also  takes  great  interest 
in  medical  science. 

Albert  (al-bert),  Heinrich.    1604-1651. 

Is  called  the  "  Father  of  German 
Lied."  Composer,  organist  and  poet. 
At  the  age  of    eighteen    he    went  to 


Albert! 

Dresden  to  study  music,  under  his 
uncle,  Heinrich  Schiitz,  a  famous  com- 
poser, but  was  soon  sent  to  Leipsic 
by  his  parents,  who  wished  him  to 
study  law.  In  1626  he  started  for 
Konigsberg,  where  Stobaus  was  chapel 
master,  but  he  was  taken  prisoner  on 
the  way  and  did  not  reach  that  city 
until  1628.  Here  he  studied  with 
Stobaus  and  became  organist  of  the 
Cathedral  and  here  he  died,  in  1651. 
He  wrote  and  published  many  collec- 
tions of  sacred  and  secular  songs.  In 
1644,  he  composed  a  musical  comedy, 
which  was  never  published  and  which 
has  been  lost.  He  was  one  of  the 
forerunners  of  German  Opera.  He 
wrote  the  words  as  well  as  the  music 
for  most  of  his  songs.  Beside  eight 
books  of  arias,  he  wrote  chorals,  songs 
and  part-songs  and  a  great  many 
hymns,  some  of  which  are  still  sung. 
His  hymns  and  songs  were  published 
in  eight  collections,  some  of  them 
running  into  several  editions.  The 
prefaces  of  these  collections  were  very 
valuable,  as  they  contained  a  state- 
ment of  the  principles  of  the  art  of 
music,  which  was  at  that  time  passing 
through  a  reformation. 

Albertazzi     (al-ber-tad'-ze),       Emma. 

1814-1847. 

An  English  opera  singer,  whose 
maiden  name  was  Howson.  She  was 
the  daughter  of  a  music-master,  and 
first  studied  the  piano.  Later  she 
studied  singing  under  Andrea  Costa. 
At  the  age  of  fifteen  she  appeared  at 
a  concert  in  London,  the  following 
year  was  engaged  at  the  King's  Thea- 
tre, and  shortly  went  to  Italy,  where 
she  was  engaged  at  Piacenza.  In  this 
city,  in  1831,  she  married  Signor 
Albertazzi.  After  a  period  of  study 
with  Celli,  she  sang  successfully  in 
Italy,  Madrid  and  London,  and  in 
Paris,  in  1835,  reached  the  height  of 
her  career.  She  was  considered  a 
good  singer  but  an  indififerent  actress. 

Albert!  (al-ber'-te),  Domenico.  About 

1717-1740. 

Italian  composer  and  pianist,  also 
singer  and  performer  on  the  harpsi- 
chord. He  was  a  pupil  of  Lotti  and 
Bifii.  He  set  to  music  the  Endymion 
of  Metastasio,  in  1737  and  a  little  later 
the  Galatea  of  the  same  author.  He 
is  supposed  to  have  invented  a  style 
of  broken  bass,  called  Alberti  bass. 
He  at  least  brought  it  into  notice  and 
used    it    very    largely    in    his    works, 


10 


BIOGRAPHIES 


Albert! 

which  consist  of  three  operas,  thirty- 
six  sonatas  and  other  simple  piano 
music. 

Albinoni,  Tomasso.     1674-1745. 

Italian  composer  and  violinist  who 
flourished  in  the  latter  part  of  the 
Seventeenth  and  early  part  of  the 
Eighteenth  Century.  Little  is  known 
of  his  early  life,  save  that  he  was  born 
at  Venice.  He  was  an  excellent 
violinist  and  a  prolific  composer,  pro- 
ducing over  forty  operas.  These  were 
considered  less  worthy  than  his  songs, 
concertos  and  sonatas.  Grove  says: 
"  Albinoni's  sole  interest  for  modern 
times  resides  in  the  fact  that  the  great 
Bach  selected  themes  from  his  works, 
as  he  did  from  those  of  Corelli  and 
Legrenzi,"  and  quotes  from  Spitta: 
"Bach  must  have  had  an  especial 
liking  for  Albinoni's  compositions. 
.  .  .  Two  harpsichord  fugues  of  the 
great  masters  are  known  to  be  founded 
on  themes  of  Albinoni's." 

Alboni,  Marietta.     1823-1894. 

One  of  the  most  celebrated  con- 
traltos of  the  Nineteenth  Century. 
She  was  born  in  Cesena,  one  of  the 
very  old  cities  of  Italy  and  showing 
great  talent  at  an  early  age,  had  here 
her  first  instruction,  later  studying 
with  Madame  Bertolotti  at  Bologna. 
While  at  Bologna  she  attracted  the 
attention  of  Rossini  and  became  his 
pupil.  She  is  said  to  have  been  the 
only  one  he  ever  had.  She  made  her 
debut  at  La  Scala,  in  Milan,  in  1843,  in 
Donizetti's  Lucrezia  Borgia  and  after- 
wards sang  all  over  Europe  with  the 
greatest  success.  In  the  spring  of 
1847,  she  went  to  London  and  ap- 
peared at  Covent  Garden  as  a  rival  of 
Jenny  Lind,  then  in  the  height  of  her 
fame.  Here  she  was  must  successful, 
especially  in  Semiramide,  Lucrezia 
Borgia  and  as  Pippo  in  the  Gazza 
Ladra.  She  also  appeared  with 
the  greatest  success  in  Brussels, 
Paris  and  Geneva,  and  in  1850 
made  a  tour  of  France,  singing  in 
French  in  La  Fille  du  Regiment,  La 
Favorite  and  La  Reine  de  Chypre  and 
in  Paris  in  the  part  of  Fides  in  Le 
Prophete.  In  1853,  Alboni  visited 
North  and  South  America,  meeting 
with  a  most  cordial  reception.  The 
same  year  she  married  the  Count  of 
Pepoli  and  retired  soon  after.  She 
appeared  in  public  only  once  again,  in 
1871,  when  she  sang  the  contralto  part 
in  Rossini's  mass,  which  the  composer 


Alcock 
had  requested  her  to  do.  She  sang  a 
duet  with  Patti  at  Rossini's  funeral  in 
1868.  In  1877  she  married  her  second 
husband.  Major  Zieger.  She  died  in 
Paris  in  1894. 

Albrecht,  Eugen  Maria.     1842-1894. 

German  violinist.  Born  in  St. 
Petersburg,  where  his  father  was 
conductor  at  the  Imperial  Russian 
Opera.  Studied  for  three  years  with 
David  at  the  Leipsic  Conservatory  and 
was  leader,  from  1860  to  1877,  of  the 
orchestra  at  the  St.  Petersburg  Italian 
Opera.  Albrecht  was  director  of 
music  and  singing  at  the  Military 
Schools  from  1867  to  1872  and  from 
1877  was  musical  inspector  of  the 
Imperial  Theatres  at  St.  Petersburg. 
In  1872  he  founded  and  was  president 
of  the  Union  for  Chamber-music. 

Albrechtsberger  (al-brekhts-berkh-er), 
Johann  Georg.     1736-1809. 

Born  near  Vienna.  He  was  a  dis- 
tinguished organist  and  composer  and 
a  very  important  musical  theorist. 
After  being  organist  in  a  number  of 
different  places,  he  was  appointed 
Court  organist  at  Vienna  in  1772,  and 
in  1792  music-director  at  St.  Stephen's 
Cathedral.  He  was  also  a  successful 
teacher  and  had  a  large  number  of 
pupils.  He  was  one  of  the  teachers 
of  Beethoven.  His  compositions  are 
said  to  have  been  two  hundred  and 
sixty-one  in  number,  of  which  only 
twenty-seven  are  printed.  These 
include  pieces  for  the  piano  and  organ 
and  stringed  instruments,  also  masses, 
oratorios  and  hymns.  His  theoretical 
writings  include  Clavierschule  fiir 
Anfanger,  Kurzgefasste  Methode  den 
General-bass  zu  erlernen  and  the  well 
known  Modulations  from  C  major  and 
C  minor.  His  organ  music  is  noted 
for  its  massive  and  sometimes  heavy 
character  and  is  well  known  among 
English  organists. 

Alcock,  John.     1715-1806. 

English  organist  and  composer.  At 
the  age  of  fourteen  he  was  a  pupil  of 
Stanley,  the  blind  organist.  After 
being  organist  of  several  English 
churches,  he  was,  in  1749,  appointed 
choirmaster  and  organist  of  Lichfield 
Cathedral,  and  here  lived  until  his 
death  at  the  age  of  ninety-one.  He 
published  many  anthems,  glees,  songs 
and  hymns  and  also  lessons  for  the 
piano.  He  received  the  degree  of 
Doctor  of  Music  from  Oxford  in  1761. 


BIOGRAPHIES 


11 


Aldrich 


Aldrich,  Henry  Lord.    1647-1710. 

Dean  of  Christ  Church,  Oxford.  He 
was  a  learned  theologian  and  historian 
and  also  an  architect  and  musician. 
Wrote  sacred  music-services  and 
anthems  that  are  still  used,  also  glees 
and  catches,  which  were  in  great  favor 
at  that  time.  He  composed  a  Catch 
on  Tobacco,  which  is  so  arranged  that 
each  singer  has  time  for  his  puff.  He 
wrote  largely  and  learnedly  on 
musical  subjects,  among  his  most  im- 
portant works  being,  On  the  Com- 
mencement of  Greek  Music,  Theory  of 
Organ-Building,  and  Theory  of  Mod- 
ern Instruments.  He  collected  a  very 
large  musical  library,  especially  strong 
in  the  works  of  the  Italian  composers, 
notably  Palestrina  and  Carissimi. 

Alkan    (al-kah),    Charles   Henri   Val- 
entin.    1813-1888. 

French  pianist  and  composer. 
Entered  the  Conservatory  of  Paris  in 
his  sixth  year  and  remained  there 
eleven  years,  during  which  time  he 
was  a  pupil  of  Zimmermann.  He  was 
successful  in  several  competitions  and 
took  the  first  prize  for  piano  work, 
while  at  the  Conservatory.  After 
visiting  London,  he  settled  in  Paris, 
in  1833,  as  a  teacher  of  the  piano.  He 
published  seventy-two  works,  includ- 
ing etudes,  preludes,  concertos,  sonatas 
and  also  songs  and  transcriptions.  His 
piano  music  is  very  difficult,  especially 
his  etudes,  which  are  remarkable  and 
which,  on  account  of  their  technical 
construction,  are  very  valuable  for 
study. 

AUegri  (al-la'-gre),    Gregorio.      1584- 
1662. 

An  Italian  priest,  who  came  from 
the  same  family  as  Correggio,  the 
great  painter.  He  was  born  in  Rome 
and  was  a  pupil  of  Nanini.  He  was 
for  several  years  composer  and  choir- 
master of  the  Cathedral  at  Fermo  and 
while  there,  his  music  attracted  the 
notice  of  Pope  Urban  VIII.  who 
appointed  him  chorister  in  the 
Apostolic  Chapel.  He  wrote  a  great 
quantity  of  sacred  music,  much  of 
which  was  never  published.  His  most 
famous  composition  is  his  Miserere 
for  two  choirs,  which  is  still  sung  in 
the  Sistine  Chapel  on  every  Good 
Friday.  The  music  of  this  Miserere  is 
very  simple,  its  beauty  depending 
entirely  upon  embellishments,  which 
give  it  a  peculiarly  pathetic  quality 
and  it  can  be   sung  with  this  effect 


Allen 
only  by  the  one  choir  to  which  the 
directions  of  the  author  have  been 
handed  down.  At  one  time  it  was  a 
crime  punishable  by  excommunication 
to  copy  this  music.  The  printed  works 
of  Allegri  were  two  volumes  of 
Motetti  and  two  of  Concertini. 

Allen,  George  Benjamine.     1822-1897. 

English  composer  and  vocalist. 
Born  in  London.  He  was  organist 
and  chorister  at  several  different 
churches  and  cathedrals,  finally  going 
as  organist  to  Melbourne,  Australia, 
where  he  was  also  conductor  of 
Lyster's  Opera  Company.  He  later 
organized  an  opera  company  of  his 
own,  with  which  he  traveled  through 
Australia,  New  Zealand  and  India 
with  great  success.  On  returning  to 
England,  he  established  a  comedy 
opera  company,  which  produced  sev- 
eral of  Sullivan's  operas.  Allen,  him- 
self, wrote  five  operas,  three  of  which, 
The  Viking,  Castle  Grim  and  The 
Wicklow  Rose  were  performed.  He 
also  composed  cantatas,  many  anthems 
and  a  great  number  of  songs,  some 
of  which  are  very  popular,  as  The 
Bridge,  The  Arrow  and  the  Song,  and 
Beware.  He  set  many  of  Longfellow's 
poems  to  music.  He  wrote  in  all  about 
three  hundred  songs. 

Allen,  Henry  Robinson.     1809-1876. 

Celebrated  Irish  dramatic  singer,  in 
later  life  a  teacher  and  composer.  He 
was  the  author  of  the  two  popular 
ballads.  The  Maid  of  Athens  and 
When  We  Two  Parted.  Allen  was 
born  in  Cork,  studied  at  the  Royal 
Academy  of  Music,  London,  and  made 
his  debut  in  London,  in  1831,  but  did 
not  attract  general  attention  until 
1842,  when  he  appeared  at  the  Drury 
Lane  Theatre  as  Damon  in  Acis  and 
Galatea.  He  was  engaged  several 
years  at  the  Princess  Theatre,  sang 
in  Don  Giovanni,  Otello,  La  Barcarole 
and  other  operas,  and  was  highly 
esteemed  both  as  a  singer  and  an 
actor.  After  his  retirement,  which 
took  place  early,  he  turned  his  atten- 
tion to  teaching  and  composing. 

Allen,  Nathan  H.    1848- 

American  composer  and  organist. 
Born  in  Marion,  Mass.,  went  to  Berlin 
in  1867,  where  he  studied  with  Haupt 
for  three  years.  Returned  to  America 
in  1870  and  went  to  Hartford,  Conn., 
as  organist  of  the  Centre  Church  and 
also  taught  music.     He  wrote  church 


12 


BIOGRAPHIES 


Allen 

music,  consisting  of  hymns,  anthems, 
quartets,  etc.,  a  cantata.  The  Apotheo- 
sis of  St.  Dorothy;  compositions  for 
the  organ  and  for  piano  and  organ, 
and  also  piano  pieces  and  songs. 

Allitsen,  Frances. 

Contemporary  English  composer 
and  a  teacher  of  singing.  Was  born 
in  London,  but  passed  her  childhood 
in  a  little  English  village,  where  she 
amused  herself  by  composing  ballads. 
She  expected  to  study  singing  but  lost 
her  voice.  Was  discouraged  by  her 
family  in  her  idea  of  a  musical  career, 
but  finally  went  to  London  to  the 
Guidhall  School  of  Music.  She  taught 
by  day  to  earn  money  to  study  even- 
ings, and  after  great  difficulty  was 
finally  successful.  She  has  set  to 
music  many  poems  by  Browning, 
Shelley,  Tennyson,  Heine  and  other 
great  poets  and  is  best  known  by 
these  songs,  but  she  has  composed 
several  orchestral  works  as  well; 
notably,  the  overtures  Slavonique  and 
Undine. 

*  Allum,  Charles  E.    1854- 

Contemporary  English  organist  and 
choirmaster,  who  has  resided  in 
America  since  1901,  and  at  present 
occupies  the  post  of  organist  and 
choirmaster  at  St.  Chrysostom's 
Church,  Chicago.  He  was  born  near 
Windsor,  England,  and  after  a  course 
of  cathedral  studies  and  instruction 
under  Sir  Michael  Costa,  became 
organist  and  choirmaster  in  1874,  at 
Trinity  Church,  Stirling,  and  con- 
ductor of  the  Stirling  Choral  Society. 
In  1885,  he  took  the  degree  of  Bache- 
lor of  Music  at  Trinity  College,  Dublin 
University,  and  in  1886  the  diploma  of 
Licentiate  of  Music  was  conferred 
upon  him  by  Trinity  College,  London, 
and  that  of  Fellow  of  the  Council  of 
Guild  of  Organists.  The  degree  of 
Doctor  of  Music  was  received  from 
Dublin  University  in  1887.  Dr.  Allum 
has  acted  as  conductor  of  the  Kirk- 
caldy Musical  Society,  the  Leven 
Musical  Association,  and  St.  Andre\y's 
Choral  Society,  and  served  as  organist 
at  Albert's  Halls  and  to  the  Town 
Hall  of  Alloa.  In  1894  he  was  made 
an  examiner  of  the  London  College. 
He  is  now  Professor  of  Oratorio, 
Harmony,  Fugue  and  Composition  in 
the  Bush  Temple  Conservatory,  Chi- 
cago. Dr.  Allum  is  the  author  of 
numerous  compositions,  mostly  in 
church  form;  anthems,  complete  ser- 


Altes 

vices  for  marriage  and  burial  offices, 
a  Communion  Office  in  E  flat,  a  Te 
Deum  in  B  flat,  and  the  oratorio  of 
the  Deliverance  of  Israel. 

Alsleben    (als' -la-ben),   Julius.      1832- 
1894. 

German  writer,  teacher,  concert 
pianist  and  composer.  He  was  born 
at  Berlin,  took  the  degree  of  Doctor 
of  Philosophy  at  the  University  of 
Kiel,  and  then  turned  his  attention 
wholly  to  music.  His  teachers  in 
piano  were  L-^uchtenberg  and  Zech, 
and  theory  he  studied  of  Siegfried 
Dehn.  He  met  with  success  as  a 
concert  pianist  and  was  very  success- 
ful as  a  teacher  of  piano.  In  1865,  he 
became  president  of  the  Berlin 
Tonkijnstlerverein,  was  one  of  the 
founders  of  the  Musiklehrerverein, 
which  also  he  served  as  president.  In 
1872,  he  was  given  the  title  of  Pro- 
fessor, from  1874  for  a  number  of 
years  edited  the  musical  paper 
Harmonic,  and  published  Zwolf  Vorle- 
sungen  iiber  Musikgeschichte,  and 
Licht  und  Wendepunkte  in  der 
Entwickelung  der  Musik.  His  com- 
positions included  songs,  pieces  for 
the  piano,  overtures  and  march  for 
orchestra,   and   some   church  music. 

Altenburg     (al'-ten-boorkh),     Johann 

Ernst.     1734-1796. 

German  trumpet-virtuoso,  son  of  a 
father  who  was  a  noted  player  of  the 
trumpet.  The  father,  Johann  Caspar, 
died  in  1761.  He  served  in  several 
campaigns,  and  at  the  close  of  his 
connection  with  the  army,  traveled 
about  Europe,  meeting  with  great  suc- 
cess. Johann  Ernst  was  born  at  Weis- 
senfels,  and  during  the  Seven  Years' 
War  served  as  field-trumpeter  in  the 
army.  As  a  player  he  became  more 
celebrated  than  his  father.  On  leav- 
ing the  army  he  accepted  the  position 
of  organist  at  Bitterfeld.  He  was 
author  of  an  instruction  book  for 
trumpets  and  drums,  and  wrote  some 
compositions  for  those  instruments. 
Biographers  do  not  agree  as  to  the 
dates  of  his  birth  and  death. 

Alt^s,  Ernst  Eugene.     1830-1899. 

French  violinist  and  conductor.  He 
was  born  at  Paris,  where  his  father 
was  a  soldier.  He  early  learned  to 
play  the  violin  and  fife,  and  when  only 
twelve,  wrote  music  that  gained  him 
entrance  to  the  Conservatory.  Here 
he    won   various    prizes,   and   studied 


BIOGRAPHIES 


13 


Altes 


the  violin  under  Habeneck,  and  har- 
mony and  composition  with  Bazin  and 
Carafa.  In  1845,  he  became  a  mem- 
ber of  the  Opera  band,  in  1871,  was 
appointed  deputy-conductor  of  the 
Opera,  and  from  1879  to  1887  held  the 
post  of  conductor.  Among  his  com- 
positions are  a  string-quartet,  a  sonata 
for  piano  and  violin,  and  a  symphony. 
In  1881  he  received  the  decoration  of 
the  Legion  of  Honor. 

Altes,  Joseph  Henri.    1826-1895. 

French  flute-player,  brother  of  the 
preceding.  He  was  born  at  Rouen, 
and  studied  under  his  father,  be- 
ginning music  at  a  very  early  age. 
Became  a  pupil  at  the  Paris  Conser- 
vatory, and  from  1868  to  1894,  was  a 
professor  there.  He  was  an  excellent 
flute-player,  played  at  the  Grand 
Opera,  Paris,  and  wrote  considerable 
music  for  the  flute. 

Alvarez   (al-va-ra),  Albert  Raymond. 
1860- 

French  operatic  tenor.  A  man  of 
splendid  physique  and  a  very  fine 
actor.  Born  at  Bordeaux.  Began  his 
musical  studies  when  very  young.  At 
the  age  of  eighteen  he  entered  the 
army  as  musical  conductor,  but  after 
five  years  gave  up  his  military  career 
and  went  to  Paris  to  study  music. 
Made  great  progress  at  the  Conserva- 
tory, shortly  making  his  debut  at  the 
Royal  Opera  in  Ghent  and  his  first 
appearance  in  Paris  in  1892,  at  the 
Grand  Opera,  as  Faust.  He  _  made 
successful  tours  in  Spain,  Russia  and 
England,  and  in  1898-1899  visited 
the  United  States.  His  repertory  in- 
cludes forty-five  operas,  in  eleven  of 
which  he  created  the  principal  parts. 
He  has  been  most  successful  in  Romeo 
and  Juliet,  Aida,  and  Le  Prophete. 

Alvary    (al-va-re),  Max.     1858-1898. 

German  dramatic  tenor.  His  real 
name  was  Achenbach,  his  father  being 
the  celebrated  painter,  Andreas 
Achenbach.  He  was  born  at  Diissel- 
dorf,  and  made  his  debut  at  Weimar. 
He  won  great  fame  as  a  Wagnerian 
singer,  and  was  most  successful  in  the 
role  of  Siegfried.  While  the  pos- 
sessor of  a  very  good  voice,  he  was 
especially  remarkable  for  his  hand- 
some presence.  He  visited  the  United 
States  many  times,  enjoying  a  great 
success  here  in  1884-1889.  Alvery 
died  in  1898  at  his  country-seat  in 
Thuringia. 


Ambros 
Amati  (a-ma'-te)  family. 

Italian  family  of  celebrated  violin- 
makers,  who  lived  and  worked  at  Cre- 
mona in  the  Sixteenth  and  Seventeenth 
Centuries.  Andrea,  born  about  1520, 
was  the  first  celebrated  member  of  the 
family.  He  was,  perhaps,  a  pupil  of 
one  of  the  great  violin-makers  of 
Brescia,  but  his  violins  differed  greatly 
from  those  made  before  his  time.  Very 
few  of  his  instruments  are  to  be  found, 
those  preserved  being  of  a  small  pat- 
tern, with  beautiful  wood  and  amber 
colored  varnish  and  of  a  very  graceful 
outline.  Nicolo,  his  younger  brother, 
made  excellent  bass  viols  and  his  two 
sons,  Antonio  and  Geronimo,  produced 
violins  larger  than  their  father's  and 
greatly  improved  upon  his  model.  The 
work  of  these  brothers  was  very  im- 
portant in  the  development  of  the 
violin.  The  most  noted  of  the  six 
famous  Amati  was  Geronimo's  son, 
Nicolo,  who  lived  from  1596  to  1684. 
In  the  main,  he  kept  to  the  Amati 
model  in  making  his  violins,  but  he 
made  many  improvements,  his  propor- 
tions being  better,  his  outlines  more 
graceful  and  the  thickness  of  the  wood 
being  better  calculated,  his  instru- 
ments thus  gaining  greatly  in  power 
and  intensity  of  tone.  Most  of  his 
instruments  were  small,  but  he  made 
some  large  violins,  called  Grand 
Amatis.  These  are  very  high  priced. 
Andrea  Guarnieri  and  Antonio  Stradi- 
vari were  his  pupils.  Geronimo,  his 
son,  the  last  of  the  Amatis,  was  an 
inferior  maker  and  did  nothing  to  in- 
crease the  fame  of  the  family. 

Ambros,  August  Wilhelm.    1816-1876. 

Noted  writer  on  musical  history  and 
criticism,  also  composer  and  pianist. 
Born  near  Prague,  Bohemia,  and  edu- 
cated at  the  University  of  Prague. 
Ambros  studied  law  and  until  his 
fiftieth  year  was  in  the  Austrian  Civil 
Service,  but  he  devoted  all  his  leisure 
time  to  music,  learned  to  play  the 
piano  alone  and  studied  composition 
and  counterpoint  without  a  teacher. 
After  1850  he  published  a  series  of 
essays  on  musical  topics,  and  in  1860 
he  was  engaged  by  the  publisher, 
Leuckart,  to  write  a  History  of  Music. 
This  was  his  life  work  and  he  all  but 
accomplished  it,  in  the  most  brilliant 
manner.  Unfortunately,  he  died  be- 
fore completing  the  fourth  volume. 
After  his  death,  the  fourth  volume 
was   finished  from   notes   and   a   fifth 


14 


BIOGRAPHIES 


Ambros 

was  published  from  the  material  he 
had  left  behind.  Ambros  had  a  very 
brilliant  style  as  a  writer  and  is  said 
to  have  been  "the  greatest  German 
authority,  on  European  musical  his- 
tory from  ancient  Greece  to  modern 
times."  In  1869  he  was  appointed 
professor  of  musical  history  at  the 
University  of  Prague  and  in  1872  was 
made  a  professor  in  the  Conservatory 
of  Vienna.  Ambros  was  also  a  very 
good  composer,  his  works  being  an 
opera,  Bretislaw  a  Jitka;  overtures  to 
Othello  and  to  Calderon's,  Magico 
Prodigioso;  a  Stabat  Mater  and  two 
masses;  beside  piano  pieces  and  many 
songs. 

Ambrose,  St.    Bishop  of  Milan.    333- 

397. 

He  is  called  the  "  Father  of  Christian 
Hymnology"  and  was  canonized  after 
his  death.  He  regulated  the  church 
chants  by  a  code  of  his  own  and 
founded  the  Ambrosian  chant,  a  par- 
ticular method  of  saying  and  singing 
the  church  service,  which  was  used 
until  the  year  600  and  was  succeeded 
by  the  Gregorian  chant.  He  also  in- 
troduced antiphonal  and  congrega- 
tional singing. 

Amicis,  Anna  Lucia  de. 

A  celebrated  Italian  singer,  who 
won  success  both  in  comic  and  seri- 
ous opera.  She  was  the  possessor  of 
a  very  sweet  voice  and  a  polished 
manner  of  singing.  She  was  born  at 
Naples,  about  1740,  winning  her  first 
laurels  in  comic  opera.  She  sang  in 
London  in  1763  and  was  so  highly 
esteemed  by  Johann  Christian  Bach 
that  he  wrote  serious  opera  for  her,  to 
which  she  was  ever  afterward  devoted. 
She  retired  from  the  stage  in  1771 
and  married  BuonsoUazzi,  a  secretary 
of  the  King  of  Naples,  but  made  re- 
appearances in  public.  In  1773,  she 
sang  at  Milan,  in  one  of  Mozart's 
early  operas,  Lucio  Silla,  taking  the 
part  of  Giunia.  The  year  of  her 
death  is  unknown.  She  sang,  and 
still  sang  well  in  1789. 

Ander  (an'-der),  Aloys.     1817-1864. 

One  of  the  most  famous  tenors  of 
recent  times.  Born  in  Bohemia. 
Appeared  for  the  first  time  in  1845  in 
Stradella  and  made  a  great  success. 
Five  years  later,  he  was  still  more 
successful  in  Le  Prophete,  when  it 
was  given  in  Vienna  for  the  first  tirne. 
Meyerbeer  became  interested  in  him 
and  aided  him  greatly  in   his   work. 


Andre 

Ander  was  a  fine  actor  and  his  voice, 
though  not  of  great  strength,  was  re- 
markably sweet  and  sympathetic.  His 
greatest  success  was  as  Lohengrin 
and  his  last  appearance  was  in  Wil- 
liam Tell  in  1864,  shortly  after  which 
he  died  in  Vienna. 

Anderson,  Mrs.  Lucy  B.     1790-1878. 

English  pianist  and  teacher.  Was 
the  pupil  of  her  father  and  of  James 
Windsor.  She  was  the  first  woman 
to  play  before  the  Philharmonic  So- 
ciety and  was  considered  the  best 
pianist  in  England  in  her  day.  She 
was  the  teacher  of  Queen  Victoria 
and  several  others  of  the  royal  family. 

Andre  (an-dra),  Johann.     1741-1799. 

First  of  an  extensive  German  musi- 
cal family.  His  father  was  at  the  head 
of  a  large  silk  factory  at  Offenbach, 
which  he  expected  his  son  to  carry  on 
but  the  son  taught  himself  music  and, 
in  1765,  his  first  comic  opera,  Der 
Topfer  (The  Potter),  was  produced. 
In  1777,  Andre  went  to  Berlin  as  direc- 
tor of  music  for  the  Dobbelin 
Theatre,  but  as  he  could  not  give 
enough  attention  to  his  factory,  to 
which  he  had  added  a  music  printing 
office,  he  returned  to  Offenbach, 
where  he  resided  until  his  death  in 
1799.  Beside  composing  thirty  operas, 
many  instrumental  pieces  and  a  great 
number  of  songs,  Andre  published 
over  twelve  hundred  musical  works  in 
his  famous  music-publishing  house, 
which  was  carried  on  after  his  death 
by  his  third  son,  Johann  Anton  Andre. 

Andre,  Johann  Anton.     1775-1842. 

Third  son  of  the  preceding.  Showed 
great  talent  for  music  as  a  small  child 
and  became  a  fine  pianist  and  violinist, 
as  well  as-  a  composer.  He  entered 
the  University  of  Jena,  where  he  com- 
pleted the  course  of  study  and  upon 
the  death  of  his  father,  in  1799,  he 
took  entire  control  of  the  music- 
publishing  business.  He  visited  Vienna 
and  acquired  the  right  to  the  entire 
musical  remains  of  Mozart,  afterwards 
publishing  a  thematic  catalog  of  that 
master's  works.  Andre  cultivated 
every  branch  of  composition,  including 
songs,  operas  and  symphonies,  and 
was  as  well,  a  distinguished  teacher. 
He  also  wrote  largely  on  harmony, 
counterpoint  and  composition.  His 
principal  works  were  Lehrbuch  der 
Tonsetzkunst,  planned  to  consist  of 
six  volumes,  only  two  of  which  were 


BIOGRAPHIES 


15 


Andre 

finished,  and  his  Introduction  to  the 
Violin.  Four  of  his  sons  and  two 
grandsons  also  turned  their  attention 
to  music;  the  grandsons,  Carl  and 
Adolph,  taking  charge  of  the  music- 
publishing  business  in  1880  and  becom- 
ing sole  proprietors  in  1887  on  the 
death  of  their  father,  Johann  August 
Andre. 

Andree,  Elfrida.     1841- 

A  talented  Swedish  composer  and 
organist,  who  stands  first  among  the 
women  composers  of  Sweden.  She 
was  born  at  Wisby,  studied  the  organ, 
and  became  cathedral  organist  at 
Gothenburg.  She  has  won  notable 
prizes  for  her  compositions.  In  the 
International  Musical  Competition,  at 
Brussels,  several  years  ago,  she  won 
over  seventy-seven  competitors,  ob- 
taining the  highest  prize.  She  also 
received  a  prize  for  a  string-quartet 
and  one  for  work  for  the  organ  and 
military  band.  She  is  the  author  of  a 
quintet  for  piano,  two  violins,  viola, 
and  violoncello;  of  the  cantata,  Sno- 
fried,  written  for  solos,  chorus  and 
orchestra;  and  of  various  works  for 
orchestra,  organ  and  voice,  all  of 
which,  says  Otto  Ebel  in  his  book  on 
Woman  Composers,  show  decided 
talent. 

Andreozzi    (an-dra-6d'-ze),    Gaetano. 

1763-1826. 

Italian  dramatic  composer.  Born  in 
Naples  and  was  a  pupil  at  the  Con- 
servatory, of  that  city,  under  his  rela- 
tive Jommelli.  When  only  sixteen,  he 
composed  his  first  opera,  La  Morte  di 
Cesare.  He  was  made  director  of  the 
Royal  Chapel  at  Naples  and  traveled 
through  Italy,  bringing  out  his  operas. 
He  also  visited  Russia  and  Spain  suc- 
cessfully but  returned  to  Italy  and 
settled  in  Naples  as  a  teacher  and  in 
1790  became  conductor  at  the  Opera 
in  Naples.  Becoming  very  much  re- 
duced in  fortune,  he  went  to  Paris  in 
1825,  where  he  was  befriended  by  the 
Duchess  of  Berry,  who  had  formerly 
been  his  pupil.  He  wrote  thirty-four 
operas  and  three  oratorios. 

Andrevi    (an-dra'-ve),    Francesco. 

1786-1853. 

Distinguished  composer.  Born  of 
Italian  parents  in  Catalonia.  Andrevi 
was  a  priest  and  was  mvisic-director  in 
the  cathedrals  of  various  Spanish 
towns,  finally  becoming  conductor  of 
the   Royal  band.     His   last  post   was 


Anerio 

music-director  in  the  Church  of  Our 
Lady  of  Mercy  at  Barcelona.  His  best 
works  were  an  oratorio.  Last  Judg- 
ment; a  Requiem  for  Ferdinand  VII.; 
and  a  Stabat  Mater.  His  theoretical 
work  on  harmony  and  composition 
was  important  and  was  translated  into 
French. 

Andrews,  George  Whitfield.    1861- 

Organist,  composer,  teacher  and 
conductor.  Resides  at  Oberlin,  Ohio. 
Born  January  19,  1861,  at  Wayne, 
Ohio.  Went  to  Oberlin  in  1867. 
Graduated  from  the  Oberlin  Conserva- 
tory of  Music  in  1879.  Taught  music 
privately  at  Meadville,  Pa.,  1879-1881 
and  began  there  his  career  as  church 
and  concert  organist.  Was  organist 
at  the  Westminster  Presbyterian 
Church,  Toledo,  Ohio,  1881-1882.  In 
the  fall  of  1882  he  became  a  member 
of  the  faculty  of  the  Oberlin  Conserva- 
tory of  Music.  Studied  organ,  coun- 
terpoint and  composition  in  Germany 
and  France  1884-1886,  with  Papperitz 
and  Jadassohn  in  Leipsic,  Rhein- 
berger  at  Munich  and  Guilmant  at 
Paris.  Went  to  Paris  again  in  1898 
and  studied  a  year  with  Guilmant  on 
the  organ  and  D'Indy  in  orchestration. 
He  was  made  Hon.  A.M.  in  1900  and 
Doctor  of  Music  in  1903  by  Oberlin 
College.  Professor  Andrews  is  at 
present  teacher  of  composition  and 
organ  playing  in  the  *  Oberlin  Con- 
servatory of  Music.  He  has  composed 
valuable  works  for  the  organ,  for 
other  instruments  and  for  the  voice. 
He  is  also  organist  at  the  Second  Con- 
gregational Church  of  Oberlin.  He  is 
a  concert  organist  of  a  national  repu- 
tation, his  repertory  covering  the  en- 
tire range  of  organ  composition.  He 
has  made  many  successful  concert 
tours  in  all  parts  of  the  United 
States.  Since  1900  he  has  been  con- 
ductor of  the  Oberlin  Musical  Union 
and  under  his  leadership  the  per- 
formances by  this  society  of  the  great- 
est choral  works  are  attracting  wide 
attention. 

Anerio     (a-na're-6),     Felice.    15  6  0- 

about  1630? 

Italian  composer,  who  succeeded 
Palestrina  as  composer  to  the  Papal 
Chapel.  He  was  born  in  Rome  about 
1560,  sang  in  the  Papal  choir  from 
1575  to  1579,  and  studied  under  Gio- 
vanni Maria  Nanini.  He  was  ap- 
pointed conductor  in  the  English  col- 
lege, and  later  was  for  a  time  in  the 


16 


BIOGRAPHIES 


Anerio 

service  of  Cardinal  Aldobrandini.  In 
1594,  Anerio  succeeded  to  the  place 
left  vacant  by  the  death  of  Palestrina, 
a  post  he  occupied  eight  years.  His 
unpublished  work  is  scattered  in  vari- 
ous Roman  libraries,  some  being  in 
the  Royal  Library  at  Berlin,  and  some 
of  his  MS.  music  in  the  Hofbibliothek 
at  Vienna.  Of  his  published  composi- 
tions, there  are,  among  other  works, 
several  books  of  madrigals,  two  books 
of  hymns,  canticles  and  motets. 

Anerio,  Giovanni  Francesca.    15  6  7- 
about  1620. 

Italian  composer  and  chapelmaster, 
brother  of  the  preceding.  He  was 
born  at  Rome  about  1567,  served  as 
chapelmaster  to  the  King  of  Poland 
about  1609,  and  in  1611  was  appointed 
to  a  like  post  in  the  cathedral  at 
Verona.  After  a  period  as  instructor 
at  the  Jesuit  College  of  St.  Ignace  he 
became  chapelmaster,  in  1613,  at  St. 
Maria  di  Monti,  at  Rome.  He  took 
holy  orders  in  1616,  and  died  about 
1620.  He  was  the  author  of  a  great 
deal  of  church  music,  and  also  ar- 
ranged Palestrina's  Mass  Papae  Mar- 
celli  for  four  voices.  Grove  states 
that  he  was  one  of  the  first  Italians 
who  made  use  of  the  quaver  and  its 
subdivisions. 

Anfossi  (an-fos'-se),  Pasquale.    About 
1736-1797. 

Italian  operatic  composer,  very  pro- 
lific but  wanting  in  true  creative 
power.  The  author  of  over  forty 
operas,  four  masses,  seven  oratorios, 
and  other  church  music.  He  was 
born  near  Naples,  about  1736.  After 
beginning  the  study  of  the  violin  he 
turned  his  attention  to  composition, 
studying  harmony  with  Piccinni,  who 
at  this  time  was  enjoying  his  greatest 
fame.  Anfossi's  first  operas  met  with 
indifferent  success,  but  the  opera 
L'Incognita  Perseguitata,  produced  in 
Rome  in  1773,  brought  him  both  fame 
and  fortune.  The  success  was  due, 
not  altogether  to  its  merits,  but 
rather  to  the  plottings  and  support 
of  a  group  arrayed  against  Piccinni, 
to  whom  Anfossi  had  now  turned 
traitor.  His  day  in  Rome,  however, 
was  not  a  long  one.  He  left  Italy, 
and  brought  out  his  operas  in  Lon- 
don, Paris,  Berlin,  Dresden  and 
Prague.  In  later  life  he  returned  to 
Rome,  and  from  1792  to  the  time  of 
his   death,   held   the  post  of  chapel- 


Anshiitz 

master  at  the  Lateran.  During  this 
period,  he  turned  his  attention  to 
sacred  compositions. 

Animuccia  (an-e-moot'-cha),  GiovannL 

An  Italian  composer  who  was  called 
"Father  of  Oratorio."  The  exact  date 
of  his  birth  is  unknown,  but  it  was 
near  the  end  of  the  Fifteenth  Cen- 
tury or  in  the  first  years  of  the  Six- 
teenth Century,  probably  about  1505. 
He  was  a  pupil  of  Claude  Goudimel 
and  in  1555  he  was  appointed  musical 
director  at  the  Vatican,  where  he  re- 
mained until  his  death  in  1571.  He 
was  the  predecessor  of  Palestrina  and 
his  music  shows  the  same  religious 
spirit  and  was  undoubtedly  a  great 
advance  upon  that  written  before  his 
time.  Animuccia  composed  the  fa- 
mous Laudi,  which  were  sung  at  the 
conclusion  of  the  regular  service  of 
the  Oratorio  at  St.  Filipo  and  these 
are  said  to  have  been  the  foundation 
of  the  oratorios  of  the  present  time. 
He  also  composed  many  masses, 
motets  and  madrigals. 

Anshiitz  (an'-shuts),  Karl.     1815-1870. 

Noted  opera  and  orchestra  con- 
ductor. Born  in  Coblentz,  Germany, 
where  his  father  was  a  well-known 
musician  and  had  founded  a  musical 
school.  His  first  studies  were  with 
his  father.  Later,  he  went  to  Dessau 
and  studied  under  Friedrich  Schneider. 
When  he  returned  to  Coblentz,  in 
1844,  he  took  charge  of  his  father's 
Musical  Institute,  but  four  years  later 
he  went  to  London  and  became 
leader  of  the  orchestra  at  Drury  Lane 
Theatre.  At  one  of  his  concerts  in 
London  he  gave  Beethoven's  Ninth 
Symphony,  with  an  orchestra  of  two 
hundred  and  fifty  musicians  and  a 
chorus  of  five  hundred  singers.  After 
conducting  opera  in  Dublin,  Edin- 
burgh, Glasgow  and  all  over  Great 
Britain,  he  came  to  the  United  States, 
in  1857,  with  Ullmann's  Italian  Opera 
Company,  which  he  conducted  for 
three  years.  In  1862,  he  founded  in 
New  York  the  German  Opera,  which, 
unfortunately,  was  unsuccessful.  He 
also  helped  to  establish  the  New 
York  Conservatory  of  Music  and  from 
1860  to  1862  was  conductor  of  the 
Arion  Singing  Society.  He  was  a 
composer  of  some  ability,  his  works 
being  piano  pieces  and  songs.  He 
also  wrote  for  brass  instruments  the 
Nine  Symphonies  of  Beethoven. 


BIO^^APTTIES 
Apthorp 
Apthcrp,  William  Foster.    1848- 

I't  -natic  and  mii-'cal  critic.    Born 


17 


)n.    Was 

1  from  Har- 

iiiversity 

He  sttidied 

w,u  piano,  1: 

;int 

from  1863  t 

or 

M  Gilt  hi 

the  Be 
other  ] 
net's  C^ 


al  sub- 
ari  ■.!    a 

usi- 
or 


Archer 

band  of  an  "^  regiment.     Aii-^t 

serving  in  C  India,  he  came 

back  to  Engidnti   ai'd  devoted   much 

time  to  study.    Arbuckle  then  went  to 

the  United  States,  and  for  a  number 

of  years  was  leading  cornet  soloist  of 

nilinore's  band.     He  won  honors  at 

ce  Jubilee  of  1869,  the  Jubilee 

and  was  conspicuous  at  the 

Mtion  of  1876.     From 

>f  his  death  he  occu- 

ndmaster  of  the 


.oJD.    Aooat  1514-betir«m 

Celebrated  compoi5er,  who  was  bom 
in  the  Netherlands,  about  the  end  of 
the  Fifteenth  Century.  He  was  one 
of  the  most  popular  composers  of  his 
time.     He  went  to  Rome  and  became 


FRANZ  ABT.     1819-1885.  About  15SS  he 

■D  ^  T-M     1  ^  '  Guise  to  Parts, 

Born  at  Eilenburg,  Prussia.    Abt's  reputation  waa  '"» 

built  upon  his  songs,  some  of  which  became  German  '"^ 

folk-songs,    among    them    the    familiar    and    popular 
"When    the    Swallows    Homeward    Fly."      He    also 
wrote  a  number  of  successful  cantatas  for  the  female 
fa^Ti^e.^^^"^^'  ^"^°"g^  them  being  "  Red  Riding  Hood,"  "  Little 
speciallSnow  Drop,"  and  "  Cinderella."  ,s  who 

^'=^' "en  f '/i"''\'^'.y"''^  ^'"'^^  ^"^'^''   wher^.  h?i,,  Sl^^e^ 
at         conducted  at  the  Gilmore  Jubike  Concerts.  lions  written  in 

i'«-r;s  v;cfa  published. 


under  Tvlon: 


^A^*.i901. 


Ui. 

K;' 

...ly, 

at 

were 

Lc 

three 

err 

well 

''•jrn 
at 


.'St 

.  in 

!0  New 

ted    the 

'i    tiic    .  weekly.    The    Key    Note,    in 

id  has  h.  i  18S7  he  became  conductor  of 

•r  atthe  Hamburg  aiiu  2iiadnu      ll;e  iluston  Oratorio  Society.    He  also 

atories.  conducted     the     Pittsburg    Orchestra 

*  ,      .  .     -,      .  «t         .^«  .^^       '  '"•-•!--     '^•>^  and  Liter  was  made 

Arbuckle,  Matthew.    About  1826-1883.  the  Carnegie  Insti- 

Ceicbratcd   •      "^•<     '--•'    -     '   i  -  •  -  .-.     His  compositions 

in?.Kt'>r.  a  tia  for   the   organ  and 

a  7       '     t  King  Witlaf's  Drink- 

w.i  ngs  and  songs.     He 

of  i-book  on  the  organ. 


sIjjLI  '*  ''.booH  §n'tbi>I  h.>>i  "  i^t'bJ  nrorlJ  ^aoin^  ,o;)iov 
'"  .s-?I^i9bfu'>"  b/rxf  ".qolG  won2 

.r'Ji9Dno3  39-iidu[  aiGfnIiO  sdJ  liii  b^J3iifanO0 


BIOGRAPHIES 


17 


Apthorp 
Apthorp,  William  Foster.    1848- 

Dramatic  and  musical  critic.  Born 
in  Boston.  Was  graduated  from  Har- 
vard University  in  1869.  He  studied 
the  piano,  harmony  and  counterpoint 
from  1863  to  1867,  and  the  piano  for 
seven  years  longer,  his  teachers  being 
J.  K.  Paine  and  B.  J.  Lang.  Taught 
the  piano  and  harmony  at  the  National 
College  at  Boston,  from  1872  to  1873, 
and  from  1873  to  1886  he  taught  in 
the  New  England  Conservatory.  Was 
afterward  music-critic  on  the  Atlantic 
Monthly,  the  Boston  Sunday  Courier, 
the  Boston  Evening  Transcript  and 
other  periodicals,  and  edited  Scrib- 
ner's  Cyclopedia  of  Music  and  Musi- 
cians. He  has  also  lectured  on  music, 
written  many  articles  on  musical  sub- 
jects for  leading  periodicals  and  a 
number  of  books  on  music  and  musi- 
cans,  including  a  sketch  of  Hector 
Berlioz. 

Arbos  (ar-v6s),  E.  Fernandez.  1863- 
Eminent  contemporary  Spanish  vio- 
linist and  teacher,  professor  of  violin 
at  the  Royal  College  of  Music,  Lon- 
don. He  is  also  a  composer;  the 
author  of  songs;  several  trios  for 
piano  and  strings;  effective  violin 
pieces;  the  comic  opera.  El  Centro  de 
la  Tierra;  and  other  works.  He  is 
specially  distinguished  as  a  teacher,  of 
very  wide  experience  and  much  power. 
Senor  Arbos  was  born  in  Madrid,  and 
at  an  early  age  became  a  pupil  at  the 
Madrid  Conservatory.  Here  he  studied 
under  Monasterio,  the  noted  violinist, 
proving  a  pupil  of  unusual  ability. 
Monasterio  interested  the  royal  fam- 
ily in  his  behalf,  and  he  was  enabled 
by  them  to  go  to  the  Conservatory  at 
Brussels  for  four  years'  further  study, 
where  Vieuxtemps  and  Gevaert  were 
his  teachers.  Then  followed  three 
years  with  Joachim,  in  Berlin,  after 
which  he  toured  in  Germany,  France, 
Belgium,  Holland  and  Poland,  and  in 
1891,  played  in  London.  During  his 
residence  in  Berlin,  he  was  for  a  time 
leader  of  the  Philharmonic  Society 
there,  and  has  held  the  post  of  violin 
professor  at  the  Hamburg  and  Madrid 
Conservatories. 

Arbuckle,  Matthew.    About  1826-1883. 

Celebrated  cornet-player  and  band- 
master, a  native  of  Scotland,  but  long 
a  resident  of  the  United  States.  He 
was  born  in  Glasgow,  and  at  the  age 
of  thirteen,  became  a  member  of  the 


Archer 
band  of  an  English  regiment.  After 
serving  in  China  and  India,  he  came 
back  to  England  and  devoted  much 
time  to  study.  Arbuckle  then  went  to 
the  United  States,  and  for  a  number 
of  years  was  leading  cornet  soloist  of 
Gilmore's  band.  He  won  honors  at 
the  Peace  Jubilee  of  1869,  the  Jubilee 
of  1872,  and  was  conspicuous  at  the 
Centennial  Exhibition  of  1876.  From 
1880  to  the  time  of  his  death  he  occu- 
pied the  post  of  bandmaster  of  the 
Ninth  Regiment  band. 

Arcadelt,  Jacob.    About  1514-between 

1570-1575. 

Celebrated  composer,  who  was  born 
in  the  Netherlands,  about  the  end  of 
the  Fifteenth  Century.  He  was  one 
of  the  most  popular  composers  of  his 
time.  He  went  to  Rome  and  became 
teacher  of  singing  for  the  boys'  choir 
of  the  Papal  Chapel.  About  1555  he 
went  with  th-;  Duke  of  Guise  to  Paris, 
where  he  probably  lived  until  his 
death.  Nearly  '1  of  his  sacred  com- 
positions written  in  Rome,  comprising 
masses  and  motets,  remained  unpub- 
lished and  are  in  manuscript  in  the 
Vatican,  but  his  secular  writings, 
principally  madrigals  and  chansons, 
were  published,  and  his  fame  rests  on 
these.  He  was  one  of  a  distinguished 
group  of  Netherland  musicians  who 
went  to  Italy  and  helped  to  found  the 
Italian  school  of  music.  His  masses 
and  religious  compositions  written  in 
Paris  were  published. 

Archer,  Frederic    1838-1901. 

A  fine  organist,  who  was  well 
known  in  England  and  America.  Born 
at  Oxford,  England.  He  studied  at 
London  and  Leipsic,  and  later  was 
organist,  orchestra  conductor  and 
opera  director  in  London.  In  1881  he 
visited  America  and  became  organist 
of  Henry  Ward  Beecher's  Church  in 
Brooklyn  and  afterward  went  to  New 
York.  He  founded  and  edited  the 
musical  weekly.  The  Key  Note,  in 
1885.  In  1887  he  became  conductor  of 
the  Boston  Oratorio  Society.  He  also 
conducted  the  Pittsburg  Orchestra 
from  1895  to  1898  and  later  was  made 
music-director  of  the  Carnegie  Insti- 
tute of  Pittsburg.  His  compositions 
consist  of  works  for  the  organ  and 
piano;  a  cantata,  King  Witlaf's  Drink- 
ing-horn; part-songs  and  songs.  He 
also  wrote  a  text-book  on  the  organ. 


18 


BIOGRAPHIES 


Arditi 
Arditi  (ar-de'-te),  LuigL    1822-1903. 

Italian  composer  and  fine  opera 
conductor.  He  began  his  musical 
career  as  a  violinist.  Studied  music 
at  the  Conservatory  of  Milan.  He 
made  his  debut  as  a  director  at  Ver- 
celli,  in  1843  and  was  made  an  hon- 
orary member  of  the  Philharmonic 
Academy  there.  Conducted  opera 
throughout  Italy  and  in  Havana  in 
1846.  Visited  America,  where  he  re- 
mained conducting  opera  in  New 
York,  Philadelphia  and  other  cities, 
until  1856.  After  a  visit  to  Constanti- 
nople, he  settled  in  London,  but  made 
several  trips  later  to  America  with  the 
Royal  Italian  Opera  Company.  He 
also  conducted  in  Germany,  in  St. 
Petersburg,  in  Vienna  and  Madrid. 
After  1885,  he  was  in  England,  con- 
ducting at  Covent  Garden  and  other 
theatres.  His  best  operas  are  I  Bri- 
ganti;  II  Corsaro;  and  La  Spia.  He 
also  wrote  numerous  songs  and  vocal 
waltzes,  the  most  popular  of  which 
are,  II  Bacio;  L'  Arditi;  and  Le  Tor- 
torelle.  He  died  at  Brighton,  Eng- 
land, in  1903. 

Arens  (a'-rens),  Franz  Xavier.    1856- 

Conductor  and  vocal  teacher.  Born 
in  Germany,  but  came  to  America 
when  very  young.  When  fifteen  years 
old,  he  became  organist  and  choir- 
master in  a  small  town  near  Cleveland, 
Ohio.  Studied  with  his  father  and 
with  Professor  Singenberger  of  Mil- 
waukee. He  went  to  Europe  and 
studied  in  Munich  and  at  the  Royal 
Conservatory,  Dresden,  taking  up  the 
organ,  the  piano,  counterpoint,  con- 
ducting and  composition.  He  also 
studied  vocal  music  with  Julius  Hey 
at  Berlin.  After  returning  to  America 
he  was  professor  of  music  at  St. 
Canisius  College  at  Buffalo  and  con- 
ducted the  Cleveland  Gesangverein 
and  The  Cleveland  Philharmonic  Or- 
chestra, and  was  also  organist  in 
Cleveland.  From  1884  to  1888,  he  was 
conductor  of  the  orchestral  concerts 
devoted  to  Arnerican  composers  in 
Dresden,  Leipsic,  Hamburg,  Berlin, 
Weimar  and  Vienna.  From  1893  to 
1897,  he  was  president  of  the  Metro- 
politan School  of  Music  of  Indian- 
apolis, Indiana,  and  head  of  the  vocal 
department.  In  1897  he  removed  to 
New  York  and  was  conductor  of  the 
New  York  Manuscript  Society  con- 
certs in  1898.  Since  1900,  he  has  been 
conductor  of  the  New  York  Sym- 
phony  concerts,    which   he    founded. 


Arienzo 

He  has  composed  some  works  for  the 
organ;  a  string  quartet;  also  songs 
and  choruses.  , 

Arensky  (a-ren'-shki),  Anton  Stepano- 
vitch.    1862- 

One  of  the  best  known  of  the 
younger  Russian  composers.  He  in- 
herited his  musical  ability  from  both 
parents,  his  mother  being  a  fine  pian- 
ist and  his  father  a  violonceUist.  His 
talent  developed  early,  as  he  tried  to 
write  a  string  quartet  at  the  age  of 
nine,  before  having  any  instruction. 
He  first  studied  composition  and  har- 
mony with  Zikke,  afterward  entering 
the  St.  Petersburg  Conservatory, 
where  he  was  a  pupil  of  Rimskykorsa- 
koff.  Having  graduated  from  the  Con- 
servatory, with  honors,  in  1882,  he 
was  appointed  professor  of  harmony 
and  counterpoint  at  the  Moscow  Con- 
servatory. For  several  years,  Arensky 
conducted  the  concerts  of  the  Russian 
Choral  Society,  and  from  1889  to  1893, 
was  a  member  of  the  Council  of  the 
Synodal  School  of  Church-music  at 
Moscow.  From  1894  to  1901  he  was 
director  of  the  Imperial  Chapel  at  St. 
Petersburg.  His  first  opera,  A  Dream 
of  the  Volga,  was  a  great  success  and 
established  his  reputation  as  a  musi- 
cian. The  Russian  folk-songs  are 
used  most  effectively  by  him  in  this 
composition.  Raphael,  a  one-act 
work,  and  a  ballet,  A  Night  in  Egypt, 
followed,  but  Arensky's  best  known 
opera  is  Nal  and  Damajanti,  the  story 
taken  from  an  East  Indian  legend. 
Besides  operas,  he  has  composed  many 
works  for  the  orchestra  and  piano, 
among  them  a  Fantasie  on  Russian 
Epic  Chants;  the  music  to  Pushkin's 
poem,  The  Fountain  of  Bachtschis- 
sarai;  and  a  Memorial  March.  These 
works  are  said  to  show  the  influence 
of  Tschaikowsky  and  Schumann. 
Arensky  also  composed  a  considerable 
amount  of  sacred  music. 

Arienzo    (dar-i-en-ts5),   Nicolll   d'. 
About  1842- 

An  Italian  composer  and  writer. 
He  was  born  at  Naples,  studied  piano 
under  Labriola,  counterpoint  of  Mo- 
retti  and  Fioravanti,  composition 
with  Mercadante.  He  is  the  author  of 
several  operas;  an  oratorio;  a  Pen- 
siero  sinfonia;  of  overtures;  pieces  for 
the  piano;  some  vocal  music;  and 
of  the  theoretical  work,  Introduction 
of  the  Tetrachordal  System  into  Mod- 
ern Music.     His  opera,  La  Figha  del 


BIOGRAPHIES 


19 


Arienzo 

Diavolo,  produced  at  Naples  in  1879, 
was  denounced  by  the  critics  as 
straining  after  realism  and  originality. 

Ariosti  (ar-i-6s'-te),  Attilio. 

An  operatic  composer  of  the  latten 
part  of  tlie  Seventeenth  and  the  early 
Eighteenth  Century.  Facts  regarding 
his  first  and  last  days  are  wanting. 
Biographers  do  not  know  the  exact 
date  of  his  birth  or  death,  but  it  is 
thought  he  was  born  about  1660,  at 
Bologna.  A  Dominican  friar,  he  Avas 
allowed  by  papal  dispensation  to  give 
up  his  ecclesiastical  profession  to  de- 
vote himself  to  music,  of  which  he 
had  ever  been  an  ardent  student.  In 
1686  his  opera,  Dafne,  was  produced 
at  Venice,  and  was  so  successful  that 
he.  was  encouraged  to  write  thence- 
forth for  the  stage,  though  there  are 
also  cantatas  and  two  oratorios  of  his 
authorship.  In  1690,  he  was  appointed 
to  an  important  musical  post  in  the 
service  of  the  Electress  of  Branden- 
burg, and  from  1690  to  1705  was  com- 
poser and  conductor  at  the  Court 
Theatre  in  Berlin.  In  1715  he  relin- 
quished his  place,  under  the  Electress, 
to  accept  an  offer  from  London,  the 
post  of  manager  of  the  Italian  Opera. 
Meantime,  he  had  brought  out  works 
in  various  Italian  towns  and  in 
Vienna.  His  opera,  Nabucodonosor, 
was  produced  in  Vienna  in  1706,  and 
his  Passion  Oratorio  given  there  in 
1709.  At  his  first  London  appearance 
Ariosti  played  a  solo  on  the  viola 
d'amore  at  the  presentation  of  Han- 
del's Amadis.  He  was  associated  with 
Handel  and  Bononcini  in  the  writing 
of  an  opera,  Muzzio  Scevola,  each 
composer  writing  one  act.  The  three 
composers  also  entered  into  a  con- 
tract with  the  directors  to  write  a 
series  of  operas,  each  writing  one  in 
turn,  an  arrangement  that  was  amica- 
bly carried  out  for  several  years,  but 
was  finally  terminated  in  1727,  by  the 
overshadowing  genius  of  Handel.  The 
following  year  Ariosti  left  England, 
and  of  his  subsequent  history  nothing 
is  known.  He  was  the  author  of  four- 
teen operas. 

Armbruster    (arm'-broo-ster),    Karl. 

1846- 

Contemporary  conductor  and  lec- 
turer, and  ardent  disciple  and  expo- 
nent of  Wagner.  He  was  born  at 
Andernach-on-Rhine,  and  studied 
music  under  Fliigel  at  Neuwied  and 
Vind^r  Hompesch  at  Cologne.  He  set- 


Armingaud 
tied  in  London,  in  1863.  From  1886  to 
1894  he  was  conductor  of  the  stage- 
band  and  the  chorus  at  the  Bayreuth 
Wagner  Festival.  In  1881,  was  con- 
ductor of  the  Court  Theatre,  London; 
the  Haymarket  in  1889;  and  the  Ly- 
ceum in  1895.  Conducted  many  per- 
formances of  opera,  at  Drury  Lane  and 
Covent  Garden,  from  1892  to  1893.  As 
a  lecturer,  he  has  been  very  active 
and  is  widely  known.  He  appeared 
before  Queen  Victoria  in  1899;  in 
America  he  gave  the  Lowell  lectures 
at  Boston,  on  the  life  and  works  of 
Wagner,  and  lectures  at  various  of 
the  larger  universities  of  the  United 
States.  He  holds  the  post  of  musical 
adviser  to  the  London  County  Council. 

Armes,  Philip.     1836- 

Contemporary  English  organist,  lec- 
turer and  composer.  He  was  born 
at  Norwich,  began  his  musical  career 
as  chorister  in  the  cathedral  there,  a 
pupil  of  Dr.  Zechariah  Buck,  and 
later  was  solo  singer  in  the  Cathedral 
choir  at  Rochester,  where  he  also 
studied  the  organ.  He  has  held  the 
post  of  organist  at  Trinity  Church, 
Milton,  Gravesend,  at  St.  Andrew's, 
London,  and  at  Chichester  Cathedral. 
Since  1862,  has  been  organist  of  Dur- 
ham Cathedral  and  since  1897  has 
held  the  office  of  Professor  of  Music 
at  the  University  of  Durham.  He  has 
written  considerable  church  music, 
and  is  author  of  the  madrigal,  Vic- 
toria, that  gained  the  Madrigal  So- 
ciety's first  prize  in  1897.  He  took 
the  degree  of  Doctor  of  Music  at 
Oxford,  and  from  Durham  has  the 
honorary  degree  of  Doctor  of  Music, 
instituted  in  the  University  of  Dur- 
ham examinations  for  musical  degrees. 
Dr.  Armes  has  been  very  successful 
as  a  lecturer. 

Armingaud  (ar-mafi-go),  Jules.    1820- 

1900. 

A  noted  French  violinist,  reputed 
to  have  been  the  first  to  introduce 
Beethoven's  Quartets  to  the  music- 
world  of  Paris.  He  was  born  at 
Bayonne,  and  received  his  training 
there.  When  he  presented  himself  at 
the  Paris  Conservatory,  it  is  said,  he 
was  refused  admission  on  the  ground 
of  being  advanced  beyond  that  need. 
He  played  violin  in  the  orchestra  of 
the  Grand  Opera,  and  with  Leon  Jac- 
quard,  Mas,  and  Edouard  Lalo  formed 
a  string  quartet  that  became  famous. 
Later    wind-instruments    were    added 


20 


BIOGRAPHIES 


Armingaud 
and   the    name    became    the    Societe 
Classique.    Armingaud  was  the  author 
of  some  music  for  the  violin. 

Ame  (arn),  Michael.     1741-1786. 

Son  of  Doctor  Thomas  Arne.  Very- 
early  showed  musical  ability  and  was 
taught  singing  by  his  father.  He  was 
able  to  play  Handel  and  Scarlatti  at 
ten  years  of  age  and  a  year  or  two 
later  began  composing,  his  first  work 
along  this  line  consisting  of  a  collec- 
tion of  songs.  In  1763,  The  Fairy 
Tale,  his  first  music-drama,  appeared, 
and  in  1764,  he  wrote,  with  Battishill, 
the  music  for  the  opera,  Almena, 
which  was  not  a  success.  In  1766, 
Arne  married  Elizabeth  Wright,  a 
well-known  vocalist,  and  in  1767  wrote 
the  music  for  Garrick's  romance, 
Cymon.  This  was  his  best  work  and 
was  very  successful.  Soon  after,  he 
gave  up  his  music  and  devoted  himself 
to  the  study  of  chemistry,  hoping  to 
discover  the  philosopher's  stone.  In 
this  way  he  ruined  himself  financially 
and  was  obliged  to  turn  again  to  com- 
position and  conducting  for  the  Lon- 
don Theatres.  In  1771  he  conducted 
for  the  production  of  Handel's  Alex- 
ander's Feast,  at  Hamburg,  and  in 
1772  for  the  first  performance  of  the 
Messiah,  in  Germany.  Beside  operas 
and  dramatic  music  for  plays,  Arne 
wrote  many  songs,  some  of  which 
were  very  melodious  and  popular. 
Among  his  musical  dramas  were  The 
Fairy  Tale;  Hymen;  The  Bell's 
Stratagem;  A  Choice  of  Harlequin; 
The  Fathers;  The  Positive  Man;  and 
Tristram  Shandy. 

Ame,  Thomas  Augustine.  1710-1778. 
One  of  the  most  noted  of  English 
composers,  who  has  been  called  "  the 
greatest  English  composer  of  the 
Eighteenth  Century."  Born  in  Lon- 
don. He  was  educated  at  Eton  and 
was  intended  by  his  father  for  the 
legal  profession,  but  his  love  for  music 
proved  too  strong.  He  managed  to 
get  a  spinet,  which  he  concealed  in  his 
bedroom  and  by  muffling  the  strings 
was  able  to  practise  secretly  at  night. 
He  also  took  lessons  on  the  violin 
and  made  such  progress  that  he  was 
soon  able  to  lead  an  amateur  band. 
While  thus  engaged  at  the  house  of  a 
friend,  he  was  discovered  by  his 
father,  who,  seeing  his  strength  of 
purpose,  gave  up  his  opposition  and 
allowed  his  son  to  follow  his  bent. 
Being  now  free  to  practise  at  home 


Arne 

he  developed  rapidly  and  trained  the 
voice  of  his  sister,  Susanna  Maria,  so 
that  she  was  able  to  appear  inLampe's 
opera,  Amelia,  in  1732.  This  sister 
afterward  became  Mrs.  Cibber,  the 
noted  tragic  actress.  Arne's  first  at- 
tempt at  composition  was  a  resetting 
of  Addison's  opera  Rosamund,  in 
which  his  sister  took  the  leading  pare 
and  a  younger  brother  the  part  of  a 
page.  Soon  after  this  he  set  to  music 
Fielding's  Tragedy  of  Tragedies,  call- 
ing it  the  Opera  of  Operas,  and  in  1733 
he  produced  a  masque,  called  Dido 
and  ^neas.  In  1763  he  married 
Cecilia  Young,  a  brilliant  singer,  who 
often  sang  in  performances  of 
Handel's  works.  In  1738,  Arne's 
reputation  was  made  by  the  music  he 
composed  for  Milton's  Comus,  and  in 
1740  he  reset  Congreve's  masque.  The 
Judgment  of  Paris;  and  Thomson 
and  Mallet's  masque,  Alfred;  and  the 
same  year  he  produced  the  beautiful 
music  for  the  songs.  Blow,  Blow  thou 
Winter  Wind;  When  Daisies  Died; 
and  Under  the  Greenwood  Tree,  for 
the  production  of  As  You  Like  It,  at 
Drury  Lane  Theatre.  From  1842  to 
1844,  Arne  and  his  wife  were  in  Dub- 
lin, where  he  produced  his  oratorio, 
Abel,  one  of  his  most  noted  works, 
and  also  his  operas,  Eliza,  and  Britan- 
nia. On  his  return  to  England  he 
was  engaged  as  composer  to  the 
Drury  Lane  Theatre,  and  in  1745  was 
appointed  composer  for  the  Vauxhall 
Gardens,  which  position  he  held  for 
many  years,  composing  as  well  for 
Marylebone  and  Ranelagh  Gardens. 
In  1759,  the  University  of  Oxford 
gave  him  the  degree  of  Doctor  of 
Music.  Going  to  Covent  Garden 
Theatre  in  1760,  Arne,  in  1762,  trans- 
lated the  Artaxerxes  of  Metastasio 
and  set  it  to  music  in  the  Italian 
style,  with  recitative  instead  of  spoken 
dialogue.  This  was  a  great  success 
and  was  produced  in  England  for 
many  years.  Arne's  second  oratorio, 
Judith,  was  produced  in  1764  and  the 
same  year  he  set  to  music  Metas- 
tasio's  opera,  Olimpiade,  in  the  Italian 
language.  Among  Arne's  productions 
were  a  version  of  Purcell's  King 
Arthur  and  of  Alason's  Caractacus. 
He  died  in  1778  and  was  buried  at  St. 
Paul's,  Covent  Garden.  Beside  his 
operas,  Arne  wrote  the  music  for  a 
large  number  of  masques  and  plays. 
He  also  wrote  sonatas  for  the  violin 
and  the  piano;  organ  concertos;  many 
songs,  glees  and  catches  and  the  ora- 


BIOGRAPHIES 


21 


Ame 

torios,  Abel,  and  Judith.  His  masque 
of  Alfred  contains  among  other  fine 
songs  the  well  known  Rule  Britannia. 
His  settings  of  Where  the  Bee  Sucks, 
in  The  Tempest,  and  of  the  songs  in 
As  You  Like  It  and.  other  Shake- 
spearian plays  are  considered  very 
beautiful.  Doctor  Arne  was  the  first 
to  introduce  female  voices  into  ora- 
torio choruses. 

Arnold,  Johann  Gottfried.     1773-1806. 

German  violoncellist  and  composer, 
who  wrote  for  the  violoncello,  piano, 
flute  and  other  instruments.  He  was 
a  native  of  Wiirtemberg,  and  son  of 
the  schoolmaster  of  Niedernhall. 
Showed  such  devotion  to  music  and  so 
much  ability  that  he  was  apprenticed 
by  his  father,  to  the  music-director,  in 
the  town  of  Kiinzelsau.  He  came 
under  this  rigorous  master  at  the  age 
of  eleven  and  remained  with  him  until 
he_  was  sixteen.  He  entered  into  a 
brief  engagement  at  Wertheim,  and 
later  made  concert  tours  in  Germany 
and  Switzerland,  the  while  devoting 
himself  to  study  with  untiring  zeal. 
He  enjoyed  the  instruction  of  Will- 
mann  and  Bernard  Romberg.  He 
became  first  violinist  of  the  theatre  in 
Frankfort  in  1798,  and  in  that  city 
won  an  enviable  reputation,  both  as 
player  and  teacher.  He  was  able  to 
give  considerable  time  to  composition. 
But  his  career  came  to  an  untimely 
close.  He  died  when  he  was  only 
thirty-three  years  old,  his  health  un- 
dermined, it  is  thought,  by  too  ardu- 
ous work  in  his  youth. 

Arnold,  Maurice  Strothotte.    1865- 

American  composer.  Born  in  St. 
Louis.  Studied  first  with  his  mother, 
who  was  a  good  pianist  and  from 
whom  he  probably  inherited  his  musi- 
cal ability.  When  fifteen  years  old 
he  went  to  Cincinnati,  where  he 
studied  at  the  College  of  Music  for 
two  years.  In  1883  he  went  to  Berlin 
and  studied  counterpoint  and  composi- 
tion with  Vierling  and  Urban.  Later 
he  entered  the  Cologne  Conservatory, 
where  he  studied  with  G.  Jensen, 
Wuellner  and  Neitzel  and  finally  went 
to  Breslau  and  worked  under  Max 
Bruch.  While  at  Breslau  he  wrote 
his  cantata,  The  Wild  Chase.  He  now 
returned  to  St.  Louis,  where  he  taught 
and  also  traveled  as  an  opera-con- 
ductor and  violinist.  Later,  Arnold 
was  instructor  of  harmony  at  the 
National  Conservatory  under  Dvorak. 


Arnoldson 
In  a  number  of  his  compositions, 
especially  his  Plantation  Dances, 
Arnold  has  made  use  of  the  negro 
plantation  idea,  not  by  introducing 
negro  melodies  but  by  embodying  the 
African  spirit  in  his  own  work.  Arnold 
has  also  written  two  comic  operas;  a 
Dramatic  Overture;  a  Valse  Elegante, 
for  eight  hands  for  the  piano;  a 
Danse  de  la  Midway  Plaisance  and 
a  Tarantelle  for  the  orchestra;  also  a 
fugue  for  eight  hands;  a  Minstrel 
Serenade  for  violin  and  piano;  part- 
songs  and  some  solos.  His  violin 
sonata,  which  has  not  been  published, 
is  also  in  the  African  style.  He  is  at 
work  upon  a  symphony  and  a  book 
on  Some  Points  in  Modern  Orches- 
tration. Arnold  is  at  present  musical 
director  of  the  Progressive  Stage 
Society  of  New  York. 

Arnold,  Samuel.    1740-1802. 

English  composer  and  vocalist. 
Born  in  London.  His  musical  talent 
developed  very  early.  He  was  edu- 
cated in  the  Chapel  Royal  and  by  his 
twenty-third  year  he  had  made  such 
progress  that  he  was  engaged  as  com- 
poser for  the  Covent  Garden  Theatre, 
where  he  brought  out  his  first  opera, 
The  Maid  of  the  Mill,  in  1765.  In 
1769,  he  purchased  Marylebone  Gar- 
dens, where  he  gave  dramatic  and 
musical  entertainments.  Though  at 
first  successful,  he  finally  lost  money 
in  this  enterprise.  In  1763  he  received 
the  degree  of  Doctor  of  Music  from 
Oxford  University.  In  1783  he  suc- 
ceeded Doctor  Nares,  as  organist  and 
composer  to  the  Chapel  Royal,  and 
became  organist  at  Westminster 
Abbey  in  1793.  In  1786  he  proposed 
bringing  out  a  complete  edition  of 
Handel's  works,  but  was  unable  to 
complete  it.  Arnold  wrote  forty-three 
operas,  musical  after-pieces  and  pan- 
tomimes. He  also  produced  a  number 
of  oratorios,  the  best  of  which  was 
The  Prodigal  Son,  others  being  The 
Resurrection,  Abimelech,  The  Cure  of 
Saul,  and  Elisha.  His  most  important 
work  was  his  Cathedral  Music,  which 
is  a  collection  in  score  of  the  most 
valuable  and  useful  cathedral  services 
by  the  English  composers  of  the 
Seventeenth  and  Eighteenth  Centuries. 
Arnold  died,  in  1802,  from  injuries 
received  in  a  fall. 

Arnoldson,  Sigrid.    1864- 

Celebrated  Swedish  soprano,  daugh- 
ter   of    Oscar   Arnoldson,   the   noted 


22 


BIOGRAPHIES 


Arnoldson 


tenor.  She  was  born  at  Stockholm, 
Sweden,  studied  first  under  her  father, 
and  later  under  Alberg  and  Madame 
Desiree  Artot  de  Padilla.  She  made 
her  opera  debut  in  Prague,  and  sang 
with  brilliant  success  in  Moscow,  St. 
Petersburg  and  London.  For  several 
seasons  in  Paris  she  sang  at  the 
Opera  Comique,  and  was  engaged,  in 
1888,  at  Covent  Garden  Theatre,  Lon- 
don, as  successor  to  Patti.  The  fol- 
lowing year,  Sigrid  Arnoldson  was 
acclaimed  with  unbounded  enthusiasm 
in  Moscow  and  Zurich,  and  became  a 
prime  favorite  in  various  capitals  of 
Europe.  A  visit  to  America  was  made 
in  1894,  with  a  tour  of  the  United 
States  under  the  management  of 
Abbey  and  Grau.  Her  principal  roles 
are  Rosine,  Sonnambula,  Dinorah, 
Mignon,  Cherubin,  Traviata  and  Zer- 
lina.  She  is  famed  particularly  for 
dramatic  power  and  a  graceful  per- 
sonality. After  Jenny  Lind  and  Chris- 
tine Nilsson  probably  no  Swedish 
singer  has  enjoyed  more  popularity 
abroad  than  Sigrid  Arnoldson.  In 
1889  she  was  married  to  Alfred 
Fischoff  of  Vienna,  an  impresario. 

Arriaga  y  Balzzola  (dar-ri-a'-ga  e 
bal'-tho-la),  Juan  Crisostomo  Jacobo 
Antonio  d'.  1806-1825. 
A  remarkably  gifted  Spanish  violin- 
ist and  composer,  who,  dying  at  the 
age  of  nineteen,  left  behind  works  of 
great  promise.  He  was  born  at  Bil- 
bao, wrote  a  Spanish  opera  when  but 
a  child,  and  at  the  age  of  fifteen  was 
sent  to  the  Paris  Conservatory  to 
study  violin  and  harmony.  There  he 
was  a  pupil  of  Baillot  and  Fetis. 
Grove  states  that  in  two  years  he 
became  a  learned  contrapuntist.  He 
was  the  author  of  an  overture,  a 
symphony,  three  string  quartets,  and 
much  other  unpublished  work.  He 
died  at  Marseilles  of  a  decline  in  the 
winter  of  1825. 

Arrieta  (ar-ri-a'-ta),  Don  Juan  Emilio. 

1823-1894. 

Spanish  composer,  best  known  as  a 
writer  of  comic  opera.  Ildegonda  was 
his  first  opera;  his  most  ambitious 
work  being  Isabel  la  Catolica  6  sea  la 
Conquista  de  Granada.  He  was  born 
at  Puente  la  Reina,  in  the  Spanish 
province  of  Navarre,  went  to  Italy  for 
study,  and  was  a  pupil  at  the  Milan 
Conservatory  from  1842  to  1845.  His 
first  opera  was  produced  in  that  city 
the  latter  year.     In  1848  he  returned 


Artot 

to  his  native  country,  and  there  wrote 
a  large  number  of  zarzuelas  and 
numerous  operas.  At  the  Madrid 
Conservatory  he  held  the  position  of 
professor  of  composition,  rising  finally 
to  the  post  of  director  of  the  Con- 
servatory, a  post  that  he  occupied  for 
many  years.  His  most  marked  suc- 
cess was  as  a  writer  of  the  zarzuela, 
the  distinctively  Spanish  type  of 
operetta. 

Arthur,  Alfred.     1844- 

Born  near  Pittsburg,  Pa.  Studied 
in  Boston  at  the  Music  School,  under 
Howard,  B.  F.  Baker,  Arbuckle  and 
Bowen  and  later  was  a  pupil  of  Julius 
Eichberg  at  the  Boston  Conservatory 
of  Music.  In  1871,  he  settled  in 
Cleveland,  Ohio,  as  leader  of  the  Ger- 
mania  Orchestra  and  chorister  of 
Trinity  Church.  Since  1878,  he  has 
been  leader  of  the  Bach  choir  at  the 
Woodland  Avenue  Presbyterian  church, 
which  is  considered  one  of  the  best 
chorus  choirs  in  the  United  States, 
and  he  is  also  conductor  of  the  Cleve- 
land Vocal  Society  and  director  of  the 
Cleveland  School  of  Music.  Arthur 
has  composed  three  operas,  The  Wa- 
ter-carrier, The  Roundheads  and  Cava- 
liers, and  Adeline;  church  music; 
pieces  for  the  piano  and  songs.  His 
best  known  songs  are  Memory's 
Dream;  Song  of  the  Opal;  and  Tell  it, 
Silverthroat.  He  also  published  Pro- 
gressive Vocal  Studies,  Album  of 
Vocal  Studies,  Seventy  Lessons  in 
Voice  Training,  and  Vocal  Technique. 

Artot (  ar-to),  Alexandre  Joseph  Mon- 
tagney.    1815-1845. 

A  distinguished  Belgian  violinist. 
Most  noted  of  a  large  family  of  musi- 
cians. Studied  first  with  his  father, 
who  was  a  violinist  as  well  as  a  band- 
master and  conductor.  Studied  later 
in  Brussels  and  at  the  Paris  Conserva- 
tory, where  he  won  prizes  two  years 
in  succession.  After  leaving  the  Con- 
servatory he  made  successful  tours 
through  nearly  all  the  European  coun- 
tries and  in  1843  through  the  United 
States  and  Cuba.  At  this  time  he 
showed  symptoms  of  lung  trouble  and 
returned  to  France,  where  he  re- 
mained, until  his  death  in  1845.  Artot 
wrote  a  considerable  number  of  com- 
positions for  the  violin,  including  a 
concerto;  fantasies;  rondeaus,  etc.,  and 
also  some  string  quartets,  but  was 
greater  as  a  violinist  than  as  a  com- 
poser. 


BIOGRAPHIES 


23 


Artot 


Artot,   Marguerite  Josephine  Desiree 

Montagney.     1835- 

Famous  French  opera  singer  and 
teacher,  daughter  of  Jean  Desiree 
Montagney,  horn  professor  at  the 
Brussels  Conservatory.  She  was  born 
in  Paris,  enjoyed  the  instruction  of 
Madame  Viardot-Garcia,  and  began 
her  musical  career  by  singing  in  con- 
certs in  England,  Holland  and  Bel- 
gium. At  the  Paris  Opera,  she  made 
a  very  successful  debut,  in  1858,  as 
Fides,  but  though  enthusiastically 
praised  by  the  critics,  she  shortly  re- 
linquished French  Opera  for  Italian. 
She  sang  in  Italy,  and  in  Berlin,  cre- 
ating a  furore  in  II  Barbiere,  Cene- 
rentola,  and  II  Trovatore.  She  was  a 
great  favorite  in  Germany,  where  she 
sang  several  years,  appearing  both  in 
German  and  Italian  Opera,  reaching 
the  height  of  her  career.  She  made 
her  London  debut,  in  opera,  in  1863, 
visited  England  again  the  following 
year  and  in  1866,  and  was  also  very 
highly  esteemed  by  the  English.     In 

1869  she  married  the  Spanish  barytone 
singer,  Padilla  y  Ramois,  and  toured 
with  him  in  Austria,  Russia,  Germany 
and  elsewhere.  She  was  settled  in 
Berlin,  for  a  while,  as  teacher  of  sing- 
ing, but  in  1889  returned  to  Paris,  and 
in  this  center  has  been  very  successful 
as  a  teacher.  She  has  formed  several 
celebrated  pupils  from  the  north, 
among  them  the  Swedish  dramatic 
soprano  Sigrid  Arnoldson. 

Asantschewsky    (a-sant-she£'-shki) 

Michel  von.     1838-1881. 

Russian  book-collector  and  com- 
poser. His  library  of  works  on  music 
was  one  of  the  finest  private  libraries 
of  its  kind  in  Europe.  He  was  born 
at  Moscow,  studied  at  Leipzic  under 
Hauptmann    and    Richter,    and   from 

1870  to  1876  was  director  of  the  St. 
Petersburg  Conservatory.  He  was 
the  author  of  a  sonata  for  piano  and 
violoncello,  trio  for  piano  and  strings, 
various  pieces  for  the  piano,  and  other 
works. 

Ascher,  Joseph.    1829-1869. 

Born  in  Groningen,  Holland.  Pianist 
and  composer.  He  was  a  pupil  of 
Moscheles  and  followed  his  master  to 
the  Leipsic  Conservatory.  In  1849  he 
went  to  Paris  and  became  Court 
Pianist  to  the  Empress  Eugenie.  He 
became  very  dissipated  in  later  life, 
thus  ruining  both  his  health  and  his 
music.    Ascher  wrote  over  one  hun- 


Ashton 

dred  pieces  for  the  piano,  besides 
many  songs.  Alice,  Where  Art  Thou? 
one  of  his  best  known  songs,  is  still  a 
favorite.  Ascher  was  a  very  brilliant 
pianist  but  has  been  severely  con- 
demned as  a  composer.  That  he  had 
talent  _  was  undoubted,  but  that  he 
spent  it  in  a  light  and  superficial  style 
of  music  was  also  true. 

Ashe,  Andrew.    About  1759-1838. 

A  celebrated  Irish  flute-player,  for 
several  years  conductor  of  the  con- 
certs at  Bath,  England.  He  was  born 
at  Lisburn,  Ireland,  about  1759.  Be- 
came a  protege  of  Count  Bentinck, 
with  whom  he  traveled  extensively, 
his  education  being  completed  in  Hol- 
land. Showing  considerable  musical 
talent  and  having  a  passion  for  music, 
he  studied  the  violin  and  obtained  a 
general  knowledge  of  wind  instru- 
ments. In  time  he  became  a  very 
proficient  flute-player,  and  was  prin- 
cipal flute  at  the  opera  house  in  Brus- 
sels. He  appeared  successfully  in 
Dublin  and  London,  and  for  a  period 
held  the  post  of  principal  flute  at  the 
Italian  Opera,  London.  He  was  mar- 
ried, in  1799,  to  Miss  Comer,  who  as 
Mrs.  Ashe  became  the  chief  singer  at 
the  Bath  concerts,  which  Ashe  con- 
ducted from  1810  to  1822.  After  his 
retirement  he  settled  in  Dublin,  and 
died  in  that  city. 

Ashton,    Algernon    Bennet    Langton. 
1859- 

English  composer.  A  son  of  Charles 
Ashton,  who  was  the  principal  tenor 
singer  of  the  Cathedrals  of  Lincoln 
and  Durham.  The  boy  showed  musi- 
cal talent  early  and  began  studying  at 
the  age  of  seven  under  Franz  Heinig, 
later  working  with  Iwan  Knorr. 
Went  to  Leipsic  in  1863  and  remained 
there  seventeen  years,  studying  in  the 
Conservatory,  under  Reinecke,  Rich- 
ter, Jadassohn  and  others.  In  1879, 
when  leaving  the  Conservatory,  he 
won  the  prize  for  composition.  From 
1880  to  1881,  he  studied  with  Joachim 
Raff  at  Frankfort.  Settled  in  London 
in  1882,  where  he  has  since  lived.  In 
1885  he  was  appointed  professor  of 
the  piano  at  the  Royal  College  of 
Music.  Ashton  has  published  about 
one  hundred  and  forty-five  works,  in- 
cluding three  trios;  two  quartets  and 
two  quintets;  ten  sonatas  for  various 
instruments;  a  great  many  single 
piano  pieces  and  songs;  also  pieces  for 
the  organ,  violin  and  violoncello.    Mr. 


24 


BIOGRAPHIES 


Ashton 
Ashton  is  rather  unique  in  his  recre- 
ations, which  comprise  among  other 
things,  writing  letters  to  the  press, 
over  five  hundred  of  these  having  been 
published,  and  restoring  and  repairing 
the  graves  of  distinguished  persons. 

Ashton,  Joseph  N. 

Musical  educator,  who  was  born  in 
Salem,  Massachusetts.  He  received 
the  degree  of  A.B.  from  Brown  Uni- 
versity in  1891,  and  that  of  A.  M. 
from  Harvard  University  two  years 
later.  From  1895  to  1898  he  was  in- 
structor of  musical  history  and  theory 
at  Brown  University,  associate  pro- 
fessor from  1898  to  1904  and  faculty 
editor  of  the  Brown  Alumni  Monthly 
from    1900    to    1904.      From    1896    to 

1904  he  was  organist  at  North  Church, 
Salem,  and  the  following  year  organ- 
ist at  the  First  Baptist  Church  of 
Newton  Centre,  Massachusetts.    Since 

1905  he  has  been  organist  at  the  First 
Parish  Church  of  Brookline,  Massa- 
chusetts, and  during  1907-1908  was 
acting  professor  of  music  at  Wellesley 
College.  He  taught  privately  in  Bos- 
ton from  1895  to  1899,  and  since  1904. 
He  is  a  member  of  the  American 
Guild  of  Organists  and  the  Harvard 
Musical  Association  and  also  of  the 
Phi  Beta  Kappa. 

Asioli    (as-e-6'-le),    Bonifacio.      1769- 
1832. 

Italian  dramatic  composer  and 
writer  on  musical  subjects.  A  very 
precocious  musician.  Began  to  study 
at  five  and  at  eight  had  written  three 
masses;  a  series  of  twenty  sacred 
works;  a  concerto  for  the  piano  and 
for  the  violin;  and  several  sonatas. 
When  he  had  completed  his  studies  at 
Parma  he  was  made  conductor  at  his 
native  town,  Correggio.  From  1787  to 
1796  he  lived  in  Turin  and  in  1799 
settled  in  Milan,  where  in  1808  he  was 
appointed  censor  and  professor  of 
composition  and  singing  at  the  new 
Conservatory  at  Milan.  He  visited 
Paris  in  1810  and  in  1813  returned  to 
Correggio  where  he  remained  until 
his  death,  composing,  and  directing  a 
school  of  music  whicn  he  had  estab- 
lished. Asioli's  works  consist  of  seven 
operas,  one  of  which  is  comic;  an  ora- 
torio, Jacob;  a  very  large  number  of 
masses,  cantatas,  motets  and  songs; 
also  chamber-music;  a  symphony;  an 
overture;  sonatas,  concertos  and  organ 
pieces.  He  also  wrote  several  very 
fine  text-books  on  music. 


Attwood 
Astorga    (das-tor'-ga) ,    Emanuel e, 
Baron  d'.     1681-1736. 

Son  of  a  Sicilian  nobleman,  who  was 
beheaded  for  political  reasons.  His 
mother  died  at  the  same  time  from  the 
shock  of  her  husband's  execution,  and 
the  boy  was  placed  in  the  Convent  of 
Astorga  in  Spain,  by  the  Princess 
Orsini,  maid  of  honor  to  the  wife  of 
Philip  V.  Here  he  completed  his 
musical  education  which  had  been 
begun,  probably  under  Scarlatti. 
\yhen  he  left  the  convent  he  was 
given  the  title  of  Baron  d'Astorga, 
through  his  patroness,  and  was  sent 
on  a  diplomatic  mission  to  the  Court 
of  Parma  in  1704.  Here  he  became 
involved  in  a  love  affair  with  the  niece 
of  the  Duke  of  Parma  and  to  break  it 
off  was  sent  by  the  Duke  to  Vienna  in 
1705.  After  this  for  years  he  led  a 
life  of  travel  and  adventure,  visiting 
England,  Italy,  Spain  and  Portugal 
and  finally  going  to  Bohemia  where 
he  died.  Astorga's  most  important 
compositions  are  his  great  Stabat 
Mater  for  four  voices;  an  opera, 
Dafni;  and  nearly  one  hundred  beau- 
tiful cantatas. 

Attwood,  Thomas.  1765  or  1767-1838. 
Distinguished  composer  and  organ- 
ist. He  entered  the  Chapel  Royal  as 
chorister  at  the  age  of  nine  and  re- 
mained there  five  years.  At  sixteen 
he  attracted  the  attention  of  the 
Prince  of  Wales,  afterwards  George 
IV.,  and  was  sent  by  him  to  Italy  for 
study.  After  working  at  Naples  for 
two  years  he  went  to  Vienna,  and 
studied  with  Mozart,  who  considered 
him  very  talented.  In  1787  he  re- 
turned to  England  where  he  became 
organist  of  a  large  London  church, 
was  a  member  of  the  Prince  of  Wales' 
band  and  teacher  of  several  members 
of  the  royal  family.  In  1796  he  was 
made  organist  of  St.  Paul's  Cathedral 
and  in  the  same  year  was  appointed 
composer  to  the  Chapel  Royal.  In 
1821  he  became  organist  of  George 
IV.'s  private  chapel  and  in  1836  of  the 
Chapel  Royal.  Attwood  was  a  charter 
member  of  the  Philharmonic  Society 
and  was  made  a  professor  at  the 
Royal  Academy  of  Music  when  it  was 
founded  in  1823.  When  he  died  he 
was  buried  in  St.  Paul's  Cathedral, 
under  the  organ.  Attwood  enjoyed 
the  friendship  of  both  Mozart  and 
Mendelssohn.  His  work  as  a  com- 
poser seems  to  have  been  done  in  two 


BIOGRAPHIES 


25 


Attwood 


divisions,  the  opera  occupying  his 
earlier  Hfe  and  sacred  music  his  later 
years.  His  operas,  nineteen  in  num- 
ber, are  almost  forgotten  and  his  fame 
rests  on  his  church  music,  which  con- 
sists of  many  services  and  anthems, 
the  best  known  of  which  are  I  was 
Glad,  written  for  the  coronation  of 
George  IV.;  and  O  Lord,  Grant  the 
King  a  Long  Life,  written  for  Wil- 
liam IV.  He  also  wrote  a  great  num- 
ber of  songs  and  glees.  The  Soldier's 
Dream,  a  song,  became  very  popular 
and  two  of  his  glees,  In  Peace  Love 
Tunes  the  Shepherd's  Reed;  and  To 
All  that  Breathe  the  Air  of  Heaven, 
are  still  known  and  admired. 

Auber  (6-bar),  Daniel  Fransois  Esprit. 

1782-187L 

Celebrated  French  dramatic  com- 
poser and  the  chief  representative  of 
comic  opera.  He  was  born  in  Caen, 
Normandy,  while  his  parents  were  on 
a  journey  to  that  city,  their  home 
being  in  Paris.  Although  his  father 
intended  him  for  a  mercantile  career, 
the  family  was  artistic,  rather  than 
commercial,  Auber's  grandfather  being 
painter  to  the  King,  while  his  father, 
who  was  master  of  the  King's  hunt, 
was  a  singer,  an  amateur  composer, 
a  violinist  and  an  art  dealer  in  Paris. 
With  this  heredity,  it  is  not  strange 
that  Auber  absolutely  refused  to  fol- 
low the  business  life  planned  for  him 
and  resolutely  devoted  himself  to 
music.  He  first  studied  the  piano,  but 
at  the  age  of  eleven  his  bent  for  com- 
position began  to  develop,  and  he 
wrote  some  romances  and  ballads. 
A  few  years  later  he  was  sent  to  Eng- 
land to  go  into  business,  but  while 
there  devoted  himself  to  producing 
vocal  compositions,  and  soon  returned 
to  Paris  to  give  all  of  his  time  to 
music.  About  this  time,  he  became  a 
friend  of  Lamarre,  a  violoncellist  of 
ability,  and  was  persuaded  by  him  to 
write  a  number  of  concertos,  for  that 
instrument.  These  came  out  under 
Lamarre's  name,  but  the  real  author 
soon  became  known.  Auber  at  this 
time  also  wrote  a  violin  concerto 
which  was  very  successful.  His  first 
dramatic  work  was  a  new  setting  of 
an  old  comic  opera,  Julie.  This  was 
produced  at  Paris,  in  1812,  by  a  society 
of  amateurs.  Cherubini,  who  hap- 
pened to  be  among  the  audience, 
recognized  Auber's  talent  and  took 
him  for  a  pupil  in  composition  and  to 
this  great  master  he   owed  much   of 


Auber 

his  future  success.  Auber's  talent 
now  developed  very  rapidly.  The  same 
year,  1812,  he  produced  another  opera, 
Jean  de  Couvin,  which  was  privately 
performed  and  was  much  applauded, 
and  a  mass  from  which  the  prayer  in 
Masaniello  is  taken.  These  were  fol- 
lowed, in  1813,  by  Le  Sejour  Militaire, 
his  first  opera  to  be  publicly  per- 
formed. This  was  unsuccessful  and 
its  author  was  so  discouraged,  that 
six  years  elapsed  before  the  produc- 
tion of  Le  Testament  le  Billet  Doux, 
which  was  also  not  a  success.  The 
next  year,  however,  brought  La  Ber- 
gere  Chatelaine,  with  which  his  fame 
began  to  increase  and  there  followed 
a  series  of  operas,  for  the  most  of 
which  his  friend,  Scribe,  wrote  the 
librettos.  These  were  all  very  suc- 
cessful, among  them  being  La  Neige; 
Leicester;  Le  Concert  a  la  Cour;  Leo- 
cadie;  and  Le  Magon,  which  estab- 
lished Auber's  position  as  a  comic 
opera  composer.  In  1828,  Auber  pro- 
duced his  first  grand  opera,  La 
Muette  di  Portici,  known  in  Eng- 
land as  Masaniello.  This  work 
brought  him  to  the  height  of  his 
fame  and  is  classed  as  one  of  the 
three  productions  that  worked  a 
revolution  in  Grand  Opera,  the  other 
two  being  Rossini's  William  Tell  and 
Meyerbeer's  Robert  le  Diable.  It  is 
also  said  to  be  a  historical  fact  that 
this  opera  produced  the  real  revolu- 
tion in  1830,  which  resulted  in  the 
separation  of  Holland  and  Belgium. 
From  this  time  until  his  death,  Auber 
composed  most  industriously,  pro- 
ducing in  all,  nearly  fifty  operas. 
Some  of  his  best  work  was  done  after 
he  was  sixty  and  his  last  opera,  Reves 
d'Amour,  was  written  at  the  age  of 
eighty-five.  Beside  those  already 
mentioned  some  of  his  best  known 
operas  are  Le  Domino  Noir;  Les 
Diamants  de  la  Couronne;  Le  Cheval 
de  Bronze;  La  Part  du  Diable;  Man- 
on  Lescaut;  and  Fra  Diavolo.  In  1842, 
Auber  was  made  director  of  the  Con- 
servatory of  Paris,  to  succeed  Cheru- 
bini and,  in  1857,  Napoleon  III.  ap- 
pointed him  conductor  of  the  Imperial 
Chapel.  He  was  a  Knight  of  the 
Legion  of  Honor  and  a  member  of 
the  Academy  of  Fine  Arts.  Auber 
was  a  devoted  Parisian  and  never  left 
the  city  during  the  latter  part  of  his 
life.  His  death  occurred  during  the 
scenes  of  the  Commune  of  1871.  He 
was  the  chief  and  last  great  master  of 
comic   opera   and   his   work  was   dis- 


26 


BIOGRAPHIES 


Auber 

tinctively  French  in  character,  being 
very  smooth  and  melodious  and  com- 
bining grace  and  ease. 

Audran  (6-drah),  Edmond.    1842-1901. 

French  dramatic  composer.  Son  of 
Marius  Pierre  Audran,  who  was  a 
well-known  tenor  singer  and  vocal 
teacher.  Studied  at  the  Ecole  Nieder- 
meyer,  Paris,  where  he  gained  the 
prize  for  composition  in  1859.  Settled 
with  his  father  at  Marseilles  m  1861 
and  became  organist  and  musical  di- 
rector at  St.  Joseph's  Church.  Audran 
is  best  known  as  a  comic  opera  com- 
poser, producing  in  all  nearly  thirty 
operas  and  operettas,  the  most  suc- 
cessful of  which  are  Olivette;  The 
Mascot;  The  Grand  Mogul;  Madam 
Suzette  and  La  Poupee,  among  the 
others  being  La  Chercheuse  d'Esprit; 
Gillette  de  Narbonne;  L'Ours  et  la 
Pache;  La  Cigale  et  le  Fourmi; 
L'Oncle  Celestin;  Monsieur  Lohen- 
grin; and  Les  Petites  Femmes. 

*  Auer  (ow'er),  Leopold.    1845- 

Brilliant  Hungarian  violinist.  He 
showed  great  talent  for  music  very 
early,  and  during  the  Revolution  of 
1849  as  a  four-year-old  boy  excited 
great  enthusiasm,  by  marching  as  a 
drummer  before  the  troops.  Studied 
first  at  the  Prague  Conservatory  and 
then  at  the  Vienna  Conservatory  with 
Dont  from  1857  to  1858  and  afterwards 
with  Joachim.  Went  to  Dijsseldorf, 
in  1863,  as  leader  of  the  orchestra,  and 
in  1866  to  Hamburg  in  the  same 
capacity.  In  1868  he  went  to  St. 
Petersburg,  where  he  still  liveS;  as 
solo  violinist  to  the  Czar  and  in  the 
Imperial  Orchestra.  On  the  death  of 
Henri  Wieniawski,  in  1880,  Auer  suc- 
ceeded him  as  professor  of  violin  at 
the  Conservatory  of  St  Petersburg, 
and  there,  while  acting  as  conductor 
of  the  Symphony  concerts  of  the  Im- 
perial Musical  Association  he  has 
introduced  to  the  Russian  people 
many  important  works,  notably  Ber- 
lioz's Requiem  and  Schumann's  Man- 
fred. Auer  founded  a  quartet  at  St. 
Petersburg  which  became  one  of  the 
leading  musical  organizations  of  the 
city,  until  it  was  broken  by  the  death 
of  Davidoff,  the  violoncellist. 

Auguez,  Numa.     1847-1903. 

Admirable  French  barytone  singer 
and  teacher.  He  was  born  at  Saleux, 
and  became  a  pupil  of  the  Paris  Con- 
servatory   in    1867.      For    ten    years, 


Ayrton 

from  1871  to  1881,  he  sang  at  the 
Grand  Opera,  Paris,  and  then  went  for 
a  season  to  Italy,  When  Lamoureux 
gave  the  famous  production  of  Lohen- 
grin to  the  Parisians,  May  3,  1887. 
Auguez  made  a  marked  impression  in 
the  part  of  the  Herald.  Throughout 
France  he  was  greatly  esteemed  as  a 
concert  singer.  In  Paris,  his  name 
became  associated  with  Beethoven's 
Ninth  Symphony  and  Berlioz's  Dam- 
nation of  Faust.  In  1899  he  was  ap- 
pointed a  professor  of  singing  at  the 
Paris  Conservatory. 

Aus   der   Ohe    (ows'-der-6-e),   Adele. 

1860- 

German  pianist.  Daughter  of  a 
professor  at  Hanover  University. 
When  but  seven  years  of  age  she  was 
placed,  by  the  advice  of  von  Biilow, 
under  Kullak,  in  his  conservatory  at 
Berlin,  She  was  only  ten  when  she 
played  with  orchestra  at  a  concert  in 
Berlin,  and  but  twelve  when  she  be- 
came a  pupil  of  Liszt.  She  remained 
with  Liszt  seven  years,  and  was  a 
favorite  pupil,  her  playing  of  his  con- 
certos and  rhapsodies  being  regarded 
as  marvelous.  She  made  her  debut  in 
America  in  1886.  She  is  the  author  of 
several  songs  and  pieces  for  the  piano. 

Aylward,  Theodore.     1730-1801, 

English  composer  and  organist. 
Very  little  is  known  of  his  early  life. 
He  is  said  to  have  been  a  good  scholar 
and  was  already  known  as  a  composer 
in  1755.  After  1760  he  was  organist  of 
several  London  churches  successively 
and  in  1771  was  appointed  professor 
of  music  in  Gresham  College.  He  was 
assistant  director  of  the  Handel  Com- 
memoration in  1784,  and  in  1788  was 
organist  and  director  of  the  choristers 
of  St.  George's  Chapel,  Windsor.  He 
received  the  degrees  of  Bachelor  and 
Doctor  of  Music  from  Oxford  Uni- 
versity in  1791.  His  works  consist  of 
music  for  the  dramas.  Harlequin's  In- 
vasion, Midsummer  Night's  Dream, 
Cymbeline  and  others;  six  lessons  for 
the  organ,  elegies  and  glees;  eight 
canzonets  for  soprano  voices;  songs 
and  church-music  in  manuscript. 

Ayrton,  Edmund.     1734-1808. 

English  organist  and  director,  for 
many  years  master  of  the  children  at 
the  Chapel  Royal,  London,  and  author 
of  some  music.  He  was  born  at 
Ripon,  studied  the  organ  under  Dr. 
Nares,  organist  at  York  Minster,  and 


BIOGRAPHIES 


27 


Ayrton 

in  1754  was  elected  organist  and  to 
other  posts  at  the  college  and  church 
of  Southwell.  He  was  vicar-choral  of 
St.  Paul's,  lay-clerk  of  Westminster, 
and  in  1780  began  service  as  master 
of  the  children,  which  post  he  occu- 
pied till  1805.  The  tjniversity  of 
Cambridge  conferred  upon  him  the 
degree  of  Doctor  of  Music  in  1784. 
The  anthem  he  wrote  for  this  de- 
gree was  given  at  St.  Paul's  Cathe- 
dral in  the  celebration  of  Thanksgiv- 
ing over  the  conclusion  of  war  with 
America. 

Ayrton,  William.    1777-1858. 

Prominent  English  musical  critic, 
editor,  and  director;  son  of  the  pre- 
ceding. He  was  born  in  London,  was 
carefully  educated  both  in  letters  and 
music,    became    a    successful    teacher 


Bach 

and  for  many  years  wrote  literary  and 
musical  criticism  for  the  Morning 
Chronicle.  He  also  wrote  Philhar- 
monic Society  reviews  for  the  Ex- 
aminer. He  was  one  of  the  founders 
of  the  Philharmonic  Society,  and 
later  a  director.  While  serving  as 
music-director  at  the  King's  Theatre, 
he  introduced,  in  1817,  Don  Giovanni 
to  the  London  public,  and  during  his 
connection  with  this  theatre  brought 
out  various  Mozart  operas.  With  Mr. 
Clowes,  he  was  associated  in  the  pub- 
lication of  the  valuable  musical  jour- 
nal. The  Harmonicon.  He  edited  an 
extensive  collection  of  songs  and  in- 
strumental music  and  a  collection  of 
Sacred  Minstrelsy,  and  wrote  articles 
on  musical  subjects  for  the  Penny 
Cyclopedia  and  Knight's  Pictorial 
History  of  England. 


B 


Bach  (bakh),  Johann  Christoph. 

1642-;.703. 

The  uncle  of  Johann  Sebastian  Bach 
and,  next  to  him,  the  greatest  of  all 
the  Bachs.  He  was  not  only  one  of 
the  finest  organists  but  was  also  one 
of  the  greatest  composers  of  the 
Seventeenth  Century.  His  genius  was 
not  recognized,  however,  during  his 
lifetime  and  after  his  death  his  fame 
was  entirely  overshadowed  by  his 
great  nephew.  He  was  born  at 
Arnstadt  and  studied  there  with  his 
father,  Heinrich  Bach.  In  1665  he 
went  to  Eisenach  as  town  organist 
and  in  1678  he  succeeded  Pachelbel 
as  Court  organist.  He  remained  at 
Eisenach  until  his  death,  living  the 
simplest  of  lives.  In  spite  of  his  im- 
portance as  a  musician  none  of  his 
works  was  published,  and  many  of 
them  were  lost.  Like  all  of  the  Bachs, 
his  music  was  thoroughly  German  in 
spirit  and  style  and  without  a  trace 
of  Italian  influence.  His  most  im- 
portant works  were  vocal,  among  the 
best  being  his  motets  and  a  cantata 
for  double  chorus  and  orchestra,  Es 
erhub  sich  ein  Streit.  His  instru- 
mental works  consisted  of  forty-four 
chorale  preludes  and  a  saraband  with 
twelve  variations  for  the  clavier. 


Bach,   Johann   Sebastian.    March  21, 

1685- July  28,  1750. 

The  greatest  representative  of  a 
wonderful  family  of  musicians,  who 
were  prominent  in  Germany  for  over 
two  hundred  years.  Bach  not  only 
had  a  long  line  of  musical  ancestors 
himself  but  he  is  also  said  to  have 
been  the  direct  ancestor  of  about 
sixty  well-known  organists  and  com- 
posers of  Germany.  The  musical 
branch  of  the  family  begins,  as  far 
as  our  knowledge  of  them  is  con- 
cerned, with  Hans  Bach,  who  was  a 
trustee  of  the  parish  of  Wechmar  in 
Thuringia  in  1561  and  who  is  said  to 
have  been  born  there.  Veit  Bach, 
probably  a  son  of  Hans,  was  a  miller 
and  baker  in  Wechmar,  and  was  the 
first  musician  of  the  family.  He 
loved  and  studied  music  and  played 
on  the  zither.  Veit  Bach  had  at  least 
two  sons,  one  Hans,  called  "  Der 
Spielmann  "  (the  player),  and  another 
whose  name  is  unknown.  These  two 
brothers  were  the  heads  of  the  two 
main  branches  of  the  Bach  family, 
which  flourished  in  Thuringia.  In 
time  the  towns  of  Armstadt,  Erfurt, 
Eisenach,  Gotha,  and  Miihlhausen  be- 
came their  centers.  Here  they  lived 
and  were  the  town  musicians  and  in 


28 


BIOGRAPHIES 


Bach 

these  towns  they  held  their  family 
meetings,  when  they  all  gathered  and 
exchanged  musical  knowledge  and 
gave  musical  performances.  Their 
thorough  musical  training  was  handed 
down  from  one  to  another,  the  older 
members  teaching  the  younger  and 
the  younger  taking  up  the  musical 
positions  as  they  became  vacant,  until 
finally,  the  town  musicians  were 
called,  "The  Bachs,"  even  if  they  be- 
longed to  an  entirely  different  family. 
Their  most  notable  characteristics  as 
a  family  were  their  great  devotion  to 
each  other,  their  intense  patriotism 
and  their  profound  and  absorbing  love 
of  music.  The  Bach  family  became 
extinct,  in  1846,  when  Wilhelm  F.  E. 
Bach  died.  Hans  Bach,  "  the  player," 
the  son  of  Veit  Bach,  was  the  great 
grandfather  of  Johann  Sebastian,  his 
grandfather  being  Christoph,  town- 
musician  of  Erfurt  and  of  Arnstadt, 
and  his  father  Johann  Ambrosius,  was 
also  town  musican  and  a  violinist  of 
ability. 

Johann  Sebastian  Bach  was  born  at 
Eisenach,  probably  March  21,  as  he 
was  baptized  on  March  23.  His  life 
as  a  child  was  very  simple,  but  from 
his  infancy  he  was  surrounded  by  a 
strong  musical  atmosphere  and  the 
most  intense  German  Protestant 
religious  influence,  and  both  of  these 
things  had  a  great  effect  upon  his 
development  and  upon  his  music.  He 
received  his  first  musical  instruction, 
which  was  on  the  violin,  from  his 
father.  When  he  was  ten  years  old 
both  of  his  parents  died  and  left  him 
to  the  care  of  Johann  Christoph,  his 
older  brother,  who  was  organist  at 
Ohrdruf  and  a  pupil  of  Pachelbel. 
This  brother  now  became  Sebastian's 
teacher,  but  it  was  not  long  until  the 
pupil  had  absorbed  all  of  the  teacher's 
knowledge  and  still  longed  for  more, 
but  the  brother  seems  to  have  dis- 
couraged rather  than  have  encouraged 
this  talent.  Beside  the  organ,  Sebas- 
tian worked  upon  the  clavichord  and 
harpsichord  and  made  most  rapid 
progress,  so  rapid,  in  fact,  that  his 
brother  Christoph  has  been  accused 
of  jealousy,  even  to  the  extent  of 
keeping  from  the  boy  the  fine  collec- 
tion of  manuscript  organ  music, 
which  he  owned  and  which  Sebastian 
longed  most  ardently  to  study.  So 
great  was  the  boy's  eagerness  to 
possess  this  music,  that  he  got  hold 
of  it  by  stealth  at  night  and  copied  it 
all  by  moonlight,  but  only  to  have  it 


Bach 

destroyed  by  his  stern  elder  brother, 
when  discovered.  This  copying  took 
six  months  and  the  strain  on  his  eyes, 
thus  caused,  is  said  to  have  resulted 
in  the  blindness,  which  came  upon 
him  later  in  life.  The  amount  of  good 
music  which  he  absorbed  while  doing 
this  work  must,  however,  have  had 
great  influence  on  his  musical  develop- 
ment. At  the  age  of  fifteen,  Sebastian, 
who  had  a  fine  voice,  obtained  a  posi- 
tion in  the  choir  of  St.  Michael's 
School  at  Liineburg,  and  from  this 
time  on  depended  upon  himself  and 
worked  out  his  own  salvation  in  his 
musical  career  During  the  three 
years  spent  here  he  had  opportunity 
to  study,  beside  vocal  music,  the 
organ,  the  clavichord  and  the  violin 
and  also  to  hear  much  good  music. 
While  at  Liineburg,  he  made  several 
journeys  on  foot  to  Hamburg  to  hear 
the  famous  organists,  Reinken  and 
Vincenz  Lubeck,  who  were  playing 
there.  He  also  frequently  visited 
Celle  and  became  familiar  with  the 
French  music  of  that  place. 

In  1703,  Bach  was  appointed  violin- 
ist in  the  Court  Orchestra  of  Prince 
Johann  Ernst  of  Weimar,  but  could 
have  remained  only  a  few  months,  for, 
when  visiting  Arnstadt  in  the  summer 
of  the  same  year,  he  was  appointed 
organist  of  the  new  church  of  that 
place.  Bach  remained  at  Arnstadt 
three  years  and  during  that  time,  hav- 
ing a  good  organ  to  play  and  a  choir 
for  which  to  compose,  he  produced 
some  works  of  importance,  but  had 
rnuch  trouble  with  the  church  authori- 
ties, who  wanted  an  organist  and  not 
a  composer.  He  began  at  this  time 
some  of  his  church  cantatas,  which 
later  grew  into  a  long  series  and  also 
wrote  his  odd  Capriccio  on  the  De- 
parture of  a  Beloved  Brother,  when 
his  elder  brother,  Johann  Jakob,  left 
to  join  the  Swedish  Guard  as  oboe- 
player.  Each  movement  of  this  piece 
has  a  descriptive  title  and  it  is 
the  only  one  of  all  of  Bach's  works 
that  can  be  called  program  music. 
From  Arnstadt,  he  made  his  famous 
journey  on  foot  to  Liibeck  to  hear 
the  organist,  Dietrich  Buxtehude.  He 
had  leave  of  absence  for  four  weeks, 
but  was  so  fascinated  by  the  music 
which  he  heard  that  he  stayed  four 
months.  This,  together  with  the 
liberties  which  he  took  with  the  ser- 
vice in  the  way  of  improvising, 
brought  upon  him  the  severe  criticism 
of  the  Arnstadt    church    authorities, 


BIOGRAPHIES 


29 


Bach 


Bach 


I 


but  he  was  not  dismissed,  which 
shows  that  his  genius  was  already 
appreciated.  In  1706,  a  position  as 
organist  at  the  Church  of  St.  Blasias 
in  Mijhlhausen  became  vacant  and 
Bach  obtained  it  at  a  salary  of  about 
seven  pounds  or  thirty-five  dollars  a 
year  together  with  certain  quantities 
of  corn,  wood  and  fish,  to  be  delivered 
without  charge  at  his  door.  Upon 
this  salary  he  was  able  to  marry  his 
cousin,  Maria  Barbara  Bach,  by  whom 
he  had  a  family  of  seven  children. 
Bach's  stay  at  Miihlhausen  was  very 
short,  for  about  a  year  after  accepting 
the  position  he  resigned,  to  become 
Court  organist  to  the  Grand  Duke  at 
Weimar.  Here  he  remained  for  nine 
years,  from  his  twenty-third  to  his 
thirty-second  j'ear,  arid  was  made  con- 
ductor of  the  Court  Orchestra  in  1714. 

While  at  Weimar,  Bach  became  not 
only  the  finest  organist  of  his  time, 
but  the  greatest  composer  for  the 
organ  that  the  world  has  ever  known. 
While  here  many  of  his  greatest 
organ  compositions  were  produced 
and  also  a  series  of  church  cantatas, 
which  were  written  as  part  of  the 
duties  of  his  office.  These  cantatas 
hold  much  the  same  position  in  the 
German  church  services  that  anthems 
do  in  the  service  of  English  churches 
and  they  were  a  very  important  form 
of  composition.  In  1717,  Bach  was 
appointed  to  a  position  entirely  differ- 
ent from  those  he  had  occupied  be- 
fore. He  was  called  to  Cothen  by 
Prince  Leopold  of  Anhalt,  as  con- 
ductor and  director  of  his  chamber- 
music,  at  a  salary  of  three  hundred 
dollars  a  year.  Here  he  had  nothing 
to  do  with  church  music  or  organ 
playing  and  he  gave  his  attention, 
chiefly,  to  writing  orchestral  music 
for  stringed  instruments  and  com- 
posing for  the  clavichord,  and  to 
teaching  and  traveling  with  his 
patron.  The  life  at  Cothen  was  very 
narrow  and  uninteresting,  compared 
with  that  of  Weimar  and  some 
biographers  have  thought  it  necessary 
to  apologize  for  Bach,  because  he 
accepted  this  position,  others,  how- 
ever, have  considered  it  a  kind  of 
breathing  space  or  pause  in  his  busy 
life,  without  which,  he  might  not  have 
accomplished  the  great  amount  of 
important  work  that  he  did  later  on. 

Trips  to  Halle,  Leipsic  and  Dresden 
varied  the  monotony  of  his  life  at 
Cothen  and  he  also  made  a  journey  to 
Hamburg,  to  compete  for  the  position 


of  organist  for  the  Jacobi  Kirche, 
whose  magnificent  new  organ  at- 
tracted him.  Things  seem  to  have 
been  very  much  the  same  then,  as 
they  are  today,  however,  as  in  spite 
of  the  fact  that  Bach  was  recognized 
as  the  man  for  the  place  and  the 
greatest  organist  of  his  time,  the  posi- 
tion was  given  to  an  insignificant 
young  man,  who  could  pay  four  hun- 
dred marks  for  iti 

While  at  Cothen,  Bach  wrote  the 
first  part  of  his  collection  of  forty- 
eight  preludes  and  fugues  known  in 
German  as  The  Well-tempered 
Clavier.  As  Bach's  life  at  Weimar  is 
representative  of  his  work  as  an 
organist  and  a  composer  for  the 
organ,  so  the  time  at  Cothen  stands 
for  his  production  for  the  clavichord 
and  orchestra.  While  at  Carlsbad  on 
one  of  his  many  trips  with  Leopold, 
Bach's  wife  died  very  suddenly.  No 
news  could  be  gotten  to  him  and  on 
his  return  he  found  her  buried.  He 
was  left  with  four  children,  and  about 
eighteen  months  after  his  wife's  death, 
he  married  Anna  Magdalena  Wulkin, 
a  young  woman  of  twenty-one,  who 
was  a  very  fine  soprano  singer. 
Thirteen  children  were  the  result  of 
this  marriage,  making  a  family  of 
twenty  in  all.  These  children  ranged 
all  the  way  from  idiocy  to  genius, 
those  who  were  the  most  musically 
gifted  belonging  to  the  first  family. 
In  1723,  Bach  was  appointed  cantor 
and  musical  director  of  the  famous 
Thomas  School  at  Leipsic,  which  posi- 
tion he  held  until  his  death,  at  the 
same  time  retaining  his  title  as 
"  Kapelmeister  of  Cothen."  From 
Court  conductor  to  cantor  might  be 
considered  a  step  backward,  did  we 
not  know  that  Bach  was  devoted  heart 
and  soul  to  the  organ  and  the  com- 
position of  church  music,  and  that  the 
position  at  Liepsic  gave  him  special 
opportunity  for  these  things.  This 
particular  position  as  cantor,  too,  had 
been  always  held  by  distinguished 
men  and  was  differently  considered 
from  the  ordinary  post  of  the  kind. 
Another  very  strong  reason  for  Bach's 
going  to  Leipsic  was  that  he  wished 
to  live  in  a  place  where  he  could  have 
the  best  of  educational  advantages  for 
his  children,  his  oldest  son,  Wilhelm 
Friedman,  being  at  once  entered  as  a 
student  in  the  University.  As  cantor 
at  the  Thomas  School,  Bach  was  sup- 
posed to  teach  the  boys  vocal  and 
instrumental  music   and  Latin.     The 


30 


BIOGRAPHIES 


Bach 

latter  work,  however,  he  turned  over 
to  an  assistant.  He  was  also  organist 
and  director  of  music  at  the  two  chief 
churches  of  Leipsic,  St.  Thomas  and 
St.  Nicholas,  as  well  as  overseer  for 
several  lesser  churches.  He  was  at 
the  same  time,  director  of  music  for 
the  city  of  Leipsic. 

The  first  years  of  Bach's  life  in 
Leipsic  were  very  hard  and  unsatis- 
factory, on  account  of  musical  con- 
ditions at  the  Thomas  School,  and  it 
was  not  until  after  the  death  of  the 
rector,  who  opposed  Bach  in  every 
way,  that  he  was  able  to  make  much 
progress  with  the  work.  His  rela- 
tions with  the  Municipal  Council,  by 
whom  he  was  elected  and  under  whose 
direction  he  was  supposed  to  work, 
were  also  very  unpleasant.  This  body, 
which  had  charge  of  the  city's  musi- 
cal affairs,  as  well  as  the  Consistory, 
which  looked  after  music  matters  for 
the  church,  utterly  failed  to  under- 
stand Bach  and  caused  him  much  an- 
noyance in  many  petty  ways.  Things 
became  so  bad,  in  1830,  that  Bach 
appealed  to  Erdmann,  an  old  friend, 
to  find  him  a  more  congenial  posi- 
tion. But  just  at  this  time  a  new 
rector,  named  Gesner,  came  to  the 
Thomas  School  and  affairs  immedi- 
ately began  to  mend.  Gesner  became 
the  firm  friend  of  Bach  and  aided  him 
in  every  possible  way  and,  fortu- 
nately for  the  city  of  Leipsic  and  the 
development  of  music,  the  great  mas- 
ter remained  in  the  town  and  in  his 
position  until  his  death.  Gesner  re- 
mained at  the  Thomas  School  four 
years,  which  were  the  most  peaceful, 
the  busiest  and  most  productive  of 
Bach's  life.  But  after  these  four  good 
years,  the  old  troubles  and  annoyances 
with  school  and  church  authorities  be- 
gan again  and  lasted,  ever  increasing, 
until  his  death.  The  most  pathetic 
thing  about  all  of  these  unpleasant 
affairs  is  that  Bach  seems  to  have 
been  always  in  the  right,  but  seems 
also  to  have  had  always  to  deal  with 
the  most  unreasonable  and  dis- 
agreeable people.  His  one  solace  dur- 
ing his  busy  and  troubled  days  in 
Leipsic  was  his  home  life,  which  was 
the  most  delightful  imaginable,  his 
wife  and  children  all  being  musicians 
and  keenly  interested  in  all  musical 
matters  and  his  house  being  filled  at 
all  times  by  pupils,  who  adored  him. 
Grove  says:  "His  art  and  his  fam- 
ily, these  were  the  two  poles  around 


Bach 

which  Bach's  life  moved;  outwardly 
simple,  modest,  insignificant;  inwardly 
great,  rich,  and  luxurious  in  growth 
and  production." 

During  the  years  at  Leipsic,  Bach 
developed  his  full  creative  powers  and 
produced  his  greatest  works.  For  the 
services  of  the  Leipsic  churches  he 
was  supposed  to  compose  music,  and 
for  them  he  wrote  his  great  series  of 
cantatas,  comprising  not  less  than 
three  hundred  and  eighty,  providing 
one  for  every  Sunday  and  festival  for 
five  years.  Many  of  these  were  lost, 
but  about  two  hundred  and  twenty-six 
were  saved  and  published.  During 
these  years  he  also  wrote  his  greatest 
work.  The  Passion-Music.  According 
to  some  biographers,  there  were  five 
of  these,  but  we  have  left  only  three, 
the  St.  John,  the  St.  Matthew  and  the 
St.  Mark.  There  is  also  a  St.  Luke 
Passion,  but  much  doubt  exists  as  to 
whether  Bach  wrote  it.  Soon  after 
going  to  Leipsic,  Bach  was  made  hon- 
orary conductor  to  the  Duke  of  Weis- 
senfels,  receiving  the  salary  without 
being  obliged  to  attend  the  court.  In 
1736  he  was  made  Royal  Court  com- 
poser to  the  King  of  Poland  and 
Elector  of  Saxony.  In  1747,  after  re- 
peated invitations,  Bach  visited  King 
Frederick  the  Great  at  Potsdam.  He 
was  received  by  the  King  with  the 
greatest  courtesy,  was  taken  through 
the  Palace,  where  he  played  on 
Frederick's  collection  of  pianos,  about 
fifteen  in  number;  was  invited  to  play 
on  all  the  principal  organs  of  the  city 
and  shown  all  the  sights.  After  re- 
turning home,  Bach  composed  and 
sent  to  the  King  The  Musical  Offer- 
ing, worked  out  on  a  theme  written  by 
the  King  himself.  About  a  year  be- 
fore his  death,  Bach's  eyesight  began 
to  fail  and  after  two  operations  he 
became  totally  blind,  but  even  after 
this  he  composed  and  dictated  to  his 
son-in-law  one  of  his  most  beautiful 
chorales.  When  We  in  Sorest  Trouble 
Are.  About  ten  days  before  his  death 
his  sight  returned.  He  died,  July  25, 
1750,  at  the  age  of  sixty-five,  of 
apoplexy.  Bach  was  buried  in  St. 
John's  churchyard  in  Leipsic.  His 
grave  was  not  marked,  and  when 
sometime  afterward  a  road  was  made 
through  the  churchyard  it  was  lost 
entirely.  Professor  Wilhelm  His  of 
Leipsic,  in  1894,  discovered  a  grave 
containing  remains,  which  corre- 
sponded  exactly  to   Bach's   measure- 


BIOGRAPHIES 


31 


Bach 

ments.  By  covering  the  skull  with 
wax,  a  portrait  of  the  head  was  ob- 
tained, which  agreed  so  closely  with 
authentic  portraits  of  the  great  musi- 
cian that  all  doubts  were  set  at  rest 
and  the  remains  were  reinterred  in  a 
crypt,  specially  prepared,  under  the 
altar  of  the  church.  The  reinterment 
took  place,  July  28,  1900,  on  the  one 
hundred  and  fiftieth  anniversary  of 
Bach's  death. 

Bach  was  said,  by  Schumann,  to 
hold  the  same  position  in  regard  to 
music  that  a  founder  does  to  a  re- 
ligion. He  is  called  "The  musician 
for  musicians."  Bach  left  behind  him 
an  immense  number  of  works,  of 
which  only  a  small  part  were  pub- 
lished during  his  life.  For  over  fifty 
years  his  works  were  much  neglected, 
after  that  some  attention  were  paid  to 
them,  some  were  printed  and  some  re- 
printed, but  not  until  Mendelssohn 
brought  out  the  Passion-Music,  in 
1829  at  Berlin,  was  the  full  greatness 
of  the  man  realized.  It  is  said,  that 
as  an  organist,  no  one  has  been  his 
equal,  with  the  possible  exception  of 
Handel,  and  that  his  organ  composi- 
tions, written  at  Weimar,  were  "  un- 
surpassed and  unsurpassable."  He 
was  also  an  able  performer  on 
stringed  instruments  and  wrote  much 
orchestral  music.  For  instruments  no 
longer  in  use  he  wrote  three  sonatas 
for  the  viola  da  gamba;  three  partitas 
(or  variations)  for  the  lute;  and_  a 
suite  for  the  viola  pomposa,  an  in- 
strument between  the  viola  and  the 
violoncello,  which  he  himself  invented. 
Among  such  a  great  mass  of  composi- 
tions, only  a  few  of  the  most  im- 
portant can  be  mentioned:  The 
Passion-Music;  the  Mass  in  B  Minor; 
the  series  of  three  hundred  cantatas; 
and  the  oratorios  for  Christmas, 
Ascension  and  Easter  are  among  the 
best  of  his  vocal  works.  For  the 
piano  are  The  Well-tempered  Clavier; 
French  Suites;  English  Suites;  and  a 
great  mass  of  preludes,  sonatas  and 
inventions.  For  the  organ  are  his 
Art  of  Fugue;  an  enormous  number 
of  preludes,  fantasias,  toccatas,  fugues 
and  chorals.  There  are  also  sonatas 
for  the  violin  and  violoncello,  a  con- 
certo for  several  different  instruments; 
also  many  motets,  secular  cantatas, 
solos  and  trios  for  different  instru- 
rnents  in  different  combinations,  be- 
side an  immense  number  of  single 
pieces  for  various  instruments.  Be- 
side his  great  Art  of  Fugue  and  other 


Bach 


compositions  for  the  organ,  Bach's 
three  most  important  works  were 
probably  his  Well-tempered  Clavier, 
the  Passion-Music,  and  his  High  Mass 
in  B  Minor,  which  has  been  described 
as  a  "  Gothic  cathedral  in  music."  The 
Well-tempered  Clavier  is  in  two  vol- 
umes, each  containing  twenty-four 
preludes  and  fugues  in  all  major  and 
minor  keys.  The  first  volume  was 
written  during  his  five  years'  residence 
at  Cothen,  the  second  was  composed 
at  Leipsic  in  1740.  Forkel,  a  noted 
musical  authority,  says  of  his  work, 
"  The  second  part  consists,  from  the 
beginning  to  the  end  entirely  of  mas- 
terpieces. In  the  first  part,  on  the 
other  hand,  there  are  still  some  pre- 
ludes and  fugues,  which  bear  marks 
of  the  immaturity  of  early  youth  and 
have  been  retained  by  the  author  only 
to  have  the  number  of  four-and- 
twenty  complete.  But  even  here  the 
author  corrected,  in  course  of  time, 
whatever  was  capable  of  amendment. 
Even  the  second  part  received  great 
improvements.  In  general  both  parts 
of  this  work  contain  a  treasure  of  art,, 
which  cannot  be  found  anywhere  but 
in  Germany."  Another  authority  says 
of  this  work,  that  no  musician  or 
pianist  can  ignore  it  with  impunity, 
and  Schumann  commended  it  to 
young  musicians  as  their  "daily 
bread."  Of  Bach's  St.  John  and  St. 
Matthew  Passions,  which  are  the 
gospel  stories  presented  in  musical 
form,  R.  L.  Poole  says:  "The  biblical 
narrative  is  followed  with  entire 
fidelity  and  the  master  has  proceeded 
with  such  independent  judgment  that 
his  work  stands  quite  remote  from 
the  strange  medley,  with  which  his 
immediate  predecessors  had  to  be 
contented.  The  music  they  wrote  to 
it  was  indeed  of  great  individual 
beauty,  but  in  their  hands  it  never 
gained  the  symmetry  of  an  organic 
whole.  It  is  Bach's  peculiar  glory  to 
have  succeeded  in  this  endeavor 
where  everyone  else  had  failed.  He 
adopted,  not  the  forms  of  the  Italian 
oratorio,  but  he  absorbed  its  spirit.  He 
blended  it  in  a  manner  of  which  no 
previous  composer  had  ever  suspected 
the  possibility,  with  the  profound  re- 
ligiousness of  the  national  chorale. 
Above  all,  he  created  a  recitative  of 
his  own,  stripped  of  all  that  was 
theatrical  and  entirely  appropriate  to 
the  setting  forth  of  the  divine  narra- 
tive. In  his  Passion-Music,  he  brings 
to  absolute  completeness  the  form  for 


32 


BIOGRAPHIES 


Bach 

which  his  conception  of  the  church 
cantata  had  been  through  long  years 
the  preparation.  The  Passions  accord- 
ing to  St.  John  and  St.  Matthew  He 
before  us  as  the  noblest  monuments 
of  Bach's  spirit.  Each  is  in  truth  in- 
comparable, whether  in  relation  to  the 
other,  or  to  the  rest  of  sacred  music. 
The  St.  John  Passion  is  the  perfec- 
tion of  church-music;  the  St.  Matthew 
reaches  the  goal  of  all  sacred  art, 
while  its  colossal  dimensions  take  it, 
almost,  happily  not  quite,  out  of  the 
range  of  church  performance."  The 
Mass  in  B  Minor  was  written  prob- 
ably for  production  in  the  Leipsic 
churches.  On  it,  it  is  said.  Bach  put 
all  his  strength  and  consecrated  every 
resource  of  inspiration  and  art,  every 
possibility  of  voice  and  instrument. 
To  quote  again  from  Poole,  "Words, 
however,  can  give  but  a  very  faint 
impression  of  this  masterpiece  of  uni- 
versal Christendom;  and  daring  with 
forced  fingers  rude,  to  touch  its  per- 
fect outline,  I  leave  inviolate  the 
lyrical  tenderness  of  the  Agnus  Dei 
and  the  yearning  desire  of  the  Dona 
nobis  pacem,  the  restful  consumrna- 
tion  of  the  whole,  nor  can  I  describe 
the  infinite  fertility  of  the  design,  the 
happy  frequency  with  which,  in  the 
arias,  a  single  instrument,  violin,  flute, 
hautboy  or  horn,  is  made  to  enhance 
the  delicacy  of  the  human  voice;  or 
the  splendor  of  the  grouping  of  the 
orchestra,  equally  noble  in  sonorous 
magnificence  and  in  chastened  soft- 
ness. Whether  in  its  art  or  in  its 
religion,  the  High  Mass  stands  amorig 
the  creations  of  Bach's  master-spirit, 
first  and  alone,  and  for  its  sole  equal 
the  Passion  according  to  Saint  Mat- 
thew." 

One  writer  has  said,  "It  is  not  too 
much  to  assert,  that  without  Sebastian 
Bach  and  his  matchless  studies  for  the 
piano,  organ  and  orchestra,  we  could 
not  have  had  the  varied  musical 
development,  in  sonata  and  symphony 
from  such  masters  as  Haydn,  Mozart 
and  Beethoven."  Apthorp,  a  musical 
critic  of  ability,  has  said  of  Bach,  "No 
one  man  has  left  so  deep  a  mark  on 
the  history  of  music,  nor  has  exerted 
so  strong  and  far-reaching  an  in- 
fluence upon  the  subsequent  develop- 
ment of  the  art  as  he.  In  a  word, 
Sebastian  Bach  is  the  great  source  and 
fountain-head  from  whom  well  nigh 
all  that  is  best  and  most  enduring  in 
modern  music  has  been  derived." 


Bach 


BIBUOGRAPHY. 

Bach,  Emanuel  and  Agricola,  J.  F. — 
Necrology,  published  in  the  Musi- 
kalische  Bibliothek  in  1754. 

Bitter,  C.  H.— Life  of  Bach. 

Forkel,  J.  N.— Life  of  Bach. 

Poole,  R.  L. — Sebastian  Bach. 

Shuttleworth,  Kay — Life  of  Bach.  * 

Spitta,  J.  A.  P. — Biography  of  Johann 
Sebastian  Bach,  2  vols.  (Standard 
and  exhaustive  work.) 

Thorne,  E.  H. — Bach. 

Williams,  C.  F.  A.— Bach. 

Bach,  Karl  Philipp  Emanuel.  1714- 
1788. 

The  third  son  of  Johann  Sebastian 
Bach,  and  although  the  least  gifted 
musically,  he  became,  on  account  of 
his  capacity  for  work,  the  most  fa- 
mous. His  father  intended  that  he 
should  study  philosophy  and  he  was 
educated  at  the  Thomas  School,  Leip- 
sic, and  later  studied  law  at  Frankfort, 
but  his  inherited  love  of  music  was  too 
strong  and  the  musical  training  he 
had  received  from  his  father  too 
thorough,  to  allow  him  to  become 
anything  but  a  musician.  While  at 
Frankfort  he  composed  some  music 
for  a  singing  society,  which  he  con- 
ducted there._  In  1738  he  went  to 
Berlin  and  in  1746  was  appointed 
chamber-musician  to  Frederick  the 
Great.  This  position  he  held  until 
1767,  when  he  went  to  Hamburg, 
where  he  remained  until  his  death  as 
music-director  of  the  principal  church. 
Emanuel  Bach  was  great  as  a  com- 
poser, a  teacher  and  a  director  and 
was  also  a  man  of  much  culture  and 
refinement.  He  is  considered  the  real 
founder  of  the  modern  school  of  piano 
playing  and  is  said  to  be  the  link 
between  his  father  and  Handel  on  the 
one  hand  and  Haydn  and  Mozart  on 
the  other  His  most  pronounced  char- 
acteristic was,  perhaps,  his  great 
attention  to  form  and  finish,  which,  in 
his  day,  were  considered  the  chief 
requisites  of  music.  He  was  a  most 
voluminous  composer,  his  instrumen- 
tal works  being  the  most  valuable. 
He  wrote  two  hundred  and  ten  solo 
pieces  for  the  piano;  two  beautiful 
sonatas  for  the  violin  and  piano; 
eighteen  orchestral  works;  fifty-two 
concertos  with  orchestral  accompani- 
ments; thirty-four  compositions  for 
wind  instruments;  beside  pieces  for 
the  flute,  oboe  and  violoncello.  His 
vocal    works    consisted   of    two    ora- 


BIOGRAPHIES 


33 


Bach 

torios;  twenty-two  Passions;  many 
cantatas,  motets,  hymns  and  songs; 
and  also  choruses  and  secular  songs. 

Bach,  Wilhelm  Friedmann.  1710-1784. 
Oldest  son  of  Johann  Sebastian 
Bach.  Born  at  Weimar.  Studied  with 
his  father  and  at  twelve  years  of  age 
was  an  excellent  pianist.  When  fif- 
teen, he  began  to  study  the  violin 
under  Graun.  In  1723  he  attended  the 
Thomas  School  at  Leipsic  and,  in 
1729,  entered  the  University  where  he 
excelled  as  a  mathematician.  He  went 
in  1733  to  Dresden  as  church  organist 
and  in  1747  in  the  same  capacity  to 
Halle.  From  his  residence  in  this 
place,  he  became  known  as  "The  Halle 
Bach."  Always  wild  and  reckless,  he 
became,  while  at  Halle,  very  dissi- 
pated and  in  1764  lost  his  position. 
After  this  he  lived  at  Brunswick  and 
at  Gottingen,  occasionally  giving  con- 
certs but  without  any  regular  line  of 
work  and  always  sinking  lower  and 
lower,  until  in  1784,  he  died  at  Berlin 
in  misery  and  want.  The  wretched 
failure  he  made  of  his  life  was  all  the 
sadder  because  of  the  fact  that  he  was 
the  most  gifted  musically  of  all  Bach's 
children  and  could  have  done  won- 
derful things  if  it  had  not  been  for 
his  unfortunate  weakness  of  character. 
As  it  was,  he  was  the  greatest  or- 
ganist of  his  time;  a  master  of  the 
fugue  and  a  wonderful  improviser; 
and,  on  account  of  his  thorough 
knowledge  of  mathematics,  a  remark- 
able musical  theorist.  He  wrote 
twenty-two  cantatas,  the  best  of  which 
are  a  Peace  Cantata;  a  Pentecost 
Cantata;  and  cantatas  for  Christmas 
and  Advent.  He  also  wrote  seventeen 
sets  of  instrumental  compositions, 
consisting  of  many  works  for  the 
piano  and  organ  as  well  as  for  the 
flute,  violin  and  horn.  Many  of  his 
works  were  never  printed,  because  of 
his  indifference  in  writing  them  down. 

Bache  (bach),  Francis  Edward.     1833- 
1858. 

English  composer  and  pianist. 
Bache  was  a  very  highly  talented 
musician,  who  died  in  the  midst  of  a 
most  promising  career.  He  showed 
musical  talent  very  early.  Studied 
with  the  best  teachers  in  London, 
Dresden  and  Leipsic,  on  the  piano, 
organ  and  violin.  His  ability  for 
work  was  far  beyond  his  physical 
strength  and  his  health  broke  down 
in    1855   to   such    an   extent   that   he 


Backer-Grondahl 


went  to  Algiers  and  later  to  Rome, 
but  returned  to  England  in  1857  and 
died  of  consumption  in  1858.  His 
compositions,  all  written  before  his 
twenty-fifth  year,  proved  that  had  he 
lived  he  would  have  undoubtedly 
been  one  of  England's  greatest  musi- 
cal artists.  He  wrote,  beside  two 
operas  which  have  never  been  pub- 
lished, many  compositions  for  the 
piano;  several  orchestral  works;  some 
pieces  for  violin  and  piano;  and  many 
songs,  some  of  which  are  worthy  to 
stand  with  those  of  Schubert  and 
Schumann. 

Bache,  Walter.     1842-1888. 

Fine  English  pianist.  Brother  of 
the  preceding.  Began  studying  music 
at  sixteen.  Worked  under  the  best 
teachers  at  the  Leipsic  Conservatory. 
After  a  short  stay  in  Milan  and 
Florence  he  went  to  Rome,  where  he 
studied  for  three  years  with  Liszt. 
In  1865  Mr.  Bache  returned  to  Lon- 
don, where  he  lived  as  a  conductor, 
pianist  and  teacher  until  his  death. 
He  was  a  professor  of  the  piano  at 
the  Royal  Academy  of  Music.  Bache 
was  an  ardent  admirer  of  Liszt  and 
was  untiring  in  his  effort  to  introduce 
that  master's  works  in  London  by 
bringing  out  his  compositions  con- 
stantly at  the  concerts  which  he  gave. 
Bache  was  instrumental  in  founding 
the  Liszt  scholarship  at  the  Royal 
Academy  of  Music. 

Backer-Grondahl    (bak'-er   gron'-dal), 
Agathe  Ursula.     1847- 

Norwegian  woman  composer  of  re- 
markable achievement,  and  a  famous 
pianist.  In  a  discussion  of  the  three 
Scandinavian  schools  of  music,  A.  E. 
Keeton  gives  her  this  high  praise:  "It 
is  to  the  credit  of  Norway  to  possess 
a  very  remarkable  woman  composer, 
Agathe  Backer  Grondahl,  whose 
merits  are,  with  the  general  consent 
of  her  countrymen,  placed  upon  a 
level  with  those  of  Grieg.  Without 
being  in  any  way  an  imitator,  she  has 
much  the  same  quiet  humor  and 
drollery  as  Grieg.  But  the  highest 
praise  that  one  can  bestow  upon 
Agathe  Backer-Grondahl  is,  perhaps, 
that  her  music  is  undoubtedly  written 
by  a  woman.  In  this  respect,  her 
genius  may  be  justly  compared  with 
that  of  Mrs.  Browning  or  Madame 
Lebrun."  She  was  born  at  Holme- 
strand,  Norway,  studied  in  her  own 
country  under  Kjerulf  and  Lindemann, 


34 


BIOGRAPHIES 


Backer-Grondahl 


in  Berlin  took  a  protracted  course  at 
the  celebrated  KuUak  academy  and 
studied  composition  under  Richard 
Wuerst.  She  then  settled  quietly  in 
Christiania,  devoting  her  time  to 
teaching  and  composing  with  occa- 
sional appearances  in  local  concerts. 
In  1871  she  played  at  the  Gewand- 
haus  in  Leipzic,  went  to  Florence  and 
there  won  von  Billow's  recognition  of 
her  exceptional  talent;  at  Weimar 
delighted  Liszt  with  her  playing  and 
for  some  time  was  under  the  influence 
of  this  master.  In  1875  she  was  mar- 
ried to  the  celebrated  singing  teacher, 
Herr  Grondahl  of  Christiania.  Since 
her  marriage  she  has  made  various 
successful  tours  through  Scandinavia 
and  played  with  very  great  success  in 
London  and  Paris.  As  a  teacher  she 
is  markedly  successful  and  of  wide 
influence.  Her  children  have  studied 
under  her  and  are  counted  with  her 
gifted  pupils.  She  is  the  author  of 
many  songs  and  a  great  deal  of  music 
for  the  piano,  and  both  as  pianist  and 
composer  stands  at  the  head  of 
modern  music  in  Norway. 

Baermann     (bar'-man),     Heinrich 
Joseph.     1784-1847. 

The  Baermanns  (Barmanns)  were  a 
remarkable  family  of  musicians,  Hein- 
rich, his  brother,  son,  and  grandson 
all  attaining  eminence  in  the  world 
of  music.  Heinrich  Joseph  was  a 
famous  clarinet  player,  and  his  coin- 
positions  for  the  clarinet  are  much 
esteemed  by  the  players  of  today.  He 
was  on  terms  of  intimacy  with  Meyer- 
beer and  was  a  contemporary  and 
friend  of  Karl  Maria  von  Weber  and 
Mendelssohn.  Weber  wrote  for  him 
several  clarinet-concertos,  and  it  was 
for  Baermann  that  Mendelssohn 
wrote  the  duets  for  clarinet  and 
basset-horn  known  as  opus  113.  Baer- 
mann was  born  at  Potsdam,  and 
attended  the  oboe  school  there.  As  a 
clarinettist  he  was  given  a  place  in  the 
band  of  the  Royal  Guard,  where  his 
skill  won  the  patronage  of  Prince 
Louis  Ferdinand  of  Prussia.  He 
appeared  at  the  Prince's  private  con- 
certs, and  received  instruction  from 
the  royal  chamber-musician.  After 
the  defeat  of  Jena,  Baermann  was  one 
of  the  prisoners-of-war.  On  his 
release  he  returned  to  Berlin,  and 
presently  was  given  the  appointment 
of  clarinettist  in  the  Court  band  at 
Munich.  A  series  of  concert  tours, 
beg^n  in  1808,  made  his  name  known 


Baillot 

throughout  Europe.  Also  as  a  com- 
poser Baermann  won  many  triumphs. 
On  his  death,  which  occurred  at 
Munich,  he  left  behind  numerous  com- 
positions, which  are  favorites  with 
clarinet  players  of  today.  His  brother 
Karl,  1782-1842,  was  a  bassoon-player 
of  renown. 

Baermann,  Karl.    1820-1885. 

Son  of  the  preceding,  a  clarinettist 
of  note,  and  the  author  of  excellent 
compositions  for  the  clarinet  and  an 
excellent  Clarinet  Method.  He  was  a 
pupil  of  liis  father,  accompanied  him 
on  his  later  concert  tours,  shared  in 
his  triumphs,  and  eventually  succeeded 
to  his  father's  place  in  the  Munich 
Court  Orchestra.  From  the  time  he 
was  fourteen  years  old,  he  played  in 
the  Court  band,  and  he  was  but 
eighteen  when  his  father  presented 
him  to  the  world  as  a  virtuoso  of 
highest  excellence.  Karl  Baermann 
gained  enviable  fame  as  a  clarinettist. 
Grove  speaks  of  him  as  a  true  scholar 
and  successor  of  his  father. 

Baermann,  Karl  jr.     1839- 

Son  of  preceding,  contemporary 
pianist  and  teacher,  has  resided  in  the 
United  States  since  1881.  He  was 
born  at  Munich,  into  the  fair  in- 
heritance of  his  father  and  grand- 
father, early  evinced  marked  musical 
ability  and  became  a  pupil  of  Liszt. 
He  studied  composition  under  Lach- 
ner,  taught  for  a  while  in  the  music- 
school  at  Munich,  and  in  1881  came  to 
Boston.  Karl  Baermann  has  been 
very  successful  in  this  country,  where 
he  is  highly  esteemed  both  as  a  player 
and  teacher.  He  is  also  a  composer, 
having  written  various  pieces  for  the 
piano. 

Baillot  (bi-yo),  Pierre  Marie  Francois 

de  Sales.    1771-1842. 

Great  French  violin-player.  He  was 
the  last  representative  of  the  great 
classical  school  of  violin-playing  in 
Paris.  He  showed  great  talent  early. 
Studied  first  with  an  Italian,  named 
Polidori,  and  afterwards  with  Sante- 
Marie  at  Paris.  From  this  very 
thorough  teacher  he  gained  the  solid 
foundation,  which  made  him  the  great 
artist  he  afterward  became.  After  the 
death  of  his  father,  in  1783,  he  was 
sent  to  Rome,  to  study  the  violin,  by 
a  wealthy  Frenchman  who  had  adopted 
him.  At  Rome  he  was  a  pupil  of 
Pollani,  who  had  studied  with  Nar- 
dini,  and  he  made  rapid  progress,  but 


BIOGRAPHIES 


35 


Baillot 

for  five  years  remained  with  his 
foster-father  as  secretary.  In  1791  he 
made  up  his  mind  to  put  his  musical 
knowledge  to  practical  use  and  went 
to  Paris,  where  he  played  first  violin 
at  the  Theatre  Feydeau,  but  resigned 
to  accept  a  position  in  the  Ministry 
of  Finance,  giving  only  his  leisure 
time  to  the  violin.  In  1795,  after  a 
compulsory  service  for  twenty  months 
in  the  army,  Baillot  decided  to  be- 
come a  professional  musician.  He 
worked  diligently  under  Catel,  Reicha 
and  Cherubini  and  studied  thoroughly 
the  works  of  the  great  violin-masters. 
He  soon  became  a  musician  of  such 
a  reputation  that  he  was  appointed 
professor  of  the  violin  in  the  Paris 
Conservatory.  From  1805  until  his 
death,  he  made  many  successful  con- 
cert tours  through  the  different  Euro- 
pean countries.  In  1821  he  was  made 
leader  of  the  Grand  Opera  and,  in 
1825,  also  violinist  and  leader  of  the 
Royal  band.  He  produced  a  large 
number  of  compositions  for  the  violin 
which  are  valuable  for  violin  practice 
rather  than  as  music.  His  Art  for  the 
Violin  still  ranks  as  a  standard  work. 
After  the  death  of  Baillot,  the  style  of 
Paganini  became  the  ruling  influence 
in  France  and,  since  then  the  fol- 
lowers of  the  classic  school  of  violin- 
playing  are  to  be  found  only  among 
the    disciples   of   the    German    School. 

Baini  (ba-e'-ne),  Giuseppe.  1775-1844. 
Italian  writer,  composer  and  critic, 
who  was  born  in  a  modern  day,  but 
who  lived  in  the  music  of  the  past. 
Riemann  says  of  him:  "Baini  was  a 
strange  phenomenon  in  our  century; 
he  lived  and  moved  completely  in  the 
music  of  the  Sixteenth  Century,  and 
understood  nothing  of  the  powerful 
development  of  the  art  which  had 
since  taken  place.  In  his  opinion, 
music  had  been  going  down  hill  since 
the  death  of  Palestrina."  Baini's  life- 
work,  and  labor  of  love,  is  his  famous 
monograph  on  the  great  Palestrina. 
He  planned  to  publish  the  complete 
works  of  the  Catholic  Church's  _  chief 
composer,  whom  he  named  II  Principe 
della  Musica,  but  lived  only  long 
enough  to  publish  two  volumes.  Baini 
was  born  at  Rome,  entered  into  holy 
orders,  and  is  commonly  known  as  the 
Abbe  Baini.  He  was  the  nephew  and 
pupil  of  Lorenzo  Baini,  composer  and 
maestro  at  the  Church  of  the  Twelve 
Apostles,  Rome.  His  studies  were 
completed  under  Jannaconi,  the  dis- 


Balakirev 

tinguished  composer  of  church  music. 
As  Baini  possessed  a  beautiful  voice, 
Jannaconi  saw  to  his  appointment  in 
the  pontifical  choir.  In  1817  Baini 
succeeded  Jannaconi  as  maestro  of  St. 
Peter's  ,and  retained  this  post  up  to 
the  time  of  his  death.  He  wrote 
masses,  motets,  church  -  concertos, 
psalms,  hymns  and  a  Te  Deum.  His 
most  important  composition,  and  a 
famous  one,  is  a  Miserere,  given  in 
his  time  at  the  Sistine  Chapel  regu- 
larly during  Holy  Week.  But  little 
of  his  music  has  been  published. 

Baker,  Benjamin  Franklin.     1811- 

American  vocalist  and  music  teacher. 
Born  in  Wenham,  Mass.  When  he 
was  eleven  years  old,  his  parents 
moved  to  Salem  and  at  fourteen,  he 
entered  the  choir  of  a  Presbyterian 
Church  in  that  city.  After  living  in 
Boston  from  1828  to  1833  he  went  to 
Bangor,  Maine,  where  he  went  into 
business,  but  he  still  kept  up  his  inter- 
est in  music  and  in  1836  returned  to 
Boston  and  studied  with  John  Paddon, 
singing  at  the  same  time  in  a  church 
choir.  The  next  year  he  took  charge 
of  the  music  in  Dr.  Channing's  church. 
In  1841  he  succeeded  Lowell  Mason, 
as  teacher  of  music,  in  the  PubHc 
Schools  of  Boston  and  was  chosen 
vice-president  of  the  Handel  and 
Haydn  Society.  During  the  six  years 
that  he  held  this  position  he  appeared 
as  soloist  at  many  of  the  concerts.  In 
1847  Mr.  Baker  began  the  work  of 
establishing  a  school  of  music  in  Bos- 
ton. This  work  was  finished  in  1851, 
when  the  Boston  Music  School  was 
founded,  with  Mr.  Baker  as  principal 
and  head  of  the  vocal  department. 
This  school  was  an  important  factor 
in  the  development  of  music  in  the 
United  States.  It  was  closed  in  1868 
and  Mr.  Baker  retired  from  active 
work.  Baker's  compositions  are  en- 
tirely vocal.  The  best  of  them  are 
two  quartets,  Stars  of  the  Summer 
Night,  and  Death  of  Osceola;  an  Ave 
Maria;  the  three  cantatas,  The  Storm 
King;  The  Burning  Ship;  and  Camil- 
lus,  the  Roman  Conqueror.  He  also 
wrote  many  other  quartets,  anthems 
and  songs  and  a  book  on  Thorough 
Bass  and  Harmony. 

Balakirev  (ba-la-ke'-ref),  Mily  Alexe- 

jevitch.     1836- 

Modern  Russian  composer  and 
pianist.  He  was  born  at  Nijni- 
Novgorod  and  learned  the  first  princi- 


36 


BIOGRAPHIES 


Balakirev 
pies  of  music  from  his  mother.  He 
received  his  education  at  the  Uni- 
versity of  Kazan,  afterward  returning 
to  his  native  town,  where  he  enjoyed 
the  friendship  of  Alexander  Ouli- 
bicheff,  a  retired  diplomat,  whose  wide 
musical  knowledge  and  fine  musical 
library  had  much  influence  on  Bala- 
kirev. He  learned  considerable  about 
instrumentation  from  his  practice  with 
Oulibicheff's  band  and,  better  than 
this,  became  thoroughly  filled  with  the 
spirit  of  the  Russian  folk-music.  He 
settled  in  St.  Petersburg,  when  about 
eighteen,  pursuing  his  music  study 
with  great  zeal  and  making  his  debut 
as  a  pianist  there.  Balakirev  was  at 
this  time,  completely  enthused  with 
the  idea  of  the  national  spirit  in 
music,  which  idea  was  greatly  encour- 
aged and  strengthened  by  his  friend- 
ship with  Glinka,  whose  national 
melodies  were  just  becoming  known 
and  who  hailed  Balakirev  as  his  dis- 
ciple and  successor.  Balakirev's  fervor 
and  intelligence  soon  drew  about 
him  a  group  of  congenial  spirits,  of 
whom  he  was  the  leader  and  inspirer. 
This  group,  consisting  of  Cui,  Mous- 
sorgsky,  Rimsky-Korsakov  and  Boro- 
din, with  Balakirev,  founded  prac- 
tically the  new  Russian  school  of 
national  music,  of  which  the  Russian 
national  spirit  and  Russian  charac- 
teristics was  the  main  idea.  To  this 
group  of  talented  men,  Balakirev  was 
teacher  and  inspirer  and  he  led  them 
through  a  thorough  course  of  musical 
study,  taking  up  first  the  older  masters 
and  following  with  the  more  modern 
and,  finally,  the  contemporary  com- 
posers. In  1862,  Balakirev,  with  the 
noted  conductor  Lomakin,  founded 
the  Free  School  of  Music,  in  St. 
Petersburg,  which  did  much  for  the 
advancement  of  musical  education  in 
Russia.  At  the  concerts  of  this  organ- 
ization, the  works  of  his  four  asso- 
ciates, as  well  as  those  of  other 
contemporary  Russian  composers, 
were  given  their  first  performance.  In 
1866  and  1867,  Balakirev  conducted 
Glinka's  operas  at  Prague  and  in  1869 
was  appointed  director  of  the  Imperial 
Chapel  and  conductor  of  the  Imperial 
Musical  Society. 

In  1872  he  retired  entirely  from 
public  life  and  has  become  in  his  later 
years  a  religious  fanatic,  being  ab- 
sorbed in  some  sort  of  mysticism.  Bala- 
kirev's compositions  are  small  in  num- 
ber, but  are  very  beautiful.  They 
include    a    symphony;    overtures    on 


Balatka 

Russian,  Czechish  and  Spanish  themes; 
the  symphonic  poems,  Russia  and 
Tamara;  music  to  King  Lear;  the 
Oriental  fantasia,  Islamey;  beside 
about  sixty  exquisite  and  highly 
original  songs.  He  also  published 
four  collections  of  songs,  a  series  of 
twenty  songs  published  between  1858 
and  1860,  a  book  of  ten  songs  printed 
a  few  years  later,  a  collection  of  Rus- 
sian folk-songs  in  1866  and  thirty 
national  songs.  Balakirev's  charac- 
teristics as  a  musician  are  summed  up 
by  his  friend  Cui,  in  these  words:  "A 
musician  of  the  first  rank,  an  in- 
exorable critic  of  his  own  works, 
thoroughly  familiar  with  all  music, 
ancient  as  well  as  modern,  Balakirev 
is  above  all  a  symphonist.  In  vocal 
music  he  has  written  only  twenty 
romances,  but  they  are  distinguished 
by  broad  and  limpid  melody,  elegance 
of  accompaniment,  often  also  by  pas- 
sion and  abandon.  Lyric  beauty  is 
everywhere  in  evidence.  They  are  im- 
pulses of  the  heart,  expressed  by 
delicious  music." 

Balatka  (bal-at'-ka),  Hans.     1872-1899. 

Born  in  Moravia.  Began  his  musical 
studies  as  a  choir  boy.  Studied  har- 
mony, composition  and  singing  in 
Vienna.  On  account  of  the  Revolu- 
tion of  1848,  he  came  to  America  and 
settled  in  Milwaukee,  where  in  1851 
he  founded  the  Milwaukee  Musik- 
verein  (Musical  Society)  of  which  he 
was  conductor  for  nine  years.  In 
1860,  he  was  called  to  Chicago,  as  con- 
ductor of  the  Philharmonic  Society. 
After  the  great  fire  of  1871  he  went 
back  to  Milwaukee  and  was  afterward 
for  a  time  in  St.  Louis,  but  returned 
to  Chicago  and  remained  there  until 
his  death.  During  the  latter  part  of 
his  life  he  organized  the  Liederkranz 
Society  and  the  Mozart  Club  and  was 
also  conductor  of  the  Chicago  Sym- 
phony Society.  Mr.  Balatka  was  a 
fine  performer  on  the  doublebass, 
violoncello,  violin,  guitar  and  piano 
and  was  also  an  excellent  composer. 
Beside  about  twenty  orchestral  works, 
quartets  and  choruses  and  many  songs, 
he  wrote  a  Festival  Cantata,  and  a 
double  chorus  for  male  voices,  The 
Power  of  Song,  which  received  first 
prize  at  the  Cincinnati  Saengerfest  in 
1856.  Mr.  Balatka  did  much  to  pro- 
mote a  taste  for  good  music  in  Chi- 
cago and  vicinity.  He  also  conducted 
numerous  musical  festivals  in  dif- 
ferent parts  of  the  United  States. 


BIOGRAPHIES 


37 


Balfe 
Balfe  (balf),  Michael  William.    1808- 
1870. 

Irish  dramatic  composer,  barytone 
singer  and  violinist.  He  was  born  at 
Dublin.  Showed  great  talent  for 
music  at  a  very  early  age,  beginning 
to  take  lessons  on  the  violin  before 
he  was  three.  At  the  age  of  seven  he 
was  able  to  score  a  polka  composed 
by  himself  for  a  band.  At  the  age  of 
nine  he  composed  a  ballad,  Young 
Fanny,  which  is  even  now  remarkable 
for  its  melody.  It  was  afterwards 
sung  in  the  comedy,  Paul  Pry.  After 
the  death  of  his  father,  in  1832,  he 
went  to  London,  where  he  became  a 
pupil  of  C.  E.  Horn  and  played  in  the 
orchestra  of  Drury  Lane  Theatre.  He 
also  appeared  on  the  stage  in  a  version 
of  Der  Freischiitz,  but  was  unsuc- 
cessful. At  the  age  of  seventeen, 
Balfe  went  with  a  wealthy  patron  to 
Italy,  where  he  studied  composition 
at  Rome  with  Paer  and  later  on  sing- 
ing in  Milan  under  Galli  and  Federici. 
At  this  time  he  did  his  first  work  as  a 
dramatic  composer,  producing  a  ballet 
called  La  Perouse,  which  was  very 
favorably  received.  In  1821,  after  he 
had  studied  for  a  time  with  Bordogni, 
he  sang  under  Rossini,  as  first  bary- 
tone, at  the  Italian  Opera,  Paris, 
where  he  made  a  successful  debut  as 
Figaro  in  the  Barber  of  Seville.  Re- 
turning to  Italy  in  1829  he  produced 
his  first  opera,  I  Rivali  di  se  stessi. 
This  is  said  to  have  been  written  in 
twenty  days,  and  was  quickly  followed 
by  two  other  Italian  operas.  He  mar- 
ried Lina  Rosen,  the  Hungarian  vo- 
calist, and  sang  in  Italy  and  Paris  until 
1835,  when  he  went  to  London  and 
produced  the  Siege  of  Rochelle.  This 
opera  was  a  great  success,  running 
continuously  for  three  months.  Fol- 
lowing this  came  The  Maid  of 
Artois,  with  its  beautiful  and  popular 
song.  The  Light  of  Other  Days.  Be- 
tween 1837  and  1841  he  produced  his 
Joan  of  Arc;  Catherine  Grey;  Falstaff; 
and  Diadeste;  also  singing  in  opera  at 
Drury  Lane  and  in  Ireland.  About 
1840,  Balfe  became  manager  of  the 
Lyceum  Theatre,  producing  his  Keo- 
lanthe  as  the  opening  piece.  This 
venture  proving  unsuccessful,  Balfe 
visited  Paris,  where  he  was  most 
favorably  received  and  where  he  pro- 
duced in  French  the  operas  known  in 
English  as  Geraldine,  and  The  Castle 
of  Aymon.  Returning  to  England,  he 
brought  out,  in   1843,  The   Bohemian 


Baltzar 
Girl,  the  most  successful  of  all  his 
operas.  This  opera  was  translated  into 
Italian,  French  and  German.  From 
1845  to  1852  he  was  conductor  of  Her 
Majesty's  Theatre.  During  this  time 
he  made  visits  to  Vienna,  Berlin, 
Trieste  and  St.  Petersburg,  bringing 
out  operas  and  making  large  amounts 
of  money.  From  1852  until  his  death 
he  was  occupied  with  composition. 
Balfe  was  a  most  prolific  composer, 
producing  over  thirty  operas  beside 
cantatas,  glees,  ballads  and  part-songs. 
Among  his  best  known  operas  are 
The  Siege  of  Rochelle;  Maid  of 
Artois;  Satanella;  Bianca;  The  Puri- 
tan's Daughter;  Sicilian  Bride;  Rose 
of  Castile;  and  the  most  popular  of 
all,  The  Bohemian  Girl,  which  has 
been  sung  all  over  the  world.  Balfe 
was  made  Chevalier  of  the  Legion  of 
Honor  by  the  French  Emperor  and 
Commander  of  the  Order  of  Carlos 
Third  by  the  Regent  of  Spain  and 
was  offered  the  decoration  of  the 
Prussian  Eagle,  by  the  King  of  Prus- 
sia, but  being  a  British  subject  was 
not  able  to  accept  it.  After  his  death, 
a  tablet  with  his  portrait  in  medallion, 
was  unveiled  in  Westminster  Abbey 
and  in  1874  a  statue  to  his  memory 
was  placed  in  the  vestibule  of  Drury 
Lane  Theatre. 

Baltzar  (balt-tsar),  Thomas.    About 
1630-1663. 
Famous    German    violinist,    whose 

name  sometimes  appears  as  Balsart. 
He  won  his  reputation  in  England,  and 
is  buried  in  the  cloisters  of  West- 
minster Abbey.  Baltzar  was  born  at 
Liibeck  about  1630,  and  came  to  Eng- 
land in  1656.  He  enjoys  the  distinc- 
tion of  being  the  first  great  performer 
on  the  violin  heard  in  England.  To 
the  people  of  the  country  his  art 
seemed  touched  with  magic.  Speaking 
of  Baltzar's  celerity  of  execution, 
Anthony  Wood  wrote:  "... 
nor  any  in  England  saw  the  like 
before  .  .  .  Wilson,  thereupon, 
the  greatest  judge  of  music  that  ever 
was,  did  .  .  .  stoop  down  to  Balt- 
zar's feet  to  see  whether  he  had  a 
hufif  on;  that  is  to  say,  to  see  whether 
he  was  a  devil  or  not,  because  he 
acted  beyond  the  parts  of  man."  Wil- 
son also  bears  witness  that  the  vio- 
linist was  so  popular  and  that  so  many 
people  delighted  in  drinking  with  him 
and  making  him  drink,  that  he  was 
"by  drinking  brought  to  his  grave." 
Baltzar    early    made    a    reputation    in 


38 


BIOGRAPHIES 


Baltzar 

England,  and  at  the  restoration  of  the 
Stuarts  was  placed  at  the  head  of 
Charles  II.'s  band  of  twenty-four  vio- 
lins. He  appears  in  the  Westminster 
register  as  "Mr.  Thomas  Balsart,  one 
of  the  violins  in  the  King's  service." 
He  was  the  best  violinist  of  his  day, 
and  one  of  the  founders  of  classical 
violin-playing.  The  works  he  left 
consist  largely  of  suites  for  strings. 

*Baltzell,  Winton  James.     1864- 

Contemporary  American  composer, 
teacher  and  editor.  He  was  born  near 
Harrisburg,  Pennsylvania,  attended 
school  in  Harrisburg,  and  continued 
his  education  at  Lebanon  Valley  Col- 
lege, Annsville,  Pennsylvania.  He 
holds  the  degree  of  Bachelor  of  Music 
from  the  University  of  Pennsylvania. 
His  musical  training  was  received  at 
the  New  England  Conservatory,  Bos- 
ton; under  Dr.  H.  A.  Clarke,  in  Phila- 
delphia; and  in  London  he  studied 
with  Dr.  T.  F.  Bridge  and  William 
Shakespeare.  He  taught  singing  and 
theory  in  Reading,  Pennsylvania,  had 
charge  of  the  Department  of  Music  at 
Lebanon  Valley  College,  The  Albright 
Collegiate  Institute,  Myerstown,  Penn- 
sylvania, and  the  Ohio  Wesleyan  Uni- 
versity. Mr.  Baltzell  has  served  as 
musical  critic  with  the  publishing 
house  of  Theodore  Presser  and  as 
editor  of  The  Etude.  At  present  he 
is  editor  of  The  Musician  and  musical 
critic  with  the  Oliver  Ditson  Com- 
pany. He  is  the  author  of  a  number 
of  songs  and  other  works.  In  1906  he 
published  the  text-book,  A  Complete 
History  of  Music.  Rupert  Hughes,  in 
his  Contemporary  American  Compos- 
ers, speaks  in  high  praise  of  the  pub- 
lished and  unpublished  music  of 
Baltzell,  mentioning,  among  other 
pieces,  the  part-song.  Life  is  a 
Flower;  the  song,  Desire;  the  setting 
to  E.  C.  Stedman's  Thou  Art  Mine; 
and  a  series  of  songs  to  words  by 
Richard  Watson  Gilder. 

Banchieri    (ban-ki-a'-re),   A  d  r  i  a  n  o. 
About  1567-1634. 

Italian  composer,  theorist,  organist 
and  poet.  He  was  born  at  Bologna, 
and  died  in  the  convent  of  San  Ber- 
nardo at  Bologna.  Concerning  the 
year  of  his  birth,  biographers  are  in 
doubt,  but  it  was  about  1567.  He 
wrote  music  for  both  church  and 
theatre,  masses,  sacred  concertos, 
madrigals,  and  canzonets.  He  was 
great  also  in  the  department  of  theory, 


Banister 

and  has  left  behind  several  theoretical 
pamphlets,  L'Organo  Suonarino  being 
perhaps  the  most  important.  In  his 
Cartella  Musicale  is  put  forth  a  proj- 
ect for  the  founding  of  an  academy 
of  science  and  art  in  his  monastery  at 
Bologna.  He  was  organist  of  S. 
Michele  in  Bosca,  near  Bologna,  was 
organist  of  Santa  Maria  in  Regolo, 
and  at  Monte  Oliveto  became  abbot. 
This  man  of  varied  distingniished  at- 
tainments wrote  comedies.  These 
were  written  under  the  name  of  Ca- 
millo  Scaligeri  della  Fratta. 

Banister,  Henry  Charles.    1831-1897. 

English,  composer,  pianist  and  writer 
on  musical  subjects.  Son  and  pupil 
of  Henry  Joshua  Banister,  a  London 
violoncellist.  Studied  in  the  Royal 
Academy  of  Music  and  won  the  King's 
Scholarship  in  1846  and  1848.  In  1851 
he  became  assistant  professor,  and  in 
1853  full  professor  of  harmony  and 
composition  at  the  Royal  Academy  of 
Music.  From  1880  until  his  death,  he 
was  professor  at  the  Guildhall  School 
of  Music  and  professor  of  harmony  at 
the  Royal  Normal  College  for  the 
Blind.  He  was  also  a  member  of  the 
Philharmonic  Society.  Banister  was 
for  many  years  a  familiar  figure  in  the 
musical  life  of  London.  During  the 
latter  part  of  his  life  he  devoted  him- 
self chiefly  to  musical  literature.  His 
compositions  consist  of  symphonies; 
overtures;  piano  pieces;  and  cantatas, 
the  most  important  of  which  are.  The 
Sea  Fairies,  and  The  Maiden's  Holi- 
day; also  many  songs;  part-songs; 
chants  and  anthems.  His  lectures  on 
musical  subjects,  delivered  from  1891 
to  1897,  have  been  published  under 
the  title  of  Interludes.  His  most  im- 
portant work  was  in  theory,  as  shown 
by  the  fact  that  his  Text-book  of 
Music,  published  in  London  in  1872, 
went  through  eleven  editions.  He  also 
wrote  Musical  Art  and  Study;  The 
Harmonizing  of  Melodies;  and  A  Life 
of  Sir  George  Macfarren. 

Banister,  John.    1630-1679. 

English  violinist  and  composer. 
Banister's  father  was  one  of  the 
"waits,"  and  he  himself  followed  that 
profession  in  his  early  days.  Under 
the  instruction  of  his  father,  he  at- 
tained such  proficiency  on  the  violin 
as  to  attract  the  attention  of  the  King, 
Charles  II.,  who  sent  him  to  France 
to  advance  his  education,  and,  on  his 
return,   appointed   him   leader   of   the 


BIOGRAPHIES 


39 


Banister 

royal  band.  In  1672  Banister  started 
a  series  of  concerts  at  his  own  house, 
and  established  the  first  lucrative  con- 
certs given  in  London.  These  con- 
certs were  continued  up  to  a  short 
time  before  his  death.  Banister  wrote 
a  number  of  short  pieces  for  the 
violin  and  wrote  also  for  the  lute; 
some  vocal  compositions;  and  in  con- 
nection with  the  great  lute-player,  Pel- 
ham  Humphrey,  wrote  music  to  The 
Tempest.  His  music  to  the  tragedy 
of  Circe  is  his  most  important  com- 
position. Banister  was  buried  in  the 
cloisters  of  Westminster  Abbey. 

Banister,  John.    About  1663-1735. 

Son  of  preceding.  An  English  vio- 
linist, born  about  1663.  He  received 
his  instruction  from  his  father,  at- 
tained to  considerable  eminence  as  a 
player,  under  the  monarchs,  Charles 
n.,  James  II.,  and  Anne,  and  was  a 
member  of  the  royal  band.  When 
operas  were  first  performed  at  Drury 
Lane,  he  played  first  violin.  His  name 
stands  forth  as  contributor  to  the 
earliest  printed  book  for  the  violin 
gotten  out  in  England,  and  there_  was 
published  a  small  collection  of  pieces 
composed  by  him  for  the  theatre  in 
association  with  the  Austrian  violinist 
and  composer,  Godfrey  Finger. 

Banti  (ban-te  j6r-je),  Brigitta  Giorgi. 

1759-1806. 

Noted  Italian  singer.  In  her  youth 
she  was  a  street-singer  in  Crema,  her 
native  town  and  was  said  to  be  the 
daughter  of  a  Venetian  gondolier.  At 
the  age  of  nineteen  she  went  to  Paris, 
earning  her  way  by  singing  at  the 
inns  and  cafes  that  she  passed.  At 
Paris  she  was  discovered  by  the  man- 
ager of  the  Opera,  was  engaged  and 
appeared  at  once,  making  a  great  sen- 
sation. She  made  her  debut  in  a  song, 
between  the  acts  of  an  opera.  After 
singing  in  Paris  for  some  time  she  was 
engaged  by  the  managers  of  the 
Pantheon,  London,  for  three  seasons, 
on  condition  that  a  certain  sum  from 
her  salary  should  be  retained,  to  pro- 
vide lessons  for  her  in  vocal  culture. 
She  proved  a  very  poor  pupil,  however, 
being  careless  and  indifferent  and 
never  learning  to  read  by  sight,  but, 
in  spite  of  her  lack  of  training,  she 
was  very  successful  and  was  received 
with  great  enthusiasm  in  Italy,  Ger- 
many and  England,  her  magnificent 
voice  and  ability  as  an  actress,  making 
her  a  great  favorite  wherever  she  ap- 


Bantock 
peared.  Two  of  her  most  striking 
successes  were  in  Gluck's  opera,  Al- 
ceste,  and  in  Bianchi's  Inez  de  Castro. 
She  also  appeared  in  comic  opera, 
being  particularly  successful  in  Pai- 
siello's  Serva  Padrona.  Her  voice, 
which  had  a  wonderful  compass  was 
even  throughout  and  very  rich.  It 
could  almost  be  called  a  voice  without 
a  flaw. 

*Bantock,    Granville.     1868- 

One  of  the  leading  of  the  younger 
English  composers,  who  belongs  to 
a  group  that  stands  for  originality  in 
idea  and  expression,  as  opposed  to 
the  conservatism  and  formality  of  the 
older  musicians.  He  was  born  in  Lon- 
don and  was  intended  for  the  Indian 
Civil  Service  and  for  scientific  work. 
He  did  not  begin  the  study  of  music 
until  his  twenty-first  year,  when  he 
entered  Trinity  College,  London.  The 
same  year  he  became  a  student  at  the 
Royal  Academy  of  Music  and  was 
the  first  winner  of  the  Macfarrcn 
scholarship  for  composition.  He 
composed  a  great  deal  while  at  the 
academy  and  a  number  of  his  works 
were  given  at  the  concerts  there. 
From  1893  to  1896  he  was  editor  of 
the  New  Quarterly  Musical  Review. 
During  1894  and  1895  he  was  con- 
ductor for  the  Gaiety  Company  on  a 
tour  around  the  world,  including 
America  and  Australia.  In  1896,  Mi*. 
Bantock  gave  a  concert  at  Queen's 
Hall,  London,  the  program  of  which 
consisted  entirely,  of  compositions 
by  the  younger  and  more  radical 
English  musicians.  These  composi- 
tions were  all  in  manuscript  and  were 
all  performed  for  the  first  time.  The 
composers  represented  were  the  late 
Erskine  AUon,  Reginald  Steggall, 
Arthur  Hinton,  William  Wallace, 
Stanley  Hawley  and  Granville  Ban- 
tock himself.  From  1897  to  1900,  Mr. 
Bantock  was  musical  director  at  The 
Tower,  New  Brighton.  In  1900  he 
became  principal  of  the  Birmingham 
and  Midland  Institute  School  of 
Music,  which  position,  with  that  of 
conductor  of  the  Liverpool  Orches- 
tral Society,  to  which  he  was  ap- 
pointed in  1903,  he  still  holds.  In 
1898  he  founded  the  New  Brighton 
Choral  Society  and  was  made  con- 
ductor of  the  Runcorn  Philharmonic 
Society.  He  conducted  a  concert  of 
British  music  at  Antwerp,  in  1900,  at 
which  a  number  of  his  own  works 
were    given    their   first    performance. 


40 


BIOGRAPHIES 


Bantock 


Among  these  was  a  symphonic  poem, 
Jaga-Naut.  This  was  from  a  pro- 
jected series  of  twenty-four  sym- 
phonic poems  founded  on  Southey's 
Curse  of  Kehama.  A  number  of  this 
series  were  completed  and  published, 
but  with  increase  of  work  the  idea 
was  finally  given  up  and  Two  Orien- 
tal Scenes,  are  all  that  was  allowed 
to  remain  of  the  work.  Among  Ban- 
tock's  choral  and  vocal  works  are: 
The  Fire  Worshippers,  a  dramatic 
cantata;  the  one-act  operas  Caedmar, 
and  The  Pearl  of  Iran;  Omar  Kha3'- 
yam,  in  three  parts;  Ferishtah's  Fan- 
cies; and  Five  Ghazals  of  Hafiz. 
These  are  all  Oriental  in  spirit  and 
show  much  richness  of  melody.  Other 
vocal  works  are:  Thorvenda's  Dream; 
The  Time  Spirit;  Christ  in  the  Wild- 
erness; Sea  Wanderers;  Sappho;  Jes- 
ter Songs;  and  Rameses  II.,  a  five-act 
drama,  both  drama  and  incidental 
music  being  by  Bantock.  The  most 
important  of  his  orchestral  works 
are:  Tone  Poem,  No.  1,  Thalaba  the 
Destroyer;  Symphonic  Overture  Saul; 
variations  Helena;  Two  Suites, 
Russian  Scenes  and  English  Scenes; 
and  an  overture  to  Eugene  Aram,  an 
unfinished  opera.  Mr.  Bantock  has 
also  written  a  quartet  in  C  minor 
for  strings;  a  serenade  in  F  for  four 
horns;  fourteen  piano  pieces;  .(Egypt, 
a  ballet  in  three  acts;  and  many 
songs.  In  1907,  Mr.  Bantock  pub- 
lished, God  Save  the  King,  for  chorus 
and  orchestra.  Many  of  his  works 
have  been  produced  at  the  festivals 
of  the  principal  English  cities.  Mr. 
Bantock's  musical  settings  are  always 
worthy  of  the  great  literary  produc- 
tions which  he  uses  and  he  is  noted 
for  his  depth  of  idea  and  his  mental 
energy.  His  favorite  recreations  are 
chess  and  the  collecting  of  Japanese 
color-prints. 

Barbaja    (bar-ba'-ya),    Domenico. 

1778-1841. 

A  famous  Italian  impresario.  Un- 
der his  direction  many  of  Rossini's 
operas  and  several  of  Bellini's  and 
Donizetti's  were  presented.  He  wa^ 
opera  manager  in  the  cities  of  Vienna, 
Milan  and  Naples.  Barbaja  rose  to  a 
place  of  much  importance  in  the  world 
of  music,  and  to  great  popularity,  from 
a  very  humble  beginning.  Hecame  of 
a  poor  family  in  Milan,  in  his  youth 
serving  as  a  waiter  in  a  coffee-house 
in  that  city.    Later  he  is  heard  of  as 


Barbi 

manager  of  a  riding-circus  in  England, 
and  then  as  lessee  and  director  of 
theatres  in  Naples.  From  1821  to  1828 
he  had  direction  of  two  theatres  at  the 
Austrian  capital,  and  while  impresario 
in  Vienna  there  appeared  under  his 
management  the  very  best  talent  uf 
the  time.  He  introduced  Rossini  to 
the  Viennese;  Bellini's  first  opera  was 
brought  out  by  Barbaja  in  Naples, 
and  his  second  opera  produced  in 
Milan  under  Barbaja's  management. 
In  Milan,  the  city  where  once  he 
served  as  waiter  in  a  coffee-house,  he 
found  himself  manager  of  the  well- 
known  theatre.  La  Scala,  He  was 
also  manager  of  the  famous  San  Carlo 
at  Naples.  His  association  with  the 
brilliant  composer,  Rossini,  is  thus 
spoken  of  by  Emil  Naumann  in  his 
History  of  Music:  "In  the  year  1815 
Rossini  had  entered  into  an  agreement 
with  Barbaja,  an  enterprising  impre- 
sario at  Naples,  who  had  perceived 
what  a  source  of  wealth  would  be 
open  to  him  through  the  talent  of  the 
gifted  composer.  By  this  contract, 
Barbaja  had  the  sole  right  of  pro- 
ducing the  master's  operas,  supplying 
him  with  libretti  and  performers,  an 
agreement  which  suited  the  taste  of 
the  indolent  maestro."  The  famous 
impresario  died  at  Posilipo,  Oct.  16, 
1841. 

Barbi  (bar-be),  Alice.    1860- 

Italian  vocalist  and  also  poet.  Born 
at  Bologna.  She  inherited  her  musical 
talent,  which  developed  very  early. 
She  studied  the  violin  first,  but  later 
took  up  vocal  work  under  several 
teachers,  Vannuccini  being  the  last. 
She  made  her  debut  at  Milan,  in  1882, 
and  shortly  afterwards  appeared  most 
successfully  at  Rome.  She  is  one  of 
the  very  few  Italian  singers  who  have 
devoted  themselves  exclusively  to 
concert  work.  She  has  been  very 
favorably  received  in  Germany  and 
Russia,  and  especially  in  England, 
where  she  has  given  many  recitals. 
She  revived,  in  her  concerts,  many 
melodies  by  the  old  Italian  masters, 
also  including  those  of  the  best  song- 
writers of  all  nationalities.  She  is 
also  a  very  fine  linguist  and  a  poet 
of  more  than  ordinary  ability,  a  num- 
ber of  her  poems  having  been  set  to 
music.  After  her  marriage,  Barbi 
retired  permanently  from  the  concert 
stage  and  has  not  since  appeared  in 
public. 


BIOGRAPHIES 


41 


Barbiere 
Barbiere  (bar-bi-a'-re),  Francisco 
Asenjo.    1823-1894. 

Spanish  opera  composer.  Born  in 
Madrid  and  studied  tlie  piano,  singing 
and  composition  in  the  Conservatory 
there.  After  traveling  as  a  member  of 
an  Italian  opera  company,  through 
northern  Spain, -he  began  composing  in 
1847,  and  became  secretary  of  a  society 
for  the  promotion  of  Spanish  Opera, 
as  opposed  to  Italian  Opera  and  was 
for  the  rest  of  his  life  a  zealous  woiker 
for  the  development  of  a  national 
opera.  In  1850  he  produced  an 
operetta,  Gloria  y  Peluca,  and  in  1851, 
Jugar  con  Fuego,  the  first  of  his 
Spanish  w^ork.  Both  of  these  were 
wonderfully  successful  and  established 
Barbiere  as  the  most  popular  com- 
poser of  Spain.  He  wrote  in  all  about 
seventy-five  operas  and  was  beside  a 
fine  teacher  and  a  musical  critic  of 
ability. 

Bargiel   (bar'-gel),   Woldemar.    1828- 

1897. 

German  composer  and  teacher. 
Born  in  Berlin,  where  his  father  was 
a  music  teacher,  his  mother  being  the 
divorced  wife  of  Friedrich  Weick,  thus 
making  him  the  step-brother  of  Clara 
Schumann.  He  studied  the  piano, 
organ  and  violin  with  his  father,  and 
in  1846  went  to  Leipsic,  where  he 
spent  two  years  in  the  Conservatory, 
at  that  time  under  the  direction  of 
Mendelssohn.  While  at  Leipsic  he 
composed  an  octet  for  strings,  which 
brought  him  into  notice.  In  1850  he 
returned  to  Berlin,  where  he  remained 
for  nine  years,  becoming  well  known 
as  a  teacher  and  composer.  He  was 
appointed  professor  in  the  Conserva- 
tory of  Cologne  in  1859  and  in  1865 
was  made  director  of  the  music  school 
at  Rotterdam.  In  1874  he  became 
professor  at  the  Hochschule  fiir 
Musik  in  Berlin;  in  1875,  a  member 
of  the  senate  of  the  Academy  of  Arts; 
and  in  1882,  President  of  the  Meister- 
schule  fur  Musikalische  Komposition. 
Bargiel,  as  a  composer,  was  a  follower 
of  Schumann  and  his  compositions 
entitle  him  to  a  high  place  among 
modern  German  musicians.  His  best 
known  works  are  his  overtures, 
Medea;  Romeo  and  Juliet;  and 
Prometheus;  his  Symphony  in  C; 
three  Danses  brillantes  for  orchestra; 
an  Intermezzo  for  the  orchestra;  sev- 
eral songs  for  chorus;  also  works  for 
the  piano,  for  piano  and  violin,  and 
part-songs. 


Barnby 
Barker,  Charles  Spackman.    1806-1879. 

A  farnous  English  organ-builder. 
He  was  intended  for  the  medical  pro- 
fession, but  became  interested  in 
watching  the  erection  of  an  organ 
under  the  direction  of  Bishop,  the 
celebrated  London  builder,  and  de- 
cided to  become  an  organ-builder 
himself.  After  a  period  of  instruction 
under  Bishop,  he  established  himself 
in  the  town  of  Bath,  his  birthplace. 
Pondering  on  the  difficulties  experi- 
enced by  players  in  overcoming  the 
resistance  of  the  keys.  Barker  thought 
out  a  way  by  which  the  resistance 
might  be  lessened,  and  brought  forth 
the  invention  of  the  pneumatic  lever. 
This  invention  received  little  consid- 
eration from  English  builders  to 
whom  it  was  offered,  and  in  1837 
Baker  journeyed  to  Paris,  and  pre- 
sented himself  to  the  celebrated  organ- 
builder,  Cavaille-Col.  The  worth  of 
the  invention  was  immediately  recog- 
nized, and  it  was  at  once  adopted.  In 
France  it  was  soon  put  to  use  in  vari- 
ous large  organs,  but  came  into  use 
in  England  very  gradually.  Barker, 
in  1839,  took  out  a  patent  for  the 
pneurnatic  lever,  and  later  a  patent  for 
electric  action.  In  France,  where  he 
remained  till  1870,  he  repaired  and 
built  many  organs.  At  the  Paris  Ex- 
hibition of  1855  a  gold  medal  was 
bestowed  upon  him  and  the  Cross  of 
the  Legion  of  Honor.  The  war  caus- 
ing him  to  leave  France,  he  went  to 
Dublin,  and  in  this  period  built  organs 
for  cathedrals  at  Cork  and  Dublin. 
Barker's  invention  of  the  pneumatic 
lever  brought  about  a  revolution  in 
the  whole  art  of  organ  building. 

Barnard,    Mrs.    Charles    (pen    name, 

Claribel).     1830-1869. 

English  song-writer.  Her  maiden 
name  was  Charlotte  Alington.  In 
1854  she  married  Mr.  C.  C.  Barnard. 
After  1858  she  published  many  popu- 
lar ballads  under  the  name  of  Clairbel, 
among  the  best  known  being  Come 
Back  to  Erin;  and  We'd  Better  Bide 
a  Wee.  She  also  wrote  quartets,  trios, 
duets  and  some  light  piano  music  and 
published  some  volumes  of  poems. 

Barnby,  Sir  Joseph.     1831-1896. 

English  organist,  conductor  and 
composer.  Showed  great  talent  for 
music  early.  Sang  in  the  choir  of 
York  Minster  when  seven,  began 
teaching  at  ten,  was  an  organist  at 
twelve    and   musicmaster   at  a   school 


42 


BIOGRAPHIES 


Bamby 

at  fourteen.  At  sixteen  he  entered 
the  Royal  Academy  of  Music,  where 
he  studied  for  two  years,  after  which 
he  was  organist,  successively,  of  a 
number  of  different  churches.  In  1867, 
Barnby's  Choir  was  estabHshed.  This 
choir  gave  oratorio  concerts  from 
1869  to  1872,  when  it  was  united  with 
Gounod's  Choir,  under  the  name  of 
the  Royal  Albert  Hall  Choral  Society. 
It  is  now  known  as  the  Royal  Choral 
Society.  From  1875  to  1892  Barnby 
was  precentor  of  Eton,  in  which  posi- 
tion he  had  great  influence  on  the 
musical  education  and  taste  of  the 
upper  classes.  He  conducted  the  Lon- 
don Musical  Society  from  1878  to 
1886,  and  the  Royal  Academy  of  Music 
concerts  from  1886  to  1888.  In  1892 
he  was  elected  principal  of  the  Guild- 
hall School  of  Music.  For  fifteen 
years,  from  1861  to  1876,  Barnby  was 
musical  adviser  to  the  music-pubhsh- 
ing  firm  of  Novello.  In  1892,  he  was 
knighted  and  in  the  same  year  he  con- 
ducted the  Cardiff  Festival.  Barnby's 
compositions  consist  of  an  oratorio, 
Rebekah;  a  psalm.  The  Lord  is  King; 
a  large  number  of  services,  anthems, 
part-songs,  pieces  for  the  organ,  many 
songs  and  two  hundred  and  fifty 
hymns.  Barnby's  beautiful  arrange- 
ment of  Sweet  and  Low  is  well  known 
and  is  a  great  favorite.  He  intro- 
duced more  new  and  great  musical 
works  to  the  English  people  than  any 
other  musician, 

Bamett,  John.     1802-1890. 

Noted  English  dramatic  composer, 
vocal  teacher  and  song-writer.  Al- 
though he  was  born  in  England,  his 
mother  was  a  Hungarian  and  his 
father  a  Prussian,  belonging  to  the 
same  family  as  Meyerbeer,  whose 
name  Bernhard  Beer  was  changed  to 
Barnett  Barnett,  when  he  settled  in 
England.  The  son  showed  unusual 
musical  abilty  very  early  and  on  ac- 
count of  his  fine  voice,  was  placed,  at 
the  age  of  eleven,  under  the  care  of 
F.  J.  Arnold,  proprietor  of  the  Lyceum, 
who  provided  him  musical  instruction 
in  return  for  his  services  as  a  singer. 
While  under  Arnold  he  composed  a 
mass  and  some  light  pieces,  one  of 
which.  The  Groves  of  Pomona,  was 
published  and  favorably  spoken  of. 
After  finishing  with  Arnold,  he  studied 
the  piano  and  harmony  with  Perez 
Ries.  His  first  dramatic  composition 
was  the  musical  farce,  Before  Break- 
fast, produced  at  the  Lyceum,  in  1825, 


Bamett 

and  which  was  highly  successful.  In 
1832,  Barnett  became  music-director 
of  the  Olympic  Theatre,  for  which  he 
wrote  a  large  number  of  musical 
dramas.  In  1834  he  published  a  fine 
collection  of  beautiful  songs,  called 
Lyrical  Illustrations  of  the  Poets,  and 
a  little  later.  Songs  of  the  Minstrels 
and  Amusement  for  Leisure  Hours. 
In  this  same  year,  one  of  his  best 
works,  an  opera.  The  Mountain  Sylph, 
was  produced  at  the  Lyceum  with  the 
greatest  success.  After  spending  some 
time  in  Paris,  Barnett  returned  to 
London  and  brought  out  his  opera, 
Fair  Rosamond,  which  was  not  suc- 
cessful, though  containing  much  beau- 
tiful music.  He  was  married  in  1837 
and  went  with  his  wife  to  Frankfort, 
to  study  harmony  and  composition. 
A  symphony  and  two  quartets,  which 
have  never  been  published,  were  writ- 
ten while  in  Frankfort.  In  1838  he 
returned  to  London,  where,  in  1839, 
he  produced  his  opera,  Farinelli, 
which  is  probably  his  best  work.  At 
this  time  he  joined  Morris  Barnett  in 
an  attempt  to  found  an  English  Opera 
House  but  the  venture  was  not  a  suc- 
cess. Barnett  settled  at  Cheltenham, 
in  1841,  as  a  vocal  teacher  and  built 
up  a  large  business.  In  the  latter 
part  of  his  life  he  spent  some  years 
in  Germany  and  Italy  for  the  purpose 
of  educating  his  children,  but  he  died 
in  England  in  1890.  Beside  the  works 
already  mentioned  Barnett  wrote 
about  twenty  dramatic  musical  pieces; 
five  operas;  an  oratorio,  The  Omni- 
presence of  the  Deity;  also  two  un- 
finished oratorios;  a  symphony;  two 
string  quartets;  and  about  four  thou- 
sand songs.  While  at  Cheltenham,  he 
pubhshed  a  pamphlet  called,  Systems 
and  Singing  Masters,  and  also  a 
School  for  the  Voice.  The  production 
of  his  opera.  The  Mountain  Sylph,  is 
said  to  have  been  the  commencement 
of  an  English  dramatic  school  of 
music. 

*  Barnett,  John  Francis.     1837- 

A  gifted  English  composer  and 
pianist.  Son  of  the  late  Joseph  Alfred 
Barnett,  professor  of  singing.  His 
first  teacher  on  the  piano  was  his 
mother,  who  had  been  a  pupil  oi 
Sterndale  Bennett,  and  with  her  he 
studied  until  he  was  placed  under  Dr. 
Wylde.  When  fourteen  years  old  he 
won  the  King's  Scholarship  at  the 
Royal  Academy  of  Music,  and  two 
years  later  he  won  the  same  scholar- 


BIOGRAPHIES 


43 


Bamett 

ship  again.  He  appeared  in  public  for 
the  first  time  at  the  New  Philhar- 
monic concert,  in  1853,  when  he 
played  Mendelssohn's  Concerto  in  D 
minor,  the  celebrated  Spohr  being 
the  conductor.  In  1856  he  went  to 
Germany  and,  after  studying  privately 
with  Hauptmann  for  several  months, 
entered  the  Leipsic  Conservatory, 
where  he  continued  his  contrapuntal 
work  with  Hauptmann,  studied  com- 
position with  Julius  Rietz  and  the 
piano  with  Moscheles  and  Plaidy. 
After  two  years  at  Leipsic  he  was 
engaged  to  play  a  piano  concerto  at 
the  Gewandhaus  concerts.  After  re- 
turnmg  to  London  he  taught  the 
piano  in  the  London  Academy  of 
Music  and  in  1883,  was  appointed 
professor  in  the  Royal  Academy  of 
Music.  He  began  composing  in  1864 
with  a  symphony  and  a  little  later,  at 
the  request  of  the  committee  for  the 
Birmingham  Festival,  he  produced  a 
cantata.  The  Ancient  Mariner.  This, 
with  Paradise  and  the  Peri,  which 
he  wrote  for  the  same  committee  in 
1870,  were  very  successful  and  have 
been  performed  many  times.  His 
orchestral  suite.  The  Lay  of  the  Last 
Minstrel  was  produced  at  the  Liver- 
pool Festival  in  1874.  His  oratorio. 
The  Raising  of  Lazarus,  which  he 
composed  in  1873,  was  perhaps  his 
most  important  work.  Other  suc- 
cessful productions  were  his  overture 
to  Shakespeare's  Winter's  Tale;  his 
oratorio,  The  Good  Shepherd;  the  can- 
tatas, The  Building  of  the  Ship,  and 
the  Wishing  Bell.  Since  1880,  Mr.  Bar- 
nett  was  written  the  following  works 
for  the  piano;  Musical  Landscapes; 
Home  Scenes;  Sonata  in  E  Minor; 
The  Flowing  Tide;  The  Dream 
Maiden;  and  Valse  Brillante.  Be- 
side these  he  wrote  the  pastoral 
suite.  The  Harvest  Festival;  and  sev- 
eral other  orchestral  pieces;  other 
part-songs  and  many  songs.  Mr. 
Barnett  is  at  present  a  professor  at 
the  Royal  College  of  Music  and  the 
Guildhall  School  of  Music.  In  the 
auturnn  of  1906  he  brought  out  his 
autobiography,  on  which  he  had  been 
employed  for  nearly  three  years.  It 
is  entitled  Musical  Reminiscences  and 
Impressions. 

Barry,  Charles  Ainslie.     1830- 

_  English  writer  and  composer,  con- 
sidered of  advanced  views.  Charles 
Barry  was  born  in  London,  and  edu- 


Barth 

cated  at  Rugby  and  Cambridge.  He 
studied  music  under  Walmisley,  and 
later  worked  at  the  Cologne  Conserv- 
atory and  also  at  Leipsic  and 
Dresden.  His  writings  on  the  com- 
positions of  the  advanced  school  of 
music  are  authoritative.  For  several 
years  he  was  editor  of  the  Monthly 
Musical  Record,  and  in  1886  was 
secretary  of  the  Liszt  Scholarship 
Fund.  He  is  the  author  of  several 
songs  and  pieces  for  the  piano;  a 
Festival  March;  a  symphony;  and 
other  orchestral  pieces. 

Barth  (bart),  Karl  Heinrich.    1847- 

A  German  pianist.  He  is  noted  for 
his  interpretation  of  classical  music 
and  holds  a  high  place  as  an  ensemble 
player.  He  was  born  at  Pilau,  Prus- 
sia, the  son  of  a  teacher,  and  re- 
ceived his  first  instruction  from  his 
father,  beginning  the  piano  when  he 
was  only  four  years  old.  He  studied 
under  Steinmann,  in  Potsdam,  and  in 
Berlin  was  a  pupil  of  von  Biilow. 
Bronsart,  also,  was  one  of  his 
teachers,  and  for  a  short  time  he  re- 
ceived instruction  from  Tausig.  At 
the  age  of  twenty-one,  he  was 
appointed  a  teacher  in  the  Stern  Con- 
servatory at  Berlin,  and  three  years 
later  became  professor  at  the  Berlin 
Hochschule.  In  England  and  Ger- 
many he  has  enjoyed  great  success  on 
concert  tours.  The  Trio-Concerts 
given  by  Barth,  the  celebrated  vio- 
linist De  Ahna,  and  the  celebrated 
violoncellist  Hausmann,  won  well- 
deserved  renown.  Herr  Barth  held 
the  position  of  pianist  to  the  Emperor 
Frederick. 

Barth,  Richard.     1850- 

German  violinist  and  director.  In 
his  youth  he  suffered  an  accident  to 
his  left  hand  that  made  it  difficult  for 
him  to  continue  the  career  of  violin- 
ist on  which  he  was  started,  but  with 
an  adapted  violin  he  learned  to  finger 
with  the  right  hand  and  bow  with  the 
left,  and  in  spite  of  disadvantages  he 
became  a  violin  virtuoso.  He  was 
born  at  Grosswanzleben  in  Saxonj', 
studied  at  Magdeburg,  and  for  four 
years  was  under  Joachim.  He  held 
the  post  of  University  Music  Director 
at  Marburg,  and  later  became  con- 
ductor of  the  Philharmonic  concerts 
at  Hamburg  and  the  Singakademie 
in  that  city.  He  is  the  author  of 
songs  and  several  quartets  for  strmgs. 


44 


BIOGRAPHIES 


Barthelemon 
Barth€lemon    (bar-ta-lu-mon),    Fran- 
gois  Hippolyte.     1741-1808. 

Violinist  and  composer,  of  French 
and  Irish  parentage.  He  was  born 
at  Bordeaux,  his  father  being  a 
French  officer  and  his  mother  an 
Irish  lady.  While  serving  as  an 
officer  in  the  Irish  Brigade,  Barthele- 
mon came  under  the  influence  of  the 
Earl  of  Kelly,  who  persuaded  him  to 
change  the  career  of  soldier  for  that 
of  musician;  a  fortunate  change,  for 
he  became  one  of  the  most  noted 
violinists  of  his  time  and  a  very  suc- 
cessful composer.  Called  to  be  leader 
of  the  opera  in  London,  he  settled  in 
England  in  1765  and  most  of  his 
professional  life  was  spent  in  that 
country.  In  1776  he  married  a 
singer.  Miss  Mary  Young,  who 
accompanied  him  on  his  professional 
tours.  They  made  a  tour  through 
Germany,  Italy  and  France,  in  1766 
and  1777,  and  in  1784  visited  Dublin. 
Barthelemon  is  the  author  of  songs, 
duos  and  concertos  for  the  violin, 
various  quartets  for  stringed  instru- 
ments, organ  preludes,  and  studies  for 
the  piano.  He  wrote  the  music  for 
the  oratorio  Jefte  in  Masfa;  the 
operas  Pelopida,  and  Le  Fleuve 
Scamandre;  and  the  music  for  several 
dramatic  pieces.  He  set  to  music  the 
well-known   hymn,  Awake,   My   Soul. 

Bartholomew,     Mrs.     Ann     Shepard 
(Mounsey).     1811-1891. 

An  English  composer,  organist  and 
pianist.  Born  in  London  and  studied 
there  under  J.  B.  Logier.  Attracted 
the  attention  of  the  musician  Spohr, 
when  he  visited  London  and  is  men- 
tioned in  his  autobiography.  After 
1828  she  was  organist  at  several  Lon- 
don churches,  at  the  last  of  which, 
St.  Vedast's,  Foster  Lane,  she  re- 
mained nearly  fifty  years.  In  1834 
she  became  an  associate  of  the  Phil- 
harmonic Society  and  in  1839  a  mem- 
ber of  the  Royal  Society  of  Musicians. 
From  1843  until  1848  she  gave  a 
series  of  classical  sacred  concerts,  at 
one  of  which,  Mendelssohn's  Hear 
My  Prayer,  was  given  for  the  first 
time.  In  1853,  Miss  Mounsey  was 
married  to  William  Bartholomew,  a 
musical  writer  and  critic,  well  known 
by  his  adaptations  of  Mendelssohn's 
works.  After  her  marriage  Mrs. 
Bartholomew  was  in  London,  teach- 
ing the  organ,  piano  and  harmony, 
and  engaged  in  composition.  Her 
works  are  an  oratorio.  The  Nativity; 


Basil! 

a  sacred  cantata.  Supplication  and 
Thanksgiving;  Sacred  Harmony,  con- 
sisting of  a  large  number  of  sacred 
compositions  and  hymns;  also  many 
part-songs  and  songs  and  pieces  for 
the  organ  and  piano. 

Bartlett,  Homer  Newton.     1845- 

American  organist,  pianist  and 
composer.  His  musical  talent  de- 
veloped very  early.  At  the  age  of 
five  he  played  on  the  violin  and 
appeared  in  concerts  at  nine.  Began 
studying  music  in  earnest  at  sixteen 
and  worked  for  over  seven  years. 
Has  been  organist  in  several  churches 
in  New  York  and  vicinity.  Is  now 
organist  of  the  Madison  Avenue 
Baptist  Church  of  New  York.  His 
compositions  and  arrangements, which 
are  over  two  hundred  in  number  con- 
sist of  orchestral  works,  pieces  for 
the  organ,  piano  and  violin,  cantatas, 
an  unpublished  opera  and  oratorio, 
and  quartets,  anthems  and  songs.  His 
best  known  works  are  probably  his 
Grande  Polka  de  Concert  and  the 
cantatas.  The  Last  Chieftain,  and 
Autumn  Violets. 

Basili    (ba-ze'-le),    Francesco.     1766- 
1850. 

Italian  composer  and  chapelmas- 
ter.  His  father  was  chapelmaster 
at  Loreto,  and  he  also  was  a  com- 
poser. Francesco  was  born  at  Lor- 
eto, and  on  the  death  of  his  father 
went  to  Rome  to  continue  the 
study  of  music.  In  Rome  he  was  a 
pupil  of  the  famous  church  composer 
and  papal  chapelmaster,  Jannaconi. 
While  still  very  young,  Basili  became 
chapelmaster  at  Foligno,  and  later 
was  conductor  at  Macerata  and 
Loreto.  In  1827,  he  was  appointed 
director  of  the  Milan  Conservatory, 
and  in  1837  was  called  to  St.  Peter's, 
Rome,  as  chapelmaster,  a  post  he 
held  thirteen  years,  the  remainder  of 
his  life.  Basili  wrote  many  and 
various  compositions;  much  church 
music,  psalms,  motets,  masses,  a 
Miserere,  an  oratorio,  and  a  Requiem 
for  Jannaconi,  and  other  works;  sym- 
phonies; songs;  and  music  for  the 
piano;  and  was  the  author  of  many 
operas.  Biographers  are  given  to 
dwelling  on  the  fact  that  Basili,  while 
director  of  the  Milan  Conservatory, 
refused  admission  to  Verdi,  on  the 
ground  that  the  latter  lacked  the 
special  aptitude  requisite  for  the  gift 
of  a  scholarship. 


BIOGRAPHIES 


45 


Bateson 


Bazzini 


Bateson,  Thomas. 

English  musician  and  organist. 
Noted  for  his  madrigals.  The  dates 
of  his  birth  and  death  are  unknown 
and  nothing  can  be  found  of  his  early- 
history.  He  became  organist  of 
Chester  Cathedral  probably,  in  1599, 
and  sometime  between  1608  and  1611 
went  to  Ireland,  where  he  was  made 
organist  to  Christ's  Church  Cathedral, 
DubHn.  He  received  the  degree  of 
Bachelor  of  Music  from  Dublin  Uni- 
versity and  is  supposed  to  have  been 
its  first  musical  graduate.  Bateson 
is  known  entirely  by  his  madrigals, 
though  he  also  wrote  sacred  music. 
His  First  Set  of  English  Madrigals 
for  three,  four,  five  and  six  voices  was 
published  in  1604  and  the  Second 
Set  of  Madrigals  in  1618.  He  also 
published  a  Set  of  Madrigals  in  praise 
of  Queen  Elizabeth.  These  madrigals 
gave  Bateson  a  high  place  among 
composers  of  his  time. 

Batiste    (ba-test),    Antoine    Edouard. 
1820-1876. 

French  organist  and  composer.  Son 
of  Batiste,  the  well-known  comedian. 
Studied  at  the  Paris  Conservatory 
and  while  there  gained  eight  prizes. 
Before  he  finished  his  course  at  the 
Conservatory  he  was  appointed 
deputy  professor  of  the  Solfeggio 
Class,  afterward  being  professor  of 
the  Male  Choral  Class  and  of  the 
Joint  Singing  Class.  From  1842  until 
his  death  he  was  organist  in  Paris 
churches.  His  compositions  for  the 
organ  consist  of  offertories,  sonatas, 
fugues,  fantasias  and  voluntaries.  He 
also  wrote  piano  music  and  songs. 
Batiste  was  considered  one  of  the 
best  of  modern  performers  on  the 
organ.  His  compositions,  although 
somewhat  showy,  are  considered  very 
good.  He  was  very  clever  in  pro- 
ducing orchestral  effects  on  the  organ. 
His  most  substantial  work,  however, 
was  as  a  teacher  and  writer.  His 
works  on  harmony  and  method  and 
his  diagrams  for  reading  music  are 
especially  good. 

Battishill,  Jonathan.     1738-1801. 

English  composer  and  organist.  At 
the  age  of  nine  he  became  a  chorister 
in  St.  Paul's  Cathedral,  under  Wil- 
liam Savage,  and  was  later  his  pupil. 
He  became  one  of  the  best  performers 
on  the  organ  in  the  country  and  in 
1764  became  organist  of  several 
united    London    parishes.      Battishill 


composed  with  Michael  Arne  the 
music  for  the  opera  of  Almena  and 
in  the  same  year,  1764,  produced 
alone  the  music  for  a  pantomime.  The 
Rites  of  Hecate.  He  also  wrote  much 
church  music,  many  glees,  catches 
and  songs  and  many  hymns  and 
psalm  tunes.  Battishill's  church  music 
was  considered  among  the  best  of  his 
time  and  is  especially  marked  for  its 
strength  and  vigor.  One  of  Battis- 
hill's popular  songs  was  Kate  of 
Aberdeen,  written  for  Ranelagh  Gar- 
dens. 

Bazin    (ba-zan),   Frangois    Immanuel 

Joseph.     1816-1878. 

French  dramatic  composer.  Born 
at  Marseilles.  Studied  the  organ, 
harmony  and  composition  at  the  Con- 
servatory of  Paris,  taking  six  prizes 
between  1836  and  1840.  After  the 
performance  of  his  cantata,  Louise  de 
Montfort,  in  1840,  Bazin  went  to 
Rome,  where  he  remained  three 
years,  composing  while  there  a 
Solemn  Mass;  the  oratorio  La  Pente- 
cote;  and  the  psalm.  Super  Flumina 
Babylonis.  These  works  were  per- 
formed in  1843  by  the  Philharmonic 
Society  of  Rome.  Bazin  returned  to 
Paris  and  was  professor  of  harmony 
at  the  Conservatory,  under  Auber, 
then  director.  Later  he  was  professor 
of  singing  and  when  Ambroise 
Thomas  became  director  of  the  Con- 
servatory in  1871,  Bazin  took  his  place 
as  professor  of  composition.  In  1872 
he  was  made  a  member  of  the 
Academy.  Beside  the  works  already 
mentioned,  Bazin  composed  nine 
operas,  most  of  them  comic,  among 
which  are  Le  Trompette  de  M.  Le 
Prince;  La  Nuit  de  la  Saint  Sylvestre; 
Madelon  and  Le  Voyage  en  Chine. 
He  also  wrote  a  number  of  part- 
songs  and  a  Course  in  Harmony, 
Theory  and  Practise  for  the  students 
of  the  Conservatory. 

Bazzini  (bad-ze'-ne),  Antonio.     1818- 
1897. 

Noted  Italian  violinist  and  com- 
poser. Studied  at  Milan  and  at 
seventeen  was  director  of  music  at 
the  Church  of  St.  Filippo,  Brescia,  for 
which  he  wrote  masses  and  vespers. 
In  4836  he  played  for  Paganini,  who 
advised  him  to  travel.  This  he  did, 
from  1840  to  1845,  visiting  most  of 
the  European  countries  with  great 
success.  When  he  visited  Leipsic  he 
staid     some     time,     becoming     very 


46 


BIOGRAPHIES 


Bazzini 


enthusiastic  over  German  music. 
From  1852  to  1864  Bazzini  lived  in 
Paris,  where  he  gave  many  concerts, 
also  visiting  England  during  this 
time.  In  1864  he  returned  to  Brescia 
and  gave  his  entire  time  to  composi- 
tion. He  was  appointed  professor  of 
composition  at  the  Conservatory  of 
Milan  in  1873,  and  was  made  director 
of  that  school  in  1883.  Bazzini's  com- 
positions are  rather  unique,  in  com- 
bining the  grace  and  melody  of 
Italian  music  with  the  thoroughness 
and  harmony  of  the  German.  He 
wrote  an  opera,  Turandot,  which  was 
unsuccessful;  two  cantatas,  The 
Resurrection  of  Christ,  and  Senacher- 
ibo;  made  beautiful  settings  of  a 
number  of  songs;  wrote  overtures  to 
Saul  and  King  Lear;  composed  a 
symphonic  poem,  Francesco  da 
Rimini;  and  also  much  music  for  the 
violin  and  stringed  instruments. 
Among  these  last  are  probably  his 
best  work,  his  three  quartets  and  z 
quintet  for  strings. 

Beach,  Mrs.  H.  H.  A.     1867- 

American  composer  and  pianist. 
Born  in  Henniker,  New  Hampshire,  of 
colonial  ancestry.  Her  maiden  name 
was  Amy  Marcy  Cheney.  Her  musi- 
cal ability,  which  she  inherited  from 
her  mother's  family,  showed  itself  at 
a  very  early  age.  At  the  age  of  two 
she  was  able  to  sing  Handel's  See  the 
Conquering  Hero  Comes,  and  at  four 
began  composing  little  pieces,  which 
she  was  able  to  play  correctly.  When 
six  years  old  she  began  studying 
with  her  mother  and  was  soon  able 
to  play  difficult  music,  including 
Beethoven  and  Bach.  At  seven  she 
played  in  public  several  times  in  New 
Hampshire.  When  she  was  eight, 
her  parents  took  her  to  Boston  to 
begin  her  musical  studies  in  earnest. 
She  first  attended  Mr.  W.  L.  Whitte- 
more's  private  school,  where  she 
made  great  progress,  and  afterward 
studied  under  Mr.  Ernest  Perabo; 
Junius  W.  Hill,  of  Wellesley  College; 
and  Carl  Baermann.  Almost  all  of 
her  work  in  harmony,  composition, 
counterpoint  and  orchestration  was 
done  alone.  In  1883,  at  the  age  of 
sixteen,  she  made  her  debut  in  Bos- 
ton as  a  pianist.  Her  success  was 
such,  that  the  same  year  she  gave 
several  recitals  and  the  next  year  she 
played  with  the  Boston  Symphony 
Orchestra  and  the  Thomas  Orchestra. 
Since  then,   she  has  appeared  in  all 


Beard 

the  large  cities  of  the  country,  often 
giving  entire  programs  of  her  own 
works.  In  1885  she  married  Dr. 
Beach  and  has  since  lived  in  Boston. 
Mrs.  Beach's  large  works  are  her 
Gaelic  Symphony,  first  given  in  Bos- 
ton in  1896;  a  Mass  in  E  flat,  sung 
at  the  Handel  and  Haydn  Society  of 
Boston  in  1892;  a  Festival  Jubilate, 
composed  for  the  dedication  of  the 
Woman[s  Building  at  the  Columbian 
Exposition  in  1893;  also  three  can- 
tatas. The  Rose  of  Avontown;  The 
Minstrel  and  the  King;  and  Sylvania. 
Her  piano  works  are  many,  some  of 
the  most  important  being  a  Cadenza 
to  Beethoven's  C  minor  concerto;  a 
Valse  Caprice;  Danse  des  Fleurs; 
Menuet  Italien,  and  Barcarolle;  six 
duets,  called  Summer  Dreams;  a  con- 
certo in  C  sharp  minor;  a  Bal  Masque 
Waltz;  and  a  Children's  Carnival  and 
Children's  Album.  For  violin  and 
piano  she  has  composed  a  Romance; 
a  sonata;  Berceuse;  Miazurka;  and 
La  Captive.  Of  songs  she  has  not 
been  sparing,  having  written  over 
sixty,  many  of  them  very  beautiful. 
Some  of  the  best  known  are  Dark  is 
the  Night;  Across  the  World;  My 
Star;  Fairy  Lullaby;  Hymn  of  Trust; 
Spring;  A  Secret;  Empress  of  the 
Night;  and  Wilt  Thou  Be  My 
Dearie.  She  also  wrote  a  cantata. 
The  Sea  Fairies;  and  an  aria, 
Jephtha's  Daughter. 

Beard,  John.     1716-1791. 

A  distingn^ished  English  tenor 
singer,  for  whom  Handel  composed 
the  great  tenor  parts  m  Judas,  Jeph- 
thah,  Samson,  The  Messiah,  and  Israel 
in  Egypt.  He  began  life  as  a 
chorister,  and  made  his  first  appear- 
ance as  a  tenor  singer,  also  as  a 
Handelian  singer,  at  Covent  Garden 
Theatre,  London,  in  1736.  The  fol- 
lowing year  he  sang  at  Drury  Lane 
in  the  opera.  The  Devil  to  Pay. 
Beard  retired  from  the  stage  for  a 
season,  after  his  marriage  to  Lady 
Henrietta  Herbert,  daughter  of  the 
Earl  of  Waldegrave.  He  was  en- 
gaged regularly  at  Drury  Lane  a 
number  of  years,  and  several  seasons 
at  Covent  Garden,  was  very  popular 
with  Londoners,  and  first  became  a 
favorite  by  his  style  of  singing  Gail- 
lard's  hunting  song,  With  Early 
Horn._  Lady  Henrietta  died  in  1753, 
and  six  years  later  he  married  the 
daughter  of  John  Rich,  proprietor  of 
Covent   Garden.     From   1761   to   1767 


BIOGRAPHIES 


47 


Beard 

Beard  was  proprietor  and  manager  of 
Covent  Garden.  In  the  latter  year 
he  retired  from  public  life,  his  retire- 
ment caused  by  an  increasing  deaf- 
ness. He  made  his  last  appearance 
in  public  in  the  opera,  Love  in  a 
Village.  The  exact  date  of  Beard's 
birth  is  not  known,  but  he  lived  to 
be  considerably  over  seventy.  In 
private  life  he  was  very  highly 
esteemed. 

Beaulieu  (b51-yu),  Marie  Desire. 
1791-1863. 

_  French  composer  and  writer  on  mu- 
sical subjects.  His  real  name  was 
Martin,  his  father  being  an  army 
ofificer  of  Niort.  Beauheu  was  born  in 
Paris  and  studied  at  the  Conservatory 
there  under  Kreutzer,  Mehul  and 
others.  In  1810  he  won  the  Grand 
Prize,  but  he  did  not  take  the  five 
years  of  travel  which  it  gave  him  but 
settled  instead  at  Niort.  In  this  place 
he  founded^  quartet  meetings  and  a 
Philharmonic  Society  in  1829,  which 
became  the  Association  Musicale  de 
rOuest.  This  Society  became  one  of 
the  most  successful  musical  organiza- 
tions in  France  and  through  the 
energy  and  ability  of  its  founder  did 
much  for  musical  culture  in  that  coun- 
try. Festivals  were  held  each  year, 
in  different  French  cities,  where  the 
best  musical  compositions  were  per- 
formed. Beaulieu  also  founded,  in 
1866,  a  vocal  society  in  Paris,  called 
La  Societe  de  Chant  Classique.  At 
his  death  he  left  his  fortune  to  endow 
both  of  these  organizations.  Beside 
his  critical  writings  on  musical  sub- 
jects, Beaulieu  composed  a  large 
number  of  works,  some  of  the  most 
important  of  which  are  the  operas, 
Anacreon,  and  Philadelphie;  the  lyric 
pieces,  Jeanne  d'Arc,  and  Psyche  et 
I'Amour;  the  oratorios,  I'Hymne  du 
Matin,  I'Hymne  de  la  Nuit  and 
L'Immortalite  de  I'Ame.  He  also 
wrote  orchestral  works,  hymns,  masses 
and  songs.  His  best  work  was,  prob- 
ably, a  Requiem,  composed  in  1819, 
for  the  death  of  Mehul. 

Becher  (bekh'-er),  AHred  Julius. 

1803-1848. 

Teacher,  editor  and  composer.  He 
was  born,  of  German  parentage,  at 
Manchester,  England,  and  met  his 
death  at  Vienna,  in  which  city  he  was 
tried  by  court-martial  for  political 
offenses  and  condemned  to  death.  He 
left    England    in    his    childhood    and 


Becker 

went  to  live  in  Germany.  Was  trained 
for  the  profession  of  law,  and  prac- 
tised for  awhile  at  Elberfeld.  He 
studied  music  at  Heidelberg,  Berlin, 
and  elsewhere,  and  in  1840,  was  ap- 
pointed teacher  of  harmony  at  the 
London  Royal  Academy  of  Music. 
The  following  year  Becher  moved  to 
Vienna,  where  he  served  as  musical 
critic  of  the  Wiener  Musik-Zeitung 
and  the  Sontagsblatter.  Of  extreme 
revolutionary  views,  as  editor  of  Der 
Radikale,  he  came  under  the  ban  of 
the  Government,  and  was  shot  by 
order  of  the  court-martial.  He  is  the 
author  of  many  songs  and  pieces  for 
the  piano,  and  of  the  two  pamphlets, 
Jenny  Lind:  eine  Skizze  ihres  Leben; 
Das  niederrheinische  Musikfest, 
aesthetish  u  historisch  betrachtet. 

Beck,  Johann  Heinrich.    1856- 

Born  in  Cleveland,  Ohio.  His 
parents  were  Germans.  Began  study- 
ing, when  very  young,  on  the  violin. 
Went  to  Leipsic  in  1879,  and  studied 
the  piano,  violin  and  viola,  also  theory 
and  composition  under  Reinecke,  Ja- 
dassohn, Richter  and  others.  When 
he  returned  to  America,  in  1882,  he 
settled  in  Cleveland  where  he  has 
since  lived  as  a  teacher  and  violinist. 
He  organized  the  Schubert  Quartet 
of  Cleveland.  His  works  consist  of  a 
cantata  on  Bayard  Taylor's  Deu- 
kalion;  overtures  to  Byron's  Lara  and 
to  Shakespeare's  Romeo  and  Juliet; 
an  unfinished  music-drama,  Salammbo; 
several  compositions  for  strings,  vio- 
lin music  and  songs.  He  has  been 
called  by  some,  "  the  greatest  of 
American  composers."  His  music  is 
all  in  manuscript.  Although  much  of 
it  has  been  performed,  none  of  it  has 
yet  been  printed.  Several  of  his  works, 
which  were  given  in  Germany,  won 
great  favor. 

Becker,    Albert    Ernst    Anton.    1834- 

1899. 

Talented  German  composer.  Studied 
first  at  Quedlinburg,  where  he  was 
born,  and  later  at  Berlin.  Became 
teacher  in  Scharwenka's  Conservatory 
in  Berlin  in  1881,  and  in  1891  became 
conductor  of  the  Cathedral  choir  of 
Berlin.  His  first  success  as  a  com- 
poser was  gained  in  1861,  when  his 
Symphony  in  G  minor  was  awarded  a 
prize  by  a  musical  society  in  Vienna. 
His  other  compositions  of  note  are  a 
Mass  in  B  minor;  Reformations  can- 
tata; an  oratorio;  some  orchestral  and 


48 


41 


Becker 

music;    many    songs    and    an 
Loreley,    which    is    in    manu- 


organ 
opera, 
script. 

Becker,  Carl  Ferdinand.    1804-1877. 

German  writer,  organist  and  com- 
poser. In  Germany  was  esteemed 
most  for  his  writings.  Of  these  men- 
tion should  be  made  of  the  following: 
Systematisch-chronologische  Darstel- 
lung  der  Musiklitteratur;  Die  Haus- 
musik  in  Deutschland  im  16,  17,  and 
18  Jahrhundert;  and  Die  Tonwercke 
des  16  and  17  Jahrhunderts.  His 
work  is  valued  for  its  accuracy.  He 
was  a  skilled  bibliographer.  Becker's 
extensive  collection  of  music,  which 
contained  many  rarities,  he  bequeathed 
to  the  city  of  Leipsic.  He  was  born 
and  died  in  Leipsic,  and  was  organist 
and  professor  at  the  Leipsic  Conserv- 
atory. He  studied  the  piano  under 
Schicht  and  Schneider,  and  at  an  early 
age  played  the  piano  in  public.  Later 
Becker  devoted  more  attention  to  the 
organ,  and  became  organist  of  the 
Church  of  St.  Peter,  and  afterward  of 
St.  Nicholas  Church  in  Leipsic. 

Becker,  Hugo.    1864- 

Celebrated  contemporary  German 
violoncellist,  son  of  Jean  Becker,  the 
violinist.  He  was  born  at  Strasburg, 
and  after  some  study  under  his  father, 
had  the  benefit  of  the  instruction  of 
various  distinguished  teachers,  Fried- 
rich  Griitzmacher,  Piatti  and  others. 
His  first  public  appearance  was  at  the 
Leipsic  Gewandhaus;  this  was  fol- 
lowed by  successful  concert  tours  with 
his  father."  In  1882  he  was  appointed 
violoncellist  in  the  opera  orchestra  at 
Frankfort,  and  here  became  a  member 
of  the  well-known  Frankfort  Quartet, 
led  by  Hugo  Heermann.  He  makes 
extensive  tours,  is  a  renowned  soloist 
and  chamber-music  player  and  one  of 
the  foremost  violoncellists  of  the  day. 
Though  most  of  his  time  is  occupied 
with  his  career  as  player,  he  teaches 
part  of  the  year  at  the  Conservatory 
in  Frankfort. 

Becker,  Jean.     1833-1884. 

An  eminent  German  violinist  and 
founder  of  the  famous  Florentine 
Quartet.  He  also  composed  some 
music  for  the  violin.  He  was  born  at 
Mannheim,  Germany,  received  his 
early  instruction  from  the  leader  of 
the  Mannheim  Orchestra,  and  studied 
later  in  Paris.  Becker  was  very 
young     when     he     began     to     play 


BIOGRAPHIES 

Beer  # 

in  public,  and  was  made  lead^ 
of  the  Mannheim  band  while  still  ^ 
lad.  At  the  age  of  sixteen  he  wa^ 
playing  with  great  success  in  Parish 
and  shortly  afterward  appeared  in 
London  as  a  virtuoso.  Following 
brilliant  concert  tours  through  Et 
rope,  he  settled  in  Florence  in  IJ 
and  here  founded  the  Quartet- 
became  famed  throughout  the  world. 
The  members  were  Becker;  y^Italian 
musicians,  Masi,  second  AflKi,  and 
Chiostri,  viola;  and  the  German  vio- 
loncellist Hilpert,  ^ho  in  1875  was 
replaced  by  SfWtzer-Hegyesi.  After 
the  Quartet  was  dissolved  in  1880, 
Becker  made  very  successful  tours 
with  his  children,  his  daughter  Jean, 
an  excellent  pianist;  and  his  sons 
Hans  and  Hugo,  the  former  a  fine 
viola  player,  the 
violoncellist. 

*  Becker,  Ludwig. 

Contemporary 
who    now    resides 


latter    a    talented 


1873- 

German  violinist, 
in  America.  He 
plays  first  violin  in  the  Thomas  Or- 
chestra, Chicago,  aj«l  is  head  of  the 
violin  department  of  the  Bush 
Temple  Conservatory,  Chicago.  He 
was  born  at  Kronenberg,  Germany, 
and  at  the  age  of  six  showed  a  great 
love  for  the  violin  and  under  a  local 
teacher  made  rapid  progress  in  the 
study  of  this  instrument.  At  the  age 
of  fourteen  he  was  awarded  a  five- 
years'  scholarship  at  Dr.  Hoch's  Con- 
servatory in  Frankfort,  and  here  was 
a  pupil  of  Professor  Hugo  Heermann. 
At  the  age  of  sixteen  he  played  first 
violin  at  the  Museum  concerts  in 
Frankfort  under  the  direction  of 
Brahms,  Richard  Strauss,  Motl,  Wein- 
gartner  and  Kogel,  and  later  held  the 
post  of  concertmaster  at  Kroll's 
Theatre,  Berlin.  In  1896  he  left  Ber- 
lin for  America,  having  accepted 
Theodore  Thomas'  invitation  to  fill 
the  position  of  first  violinist  with  the 
Thomas  Orchestra.  He  was  ap- 
pointed second  concertmaster  of  this 
organization  in  1904,  and  for  several 
seasons  has  appeared  as  soloist  with 
the  famous  orchestra. 

Beer  (bar),  Joseph.    1744-1811. 

Remarkable  clarinettist  and  writer 
of  music  for  that  instrument.  At  the 
time  of  his  death,  which  occurred  at 
Potsdam,  Joseph  Beer  held  the  post 
of  Royal  Prussian  chamber-musician. 
He  was  born  at  Griinwald,  Bohemia. 
During    the    Seven    Years'    War,    he 


# 

4  Beer 

^served  as  a   field-trumpeter,  in  both 

-  the  French  and  Austrian  Armies.     In 

W  Paris,  in  1771,  he  took  up  the  clarinet, 

became   the   best   player    of    his   day, 

and  was  greeted  everywhere  he  went 

with    the    greatest    enthusiasm.      He 

iveled   in  various  countries   of   Eu- 

^Russia,  Italy,  Hungary  and  Hol- 

land.  Among  his  compositions  are 
conc^^fts,  duets  and  variations. 
JoseiUHPeer  greatly  improved  the 
clarinet  by  the  addition  of  a  fifth  key. 
As  a  player  h^was  noted  for  his 
power  of  expressic*  as  well  as  his 
mastery  of  the  instrument. 

Beethoven  (bat'-ho-fen),  Ludwig  van. 

1770-1827. 

Beethoven,  born  in  the  year  1770, 
came  into  the  world  in  the  beginning 
of  a  new  era,  a  period  of  change  and 
overthrow.  During  his  boyhood, 
America  established*  her  freedom,  in 
his  manhood,  in  France  were  uttered 
the  three  words  that  vibrated  round 
the  world.  In  his  art  and  in  his  life 
Beethoven  sto^  for  freedom,  with 
no  hampering  of  conventions. 

Ludwig  van  Beethoven  was  born  at 
Bonn,  on  the  Rhine,  December  16  or 
17,  1770,  on  his  father's  side  being  of 
Flemish  blood.  The  grandfather, 
also  Ludwig,  a  native  of  Antwerp 
and  descendant  of  an  old  Flemish 
family,  had  come  to  Bonn  to  take  the 
position  of  Court  musician  in  the 
service  of  the  Elector  of  Cologne,  and 
from  1761  to  1763  was  music-director 
at  the  Court.  A  French  writer,  M. 
Theodor  de  Wyzewa,  in  a  study  of 
Beethoven's  heredity  describes  the 
grandfather  thus:  "Great  energy  and 
a  high  sense  of  duty  were  combined 
in  him  with  a  practical  good  sense 
and  a  dignity  of  demeanor  that 
earned  for  him,  in  the  city  he  had 
entered  poor  and  unknown,  universal 
respect.  His  musical  knowledge  and 
ability  were  considerable;  and  al- 
though he  was  not  an  original  com- 
poser, he  had  frequently  to  make 
arrangements  of  music  for  perform- 
ance by  his  choir."  His  wife,  whose 
maiden  name  was  Maria  Josepha 
Poll,  having  developed  a  passion  for 
drink  soon  after  her  marriage,  was 
finally  confined  in  a  convent  and  kept 
there  the  remainder  of  her  life.  Their 
son  Johann,  Beethoven's  father,  the 
very  _  opposite  of  good  old  Ludwig, 
is^  dismissed  by  M.  de  Wyzewa 
with  these  words  —  "a  perfect  nullity. 


BIOGRAPHIES 


49 


Beethoven 

.  idle,  common,  foolish." 
Beethoven's  mother,  to  whom  he  was 
very  much  attached,  was  a  woman  of 
tender  nature  and  strong  affection. 
Daniel  Gregory  Mason,  in  his  book 
on  Beethoven,  gives  this  summary 
"If,  to  begin  with,  we  eliminate  the 
father,  who,  as  M.  de  Wyzewa  re- 
marks, was  an  'absolute  nullity  and 
merely  an  intermediary  between  his 
son  and  his  father,  the  Flemish  music- 
directoF,'  we  shall  find  that  from  the 
latter,  his  grandfather,  Beethoven  de- 
rived the  foundation  of  his  sturdy, 
self-respecting  and  independent  moral 
character,  that  from  his  mother  he 
got  the  emotional  sensibility  that  was 
so  oddly  mingled  with  it,  and  that 
from  his  afflicted  grandmother,  Maria 
Josepha  Poll,  he  inherited  a  weakness 
of  the  nervous  system,  an  irritability 
and  morbid  sensitiveness,  that  gave  to 
his  intense  individualism  a  tinge  of 
the  eccentric  and  the  pathological." 

Ludwig  was  the  second  of  Johann's 
seven  children.  The  father,  indulgent 
to  himself,  was  a  stern  taskmaster  to 
others.  Early  recognizing  that  little 
Ludwig  possessed  unusual  musical 
ability,  with  shrewd  intent  of  develop- 
ing a  musical  prodigy  he  kept  him, 
often  weeping,  to  his  practise.  Ludwig 
was  made  to  begin  the  study  of  music 
when  not  yet  four  years  old,  the  father 
giving  him  lessons  on  violin  and 
clavier.  When  the  boy  was  nine  years 
old,  he  was  turned  over  to  Pfeitfer,  a 
tenor  singer,  and  received  instruction 
from  him,  more  or  less  regularly,  for 
a  year.  He  also  studied  the  organ, 
under  the  Court  organist,  Van  den 
Eeden,  an  old  friend  of  the  grand- 
father's, and  at  the  age  of  eleven  came 
under  the  influence  of  Christian 
Neefe,  who  succeeded  Van  den  Eeden 
as  organist  at  the  Court.  Neefe  im- 
mediately noticed  the  promise  of  his 
pupil,  and  prophesied  that  if  he  kept 
on  as  started  he  would  bee:  me  a 
second  Mozart.  When  only  twlve, 
Beethoven  could  play  the  greater  art 
of  Bach's  Well-tempered  Clavier,  a 
performance  none  but  the  initiated 
can  rightly  appreciate.  When  he  was 
not  yet  twelve  years  old  Ludwig  acted 
as  chapel  organist  during  Neefe's 
absences,  an  important  though  unpaid 
post.  When  Neefe  was  given  charge 
of  secular  music  also  at  the  Court, 
Beethoven,  then  only  a  little  over 
twelve,  was  appointed  cembalist  of  the 
orchestra;  as   he  was  always  obliged 


50 


BIOGRAPHIES 


Beethoven 

to  attend  rehearsals  and  performances, 
he  gained  valuable  practise  and  ex- 
perience. When  he  was  fourteen,  he 
was  given  the  appointment  of  second 
Court  organist  with  a  salary  of  150 
florins  (about  $63),  and  every  morning 
played  the  organ  at  six  o'clock  mass. 
During  the  year  he  studied  violin  with 
Franz  Ries,  and  continued  trying  his 
hand  at  composition.  While  the 
compositions  of  this  period  were  not 
of  much  value,  the  improvisations 
were,  and  he  began  to  be  spoken  of 
as  one  of  the  best  piano-players  of 
his  day.  In  1787  he  made  his  first 
journey  to  Vienna,  where  he  met 
Mozart  and  played  before  that  master 
so  effectively,  extemporizing  on  a  sub- 
ject given  by  Mozart,  that  the  latter 
remarked  to  a  companion:  "Pay  at- 
tention to  him.  He  will  make  a  noise 
in  the  world  some  day." 

Beethoven  was  recalled  from 
Vienna  by  the  serious  illness  of  his 
mother,  who  died  of  consumption, 
July  17,  1787,  when  Ludwig  was  in 
his  eighteenth  year.  The  following 
were  dark  days;  death  visited  the 
Beethoven  home  again  and  the  bur- 
den of  the  family,  the  harsh,  dissolute 
father,  weighed  heavily  upon  Ludwig. 
The  father's  pittance  was  small,  and 
the  son  had  to  give  lessons  to  help 
in  the  general  support,  though  teach- 
ing was  ever  distasteful  to  him.  But 
this  gloom  and  depression  were 
brightened  by  the  coming  into  his  life 
of  new  friends,  the  family  of  Stephen 
von  Breuning,  a  fellow-pupil  under 
Franz  Ries.  This  cultivated,  hospi- 
table family,  in  welcoming  young 
Beethoven  to  their  circle,  opened  up 
a  new  world  for  him.  Madame  von 
Breuning  was  a  woman  of  much  tact 
and  intelligence,  intimacy  with  whom 
awakened  in  the  boy  an  interest  in  the 
classics  and  in  German  and  English 
literature.  On  their  side,  they  de- 
lighted in  his  playing,  especially  in 
the  improvisations  and  the  friendship 
was  of  mutual  pleasure  and  benefit. 
He  gave  lessons  to  the  daughter 
Eleanore,  to  whom  some  of  his  later 
compositions  were  dedicated  and  with 
whom  he  kept  in  touch  after  leaving 
Bonn.  Another  important  friendship 
of  this  time  was  that  with  a  young 
noble,  Count  Waldstein,  an  enthusias- 
tic amateur  musician.  They  were  on 
terms  of  close  intimacy,  Waldstein  in 
as  delicate  a  manner  as  possible  assist- 
ing  Beethoven  not   only  pecuniarily, 


Beethoven 

but  in  every  way  in  his  power.  It  is 
thought  Count  Waldstein's  influence 
was  what  induced  the  Elector  of 
Cologne  to  awaken  at  last  to  recogni- 
tion of  Beethoven's  rare  ability,  which 
recognition  resulted  in  his  finally 
being  sent  to  Vienna. 

When  only  nineteen  Beethoven  had 
to  take  the  place  —  he  had  long  borne 
the  burden  —  of  head  of  the  family;  his 
drunken  father  being  now  so  irrespon- 
sible that  the  decree  was  issued  that 
part  of  his  salary  be  paid  over  to  Lud- 
wig. Beethoven  was  at  this  time  work- 
ing hard  on  his  studies  and  making 
great  progress  as  Court  musician,  his 
chief  recreation  being  long  walks  in  the 
country,  of  which  he  was  passionately 
fond.  In  1788,  the  Elector  established 
at  Bonn  a  national  theatre  modeled 
after  the  one  maintained  at  Vienna  by 
his  brother,  the  Emperor  Joseph,  and 
here  both  opera  and  drama  were  pro- 
duced. The  orchestra,  in  which 
Beethoven  played  second  viola  for  four 
years,  included  a  number  of  illustrious 
musicians,  among  these  Franz  Ries, 
Andreas  and  Bernhard  Romberg,  and 
Christian  Neefe,  who  was  pianist  and 
stage  manager.  Association  with 
these  artists  was  of  greatest  value, 
and  inspiration,  the  listening  to 
noteworthy  opera  and  play  represent- 
ing the  best  in  literature.  In  1792, 
Haydn,  passing  through  Bonn,  heard 
a  cantata  of  Beethoven's,  which  he 
warmly  praised  and  added  to  the 
praise  the  suggestion  that  the  author 
be  allowed  opportunity  for  further 
study.  The  Elector  shortly  arranged 
that  Beethoven  depart  for  Vienna  on 
this  mission  and  in  November,  of 
1792,  he  left  Bonn,  not  to  return  again. 
The  Bonn  days  end  with  Beethoven 
twenty-two  years   old. 

The  compositions  of  these  days  are, 
relativelj%  of  inconsiderable  impor- 
tance; a  few  songs  a  rondo;  a  minuet; 
three  preludes;  a  trio  and  three  quar- 
tets for  piano;  a  string  trio;  four  sets 
of  piano  variations;  a  rondino  for  wind 
instruments;  the  Ritter  ballet  with 
orchestra;  and  a  few  other  works. 
Beethoven's  creative  powers  developed 
slowly.  Grove  says,  "  If  we  compare 
them  (his  composition  up  to  .  this 
time)  with  those  of  other  composers 
of  the  first  rank,  such  as  Mozart, 
Schubert,  or  Mendelssohn,  it  must  be 
admitted  that  they  are  comparatively 

few   and   unimportant 

Against  Mozart's  twenty-eight  operas, 


BIOGRAPHIES 
Beethoven 

cantatas,   and  masses  for  voices   and 


51 


full  orchestra,  composed  before  he 
was  twenty-three,  Beethoven  has  abso- 
lutely nothing  to  show." 

In  Vienna,  musical  center  of  the 
world,  Beethoven  was  to  spend  the 
remainder,  and  the  greater  part  of  his 
life.  He  arrived  late  in  the  autumn 
of  1792,  and  as  soon  as  he  was  estab- 
lished began  lessons  under  Haydn, 
with  whom  he  remained  until  January, 
1794,  though  not  satisfied  with  the 
progress  made  or  the  cursory  atten- 
tion given  him  by  the  very  busy 
Haydn.  On  the  departure  of  the  lat- 
ter for  England,  Beethoven,  under 
Albrechtsberger,  continued  the  study 
of  counterpoint,  and  under  other 
teachers  studied  violin  and  vocal  com- 
position. It  is  interesting  to  note  that 
neither  Haydn  nor  Albrechtsberger 
regarded  their  pupil  as  one  from  whom 
much  was  to  be  expected;  the  latter 
making  the  unfortunate  prophecy  that 
he  would  never  do  anything  in  decent 
style;  while  conservative  Haydn,  hold- 
ing to  due  respect  for  superiors  and 
for  established  rules,  looked  with  dis- 
approval on  the  young  man's  inde- 
pendence of  thought  and  manner,  and 
in  ridicule  nicknamed  him  "  The  Grand 
Mogul."  Appreciation  of  his  playing 
was  quickly  yielded  by  the  Viennese. 
He  had  brought  letters  from  the 
Elector  and  Count  Waldstein  which 
gave  him  introduction  to  the  aris- 
tocracy, by  whom  his  extraordinary 
ability  was  soon  recognized,  the  doors 
of  many  great  houses  were  open  to 
him  and  his  playing,  especially  his 
improvisations,  created  a  remarkable 
sensation  among  the  many  cultivated 
musicians  of  Vienna  society.  Rough, 
blunt,  eccentric,  Beethoven  found  him- 
self in  the  midst  of  a  society  made  up 
of  people  of  fashion  and  culture. 
Prince  and  Princess  Lichnowsky, 
both  excellent  amateur  musicians, 
were  among  his  first  friends.  They 
treated  him  with  the  greatest  kind- 
ness and  consideration;  set  aside  for 
him  a  pension  of  600  florins  a  year,  he 
became  a  member  of  their  household 
and  in  their  home  his  prejudices  were 
respected  and  his  eccentricities  con- 
doned. Prince  Lobkowitz  was  a  dis- 
ciple and  friend,  as  was  Baron  von 
Swieton,  also  Count  Brunswick,  at 
whose  home  he  was  a  frequent  visitor 
and  on  terms  of  intimacy  with  the 
Count's  sisters. 

The  patron,  in  the  day  immediately 
preceding  Beethoven,  was  not  an  inci- 


Beethoven 

dent  in  a  musician's  career  but  a 
necessity,  and  in  his  day  the  public 
concert  was  uncommon  in  Austria, 
musical  entertainments  being  given  in 
the  great  private  houses  and  at  court 
functions.  Vienna,  at  this  time  the 
gayest  capital  in  Europe,  was  cele- 
brated less  perhaps  for  luxury  than  as 
a  musical  center.  The  rich  Vienna 
nobleman  was  par  excellence  a  patron 
of  music.  Thayer  tells  of  twenty-one 
great  houses  open  to  Beethoven,  nine 
of  these  belonging  to  princes.  He 
numbered  among  his  friends  and  inti- 
mates not  only  several  princely  pa- 
trons but  also  not  a  few  court  ladies; 
of  these  mention  should  be  made  of 
the  Princess  Odescalchi,  the  Baron- 
ess Ertmann,  and  the  Countess  Gal- 
lenberg.  That  he  did  not  adapt  himself 
to  the  conventions  of  the  polite  world 
about  him  there  is  no  lack  of  proof; 
the  adapting  and  conciliating  had  to 
come  from  the  other  side. 

Of  his  relations  with  the  fair 
Viennese,  G.  A.  Fischer  remarks: 
"  Beginning  with  hero-worship  on  the 
part  of  these  devotees,  the  sentiment 
usually  developed  into  the  more  inti- 
mate relation  of  friendship  or  love. 
The  '  Ewig  Weibliche '  appears  con- 
stantly in  his  music  and  was  always 
in  his  life.  He  formed  many  romantic 
attachments  which  may  not  always 
have  been  Platonic,  but  they  were 
always  pure.  Beethoven  had  as 
chivalrous  a  regard  for  women  as  had 
any  knight  of  the  middle  ages."  He 
never  married,  but  evidence  would  go 
to  show  he  at  one  time  was  engaged 
to  be  married  to  the  Countess  Therese, 
sister  of  the  Count  of  Brunswick.  It 
was  during  this  period  that  he  pro- 
duced the  Fourth  Symphony,  a  work 
that  bespeaks  its  creator  inspired  by 
the  "very  genius  of  happiness;"  the 
period,  the  symphony,  in  tragic  con- 
trast with  the  later,  sad,  sordid  bachel- 
orhood, the  harried  household,  the 
uncared-for,  lonely  state  in  which  his 
last  days  were  passed.  It  is  looked 
upon  as  probable  that  Beethoven  him- 
self broke  oflf  the  engagement  with  the 
Countess,  his  irritable  pride  chafing 
against  the  secrecy  enjoined  for  fear 
of  the  disapproval  of  the  lady's 
mother.  The  Countess  Therese,  too, 
never  married,  but  interested  herself 
in  charitable  works,  founded  in  Vienna 
a  home  for  little  children,  the  first  of 
its  kind  in  Austria  and  lived  to  the 
age  of  eighty-three. 


52 


BIOGRAPHIES 


Beethoven 

Beethoven  ever  begrudged  the  time 
he  had  to  spend  in  teaching;  and  as 
soon  as  he  was  able  to  get  along 
without  it,  gave  up  lessons,  except  to 
a  favored  few  here  and  there.  One  of 
these  was  the  Archduke  Rudolph, 
brother  of  the  Emperor.  He  began 
taking  lessons  in  1804  and  a  lasting 
friendship  grew  up  between  the  two, 
some  of  Beethoven's  best  work  being 
written  for  Rudolph.  The  young 
Archduke  was  passionately  fond  of 
music,  and  was  an  excellent  performer. 
Another  pupil,  Ferdinand  Ries,  son  of 
the  old  friend  at  Bonn,  was  a  protege 
over  whom  the  master  labored  with 
rare  patience  and  gentleness,  and  was 
rewarded  by  seeing  his  pupil  become 
one  of  the  most  distinguished  pianists 
of  the  day.  Ries  also  was  a  faithful 
friend,  and  a  long-suffering  one.  He 
put  up  with  the  master's  eccentricities, 
suspicions  and  rages,  and  loved  him 
and  served  him  well.  Another  pupil 
was  Czerny,  who  began  lessons  with 
him  at  the  age  of  ten,  made  very 
rapid  progress,  and  was  a  favorite 
pupil.  Lessons  also  were  given  to  a 
few  ladies,  the  Brunswick  sisters, 
Madame  Ertmann  and  others;  but 
these  were  given  irregularly  and  not 
continued  as  were  the  lessons  to 
Rudolph,  Ries,  and  Czerny.  During 
the  period  of  his  social  successes 
Beethoven  was  by  no  means  idle.  In 
addition  to  his  playing  and  some 
teaching  he  was  much  engrossed  in 
study  and  composition.  Three  years 
after  his  coming  to  Vienna,  appeared 
his  opus  1,  consisting  of  three  trios 
for  piano  and  strings;  and  shortly 
after,  opus  2,  which  consisted  of  three 
sonatas,  dedicated  to  Haydn,  vari- 
ations and  smaller  pieces.  In  this  and 
ensuing  work  —  piano  pieces,  songs, 
trios,  and  quartets  —  the  influence  of 
Haydn  and  Mozart  is  markedly  shown. 
But  from  1800  on,  from  his  thirtieth 
year,  there  is  noticeable  a  change. 
The  beginning  of  the  new  century  is 
the  beginning  of  a  new  era  with 
Beethoven.  These  days  are  empha- 
sized by  the  First  Symphony;  the 
oratorio,  The  Mount  of  Olives, 
"  reminiscent  of  Handel  and  prophetic 
of  Wagner;"  and  the  Prometheus 
Ballet  Music;  as  well  as  the  Piano 
Concerto  in  C  minor;  the  descriptive 
septet;  six  string  quartets;  a  string 
quintet;  and  four  piano  sonatas;  two 
grand  sonatas,  opus  26  and  opus  28; 
and  the  two  sonatas  constituting  opus 
27,  one  of  these  the  famous  one  nick- 


Beethoven 

named  by  Rellstab  the  "  Moonlight 
Sonata."  The  year  1802  saw  the  com- 
pletion of  the  Second  Symphony.  The 
following  year  appeared  the  wonderful 
scena  for  soprano  and  orchestra.  Ah  ! 
Perfido,  and  1804  saw  the  completion 
of  the  Third  Symphony.  This  heroic 
symphony,  inspired  by  the  republican 
spirit  of  the  day,  was  dedicated  to 
Napoleon  and  was  written  for  him; 
Napoleon  at  the  time  looming  as 
liberator,  not  as  tyrant.  Beethoven, 
living  in  imperial  Austria,  was  the 
avowed  enemy  of  imperialism;  in 
Austria,  where  the  name  of  Napoleon 
was  most  odious,  he  dedicated  to  him 
the  wonderful  Third  Symphony.  It 
lay  on  the  master's  table  all  ready  to 
be  transmitted  to  Paris,  when  the 
news  reached  Vienna  that  the  "  liber- 
ator "  had  had  himself  made  Emperor. 
Beethoven  in  a  rage  tore  from  the 
music  the  title  page  with  its  mistaken 
tribute,  and  ever  afterward  showed 
strong  antipathy  for  the  name  of 
Bonaparte.  The  symphony  was  given 
the  title  Sinfonia  Eroica  and  dedi- 
cated to  Prince  Lobkowitz,  at  whose 
house  it  was  first  produced. 

Beethoven's  work  as  a  whole  is 
divided  into  three  periods,  the  division 
not  altogether  chronological,  but  made 
with  special  reference  to  style.  The 
second  period,  Grove  designates  a 
"  time  of  extraordinary  greatness,  full 
of  individuality,  character,  and  humor, 
but  still  more  full  of  power  and 
mastery  and  common  sense."  To  this 
great  period  belong,  in  addition  to 
the  works  before  mentioned,  the  opera 
Leonora-Fidelio;  the  Mass  in  C;  six 
symphonies,  Third,  Fourth,  Fifth, 
Sixth,  Seventh,  and  Eighth;  overture 
to  Coriolan;  Music  to  Egmont;  Piano 
Concertos  in  G  and  E  flat;  Violin 
Concerto;  The  Rasoumowsky  Quar- 
tets; the  quartet  for  strings  in  E  flat 
and  quartet  for  strings  in  F  minor; 
piano  trios;  twelve  piano  sonatas, 
among  them  the  one  dedicated  to 
Count  Brunswick,  the  wonderful  Ap- 
passionata;  and  the  Liederkreis.  In 
this  period  Beethoven  reaches  the 
zenith  of  his  fame  and  prosperity. 

It  was  in  1813,  with  the  production 
of  his  Battle  Symphony,  that  he  was 
acclaimed  patriot  as  well  as  musician; 
at  the  moment  the  Austrians  and  Ger- 
mans were  looking  for  fit  expression 
of  their  joy  over  the  defeat  of  the 
French.  This  work  was  suggested  to 
Beethoven  by  an  inventor  named 
Maelzel,  who  had  made  him  an  ear- 


BIOGRAPHIES 


53 


I 
I 


Beethoven 
trumpet  and  with  whom  he  was  on 
intimate  terms.  Maelzel  was  a  man 
who  understood  the  public  taste,  and 
it  is  evident  Maelzel's  influence  was 
responsible  for  the  Battle  Symphony, 
which  Grove  rates  as  conceived  on  a 
"vulgar  plan"  and  containing  "few 
traces  of  Beethoven's  genius."  The 
Battle  Symphony,  first  produced  at  a 
benefit  concert  for  the  soldiers  dis- 
abled at  the  battle  of  Hanau,  made  a 
great  sensation;  the  most  distinguished 
musicians  played  in  the  orchestra,  de- 
siring to  do  their  part  in  the  patriotic 
demonstration,  and  the  orchestra  was 
conducted  by  Beethoven  himself. 
The  concert  was  a  tremendous  suc- 
cess and  was  repeated  several  times, 
the  Battle-Piece  always  winning  great 
applause.  As  "  Wellington's  Victory  " 
it  became  very  popular  in  England. 
The  work  is  not  placed  among  the 
notable  Nine  Symphonies. 

To  Beethoven's  third  period  belong 
the  Ninth  Symphony;  the  Mass  in  D; 
the  last  five  piano  sonatas;  and  the 
last  five  string  quartets.  This  is 
analyzed  by  Ernest  Walker  as  the 
period  of  "  new  birth  with  its  strange 
and  sometimes  painful  struggles,  and 
its  steady,  persisting  reaching  up  to  a 
supreme,  dim  ideal;  but  he  (Bee- 
thoven) died  too  soon,  and  then  that 
particular  door  in  music  was  shut, 
and  not  even  Brahms  found  the  key." 

Beethoven,  the  symphonist,  is  not 
at  his  best  in  the  writing  of  opera. 
His  one  opera,  Fidelio,  which  was 
written  to  Bouilly's  libretto,  Leonore, 
shows  a  lack  of  harmony  between 
music  and  libretto,  though  the  music 
itself  is  of  marvelous  beauty  and 
grandeur.  His  temperament  inclined 
him  to  symphonies  and  masses,  the 
freedom  of  purely  orchestral  com- 
positions invited  him.  Haydn  and 
Bach  put  their  best  thought  into  their 
sacred  compositions;  not  by  prefer- 
ence did  Mozart  write  operas;  Wag- 
ner, poet  as  well  as  musician,  was  the 
one  with  "  temperament  for  opera." 

Fidelio,  produced  at  a  most  un- 
fortunate time,  1805,  during  the  French 
occupancy  of  Vienna,  was  withdrawn 
after  three  nights.  At  any  suggestion 
of  revision,  Beethoven  was  enraged, 
but  the  diplomacy  of  friends  prevailed 
in  the  end  and  the  world  was  enriched 
by  the  third  Leonore  Overture,  which 
Wagner  declares  so  much  more  than 
an  overture,  "  mightiest  of  dramas  in 
itself."     The  revised  Fidelio-Leonore 


Beethoven 

was  brought  out  in  1806,  and  met  with 
some  success;  again  much  revision 
was  given  and  in  1814  it  was  pro- 
duced with  great  success. 

Beethoven's  first  mass,  the  Mass  in 
C,  is  one  of  the  best  known  of  all 
masses.  Its  appeal  is  universal,  its 
aim  being  to  stir  the  soul  rather  than 
merely  to  please  with  melody.  In  this 
composition  the  ascendency  of  the 
orchestra  is  marked,  Beethoven  being 
the  first  musician  to  emphasize  its 
importance  over  the  voice  in  musical 
expression.  The  Mass  in  D,  the  Missa 
Solemnis,  is,  Bach's  Mass  in  B  minor 
excepted,  the  most  colossal  work  ever 
written  for  the  Catholic  Church.  The 
occasion  for  which  the  Grand  Mass 
was  originally  designed,  was  the  in- 
stallation of  Archduke  Rudolph  as 
Archbishop  of  Olmiitz,  but  the  work 
took  years  for  its  completion.  Bee- 
thoven labored  on  it  from  the  autumn 
of  1818  till  the  spring  of  1823. 

In  1809,  there  had  come  to  Bee- 
thoven the  offer  of  the  post  of  music- 
director  to  the  King  of  Westphalia, 
Napoleon's  brother,  acceptance  of 
which  meant  an  assured  income  of 
over  $1,400  and  leisure  for  composing. 
Beethoven  hesitated  about  refusing 
the  offer,  although  it  would  have  been 
very  hard  for  him  to  leave  Vienna, 
and  very  distasteful  to  accept  favors 
of  a  Bonaparte.  Fearing  in  the  end 
he  might  be  tempted  to  accept,  three 
of  his  friends.  The  Archduke  Rudolph, 
Prince  Lobkowitz  and  Prince  Kinsky, 
put  together  an  annuity  for  him  of 
4,000  florins,  nominally  $2,000,  but  in 
paper  money  of  fluctuating  value. 
This  sum  became  so  lessened  by  the 
depreciation  of  paper  and  loss  fol- 
lowing the  death  of  a  donor,  that  in 
his  later  life  Beethoven  felt  the 
harassment  of  poverty  and  the  urgent 
need  of  writing  for  money.  To  better 
his  financial  condition  in  the  days  that 
proved  to  be  the  last  ones,  Ferdinand 
Ries,  in  London,  labored  zealously  to 
awaken  interest  in  the  master,  with 
the  result,  that  an  invitation  came  for 
Beethoven  to  visit  London,  with  a 
concerto  and  symphony  for  the  Phil- 
harmonic Society,  a  large  sum  being 
offered  as  inducement.  This  project, 
though  not  definitely  abandoned,  was 
destined  never  to  be  carried  out. 

It  may  be  of  interest,  to  Americans, 
to  read  that  the  Haydn  and  Handel 
Society  of  Boston  wrote  to  Beethoven 
in  1823,  oflEering  him  a  commission  to 


54 


BIOGRAPHIES 


Beethoven 
write  an  oratorio  especially  for  its 
use.  Elson  relates  that  Beethoven 
was  pleased  with  the  commission  from 
across  the  ocean,  but  adds:  "  For- 
tunately, it  remained  only  a  project; 
one  shudders  to  think  of  the  fate  of 
a  work  of  perhaps  the  caliber  of 
Beethoven's  great  Mass,  or  the  finale 
of  the  Ninth  Symphony,  handed  over 
to  the  tender  mercies  of  an  American 
orchestra  and  chorus  in  1823." 

Beethoven's  choral  and  solo  vocal 
compositions  are  comparatively  few. 
The  oratorio,  the  masses,  some  can- 
tatas, written  in  his  younger  days,  the 
setting  of  Goethe's  Meeresstille  und 
gliickliche  Fahrt,  an  Opferhed  and  a 
Bundeslied,  make  up  the  list  of  his 
choral  works.  Of  the  eighty-three 
songs  with  piano  accompaniment, 
there  are  not  many  that  are  to  be 
considered  as  adding  to  his  fame, 
although  as  Walker  phrases  it,  it  is 
"  impossible  to  take  up  any  collection 
of  Beethoven's  music  without  dis- 
covering pearls  of  great  price."  There 
is  the  wonderful  song  cycle,  An  die 
feme  Geliebte;  the  splendid  die  Ehre 
Gottes  aus  der  Natur;  the  great  scena, 
Ah!  Perfido;  and  the  noble  Elegischer 
Gesang. 

The  larger  part  of  Beethoven's  in- 
strumental compositions  is  in  the 
sonata  form.  Not  counting  immature 
work,  the  sum  of  the  piano  sonatas  is 
thirty-two,  many  of  them  belonging 
with  his  very  greatest  work  and  of 
the  pianist's  best  treasures.  Bee- 
thoven's symphonies  are  nine  in  num- 
ber; a  small  number,  yet,  as  Herr  von 
Eltenheim  says,  "each  represents  a 
world  in  itself,  with  an  ideal  center  of 
its  own.  Thus,  in  his  first  symphony, 
we  are  introduced  to  a  little  idyll  of 
the  heart;  the  second  presents  to  us 
a  picture  of  the  joyous  vigor  and 
amorous  strivings  of  youth;  the  third 
suggests  a  world  of  daring  heroism; 
in  the  fourth  the  wonders  of  a  ro- 
mantic world  are  revealed  to  us; 
tragical  conflict  with  fate,  and  even- 
tual victory  is  the  theme  of  the  fifth; 
while  in  the  sixth  we  commune  with 
ever-kindly  nature;  the  seventh  is  a 
manifestation  of  joy  in  human  ex- 
istence; in  the  eighth  the  humorous 
element  predominates;  and  finally,  in 
the  ninth,  both  an  inferno  and  a 
paradiso  of  the  inmost  soul  are  un- 
rolled before  our  eyes." 

Beethoven's  music  sounds  the  height 
and    depth    of    emotion;    beauty    and 


Beethoven 

peace  of  life  —  intensity  of  pain;  pas- 
sionate revolt,  tenderness  and  calm  of 
resignation.  He  gives  strongest  con- 
trasts; this  is  brought  out  powerfully 
in  the  Mass  in  D.  He  was  the  first 
musician  to  bring  to  the  fore  an  en- 
thusiastic appreciation  of  nature,  as 
he  was  the  first  to  feel  and  express 
the  modern  social  spirit. 

It  is  the  popular  belief  that  Bee- 
thoven was  the  originator  of  program 
music;  Grove  calls  attention  to  pred- 
ecessors in  this  field,  but  adds  that 
though  Beethoven  did  not  invent  it, 
he  raised  it  at  once  to  a  higher  level 
than  before,  his  program  pieces  hav- 
ing had  a  great  effect  on  the  art. 
Chief  among  these  are  the  Pastoral 
Symphony,  the  Eroica  Sinfonia,  the 
Sonata  pathetique,  and  his  Liederkreis 
An  die  feme  Geliebte.  "  The  Pastoral 
Symphony,"  declares  Mason,  "  of  all 
Beethoven's  works  ventures  farthest 
into  the  domain  of  program  music; 
contains  actual  imitation  of  sounds 
and  sights  in  nature,  as  the  rippling 
of  the  brook  (strings);  the  muttering 
of  thunder  (contrabasses  in  their  low 
register) ;  flashes  of  lightning  (violins) ; 
the  bassoon  of  an  old  peasant  sitting 
on  a  barrel  and  able  to  play  but  three 
tones;  and  the  song  of  the  nightingale 
(flute),  quail  (oboe),  and  cuckoo 
(clarinet)."  Each  movement  has  a 
descriptive  heading,  as  Merry  gather- 
ing of  the  peasants;  Scene  by  the 
brook;  Rejoicing  and  thankfulness 
after  the  storm,  etc. 

Of  keenest  interest  to  the  student 
of  Beethoven  is  the  tracing  of  the 
influence  upon  the  master  of  his 
forerunners  Haydn  and  Mozart,  as  of 
deepest  interest  the  debt  owed  Bee- 
thoven by  Schumann,  Liszt,  Berlio:c 
and  Wagner.  Hero-worship  reached 
its  climax  in  the  feeling  Wagner  held 
for  Beethoven,  to  whom  he  con- 
tinually pays  tribute.  At  the  laying 
of  the  foundation  stone  of  the  Bay- 
reuth  Play  House,  Wagner  spoke  thus 
of  what  he  had  received  from  the 
master:  "I  wish  to  see  the  Ninth 
Symphony  regarded  as  the  foundation 
stone  of  my  own  artistic  structure." 

Edward  Dannreuther,  distinguished 
musician  and  critic,  calls  attention  to 
the  fact  that  though  Beethoven  was 
most  industrious  and  enjoyed  nearly 
double  the  years  to  work  in  that 
Mozart  did,  he  left  behind  less  than 
one-fourth  as  much  work  as  either 
Mozart  or   Haydn.     That    Beethoven 


BIOGRAPHIES 


55 


Beethoven 


was  a  tremendous,  tireless  worker  is 
shown  in  his  Sketch-books,  several  of 
which  have  been  preserved  in  their 
original  form,  in  a  notable  collection 
in  the  British  Museum.  When  he 
went  on  his  long  walks,  he  always 
carried  a  note-book  with  him,  and  at 
night  kept  one  beside  his  bed.  The 
pages  of  the  books,  including  margins, 
are  covered  close  with  notes,  first  im- 
pressions being  later  worked  over  and 
over  with  infinite  care  and  painstaking. 
He  would  keep  a  composition  for 
years  before  sending  it  out,  destroy- 
ing much  and  continually  re-writing. 
The  apparent  spontaneity  of  his  work 
really  had  back  of  it  the  most  labori- 
ous effort  and  painstaking  care. 

Joyousness  is  the  characteristic  of 
Beethoven's  second  period,  that 
Heiterkeit  Wagner  uses  so  often  in 
his  rhapsody  on  Beethoven.  In  the 
third  period  this  quality  is  less 
marked,  but  still  existent. 

Beethoven's  later  life  was  greatly 
disturbed  by  grave  family  responsi- 
bilities, by  litigations,  financial  wor- 
ries and  failing  health.  His  deafness 
had  now  become  much  worse.  The 
last  five  years  of  Jiis  life  all  com- 
munication with  him  was  carried  on 
by  written  word.  There  seems  no 
tragedy  of  history  greater  than 
Beethoven's  deafness.  He  was  about 
twenty-eight  years  old  when  the  first 
symptoms  asserted  themselves,  grad- 
ually became  morbidly  sensitive  over 
the  threatening  infirmity;  in  that 
pathetic  letter  to  his  brother  known 
as  "  The  Will,"  written  in  1802,  one 
gets  a  realization  of  the  depth  of 
melancholy  into  which  he  was 
plunged.  Wagner  gave  in  seven 
words  an  idea  of  what  deafness  meant 
to  Beethoven,  when  he  said:  "Is  a 
blind  painter  to  be  imagined?"  With 
increase  of  the  infirmity  he  retired 
more  and  more  into  himself.  Shut 
out  from  the  world,  he  lived  the  life 
of  the  spirit  and  brought  forth  works 
whose  dominant  note  is  spiritual  ex- 
altation The  world  profited  by  his 
deafness,  but  the  world  cannot  forget 
the  tragedy  of  it,  Beethoven  at  the 
piano  his  head  close  to  the  wooden 
shell  of  a  resonator,  ear-trumpet  at 
ear;  Beethoven  making  failure  in  the 
conducting  of  his  opera  (1822);  Bee- 
thoven standing  with  his  back  to  the 
thunder  of  applause  greeting  his 
Choral  Symphony,  turned  round  by  a 
kindly  hand  that  he  may  "  see "  the 
plaudits  he  cannot  hear. 


Beethoven 

Irritable,  impatient  of  restraint  or 
intrusion,  Beethoven  was  always 
harassed  by  those  about  him,  always 
moving  from  one  lodging  to  another. 
Even  in  the  early  days  of  residence 
with  the  Lichnowskies  he  was  not  able 
to  endure  what  few  restraints  were 
put  upon  him  by  the  close  association 
and  left  their  great  house  for  the 
freedom  of  a  humble  lodging  outside. 
After  his  mother's  death  he  seems 
never  really  to  have  had  a  home, 
though  a  pitiable  attempt  at  one  was 
made  late  in  life.  No  matter  how  his 
work  absorbed  him,  and  though  he 
sacrificed  everything  else  to  music, 
throughout  his  life  duty  to  his  family 
would  draw  him  away  from  seclusion 
and  absorption.  When,  in  1812,  ru- 
mors reached  him  that  gossips  were 
talking  about  his  brother  Johann's 
relations  to  a  woman  he  had  taken  for 
housekeeper,  Ludwig  hastened  to 
Linz,  where  Johann  lived,  used  argu- 
ment and,  it  is  said,  physical  violence, 
to  enforce  the  point  that  the  family 
good  name  was  at  stake,  and  that  the 
young  woman  must  be  got  rid  of.  In 
the  end  Johann  married  her.  The 
brother,  Caspar  Carl,  had  married  a 
woman  of  uncertain  character,  to 
whom  Beethoven  always  referred  as 
"  Queen  of  Night,"  and  when  Carl 
died  he  left  his  son  to  Ludwig,  in  a 
belated  feeling  of  responsibility  mak- 
ing provision  for  a  fit  guardian  for 
the  youth.  The  mother,  very  much 
averse  to  giving  the  control  of  her 
son  to  his  uncle,  began  legal  pro- 
ceedings to  obtain  full  control  herself. 
And  then  followed  years  of  liti- 
gation that  were  very  distressing  and 
disturbing  to  Beethoven.  The  suit 
would  now  be  favorable  to  one  side, 
now  to  the  other,  the  nephew  mean- 
while residing  with  the  party  winning 
the  temporary  success.  Beethoven 
had  a  passionate  sense  of  responsi- 
bility to  his  dead  brother's  wish,  and 
made  most  strenuous  effort  to  keep 
the  boy  Carl  from  his  mother's  in- 
fluence. He  even  went  so  far  as  to 
set  up  housekeeping.  The  result,  for 
this  m.ost  impracticable  and  impatient 
of  householders,  was  a  cheerless,  deso- 
late abode,  the  master  harried  by  petty 
trials  and  details. 

The  nephew  for  whom  all  the  sacri- 
fice was  being  made,  ill  repaid  it  all; 
an  undisciplined,  wayward  lad,  he 
went  from  bad  to  worse,  causing  Bee- 
thoven great  anxiety  and  pain.  His 
uncle,  noting  that  he  had  talent,  tried 


56 


BIOGRAPHIES 


Beethoven 

to  make  a  musician  of  him,  having 
Czerny  give  him  lessons.  He  desired 
also  that  Carl  be  a  scholar,  and  care- 
fully watched  over  his  education.  But 
Carl  disappointed  him  ever;  when  he 
entered  the  University  and  tried  for 
his  degree,  he  failed;  at  the  examina- 
tions of  the  Polytechnic  School,  where 
effort  was  made  for  him  after  the 
University  course  proved  impossible, 
he  again  failed.  The  young  man  now 
tried  to  end  his  career  by  shooting 
himself,  and  failed  here.  But  through 
all  the  trouble  and  disgrace  Beethoven 
clung  to  the  nephew,  his  influence 
mitigated  the  severity  of  the  police 
vigilance  kept  over  Carl  after  the 
attempted  suicide,  and  he  was  instru- 
mental in  getting  him  placed  as  fa- 
vorably as  possible  in  the  army. 

Beethoven,  themdefatigable  worker, 
died  in  harness  and  did  not  live  to 
enjoy  the  ease  he  dreamed  some  day 
was  to  follow  after  the  strain  and 
stress.  It  was  in  1826  that  Beethoven's 
nephew  was  put  in  his  charge  by  the 
authorities,  on  condition  that  he  be 
removed  from  Vienna  immediately. 
Johann  Beethoven  offered  uncle  and 
nephew  the  hospitality  of  his  country 
place,  and  for  Carl's  sake  the  offer 
was  accepted.  The  visit  proved  a 
most  unfortunate  one;  Johann's  ar- 
rogance and  pretensions  grated  hard 
on  Ludwig's  sincerity  and  simplicity 
and  the  latter's  eccentricities  un- 
doubtedly must  have  been  disturb- 
ing to  Johann's  household.  The 
visit  terminated  abruptly  and  dis- 
astrously, and,  on  the  return  journey 
to  Vienna  in  the  inclement  December 
weather,  Beethoven  suffered  from 
exposure,  contracted  a  violent  cold 
and  arrived  at  his  quarters  in  the  city 
very  ill  indeed.  Difficulty  was  ex- 
perienced in  getting  a  physician  for 
him  —  he  had  quarreled  with  the  two 
who  formerly  attended  him  —  and  his 
condition  grew  more  and  more  seri- 
ous. His  nephew  cared  for  him  at 
the  first,  and  his  friends,  as  soon  as 
they  heard  of  the  illness,  hastened 
to  give  their  services.  He  lingered 
on  until  toward  the  end  of  March. 
During  the  long  illness,  Schindler 
and  Stephen  von  Breuning  came 
daily  and  the  eleven-year-old  Gerhard 
Breuning,  Stephen's  son,  was  his  con- 
stant attendant,  while  Carl  Holz, 
whose  companionship  he  had  been 
wont  to  find  of  much  cheer,  was  a 
frequent  visitor.  He  tried  to  work, 
but  weakness    forced    him  to  desist. 


Beethoven 

his  last  finished  work  being  the  B 
flat  Quartet  completed  in  November, 
1826.  Anxiety  about  money  proved  a 
worry,  for  he  was  very  loth  to  draw 
on  his  savings.  In  1815  he  had  made 
his  one  investment,  buying  shares  to 
the  value  of  10,000  florins  in  the  Bank 
of  Austria,  and  this  was  carefully 
guarded  for  Carl.  It  was  of  great 
help  when  there  arrived  at  this 
juncture  the  sum  of  $500,  sent  by  the 
London  Philharmonic  Society  as  ad- 
vance on  a  benefit  concert  they  were 
to  give. 

Carl  presently  received  his  army 
appointment  and  uncle  and  nephew 
parted,  not  to  meet  again.  Beethoven 
for  years  had  suffered  from  trouble 
with  the  liver,  which  now  became 
much  aggravated,  and  several  oper- 
ations were  necessary  to  remove  the 
dropsical  accumulations.  He  grew 
very  weak.  On  the  23d  of  IMarch, 
aware  that  the  end  was  near,  he  added 
a  codicil  to  his  will,  which  provided 
that  Carl  be  allowed  only  the  income 
from  his  estate.  On  the  24th  he  re- 
ceived the  sacraments  of  the  church, 
and  then  began  the  long  death-strug- 
gle. Late  in  the  afternoon  of  the 
26th  there  came  a  strange  storm  of 
hail  and  snow  accompanied  by  light- 
ning and  thunder;  the  outburst 
seemed  to  reach  even  his  dull  senses 
and  long-deafened  ears,  he  opened  his 
eyes,  threw  out  his  arm  as  though 
in  defiance,  and  died.  He  was  but 
fifty-six  years  old.  The  funeral, 
which  took  place  on  the  29th,  was  at- 
tended by  a  multitude;  twenty 
thousand  people,  it  is  estimated. 
Eight  musicians  carried  the  coffin, 
among  the  torch-bearers  surrounding 
the  body  being  Czerny  and  Schubert. 
A  choir  of  sixteen  male  singers  and 
four  trombones  alternately  sang  and 
played;  the  music  having  been  orig- 
inally written  by  Beethoven  for 
trombones,  and  arranged  for  the  choir 
by  Seyfried.  On  April  3  Mozart's 
Requiem  was  sung  for  him,  and  on 
April  5  Cherubini's  Requiem. 

Beethoven  the  man  is  most  difficult 
to  present,  his  surface,  of  almost  in- 
sane irritability  and  eccentricity,  ob- 
scuring the  nobility  and  purity  deep 
down  in  his  character  and  finding 
lofty  expression  in  his  music.  This 
great  genius  often  appeared  a  pitiable, 
ludicrous  figure,  there  being  story 
upon  story  to  illustrate  his  extreme 
irritability  and  absent-mindedness; 
the  books  thrown  at  the  servant  girl. 


BIOGRAPHIES 


57 


Beethoven 

the  stew  over  the  waiter's  head, 
standing  in  his  night-clothes  by  the 
open  window  in  the  morning  to  the 
enjoyment  of  the  passers-by  and  per- 
plexed when  a  friend  suggests  that  he 
awaken  to  the  peculiarity  of  this  act. 
He  was  by  turns  joyous  and  morbid, 
affectionate  and  distrustful.  Witness 
his  love  of  nature;  he  ever  sought 
the  country  at  the  approach  of  sum- 
mer, his  best  work  being  done  under 
the  inspiration  of  out-of-doors.  In 
his  childlike  pleasure  in  field  and 
wood,  he  exclaims,  "No  man  on  earth 
can  love  the  country  as  I  do."  In 
sharp  contrast  to  this  is  his  quarrel- 
someness and  unjust  suspicions  of 
friend,  as  well  as  foe.  He  accuses 
faithful  Ries  of  treachery;  parts 
with  Prince  Lichnowsky  in  anger; 
grossly  assails  the  patient  friends, 
Schuppanzigh  and  Schindler,  when 
they  are  making  tactful  efforts  in  his 
behalf;  breaks  off  the  precious  friend- 
ship with  Stephen  von  Breuning  and 
continually  insults  and  rebuffs  the 
tireless  Schindler,  Beethoven's  "  Bos- 
well."  He  was  fond  of  horse-play,  a 
great  joker,  yet  had  no  relish  for  the 
joke  turned  on  himself.  To  every 
thing  and  everybody  he  gave  a  nick- 
name—  his  brother  is  Asinus;  his 
cook,  Frau  Schnapps;  Prince  Lob- 
kowitz,  Fitzli  Putzli.  The  oft-told 
story  of  the  card  returned  to  his 
arrogant  brother  is  as  follows: 
Johann  sends  in  to  Beethoven  a  card 
bearing  the  inscription,  Johann  van 
Beethoven,  Landed  Proprietor;  it  is 
returned  with  this  writing  on  the 
back,  Ludwig  van  Beethoven,  Brain 
Proprietor.  Also  a  grim  humor  char- 
acterized him,  which  one  writer  sug- 
gests was  a  device  deliberately 
assumed  to  escape  mental  suffering. 

Grove  calls  attention  to  how 
strongly  the  humorous  trait  of  his 
character  is  paralleled  in  his  music; 
"  In  the  finales  of  the  Seventh  and 
Eighth  Symphonies  there  are  passages 
which  are  the  exact  counterparts  of 
the  rough  jokes  and  horse-play.  .  .  . 
The  Scherzo  of  Symphony  Number 
Two,  where  the  F  sharp  chord  is  so 
suddenly  taken  and  so  forcibly  held, 
might  almost  be  a  picture  of  the 
unfortunate  Kellner  forced  to  stand 
still  while  the  dish  of  stew  was 
poured  over  his  head.  The  bassoons 
in  the  opening  and  closing  movements 
of  Number  Eight  are  inimitably 
humorous;  and  so  in  many  other  in- 
stances." 


Beethoven 

In  appearance,  Beethoven  was  short 
and  broad  of  shoulder,  his  head  large 
and  covered  with  a  great  shock  of 
very  black  hair,  snow-white  in  later 
life,  his  face  is  universally  described 
as  ugly  but  expressive,  his  complexion 
was  ruddy,  and  his  eyes  his  best 
feature.  The  expression  of  his  face 
was  generally  one  of  intentness  and 
abstraction,  often  of  gloom.  Bee- 
thoven, while  careless  of  speech,  his 
education  being  obtained  at  a  com- 
mon public  institution  and  carried 
on  only  to  his  thirteenth  year,  was  a 
man  of  considerable  culture.  He  was 
very  fond  of  the  Greek  classics,  could 
quote  passage  after  passage  at  length, 
and  was  familiar  with  Goethe,  Schiller 
and  other  German  poets.  The  Eng- 
lish poet  Thomson  was  his  favorite, 
and  of  Shakespeare  he  was  a  loving 
student. 

The  strongest  characteristic  in  his 
life  was  the  sturdy  independence, 
which  made  it  impossible  for  him  to 
live  dependent  on  a  patron.  To  be 
sure,  the  maintenance  of  this  inde- 
pendence was  made  possible,  by  the 
development,  in  his  day,  of  the  art  of 
printing  music,  making  him  able,  as 
his  predecessors  had  not  been,  to  de- 
pend on  the  public  rather  than  a 
patron.  He  would  come  and  go  at 
the  bidding  of  no  prince  or  sovereign. 
The  incident  is  often  told  of  his  atti- 
tude toward  royalty  as  demonstrated 
in  his  behavior  the  day  he  and  Goethe, 
in  company  together  at  Toplitz,  met 
the  imperial  family — Goethe  bowing 
with  all  reverence,  Beethoven  keep- 
ing the  middle  of  the  road,  passing 
royalty  unheeding,  head  in  air.  No 
fear  of  losing  an  income  kept  him 
from  a  rupture  with  Prince  Lich- 
nowsky, and  after  leaving  that  noble- 
man he  did  not  again  accept  a  post. 
He  was  always  falling  in  love,  now 
with  a  tailor's  daughter,  now  with 
Countess  or  Baroness,  but  no  breath 
of  scandal  ever  touched  his  name. 
Krehbiel  dwells  on  the  nobility  of 
his  character,  the  chastity  of  his  mind, 
the  purity  of  his  life.  Beethoven  was 
baptized  and  brought  up  a  Catholic, 
but  in  mature  life  affiliated  with  no 
church.  Though  not  a  churchman, 
he  was  essentially  religious.  Dann- 
reuther  declares  that  the  spirit  of 
Beethoven  is  as  humanizing  as  the 
spirit  of  Sophocles  and  that  Bee- 
thoven is  an  ethical,  a  religious 
teacher.  A  work  showing  any  sensual 
tendency,    such  as    is    noticeable    in 


58 


BIOGRAPHIES 


Beethoven 
Mozart's  Don  Giovanni  was  very 
repugnant  to  him,  and  he  refused  with 
scorn  to  set  to  music  anything  that 
came  below  his  ideal.  Quoting 
Dannreuther  directly,  it  is  "  the 
austere  intensity  of  his  nature  which 
distinguishes  Beethoven  from  Haydn 
and  Mozart  on  the  one  hand,  and 
constitutes  a  sort  of  elective  affinity 
between  him  and  such  men  as 
Sebastian  Bach  and  Michelangelo  on 
the  other." 

Of  his  influence  as  a  musician 
it  is  said:  "By  virtue  of  Beethoven 
music  has  become  the  modern  art." 
"  In  his  hands  it  has  become  one  of 
the  main  elements  of  esthetical  cul- 
ture, and  the  reigning  art  of  our  day." 
"There  is  no  sculptor  to  set  beside 
the  Greek,  no  painting  to  set  beside 
that  of  Florence  and  Venice;  no  poet 
has  equaled  Shakespeare,  no  musician 
has  rivaled  Beethoven." 

From  the  great  mass  of  literature 
on  Beethoven,  man  and  musician, 
mention  should  be  made  of  a  few  of 
the  best  works.  The  authoritative 
biography  is  the  work  of  an  American, 
Alexander  Wheelock  Thayer.  Thayer 
chose  to  have  the  biography  appear 
first  in  German,  and  as  yet  there  is 
no  English  translation.  This  work  at- 
tempts no  analysis  of  his  music.  The 
article  on  Beethoven  in  Grove's 
Dictionary  is  analytic,  as  well  as  histor- 
ically accurate.  One  of  the  first  sym- 
pathetic appreciations  of  Beethoven 
is  found  in  Berlioz's  Voyage  Musical 
and  in  his  A  Travers  Chants.  The  life 
of  Beethoven  written  by  his  close 
friend,  Schindler,  is  of  very  great  in- 
terest but  not  entirely  reliable;  and 
Beethoven's  own  letters  have  intense 
interest.  For  the  student  of  the 
master's  method  of  composition, 
Nottebohm's  contribution  is  of  ines- 
timable value.  Attention  should  be 
called  to  Daniel  Gregory  Mason's, 
Beethoven  and  His  Forerunners,  and 
to  Ernest  Walker's,  Beethoven,  in  the 
Music  of  the  Masters  series.  Wag- 
ner's treatise  on  Beethoven  is  of 
peculiar  value,  though,  as  defined  by 
Walker,  it  is  rhapsodical  almost  to 
the  point  of  incoherence. 

BIBUOGRAPHY. 

Alexander  Wheelock  Thayer — Ludwig 

van  Beethoven's  Leben. 
Anton  F.  Schindler — Life  of  Beethoven. 
Beethoven's  Letters. 
Beethoven,   in   Grove's  Dictionary  of 

of  Music  and  Musicians. 


Belletti 

Gustav  Nottebohm — Beethoveniana, 
Zweite  Beethoveniana,  Ein  Skizzen- 
buch  von  Beethoven  aus  dem  Jahre, 
1803. 

Hector  Berlioz — Voyage  Musical  and 
A  Travers  Chants. 

Daniel  Gregory  Mason — Beethoven 
and  His   Forerunners. 

Ernest  Walker — Beethoven. 

Wilhelm  Richard  Wagner — Beetho- 
ven. 

Belcke    (bel'-ke),    Friedrich    August. 

1795-1874. 

Famous  trombone  player  and  highly 
esteemed  composer  of  music  for  that 
instrument.  As  a  virtuoso,  he  intro- 
duced the  trombone  into  the  concert 
room.  He  was  born  at  Lucka,  Saxony, 
his  father  being  an  able  oboe  and  flute 
player,  from  whom  he  received  his 
early  instruction.  From  the  first 
Belcke's  playing  on  the  trombone  was 
remarkable,  and  eventually  his  fame 
spread  far  and  wide.  He  became  a 
member  of  the  Gewandhaus  Orchestra 
in  Leipsic,  and  from  1816  to  1858  was 
chamber-musician  at  Berlin.  Belcke 
made  many  tours,  traveling  exten- 
sively on  the  Continent.  The  Paris 
Conservatory  presented  him  with  a 
medal  of  honor.  A  brother.  Christian 
Gottlieb,  1796-1875,  was  a  celebrated 
flute-player. 

Beliczay     (ba'-li-cha-e),     Julius    von. 

1835-1893. 

An  Hungarian  composer,  whose 
work  is  not  markedly  national  in 
character.  He  is  the  author  of  songs, 
pieces  for  the  piano,  and  the  follow- 
ing works:  a  Mass  in  F,  frequently 
performed;  three  string  quartets;  an 
andante  for  stringed  orchestra;  a  sere- 
nade for  strings;  a  trio;  two  sym- 
phonies; an  Ave  Maria  for  solos,  choir 
and  orchestra.  In  1891  he  published 
Part  I  of  a  Method  for  Composition. 
His  death  occurred,  at  Pesth,  in  1893. 
He  was  born  at  Komorn,  Hungary, 
and  trained  for  the  profession  of  civil 
engineer.  Studied  music  under 
Joachim,  Hoffmann  and  Franz  Krenn. 
In  1888  he  was  appointed  professor  of 
theory  in  the  National  Music  Acad- 
emy in  Pesth. 

Belletti,  Giovanni.    1813- 

Great  Italian  barytone,  whose  career 
was  closely  connected  with  that  of 
Jenny  Lind,  with  whom  he  toured  the 
United  States.  He  was  born  at  Sar- 
zana,  a   town    in    the    small    Italian 


BIOGRAPHIES 


59 


Belletti 
territory  of  Lunigiana.  His  musical 
talent  was  early  evinced,  and  his  father 
sent  the  gifted  child  to  the  school  at 
Bologna,  directed  by  Pilotti.  Belletti 
studied  counterpoint  and  singing  at 
Bologna,  and  remained  at  the  famous 
school  until  he  received  his  diploma. 
Although  possessing  a  remarkable 
voice,  Belletti  hesitated  to  go  on  the 
stage;  but  his  indecision  came  to  an 
end  when  the  Swedish  sculptor,  Bry- 
strom,  offered  to  make  all  preparation 
for  his  debut  in  Stockholm,  and  in 
1838,  Belletti  appeared  at  the  Swedish 
capital,  in  Rossini's  II  Barbiere.  It 
was  just  at  this  time  that  Jenny 
Lind's  victorious  course  was  begin- 
ning, and  she  and  Belletti  started 
together  on  the  road  to  fame  and 
riches.  JuHan  Marshall,  in  Grove, 
says:  "To  the  influence  of  Jenny 
Lind,  and  to  the  critical  taste  of  his 
first  audience,  as  well  as  to  the  fine 
old  school  of  singing  in  which  he  had 
been  brought  up,  he  owed  the  pure 
style  and  freedom  from  vulgarity 
which,  more  even  than  his  noble  voice, 
made  him  the  greatest  barytone  of 
the  century."  In  Stockholm  and  Lon- 
don, Belletti  sang  with  Jenny  Lind  in 
the  operas  of  Verdi,  Rossini,  Doni- 
zetti and  Meyerbeer.  Paris  applauded 
him,  and  he  was  markedly  successful 
in  his  own  land.  When  Jenny  Lind 
was  engaged  by  Barnum  to  tour  in 
the  United  States,  at  her  request 
Belletti  was  engaged  to  accompany 
her.  He  was  most  enthusiastically  re- 
ceived in  America,  and  had  full  share 
in  the  homage  paid  the  Swedish 
nightingale  and  her  company.  After 
the  tour  in  America,  Belletti  sang  in 
London  until  1863,  then,  in  the  height 
of  his  career,  retired  from  public  life, 
went  back  to  Sarzana,  to  a  quiet  life 
in  the  town  of  his  birth. 


■  Oury     (bel-ve-yu   66'-re), 
1808-1880. 


Belleville 
Emilie. 

Accomplished  German  pianist.  Born 
in  Munich.  Studied  with  Czerny  and 
afterward  made  many  and  successful 
concert  tours,  on  one  of  which  she 
married  the  violinist  Oury  in  London 
and  lived  there  for  some  time,  some 
biographers  say  for  years.  She  re- 
turned eventually  to  Munich,  however, 
and  died  there.  Schumann  has  com- 
pared her  work  very  favorably  with 
that  of  Clara  Schumann.  She  com- 
posed some  piano  music  and  made 
many  transcriptions  and  arrangements. 


Bellini 
Bellini   (bel-le'-ne),   Vincenzo.     1801- 
1835. 

Celebrated  Italian  dramatic  com- 
poser. Born  in  Sicily.  His  father, 
who  was  an  organist,  was  his  first 
teacher.  Later  he  was  sent  to  the 
Conservatory  at  Naples,  by  a  Sicilian 
nobleman,  who  was  impressed  by  his 
talent.  Bellini's  instruction  at  Naples 
was  not  at  all  thorough,  the  Conserv- 
atory, under  the  direction  of  Zin- 
garelli,  being  very  poorly  managed. 
It  is  probable  that  he  got  his  best 
training  from  his  study  alone  of  the 
great  masters.  Bellini  began  com- 
posing very  early,  his  first  work  being 
instrumental  and  sacred  productions. 
Among  them  was  a  symphony  for  full 
orchestra,  two  masses,  a  cantata  and 
several  songs.  At  the  age  of  twenty- 
four  his  first  opera,  Adelson  e  Salvina, 
was  produced  at  the  theatre  of  the 
Conservatory.  Babbaja,  the  manager 
of  the  San  Carlo  Theatre  at  Naples 
and  La  Scala  at  Milan,  was  present  at 
this  performance  and  immediately 
commissioned  Bellini  to  write  an 
opera  for  the  former  house.  The  re- 
sult was  Bianca  e  Fernando,  which 
was  so  successful  that  Bellini  re- 
ceived another  commission,  this  time 
for  Milan,  and,  in  1827,  II  Pirata  was 
produced  at  La  Scala  and  was  a 
brilliant  success.  These  operas  of 
Bellini's,  with  their  simple  melodies, 
were  a  great  contrast  to  the  florid 
music  at  that  time  the  fashion  in 
Italy,  and  they  became  very  popular. 
In  1833  Bellini  went  to  England, 
where  he  remained  for  a  short  time, 
afterward  going  to  Paris,  where  he 
settled  and  was  gaining  popularity, 
when  his  early  death,  in  1835,  cut 
short  his  career.  The  other  works  of 
Bellini,  besides  the  operas  already 
mentioned,  are  La  Straniera,  which 
was  very  successful;  Zarra,  said  to 
have  been  a  failure;  Beatrice  _di 
Tenda,  also  unsuccessful;  Montechi  e 
Capuleti,  a  great  favorite  in  Italy;  La 
Sonnambula,  considered  his  master- 
piece; Norma,  considered  by  Bellini 
his  best  work  and  a  great  favorite 
with  musicians;  and  I  Puritani,  his 
last  opera.  Bellini's  operas  are  espe- 
cially noted  for  their  lovely  melodies, 
whose  chief  characteristics  are  sim- 
plicity, grace  and  tunefulness.  In 
harmony,  orchestration  and  dramatic 
effect  Bellini's  operas  are  weak,  but 
for  the  ordinary  hearer  this  is  more 
than    balanced     by     their     beauty    of 


60 


BIOGRAPHIES 


Bellini 

melody.  Bellini  was  buried  in  Paris, 
but  his  remains  were  afterward  re- 
moved to  Catania,  Sicily,  his  native 
place,  on  the  forty-first  anniversary  of 
his  death. 

Bemberg  (bah-berg),  Herman,  1861- 
Contemporary  composer,  whose 
style  is  formed  after  the  modern 
French  School.  He  was  born  in 
Buenos  Aires,  of  French  parentage, 
and  studied  at  the  Paris  Conservatory 
under  Theodore  Dubois  and  Jules 
Massenet.  He  is  the  author  of  nu- 
merous songs;  a  cantata;  La  Mort  de 
Jeanne  d'Arc;  a  comic  opera,  Le 
Baiser  Suzon;  the  opera  Elaine,  which 
was  produced  in  New  York  in  1894. 
The  last  work  was  very  successful  in 
London,  with  a  cast  which  included 
Melba,  Jean  and  Edouard  de  Reszke 
and  Plangon. 

Benda,  Georg.     1722-1795. 

The  most  celebrated  member  of  a 
Bohemian  musical  family,  consisting 
of  the  father,  Hans  Georg  Benda,  who 
was  a  traveling  musician  and  per- 
former on  several  instruments;  Franz, 
his  eldest  son,  who  was  a  violinist  and 
composer;  Johann,  the  second  son, 
who  was  a  violinist  and  chamber- 
musician;  Joseph,  the  youngest  son, 
who  was  also  a  violinist  and  was  con- 
certmaster  to  Friedrich  Wilhelm  II. 
at  Berlin;  and  Georg,  the  third  son, 
who  was  a  composer  and  pianist  of 
considerable  ability.  From  1742  to 
1748  he  was  chamber-musician  at 
Berlin  and  afterward  was  Court  con- 
ductor at  Gotha.  Georg  Benda's  chief 
claim  to  notice  lies  in  his  melodramas, 
Ariadne  auf  Naxos,  Medea,  Almansor, 
and  Nadine.  These  were  music- 
dramas  in  which  the  words  were 
spoken  and  the  music  was  left  to  the 
orchestra.  He  also  wrote  sacred  can- 
tatas, masses  and  many  instrumental 
works,  beside  a  number  of  operettas. 

Bendel,  Franz.     1833-1874. 

Brilliant  Bohemian  pianist  and  com- 
poser. Studied  in  Prague  and  later 
with  Liszt  at  Weimar.  After  finishing 
his  studies  he  made  successful  concert 
tours  through  Germany  and  after 
1863  taught  in  Kullak's  Academy, 
Berlin.  Wrote  concertos,  sonatas, 
etudes,  and  fantasias  for  the  piano,  in 
all  about  one  hundred  and  eighteen 
works,  the  best  of  which  are  the 
fantasias  on  Bohemian  folk-songs; 
also   on   the   themes    from   Gounod's 


Bendix 

Faust  and  Meyerbeer's  L'Africaine. 
He  also  produced  works  for  the  piano, 
and  violin,  four  masses  and  a  large 
number  of  songs. 

*Bendix,  Max.     1866- 

Great  contemporary  American  vio- 
linist, of  broad  musicianship  and 
wonderful  technique.  He  was  born  at 
Detroit,  Michigan,  and  at  the  age  of 
eight  made  his  first  public  appearance 
as  a  soloist,  being  considered  a  won- 
derful child.  In  1878  he  played  violin 
in  an  orchestra  under  th(  direction  of 
Theodore  Thomas  at  the  Cincinnati 
May  Musical  Festival,  and  in  1879  be- 
came one  of  the  first  violinists  in  the 
Thomas  Orchestra.  In  1880  he  was 
appointed  concertmaster  with  Marat- 
zek  at  Cincinnati,  later  serving  as 
concertmaster  with  the  McCall  Opera 
Company  of  Philadelphia,  and  also 
with  the  Germania  Symphony  Orches- 
tra of  that  city.  The  season  of  1885- 
1886  he  was  with  Anton  Seidl  in 
German  Opera  in  New  York  and  this 
same  year  was  soloist  and  concert- 
master  with  the  Van  der  Stucken 
Orchestra  in  New  York.  Following 
a  tour  as  concertmaster  and  soloist 
with  the  Thomas  Orchestra,  he  ac- 
cepted the  appointment,  in  1888,  of 
first  professor  in  the  violin  depart- 
ment of  the  Cincinnati  College  of 
Music.  After  a  year  spent  abroad  in 
travel  and  study,  he  officiated  as  con- 
certmaster with  the  Thomas  Orches- 
tra at  the  Cincinnati  Festival  of  1890, 
and  the  following  year  accompanied 
the  orchestra  on  its  farewell  tour. 
When  the  famous  organization  was 
transferred  to  Chicago  he  received 
the  appointment  as  concertmaster 
soloist  and  assistant  conductor,  and 
occupied  this  post  from  1891  to  1896, 
winning  a  very  large  circle  of  friends 
and  admirers.  Max  Bendix,  on  Theo- 
dore Thomas'  resignation,  was  unani- 
mously elected  conductor  of  the 
Theodore  Thomas  World's  Fair 
Orchestra  and  President  of  the 
World's  Fair  Orchestral  Association. 
In  1897-1898,  the  famous  ensemble, 
Ysaye,  Marteau,  Bendix,  Gerardy  and 
Lachaume  made  a  transcontinental 
tour.  On  Bendix's  return,  he  organ- 
ized the  Bendix  String  Quartet,  which 
gave  subscription  concerts  in  New 
York,  and  later  throughout  the  East. 
Max  Bendix  was  conductor  of  the 
St.  Louis  World's  Fair  Orchestra,  in 
1904,   was    engaged    in    1905   for   the 


BIOGRAPHIES 


61 


Bendix 

Wagner  operas  at  the  New  York 
Metropolitan  Opera  House,  in  1907 
was  concertmaster  and  assistant  con- 
ductor of  the  Manhattan  Opera  Com- 
pany and  conducted  the  Sunday  night 
concerts  and  opera  at  the  Manhattan 
Opera  House.  As  a  teacher,  quartet 
player,  soloist  and  conductor  he  is 
renowned. 

Bendl  (bent'-'l),  Karl.     1838-1897. 

Bohemian  dramatic  composer.  Born 
at  Prague.  His  musical  talent  de- 
veloped very  early  and  he  studied  first 
with  his  grandfather.  Later  he  entered 
the  Organ  School  of  Prague,  where  he 
studied  under  Blazek  and  Pitsch  and 
took  the  first  prize.  In  1864,  wishing 
to  broaden  his  musical  horizon,  he 
went  to  Brussels  and  became  second 
conductor  of  the  opera,  but  made  only 
a  short  stay,  going  on  to  Amsterdam, 
where  for  a  brief  time  he  was  chorus- 
master  to  the  German  Opera,  then  to 
Paris,  but  returned  to  Prague,  in  1865, 
and  became  director  of  the  male  sing- 
ing society,  Hlahol.  This  position  he 
held  until  1879,  when  he  became  con- 
ductor of  the  private  band  of  the 
Baron  Dervies  in  Italy.  Bendl  aided 
Dvorak  and  Smetana  in  bringing  about 
a  general  knowledge  of  Bohemian 
music.  Bendl's  most  important  works 
are  his  operas,  among  the  best  of 
which  are  Lejla;  Bretislay  a  Jitka; 
Stary  Zenich,  a  comic  opera;  Cerno- 
horci  and  Dite  Tabora,  both  prize 
operas;  and  Karel  Skreta.  He  also 
wrote  a  number  of  orchestral  works; 
an  operetta,  Indicka  Princezna;  a  D 
minor  mass  for  male  voices;  a  ballad, 
Smanda  dudak;  and  about  two  hun- 
dred Bohemian  songs  and  choruses. 

Benedict,  Sir  Julius.     1804-1885. 

Born  at  Stuttgart,  where  his  father 
was  a  Jewish  banker,  but  settled  in 
England  and  became  to  all  intents 
English,  so  that  but  few  knew  that 
he  was  of  German  birth.  Began 
studying  early,  working  with  Hummel 
at  Weimar  and  later  at  Dresden  with 
the  distinguished  pianist,  Weber,  who 
not  only  received  Benedict  as  a  pupil, 
but  took  him  into  his  home  and 
treated  him  as  a  son.  In  1823,  Bene- 
dict, on  the  recommendation  of 
Weber,  was  appointed  conductor  of 
the  Karnthnerthor  Theatre,  Vienna, 
where  he  stayed  for  two  years,  after 
which,  he  went  to  Italy  as  conductor 
for  the  San  Carlo  Theatre,  Naples. 
Here   he   produced    his    first    opera, 


Benelli 

Giacinta  ed  Ernesto,  in  1829,  this  was 
followed  by  I  Portoghesi,  which  was 
produced  at  Stuttgart,  in  1830,  but 
both  of  these  operas  were  unsuc- 
cessful. Benedict  went  to  Paris,  in 
1834,  and  to  England,  in  1835,  where 
he  remained  until  his  death,  becoming 
essentially  English  and  soon  being  the 
most  famous  and  fashionable  teacher 
in  London.  In  1836,  Benedict  was 
appointed  musical  director  of  the 
Opera  Buffa  and  produced  a  work, 
already  given  in  Naples,  called,  Un 
Anno  ed  un  Giorno.  In  1837,  he  was 
appointed  conductor  at  the  Drury 
Lane  Theatre  and  the  next  year 
brought  out  his  first  English  opera, 
The  Gypsy's  Warning.  After  con- 
ducting for  Jenny  Lind,  in  1848,  at 
her  first  appearance  in  oratorio  in 
Elijah,  he  came  with  her,  in  1850,  to 
the  United  States,  directing  most  of 
her  concerts.  Returned  to  England, 
in  1852,  and  accepted  a  position  as 
conductor  at  Her  Majesty's  Theatre 
and  afterward  at  Drury  Lane  Theatre. 
The  same  year  he  was  appointed  con- 
ductor of  the  Harmonic  Union.  In 
1859,  Benedict  became  conductor  of 
the  Monday  Popular  concerts.  He 
also  conducted  several  Norwich  Fes- 
tivals and,  from  1876  to  1880,  the 
Philharmonic  Society  at  Liverpool. 
He  was  knighted  by  Queen  Victoria 
and  also  received  a  number  of  foreign 
orders.  Was  professor  of  piano  at 
Trinity  College,  London,  and  pro- 
fessor at  the  Royal  Academy  of 
Music.  Beside  the  operas  mentioned, 
his  best  known  works  are  the  operas, 
The  Brides  of  Venice,  The  Crusaders, 
The  Lily  of  Killarney,  and  the  Bride 
of  Song;  the  oratorios,  The  Legend  of 
St.  Cecilia,  and  St.  Peter;  the  can- 
tatas, Undine,  Richard  Coeur  de  Lion, 
and  Graziella;  also  piano  music;  part- 
songs  and  many  songs.  The  Lily  of 
Killarney,  St.  Peter,  and  St.  Cecilia 
are  Benedict's  finest  and  most  popu- 
lar works. 

Benelli     (ben-el'-le),    Antonio     Pere- 
grine.    1771-1830. 

Italian  singer,  writer  and  composer 
He  is  the  author  of  considerable 
church  music  and  some  chamber 
music,  but  his  most  worthy  work  is 
his  Vocal  Method,  published  in  1819, 
and  his  Solfeggi.  As  a  dramatic  tenor 
he  was  very  well  considered,  and 
later  as  a  teacher.  Benelli  was  born 
at  Forli,  studied  under  Martini's  suc- 
cessor, Mattel,  and,  it  is  thought,  had 


62 


BIOGRAPHIES 


Benelli 

for  a  time  the  benefit  of  the  instruc- 
tion of  Padre  Martini  himself.  Benelli 
made  his  first  appearance  at  the  San 
Carlo  Theatre,  Naples,  where  he 
created  a  very  good  impression,  and 
in  London  was  well  received.  He 
then  went  to  Germany,  and  for 
twenty-one  years  was  established  at 
Dresden.  In  1822,  his  voice  failing, 
he  was  retired  with  a  pension.  On  his 
retirement,  the  distinguished  Italian 
composer,  Spontini,  secured  for  him 
a  position  as  teacher  of  singing  at  the 
Royal  Theatre  School,  Berlin,  from 
which  position  he  was  dismissed  in 
1829,  the  dismissal  following  a  violent 
attack  made  by  him  on  Spontini  in  the 
Allgemeine  Musikalische  Zeitung,  to 
which  organ  he  was  a  contributor. 
Benelli's  last  days  were  spent  in 
poverty. 

Benevoli  (ba-na'-v6-le),  Orazio.   1602- 
1672. 

A  distinguished  Italian  contrapunt- 
ist, highly  esteemed  as  choirmaster 
at  the  Vatican.  Said  to  be  the  natural 
son  of  Duke  Albert  of  Lorraine.  His 
life  was  spent  in  labor  and  study,  and 
he  became  a  teacher  and  a  composer 
of  high  repute.  Much  of  his  work  is 
extant,  and  many  of  his  composi- 
tions in  manuscript  form  are  to  be 
found  in  the  Vatican  library.  The 
works  are  noted  less  for  their  artistic 
value  than  for  the  skill  shown  by  the 
composer  in  writing  for  many  voices, 
and  the  handling  of  many  separate 
parts.  Mention  should  be  made  of  a 
mass  for  forty-eight  voices  in  twelve 
choirs,  and  a  festival  mass  and  hymn, 
vocal  and  instrumental,  in  fifty-six 
parts.  Benevoli  was  born  at  Rome, 
studied  under  Vincenzo  Ugolini,  and 
became  chapelmaster  in  the  Church  of 
Saint  Luigi  de'  Francesi,  at  Rome. 
Then  for  a  time  he  was  in  the  service 
of  the  Archduke  of  Austria  in  Vienna, 
but  presently  returned  to  his  former 
post  in  Rome,  at  the  Church  Luigi  de* 
Francesi;  and  was  shortly  afterward 
transferred  to  Santa  Maria  Maggiore. 
Following  a  brief  tenure  here,  he  was 
appointed  choirmaster  at  the  Vatican, 
a  post  which  he  retained  till  his  death. 
He  died  in  Rome,  and  was  buried  in 
the  Church  del  Santo  Spiritu  in  Sassia. 
Benincori    (ben-in-c6'-re),    A  n  g  e  I  o 

Maria.    1779-1821. 

Italian  dramatic  composer.  Author 
of  several  operas,  his  quartets  are 
considered  his  best  work.    He  was  an 


Bennett. 

excellent  musician  but  with  difficulty 
earned  enough  to  pay  for  bare  sub- 
sistence, and  when  positive  success 
seemed  near,  died  before  its  fulfil- 
ment. Just  six  weeks  after  his  death 
the  opera,  Aladin,  left  unfinished  by 
Isouard  and  completed  by  Benincori, 
met  with  a  very  enthusiastic  recep- 
tion. The  story  of  Benincori's  life 
from  his  youth  on  is  a  record  of 
need  and  disheartening  struggle.  He 
was  born  in  Brescia,  and  after  a  course 
of  musical  training  went  with  his 
brother,  also  a  musician,  to  Spain. 
The  brother  died  there,  and  Benincori, 
left  without  resources,  returned  to 
Italy.  In  Italy  he  brought  out  the 
opera  Nitteti,  which  was  later  pro- 
duced in  Vienna.  In  this  city,  meet- 
ing with  Haydn,  Benincori  became  so 
enthusiastic  over  Haydn's  quartets 
that  for  a  considerable  period  he 
wrote  quartets  exclusively.  In  Paris, 
whither  he  went  in  1803,  Benincori 
had  two  operas  accepted,  but  these 
were  never  performed;  and  three 
operas  that  were  brought  out  proved 
unsuccessful.  He  died  at  Paris,  De- 
cember 30,  1821,  and  the  opera  Aladin 
met  its  enthusiastic  reception  Febru- 
ary 6,  1882.  Benincori  left  behind 
considerable  music  in  manuscript 
form. 

Bennett,  George  John.    1863- 

Contemporary  English  organist  and 
composer,  since  1895  organist  and 
choirmaster  at  Lincoln  Cathedral.  He 
was  born  at  Andover,  Hampshire, 
England.  From  1872  to  1878  was 
chorister  in  Winchester  College 
Choir,  won  a  scholarship  at  the  Royal 
College  of  Music,  London,  studied 
there  under  Sir  George  Macfarren  and 
Dr.  Steggall,  and  then  went  to  Ger- 
many to  continue  his  work.  At  the 
Berlin  Hochschule  of  Music  he 
studied  piano  under  Kiel  and  Barth 
and  in  Munich  was  a  pupil  of  Rhein- 
berger  in  organ  and  composition  and 
of  Bussmeyer  in  piano.  On  his  re- 
turn to  London  he  was  elected  Fel- 
low of  the  Royal  Academy  of  Music 
and  later  was  appointed  professor  of 
harmony  and  composition  at  the  Acad- 
emy. For  a  while  he  held  the  post 
of  organist  of  St.  John's  Church, 
Wilton  Road,  London,  and  served  as 
organist  in  various  places  prior  to  his 
appointment  to  the  post  at  Lincoln 
Cathedral.  For  several  years  he  has 
been  conductor  of  the  Lincoln  Musi- 


BIOGRAPHIES 


63 


Bennett 

cal  Festival  and  he  has  conducted  the 
Lincoln  Musical  Society  and  the  Lin- 
coln Orchestral  Society.  In  1888  he 
received  the  degree  of  Bachelor  of 
Music  from  the  University  of  Cam- 
bridge and  in  1893  the  degree  of  Doc- 
tor of  Music.  He  is  Examiner  of  the 
Associated  Board  of  the  Royal  Acad- 
emy of  Music  and  the  Royal  College 
of  Music  and  has  acted  as  Examiner 
for  musical  degrees  at  the  universities 
of  Cambridge,  Durham  and  London. 
Dr.  Bennett  is  the  author  of  church 
music,  songs,  part-songs,  pieces  for 
the  piano,  organ  transcriptions,  and 
orchestral  compositions. 

Bennet,  John.   About  1570-about-1614. 

English  madrigal  writer  who  flour- 
ished at  the  close  of  the  Sixteenth 
and  beginning  of  the  Seventeenth 
Century.  Details  of  his  biography  are 
very  meager,  but  Ravenscroft,  in  his 
Briefe  Discourse,  1614,  records  John 
Bennet  as  a  "  Gentleman  admirable 
for  all  kinds  of  Composures,  either  in 
Art,  or  Ayre,  Simple  or  Mixt,  of  what 
Nature  soeuer."  In  1599  was  pub- 
lished Bennet's  Madrigalls  to  Foure 
Voyces,  and  on  the  title  page  they 
are  declared  as  "  being  his  first 
Works."  He  contributed  five  Madri- 
gals to  the  Briefe  Discourse  above- 
mentioned,  and  to  The  Triumphs  of 
Oriana,  the  madrigal,  a  perennial 
favorite,  All  Creatures  now  are 
merry  minded.  Full  of  melody  is  his, 
Come,  shepherds,  follow  me,  and  his, 
Thyrsis,  sleepest  thou?  Few  compo- 
sers in  this  field  of  musical  expression 
have  equaled  him  in  long-con- 
tinued popularity.  As  is  cited  in 
Grove,  Ravenscroft's  judgment  of  the 
merits  of  John  Bennet  has  been  en- 
dorsed by  posterity. 

Bennett,  Joseph.     1831- 

An  English  musical  critic  and 
writer.  He  has  served  as  musical 
critic  of  the  Sunday  Times,  the  Pall 
Mall  Gazette,  the  London  Graphic,  and 
later  as  a  member  of  the  staff  of  the 
Musical  Times  and  the  Daily  Tele- 
graph. He  has  written  librettos  for 
several  of  the  well-known  English 
composers  of  the  day;  writing  the 
words  to  Sullivan's  Golden  Legend, 
Mackenzie's  Rose  of  Sharon,  and 
Bethlehem,  Cowen's  Ruth,  and  num- 
erous other  compositions.  For  sev- 
eral years,  1885  to  1903,  Mr.  Bennett 
wrote  the  analytical  programs  for  the 
London  Philharmonic  Society  and  the 


Bennett 

Monday  and  Saturday  Popular  con- 
certs. Among  his  published  work  are 
Letters  from  Bayreuth;  a  History  of 
the  Leeds  Musical  Festivals,  written 
in  collaboration  with  Mr.  F.  R.  Spark; 
and  Primers  of  Musical,  Biography. 
Mr.  Bennett  is  himself  a  musician. 
Before  adopting  his  present  profession 
he  held  the  post  of  precentor  at 
Weigh  House  Chapel,  and  was  organ- 
ist at  Westminster  Chapel.  He  was 
born  at  Berkeley,  Gloucestershire. 

Bennett,  Sir  William  Steradale.    1816- 

1875. 

English  composer  and  pianist  of 
great  ability.  He  came  from  a  musical 
family,  his  father  being  a  musician 
and  his  father  an  organist  and  a  song 
composer.  When  he  was  three  years 
old,  his  father  died  and  his  education 
was  carried  on  by  his  grandfather.  At 
the  age  of  eight  he  entered  the  choir 
of  King's  College  Chapel.  Cambridge, 
where  he  showed  so  much  musical 
ability,  that  after  two  years  he  was 
sent  to  study  at  the  Royal  Academy  of 
Music.  Here  he  showed  great  talent, 
playing  a  concerto  at  a  concert  at  the 
age  of  twelve  and  composing  a  con- 
certo of  his  own  at  the  age  of  sixteen. 
In  1834,  at  the  age  of  eighteen,  he 
was  elected  organist  of  St.  Anne's 
Chapel,  Wandsworth.  In  1836  the 
firm  of  Broadwood,  piano-makers, 
were  so  much  impressed  by  Bennett's 
ability  as  a  composer,  that  they 
offered  to  pay  his  expenses  for  a  year 
in  Leipsic,  so  that  he  might  have  the 
advantage  of  study  and  the  musical 
environment.  Beside  the  year  of  study 
he  had  the  great  benefit  of  the  friend- 
ship of  Mendelssohn  and  Schumann. 
In  1840  he  returned  to  Leipsic  for  an- 
other year's  study.  In  1843  he  was 
unsuccessful  as  a  candidate  for  the 
post  of  professor  of  music  at  Edin- 
burgh University.  From  1843  to  1856 
he  was  giving  concerts  in  London  and 
in  1849  he  founded  the  London  Bach 
Society.  He  conducted  the  Philhar- 
monic concerts  from  1856  to  1866  and 
the  Leeds  Musical  Festival  in  1858. 
In  1856  he  was  made  permanent  con- 
ductor of  the  Philharmonic  Society 
and  was  also  elected  professor  of 
music  at  the  University  of  Cambridge, 
from  which  he  received  the  degree  of 
Doctor  of  Music,  and  in  1867  the  de- 
gree of  M.A.  In  1866  he  resigned  as 
conductor  of  the  Philharmonic  Society 
to  become  principal  of  the  Royal  Acad- 
emy of  Music.    The  honorary  degree 


64 


BIOGRAPHIES 


Bennett 
of  D.C.L.  was  conferred  upon  him  in 
1870  by  the  University  of  Oxford,  and 
in  1871  he  was  knighted.  He  died 
after  a  very  short  illness,  in  1865,  and 
is  buried  in  Westminster  Abbey. 
Bennett  has  been  called  the  first  Eng- 
lish composer  of  great  genius  since 
Purcell.  His  best  known  works  are 
the  Concerto  in  F  minor;  the  piano 
sextette;  the  overture.  The  Naiads; 
the  sonata,  The  Maid  of  Orleans;  the 
oratorio,  The  Woman  of  Samaria; 
and  the  cantata,  The  May  Queen. 
Beside  these  he  wrote  a  large  number 
of  piano  pieces,  orchestral  music,  part- 
songs,  anthems,  and  songs.  While 
Bennett  cannot  be  called  a  great 
genius  he  is  entitled  to  a  high  rank  on 
account  of  the  artistic  finish  and  in- 
dividuality of  his  work,  which  is 
always  refined  and  delicate.  His 
piano  music,  which  is  very  difficult 
from  a  technical  standpoint,  while  not 
popular,  is  considered  of  great  value 
for  study  and  appeals  strongly  to  in- 
dividuals. Bennett  may  be  said  to  be 
a  musician's  composer.  He  was,  be- 
side, a  brilliant  pianist  and  a  thorough 
and  popular  teacher. 

Benoit  (bun-wa),  Pierre  Leonard  Leo- 
pold.    1834-1901. 

Belgian  composer,  opera  conductor 
and  writer  on  musical  subjects.  Born 
in  Flanders.  First  studied  music  with 
his  father  and  at  seventeen  entered 
the  Conservatory  of  Brussels,  where 
he  studied  counterpoint,  fugue,  and 
composition  with  Fetis  and  won  two 
prizes.  In  1856  he  became  conductor 
of  the  Pare  Theatre  of  Brussels, 
where  several  of  his  musical  plays 
and  an  opera,  The  Village  in  the 
Mountains,  were  successfully  pro- 
duced. In  1857  he  won  the  Grand 
Prize,  with  his  Le  Meurtre  d'Abel  and 
received  a  grant  from  the  government, 
with  which  he  made  an  extensive 
journey  for  study,  visiting  Leipsic, 
Dresden,  Munich  and  Berlin.  During 
this  ^  period  he  composed  an  Ave 
Maria,  which  was  performed  in  the 
Cathedral  at  Berlin;  also  six  songs; 
twelve  Pensees  Naives;  twelve  motets; 
a  number  of  piano  pieces  and  a  little 
cantata  for  Christmas,  which  he  sent 
home.  Upon  returning  to  Brussels  he 
produced  his  _  Solemn  Mass,  which 
made  a  great  impression.  In  1861  he 
went  to  Paris,  where  the  Theatre 
Lyrique  had  accepted  from  him  an 
opera.  While  waiting  for  its  produc- 
tion,   he    conducted    at    the    Bouffes 


Berger 

Parisiens  but  his  own  opera  was 
never  put  on.  Returning  to  Brussels, 
he  bent  his  energies  to  building  up  a 
Flemish  musical  movement,  that 
ended  in  the  establishment  of  a 
Flemish  School  of  Music  in  Antwerp, 
of  which  Benoit  was  appointed  direc- 
tor. Benoit's  great  ambition  was  a 
national  school  of  music,  as  distinct 
from  French  and  German  music  and 
he  did  everything  possible  in  this 
direction,  both  by  his  compositions 
and  by  his  writings  on  musical  sub- 
jects, his  pet  idea  being  the  use  of 
Flemish  traditions  and  the  Flemish 
language  in  musical  compositions. 
Benoit's  most  important  works  are  a 
sacred  quadrilogie;  a  piano  concerto; 
the  oratorios,  Lucifer,  and  De  Schelde; 
the  opera,  Isa;  the  cantata,  War;  the 
choral  symphony.  The  Reapers;  and 
the  music  to  the  dramas,  Charlotte 
Corday  and  Willem  de  Zwijger. 

♦Benson,  Harry.    1848- 

Contemporary  teacher,  organist  and 
choirmaster.  An  Englishman  by  birth, 
but  his  professional  life  has  been 
spent  in  America.  He  was  born  in 
Birmingham,  and  studied  music  in 
that  city  under  Andrew  Deakin.  Came 
to  Boston  in  1869,  and  was  graduated 
from  the  New  England  Conservatory 
in  1874.  For  eight  years  he  was  a 
member  of  the  Conservatory  faculty, 
and  for  the  same  length  of  time  prin- 
cipal of  the  vocal  department  of  the 
Boston  Training  School  of  Music. 
Mr  Benson  has  held  the  post  of 
organist  and  choirmaster  in  several 
Boston  churches,  and  is  actively  en- 
gaged in  that  city  as  teacher  of  voice 
and  piano. 

Berger,  Francesco.    1834- 

Pianist  and  composer.  His  father 
was  an  Australian  and  his  mother  a 
Bavarian.  He  played  in  public  at  the 
age  of  eight.  Received  his  musical 
education  at  Munich,  Trieste  and 
Leipsic,  studying  with  Plaidy,  Thal- 
berg  and  Hauptmann.  He  married 
Miss  Lascelles,  well  known  as  a 
vocalist.  _  In  1868  he  established  the 
Apres-midi  instrumentales  for  the 
study  of  concerted  piano  music. 
Berger  was  a  personal  friend  of 
Charles  Dickens,  and  composed  the 
overtures  and  the  music  to  the  plays. 
The  Lighthouse,  and  The  Frozen 
Deep,  which  were  written  by  Wilkie 
Collins  and  in  which  Dickens  and  his 
friends  appeared.    Berger  is  professor 


BIOGRAPHIES 


65 


Berger 

of  piano  at  the  Royal  Academy  of 
Music  and  at  the  Guildhall  School  of 
Music,  IS  a  director  and  secretary 
of  the  Philharmonic  Society  and  a 
member  of  the  Incorporated  Society 
of  Musicians. 

Berger,  Ludwig.    1777-1839. 

German  composer,  pianist  and 
teacher.  Born  in  Berlin,  where  his 
father  was  an  architect.  Began 
studying  there  very  early,  and  made 
great  progress  under  Clementi,  in 
1804,  and  went  with  him  to  St.  Peters- 
burg, also  to  Stockholm  and  London, 
becoming  famous  as  a  pianist  and 
teacher.  From  1815  until  his  death  he 
taught  in  Berlin,  where  he  had  many 
famous  pupils,  among  them,  Mendels- 
sohn, Henselt,  Taubert  and  Fanny 
Hensel,  Mendelssohn's  sister.  On 
account  of  his  melancholy  tempera- 
ment, he  lived  a  very  retired  life, 
which  interfered  with  his  musical 
career.  His  compositions  are  mainly 
works  for  the  piano,  including  studies, 
concertos,  a  toccata  and  a  rondo.  He 
also  wrote  the  opera,  Oreste;  some 
cantatas;  male  quartets  and  songs. 

*  Berger,  Wilhelm.    1861- 

Composer  and  piano  teacher.  Born 
in  Boston  of  German  parents,  but  was 
taken  to  Germany  when  only  a  year 
old.  From  1878  to  1882  he  studied  in 
the  Hochschule  of  Berlin,  under  Kiel. 
Berger  has  lived  in  Berlin  for  many 
years  as  a  composer  and  a  successful 
teacher.  His  principal  compositions 
are  his  settings  of  Goethe's  Meine 
Gottin,  which  won  a  prize  of  two 
thousand  marks  in  1898;  his  Gesang 
der  Geister;  Todtentanz,  which  was 
performed  by  the  Boston  Symphony 
Orchestra;  many  piano  pieces,  part- 
songs  and  over  eighty  songs.  Berger 
is  the  conductor  of  the  Meiningen 
Orchestra  of  Berlin. 

Berggreen   (berkh'-gran),  Andreas 

Peter.     1801-1880. 

Danish  organist,  teacher  and  com- 
poser. His  parents  intended  that  he 
follow  _  law  as  a  profession,  but  he 
maintained  an  early  fondness  for 
music  and  devoted  himself  to  this  art. 
He  was  born  at  Copenhagen,  and 
began  composing,  when  very  young. 
His  opera,  The  Picture  and  the  Bust, 
was  produced  in  1832.  Berggreen's 
most  valued  works  are  his  volumes 
of  national  songs,  songs  for  use  in 
school,  and  his  church  music.    A  col- 


Bergmann 

lection  of  Psalm  Tunes  was  published 
in  1853,  which  subsequently  was 
adopted  by  the  churches  throughout 
Denmark.  In  1838  he  was  appointed 
organist  of  Trinity  Church,  in  1843 
professor  of  vocal  music  at  the  Metro- 
politan School,  and  in  1859  inspector 
of  public  schools.  Previous  to  the 
last  appointment  he  had  established 
a  musical  association  for  working 
people. 

Bergmann   (berkh'-man),  Carl.    1821- 

1876. 

Eminent  conductor  who  held  an  im- 
portant place  in  the  progress  of  music 
in  America.  Carl  Bergmann  was  born 
in  Ebcrsbach,  Saxony,  studied  in  Zit- 
tau  under  Zimmermann,  and  in  Breslau 
was  a  pupil  of  Hesse.  Bergmann 
came  to  America  in  1850,  and  as  vio- 
loncellist toured  the  eastern  cities 
with  the  Germania  Orchestra,  an 
organization  of  German  musicians,  of 
which  he  became  conductor.  He  en- 
tered the  New  York  Philharmonic 
Orchestra  in  1855,  and  with  Eisfeld, 
conducted  alternately  till  1862,  at 
which  date  he  became  sole  conductor, 
and  so  remained  until  his  death  in 
New  York  in  1876.  His  successor 
was  Leopold  Damrosch.  To  music 
lovers  in  America,  Carl  Bergmann 
rendered  great  service  in  introducing 
here  the  works  of  Liszt  and  Wagner. 
Theodore  Thomas  was  the  first  to 
make  Americans  well  acquainted  with 
Wagner,  but,  as  Upton  says,  the  credit 
for  giving  the  first  performance,  in 
this  country,  of  a  Wagner  composi- 
tion, the  overture  to  Tannhauser, 
belongs  to  Carl  Bergmann.  In  Theo- 
dore Thomas'  Autobiography  there  is 
given  this  view  of  that  great  conduc- 
tor's association  with  Bergmann  and 
a  personal  estimate  of  the  man:  "It 
has  been  said  by  those  who  are  un- 
familiar with  the  history  of  that  time, 
that  Bergmann  was  my  model  in  con- 
ducting. This  is  incorrect.  Eckert 
.  .  .  was  the  one  who  influenced 
me,  and  from  whom  I  learned.  He, 
(Bergmann)  lacked  most  of  the  quali- 
ties of  a  first-rank  conductor,  but  he 
had  one  great  redeeming  quality  for 
those  days,  which  soon  brought  him 
into  prominence,  he  possessed  an 
artistic  nature,  and  was  in  sympathy 
with  the  so-called  '  Zukunft  Musik ' 
(music  of  the  future)." 

Previous  to  his  occupancy  of  the 
post  of  conductor  of  the  New  York 
Philharmonic  Society,  Bergmann  con- 


66 


BIOGRAPHIES 


Bergmann 
ducted  the  concerts  of  the  Handel 
and  Haydn  Society  of  Boston;  and 
in  New  York  for  several  years  con- 
ducted the  German  male  chorus 
"Arion."  In  1854  Bergmann  went  to 
Chicago,  and  here  was  engaged  to 
take  charge  of  the  Philharmonic  So- 
ciety, but  dissensions  arising,  he  left 
early  in  1855  and  returned  to  New 
York.  This  same  year  a  series  of 
chamber  concerts  under  the  name  of 
Mason  and  Bergmann  was  instituted, 
at  which  concerts  Bergmann  played 
violoncello,  Theodore  Thomas  first 
violin,  and  Mason  was  pianist.  Long 
afterward  Thomas  declared  that  the 
first  programs  of  Mason  and  Berg- 
mann sounded  the  war-cry  of  death, 
to  stale  and  meaningless  music,  and 
proclaimed  progress.  Krehbiel,  writ- 
mg  in  Grove,  pays  this  tribute  to 
Carl  Bergmann:  "  Bergmann  was  the 
pioneer  in  America  of  the  new  school 
of  conductors,  as  distinguished  from 
the  old  class  of  mere  time-beaters. 
He  was  strongly  individual  and  asser- 
tive in  his  interpretations,  a  radical, 
and  an  enthusiastic  and  devoted 
champion  of  Liszt  and  Wagner." 

♦Beringer,  Oscar.    1844- 

Distinguished  contemporary  pianist 
and  eminent  teacher,  active  in  musical 
afifairs  in  London.  He  was  born  in 
Baden,  Germany,  but  was  taken  to 
London  at  the  age  of  five,  his  father 
being  a  political  refugee.  Up  to  the 
age  of  nineteen,  he  received  his  tuition 
from  an  elder  sister.  At  the  age  of 
sixteen  he  commenced  giving  a  series 
of  recitals  at  the  Crystal  Palace,  and 
when  he  was  seventeen  made  his  first 
appearance  at  the  world-renowned 
Saturday  concerts  of  the  Crystal 
Palace.  From  1864  to  1866  he 
studied  at  Leipsic  under  Moscheles, 
Reinecke,  Richter  and  Plaidy,  and 
later  on  continued  his  studies  at  Ber- 
lin under  Tausig,  at  whose  school,  in 
1869,  he  was  appointed  professor.  He 
returned  to  England,  in  1871,  where 
he  met  with  great  success  at  the 
Saturday  concerts,  the  Philharmonic 
Musical  Union,  and  various  other 
well-known  societies.  In  January, 
1872,  he  went  back  to  Leipsic  to  play 
at  the  Gewandhaus,  returned  again  to 
England  the  following  year  and  set- 
tled there  permanently.  In  1872  he 
founded,  in  London,  the  Academy  for 
the  Higher  Development  of  Piano 
Playing,  an  institution  highly  success- 
ful until  its  close  in  1897.    In  1882  he 


Beriot 

played  the  solo  part  in  Brahms' 
second  Piano  Concerto  on  the  occa- 
sion of  its  first  performance  in  Eng- 
land. In  1885  he  was  invited  by  the 
Royal  Academy  of  Music  to  join  their 
professorial  staff,  being  elected  to  the 
Committee  of  Management  in  1898. 
He  has  been  a  director  of  the  Phil- 
harmonic Society  for  many  years  and, 
since  1900,  has  served  on  the  Com- 
mittee of  Management  of  the  Asso- 
ciated Board  of  the  Royal  Academy 
of  Music  and  Royal' College  of  Music. 
His  published  works  include  an  An- 
dante and  Allegro  for  piano  and 
orchestra,  sonatinas  for  the  piano,  sev- 
eral songs,  a  largely  used  Tutor,  and 
a  book  of  Daily  Technical  Studies 
which  has  enjoyed  continued  success. 
In  1907  he  gave  a  course  of  lectures 
at  the  Royal  Academy  of  Music,  em- 
bodying his  experiences  of  fifty  years' 
playing  and  teaching,  which  lecture 
he  has  recently  enlarged  and  published 
in  book  form  under  that  same  title. 
His  venture  in  founding  a  school  for 
the  higher  development  of  piano-play- 
ing met  with  the  highest  and  well 
deserved  success,  marking,  as  it  did, 
the  commencement  in  England  of  the 
modern  school  of  piano-playing. 

Beriot   (dil-bar-yo),  Charles  Auguste 

de.     1802-1870. 

Famous  violinist.  Born  in  Belgium 
of  French  parents.  At  nine  years  of 
age,  he  was  left  an  orphan,  without 
means,  the  noble  family  from  which 
he  came  having  lost  everything 
through  the  French  Revolution.  He 
was,  however,  well  cared  for  by  his 
guardian,  Tiby,  who  also  gave  him  the 
thorough  foundation  in  music  which 
made  him  the  great  master  that  he 
was.  His  talent  developed  so  rapidly 
that,  at  the  age  of  nine,  he  was  able 
to  play  one  of  Viotti's  concertos. 
From  this  time  on  the  influence  of 
his  friend  Jacotot,  the  scholar  and 
philosopher,  had  a  great  effect  upon 
his  life  and  work,  giving  him  that 
perseverance  and  energy  that  over- 
came all  obstacles.  At  the  age  of 
nineteen  he  left  his  native  place  and 
went  to  Brussels,  where,  for  a  short 
time,  he  worked  with  Robrecht,  a 
pupil  of  Viotti's,  who  was  especially 
noted  for  his  fine  style.  Going  to 
Paris,  De  Beriot  played  before  the 
celebrated  violinist  Viotti,  who  told 
him  that  he  had  already  a  fine  style 
and  should  give  all  his  time  to  per- 
fecting it,  hearing  all  men  of  talent 


BIOGRAPHIES 


e? 


I 
I 


Beriot 

and  profiting  by  everything,  but  imi- 
tating no  one.  Viotti  also  advised  him 
to  enter  the  Conservatory,  which  he 
did,  becoming  a  pupil  of  Baillot,  then 
at  the  head  of  the  violin  department. 
He  remained  here  only  a  few  months, 
however,  as  he  preferred  to  do  his 
studying  and  work  alone.  He  soon 
began  to  appear  publicly  in  concerts 
and  was  brilliantly  successful  from 
the  beginning.  In  1826  he  visited 
England,  appearing  with  the  greatest 
success  at  the  Philharmonic  Society. 
On  returning  to  Belgium  he  was 
appointed  solo  violinist  to  William  T., 
King  of  the  Netherlands,  and  this 
position  he  held  until  he  lost  it 
through  the  Revolution  of  1830.  He 
now  formed  a  concert  company  with 
Malibran,  the  famous  contralto  and 
Lablache,  the  celebrated  and  magnifi- 
cent basso,  and  for  the  next  five  years 
they  traveled  and  gave  concerts  in 
France,  Italy,  Belgium  and  England, 
meeting  with  great  success.  In  1836, 
when  Madam  Malibran  secured  her 
divorce  from  her  former  husband,  she 
married  De  Beriot,  who  was  devotedly 
attached  to  her.  This  marriage,  which 
was  a  very  happy  and  congenial  one, 
ended  in  a  few  months,  when  Mali- 
bran died  of  injuries,  received  from  a 
fall  from  her  horse.  De  Beriot  re- 
tired to  Brussels  and  did  not  appear 
for  more  than  a  year.  In  1840  he 
made  a  concert  tour  through  Ger- 
many, where  he  married  Marie  Huber. 
In  this  year  he  also  became  identified 
with  the  Royal  Conservatory  of  Music 
at  Brussels  and,  in  1843,  was  appointed 
professor  of  violin-playing,  which 
position  he  held  until  1852,  when  his 
eyesight  failed.  In  1858  he  became 
totally  blind.  Many  of  his  pupils 
became  distinguished  players,  Vieux- 
temps  being  the  most  noted.  De 
Beriot's  works  consist  of  seven  violin 
concertos;  eleven  sets  of  variations; 
several  books  of  studies;  some  sonatas; 
and  four  trios  for  the  piano,  violin 
and  cello.  His  book  of  instruction 
for  the  violin  is  one  of  the  best  ever 
written.  De  Beriot  is  considered  the 
founder  of  the  Franco-Belgium  School 
of  violinists,  as  distinguished  from  the 
Classical  French  School  founded  by 
Viotti.  He  was  noted  for  his  deft 
and  easy  bowing  and  his  playing  was 
remarkable  for  grace  and  elegance  and 
for  accuracy  of  tone. 


Berlioz 
Berlioz  (bar-li-os),  Hector.    1803-1869. 

Indomitable  is  the  word  which 
should  be  emphasized  in  any  review  of 
the  life  of  Hector  Berlioz.  In  the 
adoption  of  music,  as  a  profession, 
Berlioz  had  to  go  against  the  dearest 
wish  of  his  father,  and  deep-rooted 
prejudices  of  his  mother,  and  give  up 
a  life  of  comfort  and  ease  for  a 
Bohemian  existence,  whose  freedom 
was  rather  dearly  bought  at  times. 
And  as  leader  in  a  new  movement, 
Berlioz  followed  during  his  entire  life 
the  rock-strewn  path  of  the  reformer. 
Hector  Berlioz  was  born  Dec.  11, 
1803,  at  Cote-Saint-Andre,  France,  a 
little  town  near  Grenoble.  His  father 
was  a  country  doctor  of  very  con- 
siderable reputation  and  a  well-estab- 
lished practice,  and  what  more  natural 
than  that  the  son  should  be  expected 
to  follow  where  the  father  had  been 
so  successful?  "Never,  perhaps,  was 
there  a  more  unfortunate  milieu  for  a 
man  of  genius.  Handel,  who  was  also 
a  doctor's  son,  found  one  staunch  sup- 
porter at  home;  Schiller,  after  a  long 
struggle  succeeded  in  conciliating  his 
mother's  antagonism,  but  Berlioz  had 
both  battles  to  fight  at  the  same  time. 
No  opportune  ally  came  to  carry  him 
oflf,  as  Frankh  carried  off  Haydn;  no 
Crown  Prince  surrounded  his  early 
efforts  with  the  splendors  of  imperial 
patronage;  alone  and  unaided  he  had 
to  scale  an  immovable  earthwork  of 
argument  under  a  galling  fire  of 
appeal  and  invective." 

But  there  was  a  pleasant,  sunny 
childhood,  though  mention  might  be 
made  of  the  precocious  sad  love  affair; 
the  lad  of  eleven  enamored  with  the 
maid  of  eighteen,  Estelle  of  the 
"  shining  eyes "  and  "  pink  shoes." 
And  mention  might  be  made  of  the 
fact  that  a  half-century  later,  Estelle, 
a  half-century  older,  still  had  power 
to  move  the  heart  of  Hector  Berlioz. 
Some  little  instruction  in  music  Ber- 
lioz received  as  a  boy,  learning  to 
play  on  the  flageolet,  flute  and  guitar, 
his  father  believing  in  music  as  an 
accomplishment  if  not  as  an  vocation. 
By  himself,  he  made  some  study  of 
harmony,  and  certain  fragments  of 
composition  mark  this  period.  En- 
thusiasm for  the  great  world  of  music 
was  fired  by  the  reading  of  the 
biographies  of  musicians,  and  the  dis- 
covery in  his  father's  library  of  some 
bits  of  Gluck's  Orfeo.  It  was  with 
anxiety   that   the   father   noticed   this 


68 


BIOGRAPHIES 


Berlioz 

enthusiasm,  and  with  all  haste  sent  off 
young  Hector  to  the  Medical  School 
m  Paris, 

But  the  Academy  saw  more  of  him 
than  the  Medical  School.  And  at- 
tendance at  the  opera  bringing  back 
remembrances  of  Orfeo,  Berlioz  took 
to  haunting  the  Conservatory  library, 
spending  his  days  in  the  study  of 
Gluck's  scores.  He  now  wrote  his 
father  that  he  had  fully  made  up  his 
mind  to  become  a  musician.  The 
heated  argument  that  came  in  reply 
did  not  change  this  decision;  neitlaer 
did  the  cutting-off  of  his  allowance 
that  finally  resulted.  He  lived  in  a 
garret,  on  a  fare  of  bread  and  dates, 
taught  what  pupils  he  could  get,  and 
when  in  extremity  hired  out  as 
chorus-singer  at  the  Theatre  de  Nou- 
veautes. 

Berlioz,  who  had  applied  for  les- 
sons of  Lesueur,  after  some  prelimi- 
nary training  had  become  his  pupil. 
This  inspiring  teacher  first  treated 
Berlioz  with  consideration,  and  he 
made  rapid  progress,  at  the  end  of  a 
few  months  of  study  being  able  to 
compose  a  mass  for  the  Church  of  St. 
Roch,  In  1823,  through  Lesueur,  he 
was  admitted  as  a  regular  pupil  at  the 
Conservatory;  here,  impatient  of  aca- 
demic method,  he  came  into  friction 
with  various  professors,  and  between 
him  and  Cherubini,  the  director, 
there  arose  an  active  hostility.  A 
pioneer  in  the  Romantic  movement, 
Berlioz  was  looked  upon  as  a  rebel, 
but  amid  all  the  opposition  of  con- 
servative leaders  he  very  seldom  fal- 
tered; he  believed  in  himself  and  held 
to  his  ideals  with  unfaltering  courage. 

The  Mass  of  St.  Roch,  which  on  the 
day  of  full  rehearsal  proved  impossi- 
ble of  performance,  Berlioz  rewrote; 
then  borrowed  money  of  a  friend  to 
pay  concert  expenses,  and  with  it 
scored  a  well-deserved  success.  The 
mass  was  succeeded  by  the  following 
compositions:  Eight  scenes  from 
Faust,  the  overtures  Les  Franc-Juges 
and  Waverley,  Symphonic  Fantastique 
and  Fantasie  on  Shakespeare's  Tem- 
pest. But  it  was  not  until  the  appear- 
ance of  his  cantata,  La  Mort  de 
Sardanapale,  that  the  judges  of  the  day 
were  ready  to  give  him  the  stamp  of 
their  approval.  Once  and  again  he 
had  tried  for  the  Prize  of  Rome,  the 
winning  of  which  meant  several  years 
of  freedom  from  the  harassment  of 
poverty;  the  third  time  of  trial,  he 
won  the  second  prize,  consisting  of  a 


Berlioz 

laurel  wreath,  a  gold  medal,  and  a 
free  pass  to  the  opera;  a  fourth  time, 
and  kept  out  by  conservatism  and 
hostility,  Berlioz  was  now  in  actual 
want;  a  fifth  time,  and  at  last  the 
prize  was  gained,  with  the  cantata 
Sardanapalus.  At  the  presentation  of 
La  Mort  de  Sardanapale,  Franz  Liszt 
was  present  and  applauded  with  most 
generous  enthusiasm. 

By  the  terms  of  the  Prize  of  Rome, 
three  years  were  to  be  spent  in  travel, 
the  first  two  in  Italy.  But  Berlioz 
remained  only  a  year  and  a  half,  by 
the  expiration  of  that  time  being  so 
homesick  for  France,  and  so  dis- 
dainful of  the  musical  Italy  of  the 
day,  that  he  petitioned  to  be  allowed 
to  go  back  to  Paris,  which  petition 
was  granted.  With  the  exception  of 
La  Captive,  the  finest  of  his  songs,  the 
work  done  by  Berlioz  in  Italy  was  not 
of  much  importance.  On  his  return 
home  he  was  greeted  with  the  news 
that  Miss  Henrietta  Smithson  was 
again  in  Paris.  Before  his  departure 
he  had  experienced  a  violent  fancy  for 
this  lady,  a  celebrated  Irish  actress, 
appearing  before  the  Paris  public  in 
interpretations  of  Shakespearian  roles. 
To  Berlioz's  advances  the  actress  had 
not  responded  very  encouragingly, 
but  had  shown  herself  rather  fearful 
of  his  demonstrations.  Though  Ber- 
lioz in  the  meantime  had  let  his 
fancy  wander,  the  return  of  Miss 
Smithson  brought  back  the  feeling 
aroused  in  him  when  first  he  saw  her 
at  the  Odeon  impersonating  Ophelia 
and  Juliet.  After  a  more  or  less 
tempestuous  courtship,  Berlioz  and 
Miss  Smithson  embarked  on  matri- 
mony, the  wedding-day  hastened  by 
reason  of  the  retirement  of  the  actress 
from  the  stage,  caused  by  a  fractured 
ankle  and  promise  of  permanent  lame- 
ness. Berlioz  thus  tells  what  consti- 
tuted her  dowry  and  his  prospects: 
"  On  the  day  of  our  marriage  she  had 
nothing  in  the  world  but  debts  and 
the  fear  of  never  again  being  able  to 
appear  to  advantage  on  the  stage. 
My  property  consisted  of  300  francs, 
borrowed  from  a  friend,  and  a  fresh 
quarrel  with  my  parents." 

Their  early  married  life  moved  on 
bravely  in  spite  of  their  poverty.  If 
subsistence  was  pretty  bare,  life  was 
enriched  by  the  friendship  of  Liszt, 
and  by  the  birth  of  a  son,  Louis.  Of 
this  son  Berlioz  was  passionately  fond 
to  the  end.  In  the  course  of  time  the 
husband  and  wife  became  estranged, 


BIOGRAPHIES 


69 


Berlioz 

and  finally  separated,  in  1840;  though 
a  certain  friendship  continued  between 
them  to  the  death  of  Henrietta,  four- 
teen years  after  the  separation.  Ber- 
lioz's infatuation  for  Henrietta  Smith- 
son  was  characteristic  of  his  ardent, 
impetuous  nature,  as  was  also  charac- 
teristic his  generous  insistence  on 
their  marriage  when  she  was  ill  and 
penniless,  and,  after  the  estrangement, 
the  support  of  Henrietta  out  of  his 
very  limited  income.  Perhaps  char- 
acteristic, also,  was  his  entanglement 
with  that  mediocre  person.  Mademoi- 
selle Martin  Recio,  whom,  after  the 
death  of  his  wife  he  married.  Ma- 
demoiselle Recio  was  a  singer,  with 
ambitions  considerably  greater  than 
her  ability. 

The  years  immediately  succeeding 
his  marriage  to  Henrietta  Smithson 
were  years  of  strain  and  stress  but 
make  up  a  period  of  his  life  rich  in 
results.  Although  forced  to  turn  to 
journalism  as  a  means  of  adding  to 
his  exceedingly  uncertain  income,  Ber- 
lioz, amid  all  the  difficulties  and 
drudgery,  produced  the  following  com- 
positions: The  cantata  on  the  death 
of  Napoleon;  the  symphonies,  Harold 
en  Italie,  Symphonic  Funebre  et 
Triomphale,  Romeo  et  Juliette;  the 
three-act  opera,  Benvenuto  Cellini; 
various  songs;  the  ballad,  Sara  la 
Baigneuse;  and  the  wonderful  Re- 
quiem. The  money  obtained  from 
The  Requiem  and  the  symphonies 
made  it  possible  for  him  to  give  up 
journalism,  to  indulge  in  a  little 
travel,  and  to  devote  much  more  time 
to  the  art  he  adored.  Travel  abroad 
had  been  a  long-cherished  wish,  and 
he  now  set  out  to  try  his  fortune, 
and  to  seek  inspiration  away  from 
home.  In  Germany,  the  French  corn- 
poser  was  received  most  enthusiasti- 
cally, by  the  public  as  well  as  by  the 
great  masters,  and  the  appreciation 
and  plaudits  there  bestowed  must 
have  been  balm  to  his  spirit,  at  this 
time  much  disturbed  by  domestic 
upheaval  and  the  grudgingly  yielded 
approval  of  his  countrymen.  Visits 
made  later  to  Austria  and  Russia 
added  to  the  laurels  now  thick  upon 
his  brow,  but  Paris  still  remained  cold 
to  the  son  who  so  eagerly  desired  her 
favor.  A  new  composition  brought 
back  from  Austria,  La  Damnation  de 
Faust,  was  produced  in  Paris,  in  1846, 
before  an  audience  small  in  numbers 
and  lukewarm  in  appreciation.  This 
work    was    most    typical    of    Berlioz. 


Berlioz 

and  in  this  cantata  his  genius,  and  his 
defects,  were  most  emphasized. 

To  understand  the  attitude  of  the 
French  toward  Berlioz,  one  must 
remember,  that  in  his  day,  he  was 
looked  upon  as  a  rebel.  Year  after 
year  of  Berlioz's  life  was  marked  by 
what  Hadow  so  well  phrases  as  "  con- 
tinued failure  of  high  aims."  The 
greatest  French  composer  of  his  day 
was  "  left  to  starve  because  he  wrote 
his  best."  Reyer,  the  distinguished 
composer  and  writer,  declares  that 
probably  no  musician  has  ever  been 
more  ridiculously  criticized,  more 
scoffed  at,  more  insulted  than  Berlioz 
during  the  greater  part  of  his  career. 
The  critic  of  the  Revue  des  Deux 
Mondes  condemned  the  work  of  Ber- 
lioz after  this  fashion:  "The  Chinese 
who  amuse  their  leisure  moments  by 
the  sound  of  the  tom-tom;  the  savage 
who  is  roused  into  fury  by  the  rubbing 
together  of  two  stones,  make  music  of 
the  kind  composed  by  M.  Hector  Ber- 
lioz." 

Not  until  after  his  death  did  Berlioz 
meet  with  justice  in  his  own  country. 
His  genius  was  widely  recognized 
abroad,  but  at  home  full  appreciation 
came  very  late.  It  was  his  Te  Deum, 
written  for  the  Paris  Exhibition  in 
1855,  that  won  for  him  partial  recogni- 
tion; but  the  history  of  his  life  in  the 
city  he  so  loved  is  a  record  of  hard- 
won  success  followed  by  heart-break- 
ing failure.  His  last  work,  the  opera 
of  Les  Troyens  a  Carthage,  which  he 
hoped  to  have  rank  as  his  masterpiece, 
after  a  very  short  run  was  driven  from 
the  boards.  But  at  this  time  apprecia- 
tion from  without  continued  to  be 
shown  him.  His  little  opera,  Beatrice 
et  Benedict,  produced  at  Baden,  en- 
joyed great  success.  An  invitation, 
which  was  not  accepted,  came  from 
America,  an  offer  of  100,000  francs, 
if  Berlioz  would  go  to  New  York.  An 
Imperial  invitation  from  Russia  he  did 
accept,  and  in  Russia  again  met  with 
cordial  welcome. 

Berlioz's  last  days  were  somber  and 
lonely.  His  wife  died  in  1862.  His 
son  Louis,  serving  in  the  French 
navy,  came  to  an  untimely  death  at 
Havana  in  1867.  Private  sorrow,  and 
public  indifference,  mark  the  end  of 
his  career.  Though  Berlioz  was  in  a 
sense  without  honor  in  his  own  coun- 
try, yet  the  highest  honors  the 
country  could  bestow  were  yielded 
him.  He  had  a  seat  in  the  Academy, 
and  wore  the  ribbon  of  the  Legion  of 


70 


BIOGRAPHIES 


Berlioz 

Honor.  In  1852  he  received  appoint- 
ment to  the  post  of  Librarian  of  the 
Conservatory,  a  post  that  he  occupied 
till  his  death.  At  the  end,  which 
occurred  in  Paris,  March  9,  1867,  he 
asked  to  be  carried  back  to  Paris  to 
die.  He  was  laid  to  rest  with  stately 
pomp  and  ceremony.  A  decade  later, 
a  Berlioz  commemorative  concert  was 
given,  with  the  Hippodrome  filled  to 
the  roof.  Bust  and  statue  the  awak- 
ened French  people  have  put  in  place 
in  honor  of  Berlioz.  In  1903  the  cen- 
tenary of  Berlioz's  birth  was  duly 
celebrated  in  Paris,  the  "  proud,  dis- 
dainful city"  whose  meed  he  so  bit- 
terly craved. 

The  following  are  the  most  impor- 
tant of  Berlioz's  compositions:  The 
Requiem,  composed  in  memory  of  the 
fall  of  General  Damremont  and  the 
French  loss  in  Algiers;  the  Te  Deum; 
the  dramatic  legend,  La  Damnation  de 
Faust;  the  trilogie,  L'Enfance  du 
Christ;  the  opera  Benvenuto  CelHni; 
the  comic  opera  Beatrice  et  Benedict; 
the  grand  opera  Les  Troyens;  and  his 
orchestral  compositions,  the  chief  of 
which  are  the  overture  Le  Carnaval 
Romain,  and  the  symphonies  Harold 
en  Italic  and  Romeo  et  Juliette.  It 
is  as  master  of  the  orchestra  that 
Berlioz  holds  unquestioned  rank, 
taking  place  beside  Beethoven,  ^/yag- 
ner  and  Dvorak.  The  dramatic  vivid- 
ness of  his  music  may  at  times 
startle,  but  it  must  be  understood  that 
Berlioz  perceived  a  not  altogether 
fanciful  connection  between  emotion 
and  musical  expression.  Today  he 
stands  as  one  of  the  great  masters  in 
the  field  of  descriptive  music  and 
also  program  music.  Hadow,  writing 
in  Grove,  says  "  Berlioz  knew  the  ca- 
pacities of  the  diflferent  instruments 
better  than  the  virtuosi  who  played 
them.  His  work  .  .  .  marks  a 
new  era  in  Instrumentation,  and  has 
been  directly  or  indirectly  the  guide 
of  every  composer  since  his  day." 
Berlioz's  criticisms  of  the  musicians  of 
his  day  were  unequaled,  but  it  should 
be  noted  that  he  was  the  first  musician 
in  Europe  who  truly  appreciated 
Beethoven.  His  criticisms,  like  his 
compositions,  are,  first  of  all,  original, 
fearless  opinions  fearlessly  expressed, 
and  the  expression,  marked  by  charm 
and  force,  makes  his  writings  on  music 
of  unusual  literary  value.  The  list  of 
his  literary  and  critical  works  is  as 
follows:  Voyage  Musical,  etudes  sur 
Beethoven,    Gluck    et     Weber;     Les 


Bertini 
Soirees  de  I'Orchestre;  Les  Grotesques 
de  la  Musique;  A  Travers  Chants; 
Memoires  de  Berlioz;  Correspondance 
inedite;  Lettres  Intimes,  and  Les  Mu- 
siciens  et  la  Musique.  In  spite  of 
whatever  is  bizarre  and  erratic,  in 
Berlioz's  work,  no  one  can  deny  to 
him  great  imaginative  faculty.  An 
artist  of  rare  creative  power,  Berlioz 
is  compared  to  that  other  most 
original  Frenchman,  Victor  Hugo. 

Bernard  (ber-nar),  fimile.     1845-1902. 

Distinguished  French  organist  and 
composer  of  the  new  school.  He  was 
born  at  Marseilles  and  studied  under 
Reber,  Benoist,  and  Marmontel  at  the 
Paris  Conservatory,  where  he  won 
prizes  for  organ,  piano  and  counter- 
point, and  was  considered  a  remark- 
able pupil.  In  1877  an  organ  fantasie 
and  fugue  written  by  Bernard,  gained 
the  prize  offered  by  the  Societe  des 
Compositeurs  de  Paris.  Until  1895, 
he  held  the  position  of  organist  at 
Notre-Dame-des-Champs,  Paris.  His 
compositions  include  two  cantatas, 
Guillaume  le  Conquerant  and  La  Cap- 
tivite  de  Babylone;  a  sonata  for  piano 
and  violin;  sonata  for  piano  and  vio- 
loncello; trio  for  piano;  quartet  for 
piano;  two  orchestra  suites;  a  violin 
concerto;  and  many  works  for  the 
organ. 

Bertin    (ber-tan),    Louise    Angelique. 

1805-1877. 

French  composer,  pianist  and  con- 
tralto singer,  also  an  artist  and  poet. 
Studied  composition  with  Fetis  and 
was  so  impatient  for  results,  that  she 
began  composing  at  once.  This  im- 
patience was,  perhaps,  the  cause  of 
the  defects  in  her  work,  for  in  spite 
of  her  great  talent,  she  was  not  will- 
ing to  give  the  time  and  work  neces- 
sary to  a  thorough  foundation.  Her 
compositions  were  however  successful 
in  the  main.  She  wrote  the  operas 
Guy  Mannering,  Le  Loup  Garou, 
Faust,  Notre  Dame  de  Paris,  and 
Esmeralda;  also  string  quartets  and 
trios;  choral  pieces  and  songs.  Al- 
though Victor  Hugo  himself  arranged 
the  libretto  of  Notre  Dame  de  Paris, 
it  was  unsuccessful. 

Bertini  (ber-te'-ne),  Henri.  1796-1876. 
Brilliant  pianist  and  talented  com- 
poser, who  belonged  to  a  very  musical 
Italian  family,  his  father  and  older 
brother  being  also  musicians.  Born 
in  London,  he  studied  first  under  his 


BIOGRAPHIES 


71 


iBertini 

father  and  afterward  under  his  older 
brother  Auguste,  who  was  a  pupil  of 
dementi.  Henri  began  playing  in 
public  very  early  and  at  twelve  was 
taken  on  a  concert  tour  through  the 
Netherlands  and  Germany  by  his 
father.  After  studying  some  time 
longer  in  Paris,  he  made  visits  to 
England  and  Scotland,  but  returned 
to  Paris,  in  1821,  and  remained  there 
until  1856,  when  he  retired  to  his  villa 
at  Meylan  near  Grenoble,  where  he 
lived  in  seclusion  until  his  death.  His 
best  known  works  are  his  etudes  for 
the  piano,  which  are  noted  for  their 
technical  construction,  their  fine  har- 
mony and  beautiful  melody  and  which 
are  very  valuable  for  study.  He  also 
wrote  many  other  piano  compositions, 
a  number  of  pieces  for  piano  and 
strings  and  piano  and  wind-instru- 
ments, also  three  symphonies  for 
piano  and  orchestra. 

Bertinotti  (ber-tin-not'-te),  Teresa. 
1776-1854. 

A  very  successful  Italian  soprano. 
She  was  born  at  Savigliano  in  north- 
ern Italy  and  died  at  Bologna.  Her 
parents  moved  to  Naples  when  Teresa 
was  two  years  old  and  in  this  city  at 
the  age  of  four  she  began  receiving 
instruction  in  music.  She  was  gifted 
with  remarkable  beauty  as  well  as 
musical  talent,  and  having  had  the 
benefit  of  excellent  training,  her  ap- 
pearance in  various  Italian  cities, 
Florence,  Milan,  Venice  and  Turin, 
was  attended  with  the  greatest  suc- 
cess. In  Venice  she  married  Felice 
Radicati,  a  violinist  and  composer, 
but  on  the  stage  retained  the  name  of 
Bertinotti.  She  was  immensely  popu- 
lar in  Vienna,  sang  before  the  court 
at  Munich  and  was  invited  by  the 
King  of  Holland  to  visit  The  Hague. 
In  London  she  was  very  well  liked  in 
Mozart's  opera  Cosi  fan  tutte  and  the 
Flauto  Magico,  and  through  Madame 
Bertinotti's  influence  various  Mozart 
operas  were  produced  in  London  at 
this  time,  about  1810  to  1812.  Follow- 
ing her  visit  to  England  she  returned 
to  Italy.  In  1823  her  husband,  who  was 
settled  at  Bologna,  met  with  an  acci- 
dent that  resulted  in  his  death,  at 
which  time  she  retired  from  the  stage. 
After _  her  retirement,  Madame  Ber- 
tinotti became  esteemed  as  a  teacher 
of  singing. 


Berton 
Berton  (ber-ton),  Henri  Montan. 

1767-1844. 

French  opera  composer  who  was 
very  popular  in  his  day.  He  was  the 
son  of  a  distinguished  father,  Pierre 
Montan  Berton,  musical  composer  and 
conductor;  and  father  of  Frangois 
Berton,  a  composer  and  teacher  of 
some  note.  Henri  was  born  in  Paris 
and  at  a  very  early  age  evinced  de- 
cided musical  talent;  when  only  six 
years  old  he  could  read  music  readily, 
and  at  fifteen  was  violinist  in  an  opera 
orchestra.  He  studied  under  Rey  and 
Sacchini,  but  his  works  suggest  want 
of  a  systematic  education.  A  great 
deal  of  Berton's  knowledge  of  music 
was  obtained  from  the  operas  he  at- 
tended, wherefore  in  his  compositions 
there  is  much  that  is  reminiscent. 
Arnong  the  first  to  give  Berton  recog- 
nition as  a  writer,  was  the  dramatic 
composer  Sacchini,  at  the  time  resid- 
ing in  Paris,  who  saw  no  little  prom- 
ise in  a  work  of  Berton's  brought  to 
his  notice,  it  is  said,  by  the  celebrated 
singer.  Mile.  Mailard,  mother  of  Ber- 
ton's illegitimate  son,  the  Frangois 
referred  to  above.  After  winning 
some  success  as  a  writer  of  oratorios, 
Berton  turned  his  attention  to  the 
field  of  light  opera.  In  1787  a  favor- 
able reception  was  given  two  operas 
of  his,  Les  promesses  de  mariage  and 
La  Dame  invisible;  the  latter  opera 
written  during  the  early  days  of  his 
passion  for  Mile.  Mailard,  who,  it 
would  seem,  both  inspired  the  work 
and  was  successful  in  bringing  it  into 
notice. 

Berton  has  rank  among  the  masters 
of  French  comic  opera,  but  not  a 
pre-eminent  place.  While  bits  of  his 
operas  keep  their  popularity,  the 
works  themselves  have  fallen  into 
obscurity.  He  was  the  author  of 
more  than  forty  operas,  also  of  ora- 
torios and  cantatas.  Special  mention 
may  be  made  of  the  operas  Le  Delire, 
Aline,  ou  la  Reine  de  Golconde,  and 
Frangoise  de  Foix.  Montano  et  Ste- 
panie  is  his  most  ambitious  work. 
Henri  Berton  held  various  posts  of 
honor  in  Paris,  was  professor  of  har- 
mony at  the  Conservatory,  later  of 
composition;  in  1807  was  conductor  of 
Italian  Opera;  in  1815  was  made  mem- 
ber of  the  Institute  of  France.  He 
was  esteemed  both  at  home  and 
abroad,  but  his  last  days  were  shad- 
owed by  waning  popularity  and  finan- 
cial loss. 


72 


BIOGRAPHIES 


Besozzi 


Besozzi  (ba-s6d'-ze). 

An  Italian  family,  that  for  several 
generations  contained  members,  who 
were  distinguished  players  of  wind- 
instruments.  Alessandro,  1700-1775, 
was  an  oboe-player  of  remarkable 
skill,  and  also  a  composer.  He  wrote 
music  for  the  violin,  flute  and  oboe. 
He  was  born  at  Parma  and  died  at 
Turin,  at  the  time  of  his  death  being 
in  the  service  of  the  King  of  Sardinia. 
Three  of  his  brothers  were  celebrated 
players.  The  brother  Antonio,  1707- 
1781,  was  an  oboist  of  note  and  on 
Alessandro's  death  succeeded  him  at 
Turin.  Hieronimo,  born  in  1713,  died 
shortly  after  Antonio.  He  was  a 
famous  bassoon-player  and  the  favor- 
ite and  associate  of  Alessandro,  giv- 
ing with  him  some  noteworthy  duet 
performances.  Gaetano,  the  youngest 
of  the  four  brothers,  was  a  renowned 
oboe-player,  much  admired  in  Paris 
and  London  as  well  as  Naples.  An- 
tonio's son,  Carlo,  played  the  oboe  in 
the  Court  band  at  Dresden.  Gaetano's 
son,  Hieronimo,  who  died  in  Paris, 
also  played  the  oboe,  and  his  son 
Henri  was  flute-player  at  the  Opera 
Comique,  Paris.  Louis  Desire  Besozzi, 
1814-1879,  the  son  of  Henri,  and  the 
fourth  generation  of  Besozzi  musi- 
cians, was  a  distinguished  pupil  of  the 
Paris  Conservatory,  where  he  studied 
under  Lesueur.  He  was  born  at  Ver- 
sailles, in  1825  entered  the  Paris  Con- 
servatory and  was  here  several  times 
a  prize-winner,  in  1837  winning  the 
Grand  Prize  of  Rome.  He  was  a 
teacher  and  composer.  He  made  his 
home  in  Paris,  and  died  in  that  city 
Nov.  11,  1879. 

Besson    (bus-soA),    Gustav    Auguste. 

1820-1875. 

French  manufacturer  of  musical  in- 
struments, who  made  notable  im- 
provements in  the  mechanism  of 
wind-instruments.  He  was  born  in 
Paris,  the  son  of  a  colonel  in  the 
French  army,  and  early  showed  both 
a  fondness  for  music  and  an  interest 
in  mechanics.  He  was  barely  eighteen 
when  he  produced  an  improved  cor- 
net, the  Besson  Model,  the  name  by 
which  it  is  still  called.  He  has  place 
among  the  best  makers  of  wind-in- 
struments, his  numerous  inventions 
and  improvements  being  of  the  high- 
est value.  His  most  noteworthy  con- 
tribution was  the   Prototype  System, 


Biber 

which  made  possible  the  manufacture 
of  any  number  of  instruments  exactly 
alike. 

Bianchi  (be-an'-ke),  Francesco.    1752- 
1810. 

Italian  opera  composer  and  teacher. 
Born  at  Cremona.  Little  seems  to  be 
known  of  his  life  up  to  his  twenty- 
third  year,  when  he  was  appointed 
orchestra  conductor  to  the  Italian 
Opera  in  Paris,  in  1775.  Here  he 
composed  his  first  operas,  La  Reduc- 
tion de  Paris  and  Le  Mort  Marie.  In 
1783  he  went  to  Milan  as  assistant 
conductor  at  St.  Ambrogio,  and  in 
1785  to  Venice  as  second  organist  at 
St.  Mark's.  About  1793,  Bianchi  was 
called  to  London,  where  he  was  con- 
nected for  seven  years  with  the  King's 
Theatre.  He  was  engaged  in  teaching 
during  the  last  ten  years  of  his  life 
and  died  by  suicide  at  Hammersmith 
in  1810.  Sir  Henry  Bishop  was  one 
of  his  famous  pupils.  Bianchi  wrote 
the  opera,  Castore  e  Polluce  for  the 
debut  of  Storace,  the  English  singer, 
and  Inez  de  Castro  for  the  first  ap- 
pearance of  Mrs.  Billington.  His 
opera  Semiramide  was  also  chosen, 
by  the  famous  singer  Banti,  for  her 
debut  in  England.  Merope  is  con- 
sidered Bianchi's  best  work,  though 
the  Disertore  Francese  was  perhaps 
the  most  popular.  He  wrote  in  all 
nearly  fifty  operas,  beside  oratorios 
and  instrumental  music. 

Biber    (be'-ber),    Heinrich   Johann 

Franz  von.     1644-1704. 

Eminent  German  composer  and  vio- 
linist. He  did  much  to  raise  the  art 
of  violin-playing  in  Germany  above  a 
mere  display  of  technique  and  his 
compositions  are  of  true  artistic 
value.  Previous  to  him,  German  vio- 
lin-players and  composers  were  domi- 
nated by  the  Italians.  Biber  is  one 
of  the  founders  of  the  German  School, 
probably  the  foremost  founder.  A 
reformer,  he  was,  as  is  rarely  the  case, 
with  honor  in  his  own  country,  en- 
joying the  favor  of  prince  and  em- 
peror. Leopold  I.  raised  him  to  the 
rank  of  nobleman  and  gave  him  the 
gift  of  a  golden  chain  and  money 
presents.  The  Bavarian  princes, 
Ferdinand  Marie  and  Maximilian 
Emanuel,  were  liberal  patrons  of 
Biber's  and  in  later  life  he  served  as 
high  steward  and  music-director  to 
the  Prince  Archbishop  of  Salzburg. 
He    was    born    at    Wartenberg,    Bo- 


BIOGRAPHIES 


73 


I 


Biber 

hernia  and  died  at  Salzburg.  In  the 
collection  of  the  Salzburg  Museum 
are  manuscript  works  of  Biber's,  con- 
siderable church  music  and  a  Drama 
Musicale.  His  published  compositions 
include  six  sonatas  for  the  violin,  a 
set  of  twelve  sonatas  in  four  and  five 
parts  and  a  collection  of  suites  for 
three  instruments.  Biber  was  re- 
nowned both  as  a  performer  and  com- 
poser. 
*Biedermann    (be'-der-man),   August 

Julius.    1825- 

Contemporary  German  -  American 
composer.  He  was  born  in  Thurin- 
gia,  Germany,  and  studied  harmony 
under  Andreas  Zoellner  of  Meiningen. 
He  came  to  America,  in  1848,  and  set- 
tled in  Milwaukee.  After  a  residence 
there  of  ten  years  he  removed  to  New 
York  City,  where  he  now  lives.  He 
is  the  author  of  numerous  composi- 
tions for  the  piano  and  of  several 
choruses  with  German  text. 
♦Biedermann,  Edward  Julius.    1849- 

Contemporary  German  -  American 
organist,  teacher  and  composer,  son 
of  the  preceding.  He  was  born  in 
Milwaukee,  received  his  first  training 
under  his  father,  and  studied  in  Ger- 
many from  1858  to  1864.  Later  he 
studied  in  New  York  City,  and  for  a 
number  of  years  was  active  as  a 
pianist  on  the  concert  stage.  He  has 
held  the  post  of  organist  in  various 
New  York  churches,  at  present  being 
organist  of  St.  Mary's.  Mr.  Bieder- 
mann  is  the  author  of  considerable 
church  music,  songs  both  sacred  and 
secular,  and  has  compiled,  edited  and 
revised  several  collections  of  organ 
music  and  numerous  pieces  for  the 
piano.  He  has  taught  piano  and  theory 
in  New  York  for  a  number  of  years, 
and  served  as  musical  editor  for  sev- 
eral publishing  houses. 

Billings,  William.     1746-1800. 

One  of  the  pioneers  of  American 
music.  Is  said  to  be  the  first  man 
who  can  claim  the  title  of  "American 
composer,"  as  before  his  time  all  the 
music  in  the  colonies  was  of  English 
origin.  Born  in  Boston.  He  had  very 
little  opportunity  for  education  in  his 
early  life  and  his  knowledge  of  music 
was  entirely  self-acquired,  but  though 
not  constructed  according  to  the  rules 
of  harmony  and  counterpoint,  his 
compositions  showed  considerable 
musical  genius,  being  much  more 
pleasing  in    their  vigor   and   melody 


Billington 

than  the  old  English  tunes  then  in 
use.  Later  in  life  he  wrote  much 
more  correctly  and  his  music  became 
so  popular  that  it  was  used  by  the 
churches  almost  exclusively.  Billings 
may  really  be  considered  as  the 
founder  of  American  church  music. 
He  wrote  and  published,  between  1770 
and  1794,  six  collections  of  music,  as 
follows:  The  New  England  Psalm 
Singer;  The  Singing  Master's  Assist- 
ant; Music  in  Miniature;  The  Psalm 
Singer's  Amusement;  The  Suffolk 
Harmony;  and  The  Continental  Har- 
mony. These  with  his  anthems  were 
all  of  his  music  that  was  published. 
He  is  said  to  have  introduced  the 
cello  into  church  choirs,  to  have  first 
used  the  pitch-pipe  and  to  have 
originated  concerts  in  New  England. 

Billington,    Elizabeth.      About    1768- 
1818. 

Celebrated  singer  and  pianist.  She 
came  of  a  musical  family,  her  father, 
Carl  Weichsel,  a  native  of  Saxony, 
being  an  oboist  and  her  mother  a 
well-known  singer.  She  also  had  a 
brother  who  became  an  excellent  vio- 
linist. Her  musical  training,  carried 
on  under  her  father's  supervision,  was 
very  thorough  and  severe.  At  six  she 
played  the  piano  at  her  mother's  bene- 
fit, at  eleven  she  had  composed  two 
sets  of  sonatas  for  the  piano,  and  at 
fourteen  she  appeared  in  public  as  a 
singer.  At  about  sixteen  she  married 
James  Billington  and  went  to  Dublin, 
where  she  began  her  career  as  an 
opera  singer.  On  returning  to  Lon- 
don, in  1786,  she  appeared  at  Covent 
Garden  with  great  success  and  was 
engaged  for  the  season  there  and  at 
the  Concert  of  Ancient  Music.  She 
sang  in  England  until  1794,  when  she 
went  with  her  husband  and  brother 
to  Italy  to  travel.  While  there  she 
sang  at  Naples  and  Venice  with  the 
greatest  success.  Her  husband  died 
on  this  trip  and,  in  1799,  she  married 
again.  Upon  returning  to  England, 
in  1801,  she  appeared  constantly  and 
most  successfully  at  Drury  Lane, 
Covent  Garden  and  many  other  places 
until  1811,  when  she  retired  from 
public  life.  In  1817  she  became  recon- 
ciled to  her  husband,  from  whom  she 
had  separated,  and  went  with  him  to 
her  country-place  near  Venice,  where 
she  died  within  a  year.  It  is  said 
that  her  voice  was  marvelous  and  her 
range  wonderful  but  that  she  was  a 
poor  actress. 


74 


BIOGRAPHIES 


Bird 
*  Bird,  Arthur.    1856- 

American  composer,  who  lives  in 
Germany.  Born  in  Cambridge,  Mass. 
Went  to  Berlin  at  the  age  of  nineteen 
and  for  two  years  studied  the  piano 
and  theory  with  Laschhorn,  Haupt  and 
Rohde.  In  1877  he  returned  to 
America  and  was  organist  at  Halifax, 
Nova  Scotia,  where  he  also  taught  in 
several  schools  and  organized  a  male 
chorus,  the  first  in  that  province.  He 
returned  to  Berlin  in  1881,  studying 
composition  and  orchestration  with 
Heinrich  Urban,  and  afterward  spend- 
ing two  years  at  Weimar  with  Liszt. 
Mr.  Bird's  first  concert  in  BerUn, 
given  in  1886,  was  very  successful. 
After  a  visit  to  America  the  same 
year,  he  returned  to  Germany  where 
he  has  lived  ever  since  in  Berlin.  He 
won  the  Paderewski  prize  for  cham- 
ber-music in  1901  with  his  serenade 
for  wind-instruments.  His  other 
compositions  are  a  comic  opera 
Daphne,  a  ballet  Rubezahl,  a  Sym- 
phony in  A  and  three  suites  for  the 
orchestra,  beside  many  pieces  for  the 
piano  and  for  piano  and  violin. 

Bird,  Henry  Richard.     1842- 

Contemporary  English  organist,  who 
has  won  special  distinction  as  an 
accompanist  and  who  for  several  years 
was  official  accompanist  of  the  Popu- 
lar concerts.  At  an  early  age,  he 
appeared  as  an  organist,  having  en- 
joyed a  period  of  study  under  Thurle, 
with  whom  he  made  progress  in 
various  branches.  He  came  to  Lon- 
don, in  1859,  served  as  organist  at  St. 
Mark's,  Pentonville  and  Holy  Trinity 
and  also  filled  the  post  of  organist  at 
Chelsea  and  at  St.  Gabriel's,  Pimlico. 
In  1872  he  assumed  the  duties  of  his 
long  service  at  St.  Mary  Abbotts  in 
Kensington.  In  Chelsea,  his  rare 
skill  as  accompanist  came  to  the  fore, 
and  in  Kensington  he  began  associa- 
tion with  the  distinguished  singer,  Mr. 
Plunket  Greene,  whose  regular  accom- 
panist he  became.  Mr.  Bird  was  en- 
gaged, in  1891,  as  regular  accompanist 
for  the  Popular  concerts  and  held  this 
unusual  post  until  reorganization 
made  its  various  changes.  In  1896 
he  became  a  member  of  the  staff  of 
the  Royal  College  of  Music.  London. 

Bischo£F  (be-sh'-6f),  D.  Ludwig  Fried- 
rich  Christian.     1794-1867. 
A  German  editor  and  writer,  in  his 
day  of  much  influence  and  activity  in 
musical  matters.     Son  of  a  musician, 


Bishop 
from  his  earliest  days  breathing  the 
atmosphere  of  music,  he  always 
showed  a  great  interest  in  this  art. 
He  was  born  at  Dessau,  where  his 
father  was  a  court  musician.  He  was 
entered  at  the  University  of  Berlin, 
served  as  a  volunteer  in  the  war  and 
was  captured  by  the  French.  On  his 
release  he  returned  to  the  University 
and  took  his  degree.  He  was  a  pro- 
fessor at  Berlin  for  a  while,  and  from 
1823  to  1849  was  director  of  the 
Gymnasium  at  Wesel.  During  his  long 
residence  here,  he  took  an  active  part 
in  musical  affairs.  Following  an  in- 
terval of  residence  at  Bonn,  he  settled 
in  Cologne,  and  here  spent  the  rest 
of  his  years.  In  this  city  he  founded 
the  Rheinische  Musikzeitung,  and 
was  the  founder  of  its  successor, 
the  Nieder-Rheinische  Musikzeitung, 
which  he  edited  until  his  death.  Grove 
records  that  the  tendency  of  his 
papers  "was  dead  against  that  of  the 
Neue  Zeitschrift  of  Schumann  and 
Brendel  in  regard  to  Wagner  and 
Liszt."  Bischoff's  worship  for  Haydn, 
Mozart,  and  Beethoven,  to  whom  he 
afterward  added  Mendelssohn,  was  so 
exclusive  as  to  exclude  his  appre- 
ciating even  Schumann,  essential  as 
he  is  in  the  development  of  modern 
music.  On  the  other  hand,  his  influ- 
ence on  the  music  of  the  Lower 
Rhine  was  both  good  and  great.  He 
was  the  musical  center  of  the  energy 
and  devotion  which  kept  up  the 
festivals  of  Cologne,  Aix-la-Chapelle, 
and  Diisseldorf,  and  through  them 
acted  so  beneficially  on  the  whole  of 
Germany.  Bischofif  translated  Ulibi- 
scheff's  Beethoven  into  German. 

Bishop,    Sir    Henry    Rowley.      1786- 
1855. 

English  dramatic  composer.  Born 
in  London.  He  began  composing  at 
a  very  early  age  and  studied  under 
the  noted  Francesco  Bianchi.  At  the 
age  of  eighteen  'he  wrote  the  music 
to  Angelina  and  a  little  later  the 
music  for  the  ballet  Tamerlan  et 
Bajazet,  but  was  first  brought  into 
notice  by  his  opera.  The  Circassian 
Bride,  produced  at  the  Drury  Lane 
Theatre  in  1809.  The  night  after  the 
performance,  the  theatre  burned  and 
with  it  the  score  of  the  opera,  but  it 
had  been  so  well  received  that,  in 
1810,  the  position  of  musical  director 
at  Covent  Garden  Theatre  was  offered 
to  Bishop.  The  position  was  accepted 
and    the    engagement    was    twice    re- 


BIOGRAPHIES 


75 


Bishop 

newed,  lasting  until  1823.  In  1813 
Bishop  helped  to  found  the  Philhar- 
monic Society,  and  took  his  turn  as 
conductor,  and  in  1819,  with  Mr. 
Harris,  he  undertook  the  direction  of 
the  oratorios.  The  second  season,  in 
1820,  he  carried  them  on  alone,  but 
gave  them  up  the  next  year  and  re- 
turned to  opera  in  1825,  by  becoming 
conductor  at  the  Drury  Lane  Theatre. 
In  1830  he  became  musical  director  at 
Vauxhall  Gardens  and  in  1840  to  1841 
was  again  musical  director  at  Covent 
Garden.  At  this  time  he  composed 
The  Fortunate  Isles,  to  celebrate 
Queen  Victoria's  wedding.  From 
1841  to  1843  he  was  professor  of 
music  in  Edinburgh  University;  in  1842 
he  was  knighted,  and,  in  1848,  was 
made  professor  of  music  in  Oxford 
University,  from  which  he  had  re- 
ceived the  degree  of  Bachelor  of 
Music,  in  1839,  and  which  gave  him 
the  degree  of  Doctor  of  Music  in  1853. 
Bishop  produced  in  all  over  one  hun- 
dred and  twenty-five  operas,  operettas, 
burlettas,  ballets  and  other  musical 
pieces.  More  than  two-thirds  of  these 
were  entirely  his  own,  the  others  be- 
ing adaptations  from  other  composers 
and  works  written  in  collaboration 
with  other  musicians.  Beside  the 
operas  already  mentioned  some  of  his 
best  known  works  are  The  Virgin  of 
the  Sun;  The  Knight  of  Snowdoun; 
The  Miller  and  his  Men;  The  Law  of 
Java;  Clari;  Maid  Marian;  Cortez; 
Guy  Mannering;  and  The  Slave.  He 
also  wrote  an  oratorio.  The  Fallen 
Angel;  a  cantata.  The  Seventh  Day; 
and  music  for  three  tragedies,  The 
Apostate,  Retribution,  and  Mirandola; 
beside  arranging  the  first  volume  of 
Melodies  of  various  nations  and 
arranging  and  writing  accompani- 
ments for  three  volumes  of  National 
melodies.  He  also  edited  The  Mes- 
siah; a  large  collection  of  Handel's 
songs,  and  many  other  important 
works. 

Bispham  (bisp'-ham),  David  S.    1857- 

Born  in  Philadelphia.  Was  educated 
at  Haverford  College,  Pennsylvania. 
The  possession  of  a  fine  barytone  voice 
and  a  strong  musical  inclination, 
proved  disastrous  to  the  business 
career,  for  which  he  was  intended, 
and  after  singing  as  an  amateur  in 
concert  and  oratorios  and  in  the  choir 
of  a  Philadelphia  church,  for  several 
years,  he  went  to  Italy  and  studied 
at  Milan  under  Vannuccini  and  Lam- 


Bizet 

perti.  In  1899  he  went  to  London, 
where  he  studied  with  Shakespeare. 
He  made  his  debut  at  the  Due  de 
Longueville  in  the  Basoche  in  1891. 
Since  then  he  has  sung  with  the 
Royal  Opera  Company  at  Covent  Gar- 
den and  with  the  Metropolitan  Opera 
Company  in  New  York,  singing  the 
principle  roles  in  French,  German  and 
Italian  Opera.  Bispham  has  appeared 
in  all  the  leading  barytone  parts  of 
the  Wagner  operas,  also  in  Don 
Giovanni,  Fidelio,  Carmen,  Hansel  und 
Gretel  and  Otello.  He  also  took 
part  in  the  first  production  of  the  fol- 
lowing operas:  Mascagni's  Rantzau, 
Kienzl's  Evangelimann,  Paderewski's 
Manru,  Cowen's  Harold,  Stanford's 
Much  Ado  About  Nothing,  and  Miss 
Smyth's  Der  Wald.  He  was  the 
original  Chillingworth,  when  Walter 
Damrosch  produced  the  Scarlet  Letter 
in  America.  Bispham  has  also  had 
great  success  as  a  concert  singer  and 
has  done  much  for  musical  education 
in  London,  by  the  works  which  he 
gave  in  his  series  of  recitals  in  that 
city.  Since  1898  he  has  been  a  mem- 
ber of  the  Grand  Opera  Company 
both  in  London  and  New  York. 

Bizet  (be-za),  Georges  (Alexandre 
Cesar  Leopold).  1838-1875. 
A  brilliant  and  richly  endowed  com- 
poser, whose  career,  which  promised 
so  much,  was  cut  short  by  death  at 
the  age  of  thirty-six,  and  whose  mas- 
terpiece, Carmen,  is  the  most  popular 
and  intensely  dramatic,  perhaps,  of  all 
the  operas  in  the  modern  French 
repertory. 

Bizet,  whose  real  given  names  were 
Alexandre  Cesar  Leopold,  but  whose 
uncle  gave  him  the  name  of  Georges, 
by  which  he  was  ever  afterward 
known,  was  born  in  Paris  and  was 
the  son  of  poor  but  talented  parents, 
his  father  being  a  singing  teacher  and 
his  mother  an  excellent  pianist,  who 
had  taken  prizes  at  the  Conservatory. 
She  was  a  sister  of  Mme.  Delsarte, 
also  a  noted  pianist,  and  Bizet's  uncle, 
a  musician,  was  the  founder  of  the 
famous  Delsarte  system.  His  mother 
taught  him  the  rudiments  of  music 
when  he  was  four  years  of  age  and  at 
nine  he  was  sent  to  the  Conservatory. 
He  is  said  to  have  not  cared  par- 
ticularly for  music  in  those  days,  but 
to  have  been  exceedingly  fond  of 
books,  with  aspirations  to  become  a 
writer.  However,  he  learned  to  love 
his  studies  and  made  remarkable  prog- 


76 


BIOGRAPHIES 


Bizet 

ress  under  his  teachers.  They  were 
Marraontel,  who  instructed  him  on  the 
piano;  Benoist,  who  taught  him  to 
play  the  organ;  Zimmermann,  from 
whom  he  learned  harmony,  and 
Halevy,  who  taught  him  composition 
and  whose  opera,  Noah,  he  completed 
in  after  years,  and  whose  daughter  he 
married. 

When  Bizet  was  fourteen  he  was 
a  master  of  the  piano,  and  delighted 
his  teachers  with  the  progress  he 
made.  He  carried  off  prize  after  prize 
at  the  Conservatory  and,  in  1857,  won 
the  Offenbach  first  prize,  jointly  with 
Lecocq,  for  an  opera  buffa,  entitled 
Le  Docteur  Miracle,  which  was  pro- 
duced in  Paris  at  the  Bouffes  Par- 
isiens  with  striking  success  six  years 
later.  He  shortly  afterward  won  the 
Grand  Prize  of  Rome,  and  while 
studying  in  Italy,  sent  back  to  Paris, 
instead  of  the  mass  prescribed  by  the 
rules,  an  opera,  Don  Procopio,  which 
was  highly  praised  by  Ambroise 
Thomas  for  its  brilliancy  and  the 
freshness  and  boldness  of  its  style. 
Bizet's  next  compositions  were  the 
two  movements  of  a  symphony;  an 
overture,  La  Chasse  d'Ossian;  and  a 
light  opera,  La  Guzzla  de  I'Emir. 

After  his  return  to  Paris  from 
Rome,  in  1861,  he  taught  music  for  a 
living  and  spent  his  spare  time  mak- 
ing piano  arrangements  of  airs  from 
other  operas.  Bizet  did  not  at  once 
gain  the  recognition  through  his  com- 
positions that  he  had  hoped  for,  al- 
though he  wrote  constantly.  His 
operas  were  rather  conventional  and 
reminiscent  of  other  works  and  it  was 
only  after  the  world  had  succumbed 
to  the  charm  of  Carmen,  that  they 
received  any  attention  from  musi- 
cians. His  next  works  were  the  over- 
ture, Patrie,  and  his  interludes  to 
Daudet's  L'Arlesienne  (The  Woman 
of  Aries),  afterwards  published  as  two 
orchestral  suites.  His  two  operas. 
The  Pearl  Fishers  (Les  Pecheurs  de 
Perles)  and  The  Fair  Maid  of  Perth, 
were  produced  at  the  Theatre  Lyrique, 
Paris,  the  former  in  1863,  the  latter  in 
1867,  but  with  only  a  fair  amount  of 
success.  While  composing  the  music 
to  the  last-named  opera,  Bizet  often 
worked  fifteen  and  sixteen  hours  a 
day,  and  supported  himself  by  giving 
lessons,  arranging  dance  music  for  or- 
chestras, correcting  proofs  and  writing 
songs.  It  was  his  incessant  industry 
and  long  hours  of  ceaseless  activity 
that  undoubtedly  hastened  his  death 


Bizet 

When  The  Pearl  Fishers  was 
brought  out  it  was  applauded  by 
some,  while  others  criticized  it  in  the 
harshest  terms,  attributing  Wagnerian 
tendencies  to  the  composer,  and  accus- 
ing him  of  copying  Verdi  and  others. 
Berlioz  alone  praised  it,  and  in  later 
years  musicians  have  agreed  that  it  is 
a  remarkable  work  to  have  been 
written  by  a  man  of  only  twenty-five. 
Bizet,  shortly  after  its  production  set 
to  work  on  the  score  of  Noah,  the 
biblical  opera  left  unfinished  by  his 
former  teacher,  Halevy,  and  also 
wrote  other  music,  most  of  which  he 
destroyed.  In  1869  he  married 
Genevieve  Halevy,  the  daughter  of  the 
operatic  composer  and  teacher.  After 
the  invasion  of  France,  he  served  in 
the  national  guard. 

Bizet's  first  success  came  with  the 
overture  to  Sardou's  Patrie,  which 
was  played  at  one  of  the  Popular  con- 
certs in  Paris,  shortly  after  their 
inauguration  by  Pasdeloup.  His  inci- 
dental music  to  Daudet's  play,  L'Ar- 
lesienne, given  first  in  1872,  was  most 
successful,  and  later,  when  arranged 
as  two  orchestral  suites,  was  ex- 
tremely popular.  The  suite,  Roma, 
was  given  under  Pasdeloup's  direc- 
tion, in  1869,  at  the  Crystal  Palace, 
London,  and  another  suite,  Jeux 
d'Enfants,  also  attracted  a  good  deal 
of  attention  from  musical  critics. 
Carmen,  the  composer's  masterpiece, 
an  opera  in  four  acts,  with  a  libretto 
written  by  Meilhac  and  Halevy,  after 
the  famous  novel  of  Prosper  Merimee, 
was  produced  for  the  first  time  at  the 
Opera  Comique,  Paris,  in  1875,  with 
Mme.  Galli-Marie  in  the  title  role. 
Before  the  opera  was  brought  out,  it 
was  eagerly  awaited  and  its  composer 
was  looked  upon  as  one  of  the  most 
interesting  personalities  of  the  mod- 
ern French  School.  It  was  not,  how- 
ever, an  immediate  success  and  its 
real  vogue  did  not  begin  until  it  was 
sung  in  London  three  years  later, 
with  Mme.  Minnie  Hauck  in  the  part 
of  the  cigarette  girl.  The  picturesque- 
ness  and  beauty  of  the  score  failed 
to  arouse  any  interest  at  the  time  of 
its  first  production.  It  was  called  by 
some,  commonplace,  by  others,  radi- 
cal and  daring  and  the  character  of 
Carmen  brutal  and  coarse.  The  critics 
and  public  alike  were  agreed  that  it 
was  not  a  great  work,  or  one  destined 
to  live.  Tine  night  of  its  production, 
Bizet  walked  the  streets  of  Paris  till 
morning,  because  of  his  distress  and 


BIOGRAPHIES 


77 


Bizet 

disappointment  at  what  he  believed  to 
have  been  a  failure.  He  had,  however, 
the  greatest  belief  in  the  future  fame 
of  the  work,  and  felt  certain  that  it 
was  worthy  of  success  and  bound  to 
triumph  eventually.  He  had  always 
been  a  prodigious  worker,  and  finally 
his  overtaxed  strength  gave  way.  He 
was  stricken  with  an  attack  of  heart 
disease  and  died  three  months  after 
the  production  of  Carmen.  Overwork 
and  grief  over  the  failure  of  the  opera, 
upon  which  he  had  built  such  high 
hopes  and  which  was  destined  to  one 
day  attain  the  utmost  fame  and  popu- 
larity, were  too  much  for  him  and  he 
never  lived  to  know  of  his  success. 
Great  hopes  had  been  entertained  of 
Bizet's  future  and  his  sudden  death 
was  universally  regretted  and  la- 
mented. He  died  in  the  arms  of  his 
young  wife,  and  left,  besides  his 
widow,  a  five-year-old  son. 

Shortly  after  the  composer's  death, 
Carmen,  once  considered  a  failure,  was 
acclaimed  a  success  and  now  holds 
the  stage  for  all  time,  in  all  prob- 
ability. L'Arlesienne  has  been  heard 
and  admired  the  world  over  and  his 
earlier  operas  have  been  revived  and 
sung  in  many  lands  and  in  many  lan- 
guages. Although  Bizet  did  not  meet 
with  any  popular  success  during  his 
lifetime,  he  was  not  exactly  neglected 
by  the  public  of  his  day  as  so  many 
composers  have  been.  L'Arlesienne 
and  others  of  his  works  had  given 
him  an  enviable  reputation  and  he 
was  decorated  by  his  country  with 
the  red  ribbon  of  the  Legion  of 
Honor. 

Carmen  achieved  a  veritable  triumph 
after  it  had  been  heard  in  London  and 
its  popularity  is  still  undiminished.  It 
is  the  greatest  of  all  the  composer's 
works  and  has  a  universal  appeal  and 
an  eternal  interest  for  all  lovers  of 
opera. 

Bizet  always  loved  to  infuse  into  his 
works  plenty  of  local  color.  The 
music  of  Carmen  is  peculiarly  Spanish 
and  the  dance  forms  of  the  Spaniards, 
which  they  had  borrowed  from  the 
Moors  with  their  Oriental  rhythm  and 
grace,  are  freely  used  in  it  and  un- 
doubtedly add  much  to  its  interest. 
The  opera  is  a  vital  and  brilliant  work, 
apd  its  story  is  dramatic  and  impres- 
sive. With  its  thoroughly  character- 
istic music  and  spirited  action,  it 
remains  one  of  the  greatest  operatic 
works  of  the  century  and  one  that  is 
destined  to  live. 


Bizet 

Bizet's  fame  and  renown  must  rest 
upon  L'Arlesienne  and  upon  Carmen 
and  his  rank  as  an  operatic  composer 
must  be  decided  by  Carmen  alone,  as 
it  placed  him  in  the  front  rank  of 
modern  French  composers.  By  some, 
L'Arlesienne  is  considered  his  great- 
est work.  Its  motive  is  a  song  of 
Provence,  attributed  by  some  to  Lully 
and  by  others  to  King  Rene.  This 
orchestral  suite,  made  from  the  inci- 
dental music  to  Daudet's  tragedy, 
shows  all  the  composer's  rare  drama- 
tic power  and  remains  one  of  the  best 
and  most  popular  of  concert  pieces. 
It  was  first  played  at  a  Popular  con- 
cert in  Paris  in  1872  and  was  first 
introduced  to  America  by  the  late 
Theodore  Thomas. 

Bizet's  work  throughout  shows  sin- 
cerity, a  quality  that  most  French 
composers  lack,  his  instrumentation  is 
skilful  and  scholarly  and  his  melodies 
are  marked  by  grace,  originality  and 
great  beauty.  In  France  the  composer 
was  known  as  one  of  the  most  fero- 
cious of  the  French  Wagnerian  school, 
as  it  was  called,  although  he  hated 
the  phrase,  despite  his  admiration  for 
Wagner.  He  acknowledged  a  love  for 
the  works  of  Mozart,  Beethoven, 
Rossini  and  Meyerbeer  and  his  prefer- 
ence for  and  his  indebtedness  to  the 
German  composers,  Wagner  among 
the  others.  Although  he  never  ap- 
peared in  public  as  a  pianist,  Bizet 
used  to  delight  his  hearers  in  private 
salons  with  his  exquisite  playing.  He 
was  especially  noted  for  his  wonder- 
ful sight-reading  of  orchestral  scores 
and  was  distinguished  in  a  great  many 
different  ways.  It  was  often  said  by 
his  friends  that  if  Bizet  had  not  been 
a  great  musician  he  would  undoubt- 
edly have  been  a  man  of  letters,  for 
he  wrote  as  brilliantly  as  he  com- 
posed. 

His  other  works  besides  those  men- 
tioned are  the  operas,  Numa  and 
Djamileh,  produced  at  the  Opera 
Comique  in  1875;  Ivan  the  Terrible, 
an  opera  never  performed;  a  sym- 
phonic ode,  Vasco  da  Gama;  a  sym- 
phony; a  suite,  Jeux  d'Enfants;  much 
piano  music,  including  Venice,  a  song 
without  words,  Marine  Nocturne,  and 
transcriptions  for  both  two  and  four 
hands;  and  twenty-six  songs,  among 
the  most  popular  of  which  is  Les 
Adieux  de  I'Hotesse  Arabe. 

Bizet  left  few  compositions  and 
those  that  he  did  not  destroy  prior  to 
his  death  were  in  such  an  unfinished 


78 


BIOGRAPHIES 


Bizet 

state  as  to  be  practically  illegible. 
Very  few  biographies  of  the  composer 
have  ever  been  written.  The  only 
important  one  was  published  by 
Charles  Pigot  in  1886  and  is  entitled 
Bizet  and  his  Work.  Mile.  Cecile 
Chaminade,  the  famous  composer  and 
a  pupil  and  friend  of  Bizet,  contributed 
a  brief  but  valuable  article  to  the  Cen- 
tury Library  of  Music,  in  which  she 
praises  him  highly  as  man  and  musi- 
cian. 

Black,  Andrew.    1860- 

Accomplished  contemporary  Scotch 
barytone  singer.  He  was  born  at 
Glasgow.  After  a  period  of  service 
as  an  organist  he  made  the  discovery 
of  the  possession  of  a  fine  barytone 
voice.  Following  a  course  of  study  in 
London  and  Milan,  he  met  with  suc- 
cess in  Scotland,  and  when  he  made 
his  debut  as  a  singer  at  the  Crystal 
Palace,  in  1887,  was  at  once  appre- 
ciated. He  visited  America,  sang  here 
occasionally  in  opera,  and  on  his  re- 
turn to  England  was  shortly  given 
place  in  the  foremost  rank  of  concert 
barytones.  He  has  won  notable  suc- 
cess in  the  barytone  part  of  Dvorak's 
Spectre  Bride,  and  with  his  dramatic 
interpretation  of  Elijah.  In  1893  he 
was  appointed  professor  of  singing  at 
the  Royal  College  of  Music  at  Man- 
chester. 

Blagrove,  Henry  Gamble.     1811-1872. 

A  distinguished  English  violinist 
He  was  born  in  Nottingham,  where 
his  father,  a  professor  of  music,  was 
his  first  teacher.  He  appeared  in 
public  when  only  five  years  old,  and 
at  the  age  of  six  played  in  a  per- 
formance at  Drury  Lane  Theatre. 
Before  he  was  ten,  he  appeared  daily 
in  public  at  the  Exhibition  Rooms, 
Spring  Gardens,  London.  In  1821  he 
became  a  pupil  of  Spagnoletti.  When 
the  Royal  Academy  of  Music  was 
opened,  in  1823,  he  was  enrolled 
among  its  first  pupils,  and  the  follow- 
ing year  won  a  prize  for  proficiency. 
From  1832  to  1834  he  studied  under 
Spohr,  in  Germany.  For  several  years 
he  was  solo  violinist  in  Queen  Ade- 
laide's private  band,  and  at  the  corona- 
tion of  Queen  Victoria  he  held  the 
place  of  leader  of  the  State  band. 
Grove  states  that  for  upwards  of 
thirty  years  he  occupied  the  position 
of  concerto  player  and  leader  in  all 
the  best  orchestras.  He  died  in  Lon- 
don. 


Blangini 
Blahetka,    Marie    Leopoldine.      1811- 
1887. 

Brilliant  Austrian  pianist  and  a  good 
composer.  She  showed  musical  ability 
very  early  and  as  a  child  of  five  was 
placed  under  Czerny,  on  the  advice  of 
Beethoven,  who  had  heard  her  play. 
Later  she  studied  the  piano  with 
Kalkbrenner  and  Moscheles  and  com- 
position with  Sechter.  After  making 
a  number  of  successful  concert  tours, 
she  settled  in  Boulogne  in  1840,  where 
she  devoted  herself  to  teaching  and 
composition.  Her  best  works  are  an 
opera,  Die  Rauber  und  die  Sanger, 
which  was  produced  in  Vienna  in 
1830,  and  a  concert  piece  for  piano 
and  orchestra.  She  wrote  beside  these 
many  concertos,  sonatas,  polonaises, 
and  rondos,  for  the  piano,  and  the 
piano  and  violin  and  also  many  songs. 

Blake,  Charles  Dupee.    1847- 

American  organist  and  song  writer. 
Born  in  Walpole,  Mass.  Began 
studying  music  at  the  age  of  seven 
and  composing  at  ten.  Studied  with 
J.  D.  C.  Parker,  J.  K.  Paine,  T.  P. 
Ryder  and  Handel  Pond.  After  being 
organist  at  Wrentham  and  at  Hollis- 
ton,  Mass.,  he  went  to  Boston  as 
organist  of  the  Bloomfield  Street  M. 
E.  Church  and  later  to  the  Union 
Church.  His  compositions  which  are 
very  popular  in  character,  number 
about  three  thousand,  and  consist  of 
songs  and  piano  pieces.  He  also 
wrote  several  large  works,  one  of 
which.  The  Lightkeeper's  Daughter, 
was  produced  in  Boston  in  1883.  He 
has  been  connected  with  the  music- 
house  of  White,  Smith  &  Co.,  of 
Boston. 

Blangini     (blan-je'-ne),    Giuseppe 
Marco  Maria  Felice.    1781-1841. 

Italian  composer,  singer  and  teacher, 
who  was  very  much  the  fashion  in  the 
Paris  of  his  day.  He  was  born  at 
Turin,  Italy,  and  died  in  Paris. 
Blangini  was  an  indefatigable  com- 
poser, possessed  an  exquisite  tenor 
voice  and  was  a  much-sought  teacher 
of  singing,  holding  the  post  of  music- 
director  at  various  courts.  At  an 
early  age  he  displayed  a  decided  talent 
for  music  and  at  nine  years  old  was 
studying  in  the  chorister's  school  of 
the  Turin  Cathedral.  At  the  age  of 
twelve  he  wrote  some  sacred  music, 
a  vocal  composition  and  an  anthem. 
War  drove  his  family  from  Italy  in 
1797,  and  they  found  refuge  in  France, 


BIOGRAPHIES 


79 


Blangini 
Blangini  immediately  going  to  the 
French  capital,  where  he  very  soon 
won  success  as  a  teacher  and  a  com- 
poser of  songs,  and  later  as  an  opera 
composer.  In  1802  he  was  given 
commission  to  complete  Delia  Maria's 
unfinished  opera,  La  fausse  Duegne; 
the  following  year  his  own  opera  Chi- 
mere  et  Realite  was  produced,  and,  in 
1806,  he  wrote  Nephtali  ou  les  Am- 
monites. He  was  appointed  Court 
conductor  at  Munich  in  1805,  in  1806 
was  Court  conductor  to  Napoleon's 
sister,  the  Princess  Borghese,  and  in 
1809  held  a  similar  position  at  Cassel 
under  King  Jerome.  After  his  return 
to  Paris  in  1814  he  became  composer 
to  the  court,  and  professor  of  singing 
at  the  Conservatory.  Grove  says: 
"  The  whole  fashionable  world,  par- 
ticularly the  Faubourg  St  Germain, 
thronged  to  him  for  lessons.  He  drew 
up  a  list  of  his  pupils  which  reads  like 
Leporello's  catalogue  in  Don  Gio- 
vanni, as  it  included  three  Queens, 
twelve  Princesses,  twenty-five  Coun- 
tesses, etc."  Blangini  was  the  author 
of  thirty  operas,  four  orchestral 
masses,  a  great  many  romances,  and 
many  other  compositions.  Of  this 
work  the  romances  enjoyed  a  long- 
continued  popularity. 

Blaramberg  (bla'-ram-berkh),  Paul. 
1841- 

A  Russian  composer,  Paul  Blaram- 
berg was  born  at  Orenburg,  received 
his  education  at  the  Alexandrovsky 
School  in  St.  Petersburg  and  served  in 
the  Statistical  Bureau  central  service 
until  1870,  when  he  withdrew  to  go 
into  journalistic  work.  For  a  time  he 
was  editor  of  the  Moskow  Russische 
Zeitung.  Coming  under  the  influence 
of  Balakirev,  the  inspiring  teacher  and 
leader  in  the  new  school  of  Russian 
music,  Blaramberg,  who  previously 
had  written  music,  entered  seriously 
upon  his  musical  career,  after  a  brief 
season  of  study  with  Balakirev,  he 
produced  the  opera,  Mary  of  Bur- 
gundy. He  is  the  author  of  a  national 
comic  opera,  The  Mummers;  a  one-act 
opera,  The  Roussalka  Maiden;  music 
to  a  national  opera,  the  subject  of 
which  is  taken  from  a  play  by 
Ostrovsky;  several  folk-songs  and 
songs;  and  other  compositions.  Of 
Blaramberg's  earlier  work  mention 
should  be  made  of  the  cantata.  The 
Demon,  the  Tartar  dances,  which 
compositions  were  very  much  ad- 
mired, and  very  popular. 


Blaze 

Blauvelt  (blou'-felt),  Lillian  Evans. 
1873- 

American  soprano,  who  has  been 
very  successful  as  a  concert  and 
operatic  singer.  She  was  born  at 
Brooklyn,  New  York,  and  is  of  old 
Dutch  and  Welsh  stock.  She  dis- 
played musical  talent  at  an  early  age, 
but  until  her  fifteenth  year  devoted 
herself  exclusively  to  the  violin.  She 
began  her  vocal  education  at  the 
National  Conservatory  of  Music,  New 
York,  studying  under  Mr.  Jacques 
Buohy  both  in  New  York  and  Paris. 
She  has  sung  with  the  leading  musical 
societies  of  Europe,  under  the  direc- 
tion of  numerous  famous  conductors 
and  in  England  and  on  the  Continent 
has  won  many  triumphs.  She  re- 
ceived special  recognition  from  Queen 
Margherita  of  Italy  and  Queen  Vic- 
toria of  England.  Lillian  Blauvelt  is 
the  only  woman  and  the  only  English- 
speaking  person  to  whom  has  been 
awarded  the  Decoration  of  the  Order 
of  St.  Cecilia,  conferred  by  the  Royal 
Academy  of  St.  Cecilia,  the  oldest 
musical  society  in  the  world,  founded 
in  1585.  In  the  United  States  she  has 
sung  under  Walter  Damrosch,  Theo- 
dore Thomas,  and  Anton  Seidl,  and  is 
a  great  favorite  in  this  country.  She 
made  her  debut  in  opera  at  Brussels 
in  1891  in  Mireille  and  in  1903  sang  at 
Covent  Garden,  London,  the  roles  of 
Marguerite,  Micaela,  Juliette,  and  Zer- 
line.  In  1899  she  married  Mr.  William 
F.  Pendleton  of  New  York. 

Blauwaert    (blow'-vart),   Emil.    1845- 
1891. 

Famous  Belgian  singer,  who  reached 
the  climax  of  his  career  at  Bayreuth. 
He  was  successful  also  as  a  teacher. 
Taught  in  Burges,  Antwerp  and 
Mons.  He  was  born  at  St.  Nikolas, 
Belgium,  and  studied  at  the  Brussels 
Conservatory,  under  Goossens  and 
Warnots,  made  his  debut  in  Benoit's 
oratorio,  Lucifer,  and  for  a  number  of 
years  was  identified  with  the  principal 
part  in  this  oratorio.  In  1889  his  sing- 
ing of  Gurnemanz  in  Parsifal  was  a 
memorable  event. 

Blaze  (blaz),  Franjois  Henri  Joseph. 
1784-1857. 

He  is  sometimes  called  Castil-Blaze, 
French  musical  critic  and  writer  on 
musical  subjects.  Received  his  first 
instructions  from  his  father,  who  al- 
though a  lawyer  was  a  good  musician. 
In  1799,  Blaze  went  to  Paris  to  study 


80 


BIOGRAPHIES 


Blaze 

law,  but  became  a  student  at  the  Con- 
servatory and  also  took  private  les- 
sons in  harmony.  In  1820  he  gave 
up  the  law  and  went  to  Paris,  where 
he  soon  became  famous  as  a  musical 
critic  and  as  the  author  of  a  two- 
volume  work,  The  Opera  in  France, 
which  appeared  in  1820.  From  1822 
to  1832  Blaze  was  musical  critic  of 
the  Journal  des  Debats,  and  he  also 
wrote  numerous  articles  for  other 
periodicals.  He  also  published  a  Dic- 
tionary of  Modern  Music  and  Theatres 
Lyriques  de  Paris,  in  three  volumes 
and  beside  translated  into  French  a 
large  number  of  Italian  and  German 
operas.  His  compositions,  which  are 
forgotten,  consist  of  two  comic  operas 
and  a  serious  one,  several  romances 
and  some  chamber-music.  He  made 
a  valuable  collection  of  the  songs  of 
southern  France  called  Chants  de 
Provence. 

Blewitt,  Jonathan.  About  1780-1853. 
English  organist,  composer  and  di- 
rector, son  of  Jonas  Blewitt,  a  well- 
known  organist  of  the  latter  part  of 
the  Eighteenth  Century.  He  was 
born  in  London  about  1780,  studied 
under  his  father  and  under  Battishill, 
and  for  awhile  served  as  his  father's 
assistant.  He  held  several  London 
appointments,  was  organist  at  Brecon, 
later  at  Sheffield,  and  in  1811  went  to 
Ireland  as  private  organist  to  Lord 
Cahir.  He  remained  in  Ireland  a 
number  of  years,  held  the  post  of 
organist  at  St.  Andrew's,  Dublin,  and 
was  composer  and  music-director  to 
the  Theatre  Royal  in  Dublin.  He  was 
a  popular  teacher  and  conductor  in 
that  city.  In  1813  the  Duke  of 
Leinster  appointed  him  grand  organ- 
ist to  the  Masonic  body  of  Ireland. 
In  1825,  Blewitt  returned  to  London, 
became  music-director  at  Sadler's 
Wells  Theatre,  brought  out  several 
stage  pieces,  and  wrote  music  for 
pantomimes,  operas  and  Irish  ballads, 
the  latter  of  which  were  quite  popular. 
He  was  a  very  good  singer  in  addition 
to  his  other  talents,  and  also  a  pianist. 

Blockx  (blox),  Jan.    1851- 

Distinguished  contemporary  Bel- 
gian composer  and  teacher,  who  has 
won  his  chief  renown  in  opera.  He 
was  born  at  Antwerp,  the  son  of  an 
upholsterer,  and  as  a  lad  was  set  to 
learn  his  father's  trade.  His  employer 
noticing  he  possessed  an  unusual 
talent  for  music,  aided  him  to  set  out 
on  a  musical  career.     He  studied  in 


Blow 

Antwerp  and  Brussels,  and  completed 

his  education  at  the  Leipsic  Conserv- 
atory. At  an  early  age  he  composed 
considerable  music,  his  Flemish  songs 
winning  for  him  much  popularity  in 
his  native  city,  and  in  this  period  he 
also  wrote  cantatas  and  some  cham- 
ber-music. In  1877  his  one-act  opera 
lets  Vergeten  was  brought  out,  and 
with  a  cantata  for  the  Rubens  Festival, 
0ns  Vaterland,  he  won  a  prize  over 
twenty-one  other  competitors.  In 
1886  he  became  a  teacher  at  the 
Antwerp  Conservatory,  was  musical 
director  of  the  Cercle  Artistique  of 
Antwerp,  and  in  1902  succeeded 
Benoit  as  director  of  the  Conserv- 
atory. His  ballet  Milenka,  produced 
at  Brussels  in  1886,  made  his  name 
widely  known.  This  was  followed  by 
the  four-act  opera  comique,  Maitre 
Martin,  and  then  came  the  lyric 
drama,  De  Herbegprinses,  produced 
at  Antwerp  in  1896  and  proving  a  very 
great  success.  An  equal  success  was 
the  opera,  Thyl  Uylenspiegel,  pro- 
duced at  Brussels,  in  1900;  and  a  still 
greater  success.  La  Fiancee  de  la  Mer, 
brought  out  in  1903.  Grove  gives  this 
estimate  of  the  Belgian  composer's 
work:  "In  his  various  compositions 
Blockx  manifests  a  very  interesting 
personality,  which,  while  carrying  out 
the  newer  tendencies  in  harmony  and 
orchestration,  succeeds  in  avoiding  all 
imitation  of  Wagner." 

Bloomfield-Zeisler.    See  Zeisler. 

Blow,  John.     1648-1708. 

Noted  English  organist  and  com- 
poser. Was  the  teacher  of  Henry 
Purcell.  Sang  in  the  choir  of  the 
Chapel  Royal  in  1660,  under  Henry 
Cook,  and  studied,  after  leaving  the 
choir,  with  John  Hingeston  and  Chris- 
topher Gibbons.  He  began  com- 
posing while  a  chorister,  and  also 
became  so  fine  an  organist  that,  in 
1669,  he  was  appointed  organist  of 
Westminster  Abbey.  This  position  he 
held  until  1680  when  he  was  replaced 
by  Henry  Purcell,  but  on  the  latter's 
death  in  1695  he  was  again  appointed. 
He  was  appointed  one  of  the  King's 
private  musicians  and  honorary  com- 
poser to  the  King,  in  1685.  In  1699 
he  was  appointed  composer  to  the 
Chapel  Royal,  which  office  he  was  the 
first  to  fill.  Although  not  a  graduate 
of  any  university  the  degree  of  Doctor 
of  Music  was  conferred  on  Blow,  by 
the  Archbishop  of  Canterbury.    Upon 


BIOGRAPHIES 


81 


Blow 

his  death,  at  the  age  of  sixty,  Blow 
was  buried  in  Westminster  Abbey.  He 
was  a  most  voluminous  composer,  his 
works  consisting  of  about  one  hun- 
dred anthems,  fourteen  church  serv- 
ices, many  sacred  songs  and  duets, 
odes,  and  catches  and  also  organ 
pieces  Unfortunately  only  a  small 
number  of  these  have  been  printed. 

*  Blumenthal  (bloo'-men-tal),  Jacques. 
1829- 

German  pianist  and  composer.  Born 
at  Hamburg,  where  he  studied.  Later 
went  to  Vienna,  where  he  studied  in 
the  Conservatory  and  afterward  at  the 
Conservatory  of  Paris  with  Halevy. 
He  went  to  London  in  1848,  and  set- 
tled there  as  a  fashionable  teacher 
and  pianist  to  Queen  Victoria.  He  is 
a  naturalized  British  subject.  Beside 
piano  pieces  and  compositions  for  the 
violin  and  violoncello,  he  has  written 
many  songs,  some  of  the  most  popular 
of  which  are.  My  Queen;  The  Mes- 
sage; The  Bend  of  the  River;  and  The 
Requital.  In  later  years  his  songs 
have  been  published  in  album  form. 

Boccherini    (bok-ke-re'-ne),    L  u  i  g  i. 
1743-1805. 

Famous  Italian  composer  and  vio- 
loncellist. Born  at  Lucca.  He  showed 
great  genius  for  music  at  a  very  early 
age  and  his  first  teacher  was  his 
father,  who  was  himself  a  good  musi- 
cian. Very  soon  he  was  placed  under 
the  Abbe  Vannucci  and  made  such 
rapid  progress  that,  in  1757,  he  was 
sent  to  Rome.  Here  he  soon 
equaled  his  teachers  and  he  heard 
much  good  music,  notably  Pales- 
trina's,  which  influenced  him  greatly. 
After  finishing  his  studies,  he  re- 
turned to  Lucca,  where  he  formed  a 
strong  friendship  for  the  violinist 
Manfredi  and  joined  him  in  a  concert 
tour  through  Italy  and  southern 
France,  to  Paris,  where  they  met  a 
brilliant  reception  and  were  wonder- 
fully successful.  In  the  latter  part 
of  1768_  Boccherini  and  Manfredi,  on 
the  advice  of  the  Spanish  Ambassador, 
went  to  Madrid.  Accounts  differ  as 
to  their  reception,  but  they  were  at 
least  successful  in  obtaining  court 
positions,  Manfredi  becoming  first 
violinist  in  the  Chapel  of  Don  Luis, 
brother  of  the  King,  and  Boccherini, 
his  chamber-composer.  The  death  of 
Manfredi,  in  1780.  and  of  Don  Luis, 
in  1785,  left  Boccherini  entirely  alone, 
and   his   worldy   wisdom    being   very 


Bochsa 


small  in  comparison  with  his  ability 
as  a  composer,  his  affairs  became 
involved  and  his  reputation  began  to 
decline.  In  1878  he  dedicated  some 
music  to  Friedrich  Wilhelm  II.  of 
Prussia  and  received  from  him  the 
title  of  chamber-composer  with  a 
comfortable  salary,  but  this  stopped  at 
the  death  of  Friedrich,  in  1797,  and  at 
the  same  time  Boccherini's  pension 
from  the  Spanish  government  was 
withdrawn;  after  this  his  affairs  went 
from  bad  to  worse  and  with  the 
exception  of  a  short  time  when  Lu- 
cien  Bonaparte  was  Ambassador  to 
Spain  and  aided  him,  he  lived  in 
extreme  poverty  and  died  in  want  at 
Madrid  in  1805. 

Boccherini's  ability  as  a  composer  is 
unquestionable  and  his  productive- 
ness was  amazing.  The  entire  num- 
ber of  his  instrumental  work  is  said 
to  have  been  four  hundred  and  sixty- 
seven,  of  which  only  seventy-four 
remained  unpublished.  His  work  had 
great  originality  and  his  music  is  full 
of  beautiful  and  unexpected  harmony. 
His  style  was  simple  and  natural  and 
his  melodies  excelled  in  freshness  and 
grace.  Although  his  music  was  never 
popular  in  Germany,  his  best  works 
are  still  played  in  Italy,  France  and 
England.  Boccherini  and  Haydn  are 
supposed  to  have  known  each  other's 
work  and  to  have  corresponded  and 
their  chamber-music  is  often  com- 
pared. Boccherini's  most  famous 
works  are  his  quintets,  which  are  so 
arranged  as  to  give  the  first  violon- 
cello the  important  and  difficult  part. 
Some  of  his  instrumental  works  were 
twenty-one  sonatas  for  piano  and  vio- 
lin; twenty-eight  trios  for  two  violins 
and  violoncello,  one  hundred  and  two 
string  quartets;  one  hundred  and  thir- 
teen quintets  for  two  violins,  viola 
and  violoncellos;  twenty  symphonies 
and  an  orchestral  suite.  Among  his 
vocal  works  were  a  Stabat  Mater,  A 
Christmas  cantata;  an  opera.  La 
Clementina;  an  oratorio;  a  mass  for 
four  voices;  and  motets  and  duets. 

Bochsa  (bokh'-sa),  Robert  Nicolas 
Charles.     1789-1856. 

Celebrated  harpist  and  dramatic 
composer.  He  was  born  in  France, 
where  his  father,  Karl  Bochsa,  a  Bo- 
hemian musician,  was  a  flute  and 
clarinet  player.  His  musical  talent 
developed  very  early,  so  that  at  the 
age  of  seven  he  played  a  piano  con- 
certo in  public.     At  nine  he  composed 


82 


BIOGRAPHIES 


Bochsa 

a  duet  and  a  symphony  for  the  flute 
and  at  sixteen  he  wrote  an  opera, 
Trajan.  His  family  having  moved  to 
Bordeaux,  he  studied  composition  for 
a  year  with  the  celebrated  Franz 
Beck.  During  this  time  he  wrote  an 
oratorio,  Le  Deluge  Universal;  and  a 
ballet.  In  1806,  having  already  become 
very  proficient  on  the  harp,  piano, 
the  violin  and  flute,  Bochsa  entered 
the  Conservatory  of  Paris  where  he 
took  up  composition  and  harmony 
under  Catel  and  Mehul.  Later  he 
studied  the  harp  under  Nadermann 
and  Marin,  but  formed  an  entirely  new 
style  of  his  own  and  completely 
revolutionized  harp-playing.  In  1813, 
he  became  first  harpist  to  the  Em- 
peror Napoleon  and,  in  1816,  was 
appointed  to  the  same  position  for 
Louis  XVIII.  In  1817,  being  detected 
in  large  forgeries,  he  fled  to  London 
and  never  returned  to  France.  Bochsa 
popularized  the  harp  in  London  and 
became  a  much  sought  for  and  fash- 
ionable teacher.  In  1822,  when  the 
Academy  of  Music  was  established,  he 
was  made  professor  of  the  harp,  but 
charges  of  misconduct  were  brought 
against  him  and  in  1827,  he  was  dis- 
missed. From  1826  to  1832  he  con- 
ducted the  Italian  Opera  at  the  King's 
Theatre.  In  1839,  he  eloped  with  Sir 
Henry  Bishop's  wife,  with  whom  he 
made  concert  tours  through  Europe, 
America  and  Australia,  where  he  died 
in  Sidney,  of  dropsy. 

Bochsa  composed  nine  operas;  four 
ballets;  an  oratorio,  already  men- 
tioned; a  Requiem  Mass  and  several 
orchestral  works;  beside  about  one 
hundred  and  fifty  works  for  the  harp, 
consisting  of  concertos,  symphonies, 
fantasias,  sonatas  and  capriccios.  He 
also  wrote  a  Method  for  the  Harp, 
which  is  still  a  standard.  Bochsa  is 
said  to  have  been  too  prolific  for  his 
own  fame  as  a  musician  and  as  a  man 
he  was  very  unreliable  and  dissipated. 

Boehm  (bam),  Joseph.    1795-1876. 

Well-known  violinist  and  teacher. 
He  was  born  at  Pesth  and  studied  first 
with  his  father  and  later  with  Rode. 
Began  his  career  in  1815,  at  Vienna, 
after  which  he  spent  several  years 
making  concert  tours  in  Italy.  After 
returning  to  Vienna,  in  1819,  he  was 
appointed  professor  of  the  violin  in 
the  Conservatory  of  Vienna.  And  in 
1821  he  became  a  member  of  the  Im- 
perial band.  From  1823  to  1825  he 
again  made  successful  concert  tours. 


Boellmann 
It  was  a  teacher,  however,  that  he 
was  best  known  and  among  his  many 
famous  pupils  were  Ernst,  Joachim, 
Hellmesberger,  Singer  and  Straus. 
He  published  about  twenty  composi- 
tions for  the  violin  which  are  of  no 
special  importance. 

Boekelmann  (ba'-kel-man),  Bemardus. 

1838- 

Excellent  pianist.  Born  in  Holland. 
Studied  first  with  his  father,  who  was 
a  musical  director.  Went  to  Leipsic 
in  1857,  where  he  studied  m  the  Con- 
servatory under  Moscheles,  Richter, 
and  Hauptmann.  During  1861  and 
1862  he  was  in  Berlin,  as  a  private 
pupil  of  Kiel,  Von  Biilow  and  Weitz- 
mann.  Boekelmann  made  a  trip  to 
Mexico,  in  1864,  where  he  played  on 
several  occasions  before  the  Court. 
In  1866,  he  settled  in  New  York, 
where  he  has  since  lived  as  a  teacher 
and  pianist  and  where  he  founded  and 
conducted  the  New  York  Trio  Club. 
He  has  composed  orchestral  music, 
and  many  etudes  for  the  piano;  as 
well  as  four  and  eight-hand  pieces  and 
solos,  also  pieces  for  the  violin  and 
piano,  and  songs.  He  has  published 
an  edition  of  Bach's  Well-tempered 
Clavichord,  in  colors,  which  is  very 
unique. 

Boellmann  (bwel'-man),  Leon.    1862- 
1897. 

French  organist  and  composer, 
whose  work  is  marked  by  grace  and 
clearness.  He  was  an  excellent  organ- 
player,  and  wrote  much  music  for  the 
organ;  many  short  pieces;  two  suites; 
and  a  fantastic  dialogue  for  organ 
and  orchestra.  He  left  sixty-eight 
published  works,  among  them  a  sym- 
phony; famous  variations  sympho- 
niques  for  violoncello  and  orchestra;  a 
sonata  for  piano  and  violoncello; 
songs;  pieces  for  the  piano;  much 
church  music;  a  trio;  and  his  quartet 
for  piano  and  strings  which  gained 
the  prize,  in  1877,  of  the  Societe 
des  Compositeurs.  Leon  Boellmann 
was  born  at  Ensisheim,  Alsace,  and  at 
an  early  age  went  to  Paris  for  study. 
He  was  a  pupil  at  the  school  founded 
by  Niedermeyer,  where  his  teacher 
was  Gigout,  the  celebrated  organist. 
Boellmann  taught  for  a  period  in 
Gigout's  Organ  School;  for  awhile 
was  sub-organist,  and  later  became 
chief  organist  at  the  Church  of  St. 
Vincent  de  Paul,  Paris.  He  died  in 
Paris  in  the  autumn  of  1897. 


BIOGRAPHIES 


83 


Bohm 
Bohm  (bam),  Theobald.    1794-1881. 

Celebrated  German  flute-player.  He 
made  great  improvements  in  the 
construction  of  the  flute,  as  an  instru- 
ment, and  through  it  of  all  wood-wind 
instruments.  Bohm's  construction 
gave  the  flute  a  much  fuller  and 
rounder  tone,  which  is  generally  con- 
sidered an  improvement,  but  some 
authorities  declare  it  detracts  from 
the  purity  and  sweetness  of  quality. 
In  making  these  changes  Bohm  origi- 
nated an  entirely  new  system  of 
fingering,  which  bears  his  name.  This 
method  has  been  largely  adopted  by 
flute-players.  His  system,  while  it 
gave  an  added  ease  in  playing  and  a 
more  even  tone,  had  the  disadvantage 
of  making  the  instrument  heavier  and 
increased  the  possibilities  of  leakage. 
Bohm  was  a  member  of  the  Royal 
band  of  Munich  for  years.  He  com- 
posed many  brilliant  works  for  the 
flute,  consisting  of  fantasias,  etudes^ 
polonaises  and  variations. 

Boieldieu     (bo-eld-yu'),     Frangois 

Adrian.    1775-1843. 

A  voluminous  and  highly  talented 
French  operatic  composer.  He  was 
born  at  Rouen,  his  father  being  secre- 
tary there,  to  the  archbishop.  On 
account  of  domestic  troubles  between 
his  parents,  which  finally  resulted  in 
divorce,  Boieldieu  while  still  a  small 
boy,  went  to  live  with  Broche,  the 
organist  of  the  cathedral  at  Rouen,  an 
excellent  musician,  who  so  far  as  is 
known  was  his  only  teacher.  At  the 
age  of  eighteen,  the  boy  composed  a 
small  opera,  La  Fille  Coupable,  for 
which  his  father  had  written  the 
libretto.  This  being  successful,  was 
followed  two  years  later  by  a  second, 
Rosalie  and  Myrza,  and  at  this  time, 
he  also  wrote  some  beautiful  ballads 
and  chansons.  Encouraged  by  these 
attempts,  Boieldieu  went  to  Paris, 
where  he  soon  became  acquainted  with 
the  foremost  musicians,  Mehul  and 
Cherubini  among  the  number.  He 
brought  out,  in  1776,  a  one-act  comic 
opera,  Les  deux  Lettres;  in  1797,  a 
second.  La  Famille  Suisse  and,  in 
1798,  Zoraime  et  Zulnare.  These 
years  were  all  highly  successful  and 
Boieldieu's  reputation  as  a  composer 
was  firmly  established,  in  1800,  by, 
The  Calif  of  Bagdad,  the  last  and  best 
work  of  the  first  period  of  his  musical 
career.  At  this  time,  he  also  wrote 
some  piano  and  chamber-music,  and, 


Boieldieu 

in  1800,  was  appointed  professor  of 
the  piano  at  the  Paris  Conservatory. 
It  is  said,  but  is  also  denied,  that  after 
writing  The  Calif  of  Bagdad,  Boiel- 
dieu took  a  thorough  course  in  counter- 
point, and  harmony  under  Cherubini. 
At  any  rate,  his  next  opera,  Ma  tante 
Aurore,  was  not  produced  until  three 
years  later,  and  showed  an  immense 
amount  of  progress  and  improve- 
ment. 

In  1803,  suddenly  and  supposedly  on 
account  of  domestic  difficulties  with 
his  wife,  who  was  a  dancer,  and  with 
whom  he  was  not  happy,  Boieldieu 
left  Paris  for  Russia.  Here  he  was 
appointed  conductor  of  the  Imperial 
Opera.  His  stay  in  Russia  may  be 
considered  his  second  musical  period 
and  the  works  of  this  time,  although 
numerous,  added  nothing  to  his  fame. 
Only  three  of  these  were  considered 
worth  being  produced  in  Paris.  They 
were  Rien  de  Trop,  La  Jeune  Femme 
colere  and  Les  voitures  versees.  When 
Boieldieu  returned  to  Paris,  in  1811, 
he  found  very  little  competition, 
Dalayrac  being  dead  and  Mehul  and 
Cherubini  both  having  retired.  His 
first  work  of  this  third  period  was 
Jean  de  Paris,  produced  in  1812,  one 
of  his  most  beautiful  operas  and  a 
brilliant  success.  After  this  for  nearly 
fourteen  years,  he  was  engaged  largely 
in  collaboration  with  Cherubini, 
Isouard  and  Catel,  producing  only  two 
works  entirely  alone.  These  were  Le 
Nouveau  Seigneur  de  village  and  Le 
petit  Chaperon  rouge.  In  1817  he 
succeeded  Mehul  as  professor  of  com- 
position at  the  Conservatory  of  Paris, 
and,  in  1825,  he  produced  his  master- 
piece La  Dame  Blanche.  Grove  says: 
"  The  Dame  Blanche  is  the  finest 
work  of  Boieldieu,  and  Boieldieu  the 
greatest  master  of  the  French  school 
of  comic  opera."  The  plot  of  this 
opera  is  a  combination  of  Scott's 
novels,  The  Monastery  and  Guy  Man- 
nering.  In  1829,  Boieldieu  produced 
his  last  opera,  Les  Deux  Nuits,  which, 
principally  on  account  of  the  poor 
libretto,  was  a  failure.  This  failure, 
together  with  failing  health  due  to 
lung  trouble,  caused  Boieldieu  to  re- 
tire to  southern  France.  His  last 
days  were  also  saddened  by  financial 
difficulties,  his  pensions  both  being 
stopped  in  1830.  One  of  them  was, 
however,  renewed  shortly  before  his 
death,  and  he  was  tenderly  cared  for 
by  his  second  wife  who  had  been  a 


84 


BIOGRAPHIES 


Boieldieu 
singer,  and  by  whom  he  had  a  son, 
Adrien  Louis  Victor,  who  was  a  more 
than  fair  musician.     Boieldieu  died  at 
Jarcy,  his  country  seat,  in  1834. 

His  work  abounds  in  beautiful 
melodies  and  although  he  had  very 
little  training,  his  style,  while  simple, 
was  finished  and  perfect.  With  the 
possible  exception  of  Auber,  he  was 
the  greatest  composer  in  the  field  of 
comic  opera.  Among  his  distinguished 
pupils  were  Fetis,  Zimmermann  and 
Adam. 

Boise  (bois),  Otis  Bardwell.    1845- 

American  organist  and  composer. 
Born  at  Oberlin,  Ohio,  where  his 
father  was  a  physician.  He  shovved 
musical  talent  very  early,  becoming 
organist  of  St.  Paul's  Church,  Cleve- 
land, Ohio,  at  the  age  of  fourteen. 
He  went  to  Leipsic  in  1861,  where  he 
stayed  three  years,  studying  with 
Hauptmann,  Richter,  Moscheles,  and 
others,  and  then  went  to  Berlin  and 
worked  under  KuUak.  In  1864,  after 
a  serious  illness,  brought  on  by  over- 
work, he  returned  to  America  and 
was  an  organist  in  Cleveland  until 
1870,  when  he  went  to  New  York, 
where  he  was  organist  of  the  Fifth 
Avenue  Presbyterian  Church  and 
taught  composition  in  the  New  York 
Conservatory.  On  account  of  ill  health 
he  went  again  to  Europe  in  1876, 
visited  Leipsic,  where  he  had  a  motet 
performed,  spent  a  year  at  Weisbaden, 
where  he  met  Raff  and,  in  1878,  re- 
turned to  New  York,  where  he  taught 
until  1881.  From  1881  to  1888  he  was 
in  business  in  New  York  and  since 
that  time  has  been  teaching  in  Berlin. 
His  works  consist  of  a  psalm  for 
chorus  and  orchestra;  symphonies; 
concertos;  overtures;  songs  and  part- 
songs.  In  1879  he  gave  a  concert  at 
Chickering  Hall,  New  York,  with  a 
program  made  up  entirely  of  his 
own  works.  He  has  published  Har- 
mony made  Practical  and  Music  and 
its  Masters,  and  has  written  numer- 
ous articles  on  musical  subjects. 

Boito  (bo-e'-to),  Arrigo.    1842- 

A  well-known  poet,  librettist,  and 
composer  of  the  modern  Italian 
school,  born  at  Padua,  in  whose  works 
is  seen  a  blending  of  the  tempera- 
ments of  his  Italian  artist  father  and 
Polish  mother,  the  Countess  Josephine 
Radolinska.  Arrigo  was  encouraged 
in  his  poetic  taste  by  his  elder  brother, 
Camillo,  an  author  and  distinguished 


Boito 


professor  of  architecture  of  the 
Brera,  but  when  he  reached  the  age 
of  fourteen,  he  showed  sufficient 
musical  ability  to  bring  the  family  to 
Milan,  so  that  he  might  enter  the 
Conservatory.  Yet  at  first  he  seemed 
so  unpromising  a  pupil  that  the 
authorities  would  have  turned  him 
out  had  it  not  been  for  the  interven- 
tion of  his  teacher,  Alberto  Mazzu- 
cato.  Boito's  first  musical  work  was 
the  cantata  II  4  Giugno  (The  Fourth 
of  June),  written  in  1860.  In  1862  Le 
Sorelle  d'ltalia  (the  manuscript  of 
which  unfortunately  is  lost)  was  per- 
formed at  the  Conservatory.  Boito 
wrote  the  poem  and  the  music  for 
the  second  part,  and  his  friend  Faccio. 
the  music  for  part  first,  and  it  proved 
such  a  triumphant  success  that  the 
two  young  composers  were  presented 
by  the  government  with  money 
enough  to  spend  two  years  in  other 
countries  studying  foreign  music. 
Boito  passed  the  time  in  Paris  and 
Germany,  but  returned  to  Italy  with 
his  musical  ideas  practically  unaltered, 
Beethoven,  Marcello,  Meyerbeer  and 
Verdi  remaining  his  ideals,  yet  these 
ideas  were  greatly  in  advance  of  the 
progress  of  Italian  music  at  that  time. 
Though  he  had  been  working  on 
Faust,  even  while  at  the  Conservatory, 
nothing  definite  had  found  shape,  and 
the  success  of  Gounod's  Faust  caused 
him  to  turn  his  attention  wholly  to 
literature,  in  which  he  has  always 
been  interested,  equally,  if  not  more 
than  in  music.  Much  of  his  time  dur- 
ing his  student  days  was  spent  in  the 
library  of  the  Brera,  where  he  gained 
a  thorough  knowledge  of  the  classics 
and  a  perfect  command  of  Italian  and 
French.  In  1861  he  began  writing 
poems,  which  were  published  in  1877 
as  II  libro  dei  Versi,  under  the  name 
Tobia  Gorrio,  an  anagram  which  he 
frequently  used.  He  also  produced 
his  only  novel,  L'Alfier  Meno,  in  this 
period,  and  contributed  to  Italian  and 
French  Reviews,  notably  the  Giornale 
della  Societa  del  Quartetto  di  Milano, 
which  Mazzucata  established,  hoping 
to  stimulate  an  interest  in  instrumental 
music.  By  championing  Mendelssohn, 
Boito  was  compelled  to  fight  a  duel 
in  which  he  was  wounded.  During 
the  war  with  Austria,  in  1866,  he, 
together  with  his  friends  Faccio, 
Emilio  Praga,  and  others,  fought  with 
the  volunteers  under  Garibaldi,  but 
early  in  1867  he  went  to  Paris, 
determined  to  settle  there  as  a  jour- 


BIOGRAPHIES 


85 


Boito 

nalist.  Despite  the  help  of  Victor 
Hugo,  he  could  not  find  an  opening, 
so  he  went  on  to  visit  his  sister  at 
her  quiet  country  home  in  Poland 
and  there  turned  his  attention  again 
to  Faust  or  Mefistofele,  as  he  now 
called  it.  He  intended  to  return  to 
Paris  in  the  fall  but  did  not  carry  out 
this  plan,  however,  for  the  managers, 
Bonola  and  Brunello,  hearing  that  his 
opera  was  now  nearing  completion, 
offered  to  produce  it  at  La  Scala. 
Boito  finished  the  work  hastily  and 
returned  to  Milan,  which  has  since 
been  his  home.  Mefistofele  was  very 
long  and  entirely  different  from  the 
conventional  Italian  Opera,  so  the 
ardor  of  the  immense  audience,  which 
had  cheered  lustily  after  the  Prologue 
in  the  Heavens,  cooled,  until,  before 
the  end  of  the  five  acts,  feeling  had 
been  completely  reversed  and  pande- 
monium broke  loose  among  the  en- 
raged listeners.  But  he  did  not  give  up 
on  account  of  this  failure.  He  changed 
Faust's  part  from  barytone  to  tenor, 
greatly  revised  the  opening  scene  and 
the  Sabba  Romantico  in  the  second 
act,  and  omitted  some  scenes  entirely. 
In  this  new  form  it  was  given  with 
great  success  at  Bologna,  in  1875. 
The  original  score  has  not  yet  been 
printed,  so  that  it  is  impossible  to 
follow,  in  that  way,  the  change  of  his 
ideals.  It  was  grandly  conceived,  but 
the  orchestration  was  weak  and  there 
were  some  impractical  scenes,  yet 
some  critics  think  the  origmal  more 
artistic  than  the  present  form.  Unlike 
Gounod,  Boito  has  used  Goethe's 
entire  poem,  thus  subjecting  himself 
to  lack  of  unity  of  interest  which  is 
thought  to  be  the  reason  that  Mefisto- 
fele is  being  seen  less  and  less  fre- 
quently since  the  retirement  of 
Christine  Nilsson,  whose  principal 
piece  it  was  and  who  introduced  it  at 
London  in  1880. 

Boito  is  on  admirer  but  not  an  imi- 
tator of  Wagner,  though  his  principles 
won  him  the  name  of  the  Italian 
Wagner,  but  latterly  Bach  has  held 
the  highest  place  in  his  esteem.  He 
has  written  three  other  operas,  Ero 
e  Leandro,  Nerone,  and  Orestiade,  but 
none  of  them  has  been  produced,  for, 
as  he  is  a  critic,  he  seems  dissatisfied 
with  his  own  works.  The  libretto  of 
Ero  e  Leandro,  he  gave  to  his  friend 
Bottesini,  who  set  it  and  it  was  later 
used,  also  successfully,  by  Mancinelli, 
but  Boito  himself  used  part  of  the 
music  in  his  Ode  to  Art  for  the  open- 


Bond 

ing  of  the  National  Exhibition  at 
Turin  in  1882,  and  another  theme  was 
published  as  a  barcarola  for  four 
voices.  Boito  is  the  author  ot  the 
librettos  of  Faccio's  Amleto,  Pon- 
chielli's  La  Gioconda,  Palumbo's  Ales- 
sandro  Farnese,  Dominiceto's  Tram, 
and  Verdi's  Otello  and  Falstaff,  and 
he  also  wrote  the  volume  on  Marcello 
in  the  Great  Musicians'  Series,  edited 
by  Hueffer.  He  has  received  the  titles 
of  Cavliere,  Ufficiale  and  Commenda- 
tore  from  the  Italian  Government,  as 
well  as  the  cross  of  the  Legion  of 
Honor  from  France,  but  he  is  too 
modest  to  use  them.  In  1892  he  was 
appointed  Inspector  General  of  Tech- 
nical Instruction  in  the  Conservatories 
and  Lyceums  of  Italy.  Also  a  degree 
was  conferred  upon  him  by  Cambridge 
University  in  1893.  He  has  translated 
a  number  of  works  by  Wagner,  Schu- 
mann, and  Rubinstein,  and  in  1901 
published  a  tragedy,  Nerone,  possibly 
the  libretto  of  his  opera. 

Bomtempo  (bom-tam'-po),  Joao 
Domingo.  About  1775-1842. 
Portuguese  composer,  pianist,  and 
director.  He  was  born  at  Lisbon, 
about  1775.  In  1795  he  settled  in 
Paris,  and  with  a  period  of  absence  in 
London,  remained  at  the  French  capi- 
tal until  1820,  in  which  year  he 
returned  to  Lisbon.  In  his  native  city 
he  founded  a  Philharmonic  Society, 
was  made  head  of  the  Conservatory, 
held  the  post  of  instructor  of  the 
Royal  family  and  director  of  the 
Court  band.  He  was  the  author  of 
operas,  church  music,  compositions 
for  the  piano,  and  of  a  Method  for 
Piano. 

♦Bond,  Mrs.  Carrie  Jacobs.     1863- 

Contemporary  American  song-writer 
whose  work  is  marked  by  simplicity 
and  sympathy.  On  the  title  page  of 
certain  volumes  of  her  songs  is  in- 
scribed this  phrase,  "  as  unpreten- 
tious as  the  wild-rose."  She  publishes 
her  own  work,  at  the  Bond  Shop, 
Chicago,  which  has  sent  out  numerous 
musical  compositions  of  hers  as  well 
as  some  verse.  Carrie  M.  Jacobs  was 
born  in  Janesville,  Wisconsin.  She 
cannot  remember  the  time  when  she 
could  not  sing;  at  the  age  of  four  she 
could  pick  out  airs  on  the  piano  and 
at  seven  could  play  anything  she 
heard.  She  was  married  to  Dr.  Frank 
Bond,  in  1888,  and  removed  to  North- 
ern Michigan.    On  his  death,  in  1895, 


86 


BIOGRAPHIES 


Bond 


Bonvin 


she  came  to  Chicago  with  the  inten- 
tion of  starting  a  new  home  there. 
The  new  establishment  was  to  be 
shared  with  Amber,  the  well-known 
Chicago  newspaper  writer,  but  the 
plan  was  frustrated  by  the  death  of 
this  friend.  Mrs.  Bond  now  went 
abroad  for  a  season,  and  there  re- 
ceived encouragement  to  devote  her 
attention  to  music.  On  her  return 
she  settled  in  Chicago.  Her  work 
was  introduced  to  the  public  by  means 
of  recitals,  at  which  she  sang  her 
own  songs  solely.  She  made  exten- 
sive tours  in  this  country,  and  in  1905, 
sang  in  various  European  capitals. 
For  a  number  of  years  she  has  pub- 
lished her  compositions  herself,  con- 
sisting of  a  large  number  of  songs 
and  various  pieces  for  the  piano.  Of 
the  songs  mention  should  be  made  of 
His  Lullaby;  Where  to  Build  Your 
Castles;  Three  Ages  of  Man;  I  Love 
You  Truly;  Just  A  Wearyin'  For 
You;  Des  Hold  My  Hand;  His  But- 
tons are  Marked  U.  S.;  Movin'  In  De 
Bes'  Soci'ty;  The  Dear  Auf  Wieder- 
sehn;  and  The  Naughty  Little  Girl. 

Bononcini  (bo-non-che'-ne),  Giovanni 
Battista.  About  1660-about  1750. 
The  most  famous  member  of  a 
noted  family  of  Italian  musicians.  He 
was  educated  by  his  father  and  later 
studied  at  Bologna.  About  1691  he 
went  to  Vienna,  where  he  was  ap- 
pointed violoncellist,  in  the  band  of 
the  Emperor  Leopold,  and  where,  at 
the  age  of  eighteen,  he  brought  out 
an  opera,  Camilla,  which  was  very 
successful,  but  which  is  said  to  have 
been  the  work  of  his  brother.  In 
1694,  Bononcini  went  to  Rome,  where 
he  produced  his  first  operas,  Tullo 
Ostilio  and  Serse.  From  1699  to  1711, 
he  was  Court  composer  at  Vienna, 
with  the  exception  of  two  years,  1703 
to  1705,  that  he  spent  in  Berlin,  as 
composer  to  Queen  Sophie  Charlotte. 
From  this  time  up  to  1720  his  time 
was  divided  between  Vienna  and 
Italy.  In  1720  he  went  to  London, 
as  one  of  the  composers  for  the 
Royal  Academy  of  Music,  which  had 
just  been  founded,  with  Handel  as 
director.  A  great  rivalry  grew  up 
between  Bononcini  and  Handel,  which 
resulted  in  two  factions,  almost  poli- 
tical in  character,  the  King  support- 
ing Handel,  and  the  Duke  of 
Marborough  and  other  nobles  favor- 
ing Bononcini.  Bononcini  was  finally 
taken    into    the    Marlborough  family 


and  given  a  pension  of  five  hundred 
pounds  a  year.  This  rivalry  was 
brought  to  a  crisis  by  the  perform- 
ance of  the  opera,  Muzio  Scevola,  of 
which  Handel,  Bononcini,  and  prob- 
ably Ariosti,  composed,  each  an  act. 
The  public  decided  overwhelmingly  in 
favor  of  Handel.  This  decision,  to- 
gether with  the  discovery  that  Bonon- 
cini had  published  a  madrigal  of 
Lotti's  as  his  own,  completed  his  de- 
feat and  broke  off  his  connection  with 
the  Marlborough  family,  and,  his 
reputation  beginning  to  suffer,  he  lost 
his  friends  and  position.  In  1733,  a 
swindler  going  under  the  name  of 
Count  Ughi,  persuaded  Bononcini  to 
go  to  Paris,  where  he  cheated  him 
out  of  the  remains  of  his  fortune,  on 
the  pretense  of  being  able  to  make 
gold.  Bononcini  was  now  compelled 
to  take  up  his  profession  again  and 
composed  for  the  Chapel  Royal  a 
motet,  playing  the  violoncello  him- 
self for  Louis  XV.  In  1848,  the  Em- 
peror of  Germany  sent  for  him  to 
come  to  Vienna,  to  compose  the 
music  for  the  Peace  of  Aix-la- 
Chapelle.  Soon  after  this  he  went  to 
Venice  as  composer  to  the  opera  and 
here,  at  the  age  of  ninety,  we  lose 
trace  of  him.  While  composer  for 
the  Royal  Academy  in  London, 
Bononcini  produced  the  operas* 
Astarto;  Crispo;  Griselda;  Pharnaces; 
Erminia;  Calphurnia;  and  Astyanax. 
These  with  other  operas,  in  all  thirty- 
two;  oratorios;  masses;  madrigals  and 
motets,  are  his  most  important  works. 
He  also  published  some  piano  and 
chamber-music. 

♦Bonvin    (bon-van),    Ludwig.      1850- 

Contemporary  Swiss  composer, 
organist  and  chorister,  at  present 
orchestra-director  at  Canisus  College, 
Buffalo,  New  York.  He  was  born  at 
Siders,  Switzerland.  Was  the  son  of 
a  physician,  studied  in  the  college  at 
Sitten,  and  later  began  medical  studies 
in  Vienna.  As  a  musician  he  is  chiefly 
self-taught,  with  the  exception  of 
piano  lessons  during  the  college  days 
in  Sitten.  In  1874  he  entered  the 
order  of  Jesuits  in  Holland,  and  in 
England,  in  1885,  was  ordained  priest. 
For  about  six  years  he  served  as 
organist,  in  various  houses  of  the 
order  in  Holland  and  England.  Father 
Bonvin  came  to  America  in  1887,  and 
from  that  year  to  1905  held  the  post 
of  choir-director  at  Canisius  College, 
and    then    became    director    of    the 


BIOGRAPHIES 


87 


Bonvin 

orchestra.  He  is  the  author  of  vocal 
and  instrumental  compositions.  His 
works  for  voice  include  choruses,  both 
sacred  and  secular,  songs,  and  duets 
with  orchestra.  Among  the  instru- 
mental compositions  are  three  tone- 
poems  for  organ,  a  symphony,  and 
several  orchestral  pieces. 

Borghi     (bor'-ge),     Adelaide.       1829- 

1901. 

A  celebrated  Italian  singer  once 
very  widely  known  as  Borghi-Mamo. 
She  was  born  at  Bologna,  and  at  a 
very  early  age  showed  a  decided  talent 
for  singing.  She  made  a  successful 
debut  in  Urbino  when  only  seventeen, 
was  engaged  to  remain  there,  but  later 
went  to  Malta,  and  in  this  city  was 
married  to  Signor  Mamo.  After 
appearing  in  various  cities  of  Italy, 
she  was  very  successful  in  Italian 
Opera  at  Paris  and  Vienna.  At  Paris 
she  sang  also  in  a  French  production 
of  II  Trovatore,  remaining  there  sev- 
eral seasons.  She  made  her  London 
debut,  in  1860,  in  London.  Among 
other  roles  she  sang  Leonora,  Des- 
demona,  Rosine,  and  Zerlina  and  was 
highly  regarded  both  as  an  actress 
and  a  singer.  She  returned  again  to 
Paris,  but  not  to  London,  sang  in 
Italy  and  Lisbon,  and  on  her  retire- 
ment from  the  stage  took  up  her 
residence  in  Florence.  A  daughter, 
Ermina,  a  soprano  singer,  has  met 
with  success  in  Italian  Opera. 

Borodin  (bo'ro-den),  Alexander  Por- 

phyrjevitch.     1834-1887. 

An  excellent  Russian  composer  of 
the  National  School,  born  at  St. 
Petersburg,  the  illegitimate  son  of  a 
Prince  of  Imeretia.  By  profession  he 
was  a  scientist,  having  studied  at  the 
Academy  of  Medicine  in  St.  Peters- 
burg, where  after  two  years  of  service 
as  an  army  surgeon  and  three  years  of 
study  abroad,  he  became  professor  of 
chemistry.  The  same  year,  1862,  he 
met  Balakirev,  founder  of  the  New 
School  of  Russian  Music,  who  fanned 
into  a  blaze  the  spark  of  musical 
genius  which  had  been  smoldering  in 
Borodin  from  boyhood.  In  1863  he 
married  Catherine  Protopopova,  an 
amateur  pianist  of  considerable  talent. 
He  played  the  flute,  cello,  and  piano 
and  wrote  a  flute  and  piano  concerto 
at  the  age  of  thirteen  which  was  fol- 
lowed soon  after  by  a  scherzo  for 
piano  and  string  sextet,  and  a  trio  for 
two   violins   and   cello.     But   it   was 


Borodin 

not  until  he  joined  the  Nationalists, 
that  he  took  up  the  study  of  harmony 
and  composition  in  earnest,  during  his 
leisure  hours.  After  five  years'  work 
his  First  Symphony,  in  E  flat,  was 
completed  in  1867  and  played  at 
Wiesbaden  in  1880,  and  his  Second 
Symphony,  in  B  minor,  occupied  his 
spare  time  from  1871  to  1877.  In  the 
latter  year  he  traveled  in  Germany, 
visiting  Liszt  at  Weimar,  from 
whence,  according  to  Grove,  he  sent 
letters  to  his  wife,  which  form  an 
interesting  picture  of  the  noted  mas- 
ter. His  prominence  in  science  must 
have  interfered  greatly  with  his  work 
as  a  composer,  for,  aside  from  his 
duties  at  the  Medical  Academy,  he 
helped  establish  the  School  of  Medi- 
cine for  Women,  in  1872,  where  he 
lectured  until  his  sudden  death,  at  a 
party  at  his  home,  in  1877.  He  also 
wrote  a  number  of  valuable  treatises 
on  chemistry,  and  was  a  knight  and 
Councilor  of  State.  Probably  his 
most  popular  musical  work,  and  the 
one  by  which  he  became  known  in 
this  country  is  the  symphonic  sketch, 
In  the  Steppes  of  Central  Asia,  pro- 
duced in  1880,  a  remarkable  descrip- 
tion of  the  great  desert,  representing 
the  passing  of  a  native  caravan, 
attended  by  Russian  soldiers.  This 
gives  him  room  for  splendid  coloring, 
in  presenting  the  songs  of  the  Rus- 
sians and  Asiatics  and  the  silence  of 
the  monotonous  steppes,  and  allows 
him  to  indulge,  not  only  his  national 
feeling,  but  his  natural  Oriental  tend- 
ency. This  sketch  was  intended  for 
living  tableaux  to  celebrate  the 
twenty-fifth  anniversary  of  the  reign 
of  Alexander  II.  Borodin's  other 
works  include  two  string  quartets, 
one  in  A  major  on  a  theme  of 
Beethoven's,  and  one  in  B  major; 
romances;  a  suite;  and  a  Spanish  Sere- 
nade, for  piano;  a  number  of  songs 
of  peculiar  harmony,  one  Chez  Ceux- 
la  et  Chez  Nous  with  orchestra;  a 
Third  Symphony  in  A  minor,  finished 
by  Glazounov;  and  the  opera.  Prince 
Igor,  his  finest  work.  It  is  a  melodic 
opera,  and  unusually  optomistic  for 
a  Russian  play.  The  libretto,  by 
Pushkin,  is  based  on  an  old  Russian 
epic  describing  Prince  Igor's  war 
against  the  Polovtsi.  He  left  it  unfin- 
ished but  Rimsky-Korsakoff  com- 
pleted it,  Glazounov  supplying  the 
third  act,  and  the  overture  from  mem- 
ory, having  Borodin's  piano  sketch  of 


88 


BIOGRAPHIES 


Borodin 
it.  The  opera  was  successfully  pro- 
duced at  St.  Petersburg  in  1890,  and  at 
Kiev  in  1891.  He  also  started  two  other 
operas,  one  on  Mei's  the  Betrothed 
of  the  Tsar,  which  was  never  finished, 
and  Mlada,  which  Rimsky-KorsakoflE 
completed  and  presented  in  1892. 
With  Rimsky-Korsakoff,  Leadov,  and 
Glazounov  he  wrote  a  quartet  on  the 
tones  B-la-f,  in  honor  of  their  pub- 
lisher Belaieff,  and  Grove  mentions 
his  contribution  of  the  Polka,  Marche 
Funebre,  and  Requiem  to  the  twenty- 
four  variations  and  fourteen  pieces 
for  piano  on  the  Chopsticks  Waltz, 
called  the  Paraphrases,  in  which  he 
was  joined  by  Liszt  as  well  as  the 
other  members  of  his  own  school. 

Bortniansky  (bort-nyan'-shki),  Dimitri 
Stepanovich.     1752-1825. 

A  Russian  composer  and  choirmas- 
ter, to  whom  belongs  the  credit  of 
reducing  Russian  church  music  to  a 
system.  He  was  born  at  Gloukoff,  a 
village  of  Russian-Poland,  studied 
music  under  Galuppi  in  St.  Peters- 
burg and  Venice,  and  continued  his 
musical  education  at  Rome,  Naples, 
and  Bologna.  An  opera,  Quinto 
Fabio,  was  produced  at  Modena  in 
1778,  his  Creonte  having  been  given 
in  Venice  two  years  earlier.  In  1779 
he  returned  to  Russia  and  was  ap- 
pointed director  of  the  Empress' 
Church  choir;  in  which  he  instituted 
many  reforms,  writing  for  the  choir 
a  mass  and  over  forty  concertos. 
Bortniansky  was  the  author  of  much 
church  music,  and  his  compositions 
rank  high.  Tschaikowsky  edited  a 
complete  edition  of  his  works  in  ten 
volumes. 

Berwick,  Leonard.     1868- 

Celebrated  English  concert  pianist, 
a  distinguished  pupil  of  Clara  Schu- 
mann. He  was  born  in  Essex,  Eng- 
land, his  father  being  a  lover  of  music 
and  an  amateur  violoncellist.  Leon- 
ard Borwick  began  piano  lessons  at 
five,  at  the  age  of  eleven  was  a  pupil 
of  Henry  Bird,  and  four  years  later 
was  sent  to  Germany,  where  he 
studied  at  Frankfort  under  Marie 
Schumann  and  later  with  Clara  Schu- 
mann. After  completing  his  studies 
with  Clara  Schumann,  he  made  his 
debut  in  Frankfort,  playing  Beetho- 
ven's E  flat  concerto.  His  London 
debut  took  place  at  a  Philharmonic 
concert,   and   here    he    played   Schu- 


Bosio 

mann's  concerto.  Before  the  Phil- 
harmonic Society  of  Vienna  he  gave 
Brahm's  D  minor  concerto.  He  has 
often  played  with  the  famous  Joachim 
Quartet,  and  has  had  a  very  success- 
ful career,  touring  in  Germany,  Nor- 
way, and  Sweden,  and  appearing 
frequently  in  London  and  Paris.  He 
is  very  fond  of  the  classics  and  is  an 
excellent  interpreter  of  Saint-Saens 
and  Liszt. 

Boschi  (bos'-ke),  Giuseppe. 

A  noted  bass  singer  of  the  Eight- 
eenth Century.  Of  his  early  and 
later  life  nothing  is  known;  he  is 
thought  to  have  been  a  native  of 
Viterbo,  Italy,  but  of  the  date  of  his 
birth,  under  whom  he  received  his 
training,  and  where  he  first  appeared, 
there  is  no  knowledge.  In  1711  he 
was  engaged  by  Handel  to  sing  in  his 
operas  in  London,  and  though  at  that 
time  bass-parts  were  proportionally 
small,  Boschi  succeeded  in  making  a 
name  for  himself.  He  sang  in 
Handel's  Argante,  Radamisto,  Flori- 
dante,  Ottone,  Flavio,  Giulio  Cesare, 
and  Tamerlane;  in  Bononcini's  Astar- 
tus,  Crispo,  Farnace,  and  Calfurnia; 
and  his  powerful  voice  was  heard  in 
the  works  of  several  other  composers. 
He  made  his  last  London  appearance 
in  1828.  Boschi's  wife,  Francesca 
Vanini,  was  a  celebrated  contralto 
singer. 

Bosio      (bo'zi-o),      Angiolina.      1830- 
1859. 

An  Italian  singer,  whose  short 
career  was  most  brilliant.  She  was 
immensely  popular  in  St.  Petersburg. 
While  singing  there  she  came  to  her 
death,  falling  a  victim  to  the  uncon- 
genial climate,  and  dying  very  sud- 
denly, at  the  height  of  her  career.  She 
was  born  at  Turin,  a  member  of 
a  family  of  musicians  and  actors,  and 
became  famous  as  a  mezzosoprano 
and  operatic  actress.  She  studied  at 
Milan,  and  in  that  city  made  her  first 
appearance,  at  the  age  of  sixteen. 
She  met  with  pronounced  success  at 
Verona,  appeared  at  Copenhagen  and 
was  urged  to  remain.  In  Madrid  she 
was  most  enthusiastically  received  but 
not  in  Paris.  She  visited  America, 
singing  in  New  York,  Philadelphia, 
and  Boston,  where  she  was  very  well 
liked.  In  1851,  soon  after  her  return 
to  Europe,  she  married  a  Greek  gen- 
tleman    named     Xindavelonis.      She 


BIOGRAPHIES 


89 


Bosio 

made  her  London  debut  in  1852,  be- 
came a  great  favorite  there,  and  in 
Moscow  and  St.  Petersburg  was 
extraordinarily  successful.  She  sang, 
among  other  operas,  in  Rigoletto, 
Jessonda,  II  Barbiere,  Ernani,  La 
Traviata,  Fra  Diavolo,  and  made  a 
great  hit  in  I  Puritano,  as  Elvira, 
ranking  next  to  Grisi.  Her  untimely 
death  was  mourned  by  a  very  large 
public. 
*  Bossi    (bos'-se),    Marco    Enrico. 

1861- 

One  of  the  most  prominent  of  the 
younger  Italian  composers,  whose 
music  is  distinctively  German  in 
style.  He  was  born  at  Salo,  Italy,  his 
father  being  an  Italian  organist.  At 
the  age  of  ten  he  entered  the  Liceo 
Musicale,  at  Bologna,  where  he 
studied  for  three  years.  From  1873 
to  1881  he  was  at  the  Conservatory 
of  Milan,  where  he  studied  composi- 
tion under  Ponchielli  and  organ  with 
Fumagalli,  also  taking  up  the  piano 
and  violin.  In  1881  he  became  organ- 
ist and  conductor  at  the  Como 
Cathedral,  where  he  remained  ten 
years.  From  1891  to  1895  he  was 
professor  of  the  organ  and  harmony 
at  the  Conservatory  of  Naples,  after 
which  he  was  director  of  the  Liceo 
Benedetto  Marcello  at  Venice.  In 
1902  he  was  appointed  director  of 
the  Liceo  Musicale  at  Bologna.  Bossi 
is,  perhaps,  the  best  of  modern  Itahan 
organists  and  has  written  many 
works  for  that  instrument,  the  best  of 
which,  is  probably  his  organ  con- 
certo, which  was  given  at  the  World's 
Fair  in  Chicago.  He  has  written 
three  operas,  Paquita,  in  one  act; 
L'Angelo  della  Notte  and  II  Veg- 
gento.  He  has  also  composed  a  sym- 
phonic poem,  II  Cieco.  In  sacred 
work,  he  has  produced  the  oratorio, 
Christus,  beside  a  large  number  of 
mzisses,  cantatas  and  motets,  and  he 
has  also  written  several  orchestral 
numbers;  some  chamber-music  and 
piano  pieces  and  songs.  One  of  his 
latest,  and  perhaps  his  best  work,  is 
a  setting  of  Milton's  Paradise  Lost. 
His  Method  of  Study  for  the  Organ, 
written  with  Tebaldini,  is  considered 
a  standard  work. 
Bottesini      (bot-te-se'-ne),     Giovanni. 

1822-1889. 

A  distinguished  Italian  doublebass- 
player,  also  highly  esteemed  as  a 
conductor  and  composer.     Grove  says 


Boucher 


that  his  marvelous  command  of  his 
unwieldy  instrument  excited  the  ad- 
miration of  the  whole  musical  world 
of  Europe.  Bottesini  was  born  at 
Crema,  in  Lombardy,  and  died  at 
Parma,  He  inherited  his  musical 
talent,  his  father  being  an  excellent 
musician.  Giovanni  early  showed  that 
his  talent  was  of  unusual  degree. 
When  only  eleven  years  old  he  was 
admitted  to  the  Milan  Conservatory, 
where  he  studied  doublebass  under 
Rossi,  and  harmony  and  composition 
with  Basili  and  Vaccai.  As  double- 
bass  virtuoso  he  traveled  and  gave 
concerts  in  Italy  from  1840  to  1846, 
and  then  went  to  America.  He  spent 
several  years  in  Havana,  where  he 
played  chief  doublebass  in  the  orches- 
tra, and  in  that  city,  in  1874,  was  pro- 
duced his  first  opera,  Christophe 
Colombe.  In  1849  he  made  his  first 
appearance  in  London,  meeting  with 
a  most  enthusiastic  reception.  From 
1855  to  1857  he  was  in  Paris  and  held 
the  post  of  orchestra  conductor  of 
the  Italian  Opera.  Next  he  went  to 
Palermo,  where  he  was  director  at 
the  Bellini  Theatre  in  1861.  In  1863, 
he  was  director  at  Barcelona,  and  for 
a  period  was  director  of  the  Italian 
Opera  at  Cairo.  Bottesini  conducted 
Italian  Opera  in  London  during  the 
season  of  1871,  but  presently  returned 
to  Italy  and  became  director  of  the 
Parma  Conservatory.  He  was  the 
author  of  several  compositions  for 
his  instrument;  of  several  operas, 
L'Assedio  di  Firenze;  II  Diavolo  della 
Notte;  Marion  Delorme;  Vinciguerra; 
Ali  Baba;  Ero  e  Leandro;  and  wrote 
the  music  of  the  oratorio.  The  Gar- 
den of  Olivet,  produced  at  the  Nor- 
wich Festival  of  1887. 

Boucher    (boo-sha),   Alexander  Jean. 

1778-1861. 

A  French  violin-player,  with  a  good 
deal  of  technical  skill,  but  a  charlatan 
in  his  methods.  He  resorted  to  vari- 
ous tricks  to  attract  the  attention  of 
the  public;  emphasized  by  all  man- 
ner of  means  his  noticeable  likeness 
to  Napoleon;  added  startling  addi- 
tions of  his  own  when  interpreting  a 
composer's  work;  and  in  his  playing 
made  use  of  exaggerated  expression. 
He  succeeded  in  his  aim  of  arousing 
public  notice,  and  became  very  well 
known  throughout  Europe.  Boucher 
was  born  in  Paris.  He  was  one  of 
the  youthful  prodigies,  and  it  is  said 
played  at  court,  when  only  six  years 


90 


BIOGRAPHIES 


Boucher 

old,  and  at  the  age  of  eight  appeared 
at  the  Concert  Spirituel.  He  went  to 
Spain  in  1787,  in  Madrid  held  the 
post  of  solo  violinist  to  the  King;  and 
returned  to  Paris  in  1806.  From 
1820  to  1844  he  traveled  everywhere 
about  Europe,  attracting  much  atten- 
tion, and  calling  himself  "  L' Alex- 
andre des  Violins; "  at  the  conclusion 
of  his  travels  he  came  back  to 
France,  and  his  death  occurred  in 
Paris.  As  a  vioHnist  Boucher's 
execution  was  remarkable,  but  he  was 
more  of  a  trickster  than  an  artist. 

Bourgault  -Ducoudray      (boor-go 
dii-koo-dre),  Louis  Albert.     1840- 

A  French  composer,  professor,  and 
writer,  who,  while  not  widely  known, 
holds  a  high  place  in  the  world  of 
music.  He  has  not  produced  much 
original  work,  but  rather,  has  turned 
his  attention  to  the  study  of  musical 
antiquities,  and  has  shown  great  in- 
terest in  the  folk-songs  of  many 
countries.  Since  1878  he  has  lec- 
tured on  musical  history  at  the  Paris 
Conservatory.  He  was  born  at 
Nantes,  and  after  finishing  a  classical 
course  and  being  admitted  to  the 
legal  profession,  took  up  the  study 
of  music  at  the  Paris  Conservatory 
under  Ambroise  Thomas.  In  1862 
he  won  first  prize  for  composition.  A 
student  of  the  music  of  the  past,  he 
founded  in  Paris,  in  1869,  an  amateur 
choral  society  that,  under  his  direc- 
tion, gave  choruses  from  Palestrina, 
and  Orlando  Lasso,  Bach  cantatas, 
and  other  works  by  the  older  mas- 
ters. A  sojourn  in  Greece  brought 
forth,  in  1876,  the  pamphlet  Souvenirs 
d'une  mission  musicale  en  Grece  et  en 
Orient,  and  a  collection  of  songs 
called  Trente  Melodies  populaires  de 
la  Grece  et  de  I'Orient.  He  made  re- 
searches in  Brittany,  and  published, 
with  French  translations,  Trente 
Melodies  populaires  de  la  Basse 
Bretagne.  Among  original  works  of 
Bourgault-Ducoudray  ^  are  a  choral 
symphony,  a  fantasie,  a  Carnaval 
d'Athenes,  several  cantatas,  the 
operas  Bretagne  and  Thamara. 

Bourgeois  (boor'-zhwa),  Louis. 

A  French  musician,  teacher,  and 
composer  of  the  Sixteenth  Century, 
his  chief  claim  to  distinction  being 
that  he  had  an  important  part  in  the 
selection  and  arranging  of  tunes  in 
the  Genevan  Psalter.  Recent  investi- 
gation has  shown  that  he  also  wrote 


Bowman 

many  of  the  melodies.  He  received 
an  invitation  to  Geneva  in  1541,  left 
there  in  1557,  and  it  is  thought  had 
no  connection  with  the  Genevan 
Psalter  after  the  latter  year.  Little 
is  known  of  his  life.  He  was  born  in 
Paris,  early  in  the  Sixteenth  Century, 
and  about  the  time  of  Calvin's  return 
from  Strasburg,  was  called  to  Geneva. 
In  1545  took  the  place,  in  association 
with  another,  vacated  by  Guillaume 
Franc,  as  Master  of  the  Children.  In 
Geneva,  Bourgeois  seems  to  have 
fared  rather  ill  at  the  hands  of  the 
Council,  who  reduced  his  pittance, 
and  though  Calvin  himself  made  in- 
tercession in  his  behalf  it  was  of  no 
avail.  Once  he  was  thrown  into 
prison  for  the  offense  of  altering 
psalm  tunes  without  permission,  but 
this  time  Calvin  was  successful  in  his 
effort  for  him,  obtained  his  release 
and  the  alterations  were  adopted. 
Bourgeois  was  one  of  the  first  to 
harmonize  the  melodies  of  the  French 
version  of  the  psalms.  In  1547  he 
published  three  collections  of  psalms, 
and  these  were  printed  at  Lyons,  in- 
stead of  Geneva,  probably  because  of 
Calvin's  opposition  to  the  use  of  har- 
mony. A  treatise  of  his,  published  at 
Geneva  in  1550,  proposed  a  reform 
in  the  naming  of  sounds,  the  first 
proposal,  according  to  Grove,  to 
abandon  the  method  of  the  Guidonian 
Hand  and  to  teach  music  by  the  ern- 
ployment  of  the  solfeggio.  Bourgeois 
returned  to  Paris  in  1557,  and  it  is 
believed  spent  the  remainder  of  his 
days  there.  He  published  a  collection 
of  psalms  in  Paris,  in  1561. 

*  Bowman,  Edward   Morris.     1848- 

Eminent  American  organist.  Born 
in  Vermont.  Has  studied  music  since 
his  childhood,  having  his  first  instruc- 
tion at  Canton,  New  York.  His 
family  moved  to  Minneapolis,  Minn., 
in  1862,  where  he  became  organist  of 
Holy  Trinity  Church  and  also  gave 
music  lessons.  In  1866  he  went  to 
New  York  where  he  studied  the  piano 
with  Mason  and  the  organ  and  theory 
with  John  P.  Morgan,  and  was  organ- 
ist of  Old  Trinity  Church.  From 
1867  to  1872  he  was  in  St.  Louis,  Mo., 
as  teacher,  conductor  and  organist. 
In  1872  he  went  to  Europe,  with  his 
wife  who  was  an  artist  of  some 
ability.  He  remained  three  ^  years, 
most  of  which  time  he  spent  in  Ber- 
lin, where  he  studied  the  piano  with 
Franz  Bendel,  the  organ  with  Haupt 


•A 


BIOGR/  • 

BowwMn  Bnbasn 

eory    and    composition   vnth  Greene,  and  was  taken  up  e 

:"     '  -dying  registration  death,  at  his  request,  by  Boj 

r  in   Paris,  with  a   collection    in    score    of  t! 

'>:     ■   >•  '      •>-■  v>.i'i'Kie  English  sacred  corapc — ^  . 
ent  musicians  of  the  last  two 

dbary,  William  Bacbclder.     1816- 


HECTOR  BERLIOZ.     1803-1869. 

Not  until  after  his  death  did  Berlioz  receive  recog- 
nition in  his  own  country.  His  genius  was  widely- 
recognized  abroad  but  at  home  appreciation  came  -.J*^ 
very  late.  Bust  and  statue  have  been  put  in  placecbyiposer.  From 
the  awakened  French  people  in  honor  of  Berlioz,  and''''  ''"^  ''af'""^^' 
in   1903  his  Centenary  was  duly  celebrated  in  Paris. 

His  most  important  works  are  The  Requiem,  in 
memory  of  General  Damremont  and  the  French  loss 
in  Algiers,  the  Te  Deum  and  the  operas,  Benvenuto, 
Cellini  and  Les  Troyens. 

It  was  as  a  master  of  the  orchestra  that  Berlioz 
takes  unquestioned  rank  beside  Beethoven,  Wagner 
and  Dvorak. 

An  artist  of  rare  creative  power,  he  is  compared  Loveii 

to  that  other  most  original  Frenchman,  Victor  Hugo.  •'^^-.ca! 

■.try 


.  ible  musical 
m.    About  1774-1856. 


orphan.     He 


-•§00-31  ^vi-jD-di  xoflroM  hib  di/iah  ^fd  -f . 

nr  ,rn9iMp9>l   orl  T 

.■■..■  .  ni  ■ 

i9r»^;r'/7    .ri-:**'^  -4   /fr!i;;i    honor  ??>';r-i>r:''t   ?0"/[r.? 

b^Ti^qrriGo  ?!  Dd  ,■;  . 

.oipijll  lotoiV  Jtfi!  .  oi 


BIOGRAPHIES 


91 


Bowman 

and  theory  and  composition  with 
Weitzmann,  also  studying  registration 
for  part  of  the  year  in  Paris,  with 
Batiste.  Returning  to  St.  Louis,  in 
1874,  he  remained  in  that  city  until 
1887,  with  a  trip  to  Europe  in  1881, 
when  he  was  the  first  American  to 
pass  the  examination  of  the  London 
Royal  College  of  Organists.  Since 
1887  he  has  been  in  Brooklyn,  where 
he  is  organist  of  the  Baptist  Temple. 
From  1891  to  1895  he  was  professor 
of  music  at  Vassar  College.  In  1895 
he  organized  in  Brooklyn  the  Temple 
choir,  of  two  hundred  voices,  which 
he  still  conducts.  Bowman  has 
served  three  terms  as  president  of  the 
Music  Teachers'  National  Association. 
In  1884  he  helped  to  found  the 
American  College  of  Music,  for  which 
he  served  as  president  for  eight 
terms,  being  now  honorary  president 
and  trustee.  He  is  also  one  of  the 
founders  of  the^  American  Guild  of 
Organists.  He  is  beside  a  very  suc- 
cessful teacher  and  has  published 
Bowman's  Weitzmann's  Manual  of 
Musical  Theory, 

Boyce  (bois),  William.    1710-1779. 

English  organist  and  dramatic  com- 
poser. He  was  in  the  choir  of  St. 
Paul's  Church  under  Charles  King 
and  later  studied  with  Maurice  Greene. 
He  became  organist  of  St.  Michael's, 
Cornhill,  in  1736,  and  the  same  year 
was  appointed  composer  to  the 
Chapel  Royal  and  the  King.  In  1737, 
Boyce  was  chosen  conductor  of  the 
musical  festival  held  by  the  Three 
Choirs  (Gloucester,  Worcester  and 
Hereford)  and,  in  1749,  became  organ- 
ist of  All  Hallows  Church.  These 
positions  he  resigned  in  1758  to  be- 
come organist  of  the  Chapel  Royal. 
He  was  given  the  degree  of  Doctor  of 
Music  in  1749  by  Cambridge.  Boyce's 
compositions  consisted  of  anthems 
and  services;  twelve  sonatas  for  vio- 
lin and  a  violin  concerto;  and  eight 
symphonies;  beside  an  oratorio, 
Noah;  a  masque  for  The  Tempest; 
dirges  for  Romeo  and  Juliet  and 
Cymbeline;  a  masque,  Pellus  and 
Thetis,  a  trio  for  The  Winter's  Tale, 
and  Harlequin's  Invasion,  and  also  a 
large  number  of  songs,  duets  and 
cantatas.  Boyce's  most  important 
work  was  the  collecting  and  editing 
of  the  Cathedral  Music,  which  was 
published  in  three  volumes,  the  first 
appearing  in  1760  and  the  last  in  1778. 
This  work,  which  was  begun  by  Dr. 


Braham 

Greene,  and  was  taken  up  after  his 
death,  at  his  request,  by  Boyce,  was 
a  collection  in  score  of  the  most 
valuable  English  sacred  compositions 
by  eminent  musicians  of  the  last  two 
centuries. 

Bradbury,  William  Bachelder.     1816- 
1868. 

One  of  the  pioneers  of  American 
music.  He  was  a  composer  and 
teacher.  Was  born  in  Maine.  Both 
his  father  and  mother  were  musical, 
his  father  being  a  choir-leader  and 
singing-teacher.  In  1830  his  parents 
moved  to  Boston,  where  the  son  took 
lessons  on  the  organ  and  in  four 
years  time  had  become  known  as  a 
fine  organist.  In  1840  he  went  to 
New  York,  where  he  lived  until  1847 
as  a  teacher  and  composer.  From 
1847  to  1849  Bradbury  and  his  family 
were  in  Europe,  where  he  studied  in 
Leipsic,  with  Hauptmann,  Moscheles 
and  Bohme.  After  returning  home 
he  devoted  his  time  from  1849  to 
1854  to  teaching,  composing  and  con- 
ducting Musical  Festivals,  which  were 
then  very  popular  and  were  being 
held  all  over  the  country.  In  1854, 
with  his  brother,  he  began  manufac- 
turing pianos.  This  business  was 
carried  on  until  1869,  by  which  time 
the  Bradbury  pianos  had  become 
quite  popular.  Bradbury  was  one  of 
three  men,  the  others  being  Lowell 
Mason  and  George  F.  Root,  who  did 
a  great^  deal  for  church  and  vocal 
music  in  this  country,  Bradbury 
edited  over  fifty  collections  of  music 
from  1841  to  1867,  in  all  of  which  were 
many  of  his  own  compositions.  Some 
of  the  best  known  of  these  collections, 
which  had  an  immense  sale,  were 
The  Jubilee,  Fresh  Laurels,  and  the 
Golden  Series.  He  also  wrote  the 
cantatas  Esther,  the  beautiful  Queen, 
and  Daniel.  Bradbury  was  the  editor 
of  the  New  York  Musical  Review  and 
collected  a  large  and  valuable  musical 
Hbrary. 

Braham,  John.    About  1774-1856. 

Renowned  Jewish  tenor  singer, 
whose  real  name  was  Abraham.  He 
was  born  in  London,  about  1774,  and 
at  an  early  age  left  an  orphan.  He 
made  his  living,  it  is  said,  by  selling 
pencils  about  the  streets.  Opportunity 
came  to  study  under  Leoni,  a  cele- 
brated singer  of  his  own  race,  and  in 
the  year  1787  he  made  his  first  public 
appearance,    at    the    Covent    Garden 


92 


BIOGRAPHIES 


Braham 
Theatre,  singing  The  Soldier  Tired  of 
War's  Alarms.  When  his  boyish 
voice  failed  he  found  a  patron,  under 
whom  he  secured  training,  to  fit  him 
to  become  teacher  of  the  piano,  but 
returned  to  the  stage,  when  his  voice 
allowed  of  singing  in  public  again, 
and  in  time  became  a  great  favorite, 
especially  in  London.  He  appeared 
in  opera  at  Drury  Lane,  in  1796,  then 
sang  in  Italian  Opera,  and  oratorio, 
following  which  he  went  to  Italy  for 
a  course  of  study,  and  sang  in  opera 
in  various  Italian  towns.  He  re- 
mained two  years  at  Milan,  and 
reappeared  in  England,  in  1801,  at 
Covent  Garden,  London.  Now  began 
his  great  success.  He  attained  im- 
mense popularity  in  roles,  for  which 
he  wrote  the  music  himself,  as  well 
as  in  songs  and  ballads  of  his  own 
composition.  Mention  should  be 
made  of  his  Death  of  Nelson,  the 
national  song  that  has  delighted  gen- 
erations of  Englishmen.  He  created 
the  role  of  Sir  Huon  in  Weber's 
Oberon.  Grove  says  that  Braham 
had  scarcely  a  rival  in  the  theatre, 
concert  room  or  church.  "  His  com- 
pass extended  to  about  nineteen 
notes;  and  his  falsetto  from  D  to  A, 
was  so  entirely  within  his  control, 
that  it  was  hardly  possible  to  dis- 
tinguish where  his  natural  voice  began 
and  ended.  After  his  voice  had  lost 
its  natural  power,  he  was  successively 
engaged  at  several  theatres  on  the 
mere  strength  of  a  reputation  that 
seemed  immortal."  He  accumulated 
a  large  fortune,  which  he  lost  in  un- 
fortunate business  enterprises,  and  an 
American  tour,  made  late  in  his  ca- 
reer, was  not  successful.  In  private 
life  he  was  much  respected  and  very 
popular,  and  he  had  a  good  social 
standing  in  London. 

Brahms    (brams),   Johannes.    18  3  3- 

1897. 

When  Johannes  Brahms  died,  in 
1897,  there  passed  the  last  of  the  great 
masters  in  German  music,  and  one  of 
their  greatest.  Johannes  Brahms  came 
of  the  people.  As  Josef  Wiess  says: 
"  He  sprang  from  the  people,  and 
everywhere  one  meets  the  mighty 
lineaments  and  forms  of  his  race  in 
his  compositions." 

His  great-grandfather  was  Peter 
Brahms,  of  sturdy  Lower  Saxony 
stock,  and  a  joiner  by  trade.  The 
grandfather  was  a  retail  dealer  and 
innkeeper  at  Heide,  Holstein.    A  son 


Brahms 
of  the  latter,  by  name  Johann  Jacob, 
twice  ran  away  from  home  because 
of  his  love  for  music  and  remained 
so  faithful  to  this  passion  that  finally 
he  was  permitted  by  his  father  to 
follow  the  profession  of  musician, 
eventually  becoming  contrabassist  in 
theatre  orchestras  at  Hamburg.  In 
this  city,  in  1830,  he  married  Johanna 
Henrika  Christiane  Nissen,  a  lady  sev- 
enteen years  older  than  himself.  She 
bore  him  three  children,  the  second 
of  whom  was  Johannes,  born  in  Ham- 
burg, May  7,  1833. 

Johann  Jacob  was  a  musician  of 
considerable  versatility.  He  played 
several  instruments  and  accepted  em- 
ployment where  it  was  to  be  ob- 
tained—  summer  garden,  dance  hall, 
or  theatre.  The  family,  living  in  cir- 
cumstances anything  but  affluent, 
seems  to  have  been  on  the  whole  a 
happy  as  well  as  a  kindly  one,  the 
home  life  during  Johannes'  boyhood 
being  cheerful  and  agreeable.  Brahms 
was  ever  passionately  devoted  to  his 
old  mother,  and  was  very  fond  of  his 
father.  He  never  was  ashamed  of  his 
youthful  deprivations  and  struggles 
and  took  honest  pleasure,  when  he 
came  across  any  bit  of  his  early  work 
that  he  had  always  written  as  well  as 
he  knew  at  the  time.  Dr.  Widman 
records:  "He  even  did  not  consider 
it  a  useless  discipline  of  life  that  he 
had  sometimes  had  to  accompany  the 
singers  at  a  cafe  chantant,  or  play 
dance  music,  whilst  all  the  time  long- 
ing for  the  quiet  morning  hour  when 
he  could  put  his  own  thoughts  on 
paper."  Brahms  hiinself  said,  "  The 
best  songs  came  into  my  head  whilst 
brushing  my  boots  before  dawn." 

At  an  early  age  Brahms  showed 
ability  of  an  unusual  order,  eagerly 
getting  from  his  father  what  the  lat- 
ter could  teach  him.  He  read  what- 
ever he  could  come  upon  and  practised 
with  a  will.  He  delighted  to  dwell  on 
the  days,  when  a  little  boy  of  barely 
six,  he  for  the  first  time  discovered 
the  possibility  of  making  a  melody 
visible  to  the  eye  by  placing  black 
dots  on  lines  at  different  intervals 
and  of  his  invention  of  a  system  of 
notation  before  he  knew  one  had 
already  long  been  in  existence. 
While  still  very  young  he  became  a 
pupil  of  a  chapelmaster  named  Kos- 
sel  and  later  was  so  fortunate  as  to 
have  for  instructor  Edouard  Marxsen 
of  Altona,  a  celebrated  composer, 
under  whom  he  was   to  make  close 


BIOGRAPHIES 


93 


Brahms 
acquaintance  with  Bach  and  Bee- 
thoven. Hadow  in  his  Studies  in 
Modern  Music,  remarks:  "It  is 
.  .  .  a  matter  of  no  small  moment 
that  Brahms  in  his  early  studies 
should  have  followed  the  historical 
development  of  the  art,  first  the 
volkslieder  and  dances  which  repre- 
sent its  simplest  and  most  unsophisti- 
cated utterance;  then  the  choral 
writing,  in  which  polyphony  is 
brought  to  its  highest  perfection; 
lastly,  the  culminating  majesty  of 
structure  which  Beethoven  has  raised 
as  an  imperishable  monument." 

Brahms  made  his  debut  at  the  age 
of  fourteen,  before  a  Hamburg  audi- 
ence, playing  amongst  other  things  a 
set  of  original  variations  on  a  volks- 
lied.  He  appeared  again  in  public  in 
1848;  the  following  year  made  two 
public  appearances,  and  in  April  of 
1849,  gave  a  concert,  at  which  he 
played  Beethoven's  Waldstein  Sonata 
and  a  Phantasie  of  his  own.  In  the 
meantime  he  was  working  hard  at 
composition  and  in  this  period  pro- 
duced three  piano  sonatas,  the 
Scherzo  in  E  flat  minor,  and  a  num- 
ber of  songs,  the  Liebestreu  notable 
among  these. 

Early  in  the  fifties  there  came  to 
Hamburg  the  eccentric  Plungarian 
violinist,  Remenyi,  who  found  himself 
much  impressed  by  Brahms'  playing, 
he  accompanying  the  violinist  in  some 
of  the  Hungarian  dances.  Remenj'i 
suggested  that  they  travel  together, 
and,  in  1853,  they  set  out  on  a  pro- 
fessional tour  of  North  Germany.  At 
a  concert,  where  they  were  to  play 
the  Kreutzer  Sonata,  at  the  last 
moment  they  found  that  the  piano 
was  half  a  tone  too  low.  It  would 
have  spoiled  the  effect  to  tune  down 
the  violin,  so  Brahms  oft'ered  to 
transpose  the  piano  part  half  a  tone 
higher  and  playing  without  notes  he 
accurately  made  the  transposition,  and 
in  addition  gave  a  spirited  rendering. 
At  Hanover,  Brahms  was  introduced 
by  Remenyi  to  an  old  school  fellow 
of  his,  none  other  than  the  famous 
young  Joachim,  who  gave  them  a  let- 
ter to  Liszt  at  Weimar,  exerted  his 
influence  for  them  in  Hanover,  and 
suggested  a  letter  to  Schumann  at 
Diisseldorf.  Joachim  at  this  time 
pronounced  Brahms,  both  as  player 
and  composer,  "  the  most  considerable 
musician  of  his  age  I  have  ever  met." 

A  successful  concert  was  given  in 
Weimar,  and  the  great  Liszt  showed 


Brahms 
himself  much  pleased  by  one  num- 
ber on  the  program,  Brahms'  E  flat 
minor  Scherzo.  The  next  day  a  meet- 
ing was  arranged  at  Liszt's  house  in 
the  Altenburg,  when  the  master  to 
Brahms'  delight  played  the  Scherzo. 
For  a  while  Liszt  was  to  express  much 
enthusiasm  over  the  young  composer, 
and,  strange  as  it  may  seem  now  in 
the  light  of  Brahms'  completed  work, 
count  him  as  belonging  to  the  new 
order,  an  ally  of  Berlioz  and  Wagner. 

At  Weimar,  Remenyi  and  Brahms 
brought  their  tour  to  a  close,  the 
latter  going  to  Gottingen  for  the 
promised  letter  to  Schumann,  and 
also  in  response  to  the  cordial  invi- 
tation extended  him,  to  make  Joachim 
a  visit.  Brahms  remained  some  time 
in  Gottingen  before  starting  on  to 
Diisseldorf,  this  being  the  beginning 
of  the  beautiful  friendship  with 
Joachim,  a  friendship  that  lasted  until 
Brahms'  death,  forty-four  years  later. 

Schumann  received  him  with  open 
mind,  then  with  warmest  interest  and 
finally  regarded  him  with  unbounded 
enthusiasm  as  their  acquaintance  pro- 
gressed. In  the  Neue  Zeitschrift  ftir 
Musik,  Oct.  28,  1853,  Schumann 
printed  the  now  famous  article  Neue 
Bahnen  (New  Paths),  filled  with  such 
praise  of  Brahms  as  to  attract  to  the 
young  composer  the  attention  of  the 
whole  music  world  of  Germany. 

Shortly  an  invitation  arrived  from 
Leipsic  that  he  come  there  and  pla}' 
some  of  his  compositions  at  the 
Gewandhaus,  and  in  December  he 
appeared,  giving  the  Scherzo  in  E  flat 
minor  and  the  Sonata  in  C.  To  his 
surprise  there  now  arose  a  heated 
controversy  about  his  work;  he  was 
assailed  by  both  classes;  one  side  did 
not  hesitate  to  affirm  that  never  would 
he  become  a  star  of  the  first  magni- 
tude, the  other  expressed  the  wish 
that  he  might  speedily  be  dehvered 
from  over-enthusiastic  patrons.  Mean- 
while progress  with  the  publishers 
advanced,  and  eight  of  his  important 
works  were  published  during  the 
winter. 

The  friendship  with  Joachim  and 
the  Schumanns  grew  apace,  and  when 
Schumann's  mental  trouble  asserted 
itself  so  tragically,  both  Joachim 
and  Brahms  were  untiring  in  their 
devotion  to  him  and  his  family, 
Brahms  spending  much  time  at  Dus- 
seldorf.  During  these  days  he  gave 
concerts  with  Julius  Stockhausen,  the 
distinguished   singer,    with    whom   he 


94 


BIOGRAPHIES 


Brahms 

formed  a  warm  friendship;  and  played 
in  public  with  Joachim  and  Mme. 
Schumann.  An  opening  at  the  Court 
of  Lippe-Detmold  presently  ofifering, 
he  was  installed  there  as  Court- 
Director.  The  Court  of  Lippe-Det- 
mold being  a  quiet  one,  he  had  the 
best  of  opportunity  for  study  and 
composition  and  season  after  season 
lived  here  in  contented  retirement, 
seemingly  forgetful  of  the  furore  he 
had  started  and  that  he  was  but 
beginning  his  career.  This  period 
was  marked  by  only  one  published 
work  and  few  public  appearances  as  a 
player.  But  this  retirement  was  only 
temporary,  he  was  preparing  by  a 
long  and  severe  course  of  study  to 
again  present  himself  to  the  world; 
in  which  he  was  finally  to  take  his 
place,  not  as  leader  of  a  new  school, 
not  as  overthrower  and  destroyer, 
but  as  Hadow  suggests,  "  as  artist 
contemplative  rather  than  artist  mili- 
tant." Brahms,  whose  early  work  was 
so  highly  praised  by  the  romanticists, 
in  the  end  proved  to  them  a  dis- 
appointment. Daniel  Gregory  Mason, 
in  his  book  From  Grieg  to  Brahms, 
remarks:  "If  he  had  followed  out 
the  path  he  was  on,  as  any  contem- 
porary observer  would  have  expected, 
he  would  have  become  the  most 
radical  of  romanticists.  At  thirty  he 
would  have  been  a  bright  star  in  the 
musical  firmament,  at  forty  he  would 
have  been  one  of  several  bright  stars, 
at  fifty  he  would  have  been  clever  and 
disappointed.  It  required  rare  insight 
in  so  young  a  man,  suddenly  suc- 
cessful, to  realize  the  danger,  rare 
courage  to  avert  it." 

His  Piano  Concerto  in  D  minor, 
produced  at  the  Leipsic  Gewandhaus, 
Jan.  27,  1859,  was  received  unfavor- 
ably and  aroused  much  opposition, 
but  it  should  be  noted  that  it 
eventually  met  here  with  a  very  dif- 
ferent reception.  The  next  work  was 
the  Serenade  in  D,  which  was  given 
its  first  public  appearance  in  Ham- 
burg. When  not  engaged  at  Detmold, 
Brahms  was  accustomed  to  spend 
considerable  time  in  Hamburg  with  his 
parents,  as  well  as  to  make  long  visits 
to  Gottingen  and  Switzerland.  Now 
was  brought  forth  a  rich  number  of 
works  and  some  of  his  masterpieces. 
In  1861  appeared  the  _  exquisite  Ave 
Marie  for  female  voices,  orchestra 
and  organ;  the  Funeral  Hymn  for 
chorus  and  wind-instruments;  the  D 
minor  Concerto;  the  first  two  sets  of 


Brahms 
piano  variations;  and  two  volumes  of 
songs  and  duets.  In  1862,  were  pub- 
lished four  part-songs  for  female 
chorus,  with  accompaniment  of  horn 
and  harp;  two  books  of  Marienlieder; 
a  volume  of  songs;  two  sets  of  vari- 
ations for  piano;  and  the  String  Sex- 
tet in  B  fiat,  which  has  been 
pronounced  the  most  magnificent 
piece  of  chamber-music  appearing 
since  Beethoven. 

And  to  these  days  might  be  added 
the  Piano  Quartets  in  G  minor  and  A 
major,  though  not  published  till  1863, 
after  Brahms  was  established  in 
Vienna.  There  were  strong  attrac- 
tions drawing  him  to  the  Austrian 
capital,  not  the  least  his  growing 
interest  in  Hungarian  music,  an  in- 
terest doubtless  awakened  by  the 
association  with  Remenyi.  Brahms 
found  the  musical  circles  of  Vienna 
ready  to  welcome  him,  for  while  his 
compositions  were  little  known  by 
the  public,  the  musicians  were  all 
aware  of  him.  His  scholarly  playing 
was  approved  and  his  work  as  com- 
poser began  to  be  appreciated.  He 
found  the  atmosphere  congenial  and 
from  now  on  dwelt  in  Vienna;  though 
with  frequent  intervals  of  roaming, 
for  he  was  excessively  fond  of  travel. 
In  the  summer  of  1863,  he  was 
appointed  conductor  of  the  Sing- 
akademie.  During  the  year  he  occu- 
pied the  post  —  he  refused  re-elec- 
tion—  he  devoted  himself  to  it  with 
much  zeal,  and  the  experience  as 
choral  conductor  proved  of  great 
value. 

It  is  of  interest  to  note  that  Brahms 
and  Wagner  came  to  Vienna  the 
same  year.  They  were  occasionally 
thrown  together,  but  neither  appears 
to  have  courted  any  intimacy,  the  two 
being  not  at  all  in  sympathy.  Wag- 
ner's attitude  toward  Brahms  was  dis- 
dainful. Brahms  did  not  profess 
enthusiasm  for  the  theatre,  and 
frankly  confessed  that  he  did  not  un- 
derstand Wagner.  Brahms  bound 
himself  to  no  school;  and  living  in 
the  strife  stirred  up  by  Wagner,  he 
calmly  kept  to  his  way,  holding  to  the 
best  of  the  old,  bending  with  listening 
ear  to  the  message  of  the  new. 

Brahms  was  the  author  of  no  opera; 
but  as  Josef  Weiss  says,  "dramas, 
dramatic  scenes,  comedies,  epics  and 
tales  in  music  he  poured  forth  in 
profusion."  In  1863  he  published  two 
piano  quartets,  the  following  year  a 
number  of  vocal  compositions,  among 


BIOGRAPHIES 


95 


Brahms 
them  two  volumes  of  songs,  the  won- 
derful Wie  bist  du,  Meine  Konigen 
appearing  this  year.  To  1865  belong 
the  Piano  Quintet  in  F  minor  and  the 
first  two  books  of  Romances  from 
Tieck's  Magelone.  Late  in  the  year 
Brahm  engaged  in  a  concert  tour 
in  Germany  that  added  to  his  renown. 
In  October  of  1866  he  made  a  short 
tour  with  Joachim  in  German  Switzer- 
land. In  January  of  1867,  in  Vienna, 
the  G  major  Sextet  was  given  its  first 
production,  this  work  being  followed 
by  the  Paganini  Variations,  a  set  of 
waltzes,  and  the  Soldatenlieder.  And 
then  came  the  great  German  Requiern, 
which  at  first  met  with  much  criti- 
cism from  the  theologians,  a  funeral 
ode  rather  than  a  requiem  mass. 
Performed  at  Bremen  Cathedral,  on 
Good  Friday,  1868,  it  drew  musicians 
from  far  and  near,  among  the  most 
famous  Joachim  and  Madam  Schu- 
mann. Today  the  German  Requiem 
is  regarded  as  Brahms'  best  monu- 
ment. 

Following  the  publication  of  five 
volumes  of  songs  and  the  last  three 
books  of  Romances  from  Tieck's 
Magelone,  came  a  period  of  rest;  then 
the  first  two  books  of  Hungarian 
dances.  In  1871  appeared  the  splen- 
did Triumphlied,  written  in  celebra- 
tion of  the  German  victory  in  the 
Franco-Prussian  struggle;  and  the 
marvelous  Schicksalslied.  These  two 
works  with  the  Requiem  and  the 
Rhapsodie  for  alto  solo  and  male 
chorus,  observes  Grove,  "  mark  the 
culmination  of  Brahms'  art  as  a 
choral  writer.  In  one  and  all  he 
touches  a  point  of  sublimity  that  had 
not  been  reached  since  Beethoven." 

From  1872  to  1875  Brahms  held 
the  important  post  of  conductor  to 
the  Gesellschaft  der  Musikfreunde. 
In  this  period  he  produced  a  quantity 
of  work;  numerous  songs,  duets  and 
choruses;  the  Piano  Quartet  in  C 
minor;  and  a  set  of  orchestral  vari- 
ations. In  1876  appeared  the  Sym- 
phony in  C  minor;  the  ensuing  year 
the  D  major  Symphony;  this  fol- 
lowed by  the  magnificent  Violin  Con- 
certo, which  played  by  Joachim  on 
its  first  presentation  met  with  a  re- 
markable demonstration.  Brahms' 
Third  Symphony,  considered  the  finest 
of  his  instrumental  works  for  or- 
chestra, was  produced  at  Vienna  in 
1883,  then  came  the  Symphony  in  E 
minor.  Of  his  other  work  mention 
should  be  made  of  the  Quartet  in  B 


Brahms 

flat;  additional  series  of  songs  and 
pieces  for  the  piano;  the  Violin 
Sonata  in  G;  a  second  set  of  Hun- 
garian dances;  the  Academic  Festival 
Overture  written  for  the  Breslau 
degree;  the  Tragic  Overture;  the 
Piano  Concerto  in  B  flat;  the  String 
Quartet  in  F;  the  Violoncello  Sonata 
in  F;  the  Violin  Sonata  in  A;  two 
concerted  compositions  for  clarinet; 
the  Double  Concerto;  the  C  minor 
Piano  Trio;  the  Violin  Sonata  in  D 
minor;  a  second  String  Quartet;  and 
two  volumes  of  motets. 

No  little  of  Brahms'  work  is  cen- 
sured for  its  over-intellectuality  and 
the  author's  lack  of  appreciation  of 
the  purely  sensuous  side  of  music. 
But  these  faults  sink  into  the  back- 
ground in  a  wide  survey  of  his  con- 
tribution. Of  Brahms'  scope  Hadow 
writes:  "Do  we  want  breadth? 
There  is  the  Sextet  in  B  flat,  the 
Second  Symphony,  the  Piano  Quartet 
in  A.  Do  we  want  tenderness?  There 
is  the  Minnelied,  there  is  Wie  bist  du, 
Meine  Konigen,  there  is  the  first 
Violin  Sonata.  Is  it  simplicity?  We 
may  turn  to  Erinnerung,  to  Sonntag, 
to  the  later  pianoforte  pieces.  Is  it 
complexity?  We  have  the  Symphony 
in  E  minor,  the  four  Concertos,  the 
great  masterpieces  of  vocal  counter- 
point." And  continuing  the  thought 
of  Brahms'  moods  of  beautiful  sim- 
plicity,_  Hadow  adds:  "In  Shakes- 
peare it  often  happens  that  we  come 
across  a  line  where  there  is  nothing 
unusual  in  the  thought,  nothing 
recondite  in  the  language,  nothing  but 
the  simplest  idea  expressed  in  the 
simplest  words,  and  yet  when  we 
read  it  we  feel  at  once  that  it  could 
have  been  said  in  no  other  way,  and 
that  it  can  never  be  said  again.  And, 
in  his  own  art,  Brahms  too  has  this 
gift  of  making  simplicity  memorable." 

Brahms  as  a  song-writer  demands 
special  attention.  Grove  says:  "As 
with  all  the  greatest  lyrical  writers, 
love-songs  form  by  far  the  largest 
and  most  important  section  of 
Brahms'  vocal  works,  and  here  his 
finest  qualities  come  constantly  into 
view.  The  set  of  fifteen  romances 
from  Tieck's  Magelone  exhaust  every 
mood  of  the  lover's  emotion,  and  no 
one  has  ever  given  more  sincere,  sus- 
tained, or  truly  passionate  expression 
to  the  rapture  of  crowned  love  than 
is  to  be  found  in  these  songs."  The 
number  of  solo  songs  with  piano 
accompaniment  is  about  two  hundred, 


96 


BIOGRAPHIES 


Brahms 
sixty  or  more  being  in  folk-song 
style.  Of  his  range  as  a  song-writer, 
Weiss  enumerates  songs  of  fate;  the 
love-songs;  hero  songs;  a  Requiem,  a 
Funeral  Song;  the  Twenty-third 
Psalm;  the  Marienlieder,  German 
songs  relating  to  the  worship  of  the 
Virgin;  motets;  spiritual  songs;  trios; 
duos;  quartets;  a  drinking  glee;  waltz 
for  quartet  and  piano;  gipsy  songs; 
and  grave  songs. 

There  is  little  to  write  of  Brahms 
save  the  record  of  his  work,  the 
adventures  of  his  life  being  all  in 
association  with  his  work.  The  early 
successful  concert  tour  was  followed 
by  years  of  poverty  and  struggle, 
crowned  at  last  by  serene  triumph. 
Late  in  life  came  the  financial  success, 
the  unquestioned  recognition,  though 
it  cannot  be  said  full  appreciation  has 
yet  been  yielded  him.  The  King  of 
Bavaria  conferred  upon  him  the  order 
of  Arts  and  Sciences;  the  Emperor 
of  Austria  made  him  a  member  of  the 
Order  of  Leopold;  in  company  with 
Verdi  he  was  created  a  Knight  of  the 
Prussian  Order,  and  the  same  year  he 
received  this  honor  he  was  elected  a 
member  of  the  Berlin  Academy  of 
Arts.  Late  in  his  career  he  was 
elected  foreign  member  of  the  French 
Academy.  He  received  the  degree  of 
Doctor  of  Philosophy  from  the  Uni- 
versity of  Breslau,  in  1881,  previously 
having  declined  the  degree  of  Doctor 
of  Music  offered  by  the  University  of 
Cambridge.  An  honor  that  touched 
him  deeply  was  the  conferring  upon 
him,  in  1889,  by  his  native  place,  Ham- 
burg, the  freedom  of  the  city. 

Though  he  met  with  wide  appreci- 
ation he  also  encountered  severest 
criticism.  Says  Dickenson,  "  The 
gravity  and  complexity  of  his  music 
have  always  stood  in  the  way  of  what 
is  called  popularity."  From  another 
point  of  view,  Wagner  said  of  him, 
with  characteristic  sarcasm:  "Brahms 
is  a  composer  whose  importance  lies 
in  not  wishing  to  create  any  striking 
effect."  And  yet  Brahms  was  not 
antagonistic  to  the  great  reformer 
and  later  in  their  careers  frequently 
expressed  admiration  for  Wagner.  It 
is  not  recorded  that  Wagner  ever 
awakened  to  appreciation  of  Brahms' 
work. 

Simplicity  and  catholicity  were 
prominent  traits  of  Brahms'  character. 
Mason  calls  attention  to  the  fact  that 
in  music,  he  prized  equally  the 
simplest  elements,  like  the  old  German 


Brahms 


folk-songs  and  the  Hungarian  dances, 
and  the  most  complex  artistic  forms. 
His  intellectuality  was  great;  of  his 
learning  Spitta  declares,  "  No  musi- 
cian was  more  well  read  in  his  art  or 
more  constantly  disposed  to  appropri- 
ate all  that  was  new,  especially  all 
newly  discovered  treasures  of  the 
past.  His  passion  for  learning  wan- 
dered, indeed,  into  every  field,  and 
resulted  in  a  rich  and  most  original 
culture  of  mind."  He  was  untiring  in 
effort  and  to  the  end  kept  up  the 
habit  of  writing  a  contrapuntal  exer- 
cise daily.  He  worked  for  ten  years 
at  his  first  symphony. 

His  genuineness  was  remarkable, 
and  he  was  a  man  of  deep  feeling, 
scornful  of  bombast  and  sham.  He 
was  extremely  modest,  seldom  speak- 
ing of  his  own  work.  He  once  said 
to  Josef  Weiss,  "  I  would  go  on  foot 
twenty  German  miles  to  hear  some- 
thing by  Bach,  but  I  would  not 
willingly  go  as  far  to  direct  one  of 
my  own  works."  Weiss  avows  that 
no  more  modest  man  than  Brahms 
ever,  in  his  lifetime,  occupied  such  a 
place  in  the  realm  of  tone,  the  most 
irnportant  musicians  and  musical  in- 
stitutions vying  with  one  another  in 
showering  honors  upon  him. 

Brahms  loved  Nature  passionately 
and  like  Beethoven  was  very  fond  of 
long  walks.  Grove  calls  attention  to 
how  strongly  the  musical  portrayal 
of  a  landscape  appealed  to  him;  the 
early  Mondnacht,  Die  Mainacht,  An 
die  Nachtigall,  O  komme  Holde  Som- 
mernacht,  and  Feldeinsamkeit,  "  typi- 
cal specimens  of  this  mental  attitude 
towards  Nature,  which  tempts  one  to 
call  Brahms  the  Wordsworth  of 
rnusic,  were  there  not  a  warmer  pas- 
sion, a  higher  ecstacy  and  a  deeper 
insight,  than  Wordsworth  ever  could 
attam." 

He  was  not  infrequently  blunt  to  a 
degree,  but  was  as  ready  with  apology 
as  with  the  rough  phrase.  Sometimes 
described  as  a  shaggy  bear  —  he  could 
never  play  the  part  of  a  celebrity  ex- 
panding on  adulation  —  in  reality  he 
was  of  a  most  cheerful  and  amiable 
disposition,  charming  in  company  con- 
genial to  him,  a  great  lover  of  chil- 
dren, always  tempted  to  stop  in  the 
streets  and  make  friends  with  the 
little  ones,  and  very  kind  to  servants 
and  dependents.  Frugal  and  modest 
in  manner  of  life,  he  gave  away 
freely,  provided  generously  for  his 
family  and  gave  to  others  generously. 


BIOGRAPHIES 


97 


Brahms 
He  had  a  great  fondness  for  travel 
and  a  wholesome  liking  for  vacations, 
made  many  journeys  to  Italy  and  was 
a  frequent  visitor  at  the  German 
watering  places.  He  was  essentially 
healthy  and  normal.  One  biographer 
says,  "  It  is  not  a  little  refreshing  to 
contemplate  a  genius  who,  with  all 
the  astonishing  amount  that  he 
accomplished,  yet  found  time  to  enjoy 
his  dinner,  to  bear  his  part  in  the 
company  of  his  friends,  and  to  be- 
come the  sworn  ally  of  all  the  chil- 
dren in  the  neighborhood." 

Brahms  never  married  and  his  re- 
marks in  reference  to  his  single  state 
have  been  oft  repeated.  Late  in  life 
he  makes  the  facetious  observation, 
"  It  is  my  misfortune  still  to  be  un- 
married, thank  God."  Writing  to  a 
friend,  he  said:  "Have  I  never 
spoken  to  you  of  my  beautiful  prin- 
ciples? Among  them  is  never  more 
to  seek  an  opera  or  a  marriage." 

For  over  forty  years  he  was  an 
intimate  and  valued  friend  of  Clara 
Schumann,  who  gave  rare  interpre- 
tations of  his  works,  of  whom  and 
her  children,  he  was  extremely  fond, 
one  of  his  first  publications  being  a 
set  of  Volkskinderlieder  arranged  for 
the  Schumann  children.  Brahms  held 
Madame  Schumann  in  highest  regard, 
his  attitude  that  of  filial  devotion  — 
she  being  thirteen  years  his  senior. 
They  called  each  other  by  their  first 
names  and  he  was  wont  to  spend  the 
summer  months  near  her.  She  died 
on  May  20,  1896,  and  was  not  long 
survived  by  Brahms,  who  seems  never 
to  have  recovered  from  the  shock  of 
her  loss.  A  chill,  caught  at  the  time 
of  her  funeral,  aggravated  an  affection 
of  the  liver,  which  was  eventually  the 
cause  of  his  death.  He  died  at 
Vienna,  April  3,  1897,  his  last  words, 
spoken  to  the  nurse  who  brought  him 
a  drink,  were,  "  I  thank  you."  He 
was  buried  in  a  cemetery  near 
Vienna,  near  to  Mozart,  Beethoven, 
and  Schubert. 

Daniel  Gregory  Mason  writes:  "Of 
all  the  figures  of  modern  music,  bril- 
liant and  varied  as  they  are,  im- 
pressing one  with  the  many-sidedness 
and  wide  scope  of  the  art,  there  is 
perhaps  only  one,  that  of  Johannes 
Brahms,  which  conveys  the  sense  of 
satisfying  poise,  self-control  and 
sanity.-  Others  excel  him  in  par- 
ticular qualities.  Grieg  is  more  deli- 
cate and  intimate,  Dvorak  warmer 
and  clearer  in  color;   Saint-Saens  is 


Brambach 

more  meteoric,  Franck  more  recon- 
dite and  subtle,  and  Tschaikowsky 
more  impassioned;  but  Brahms  alone 
has  Homeric  simplicity,  the  primeval 
health  of  the  well-balanced  man.  He 
excels  all  his  contemporaries  in 
soundness  and  universality.  In  an  age 
when  many  people  are  uncertain  of 
themselves  and  the  world,  victims  of 
a  pervasive  unrest  and  disappoint- 
ment, it  is  solacing  to  find  so  heroic 
and  simple  a  soul,  who  finds  life 
acceptable,  meets  it  genially,  and 
utters  his  joy  and  his  sorrow  with 
the  old  classic  sincerity.  He  is  not 
blighted  by  any  of  the  myriad  forms 
of  egotism,  by  sentimentality,  by  the 
itch  to  be  effective  at  all  costs,  or  to 
be  *  original,'  or  Byronic  or  romantic 
or  unfathomable.  He  has  no  '  mes- 
sage'  for  an  errant  world;  no  anath- 
ema, either  profoundly  gloomy  or 
insolently  clever,  to  hurl  at  God.  He 
has  rather  a  deep  and  broad  imper- 
sonal love  of  life;  and  universal  joy 
is  the  sum  and  substance  of  his  ex- 
pression." 

BIBLIOGRAPHY. 

Deiters,  Hermann  —  Biography  of  Dr. 

Johannes  Brahms. 
Deitrich,  Albert,  and  Widman,  J.  V.  — 

Recollections  of  Brahms. 
Hadow,    W.    H.  —  Johannes    Brahms 
(In   Studies  in   Modern   Music.    Vol. 

2). 
Mason,    D.    G.  —  From    Grieg  to 

Brahms. 
May,  Florence  —  Life  of  Johannes 

Brahms. 
Riemann,  Hermann  —  Johannes 

Brahms. 
Spitta,  J.  A.  P.  —  Studies  in  Music 

(Essay  on  Brahms). 

Brambach     (bram'-bakh),     Casper 
Joseph.    1833- 

German  composer  and  teacher. 
Was  born  at  Bonn.  From  1851  to 
1854  he  studied  at  the  Cologne  Con- 
servatory, where  he  won  the  Mozart 
Scholarship.  Later,  he  studied  as  a 
private  pupil  with  Ferdinand  Hiller. 
In  1858  he  became  professor  at  the 
Cologne  Conservatory.  This  position 
he  held  until  1861,  when  he  became 
music-director  at  Bonn.  In  1869  he 
gave  up  this  work  and  has  since  lived 
at  Bonn  as  a  composer  and  teacher. 
Brambach  has  become  especially 
known  as  a  composer  of  choral 
works,  the  most  important  of  which 
are  Trost  in  Tonen;  Das  eleusische 
Fest;   Gesanges;  Velleda;   Columbus; 


98 


BIOGRAPHIES 


Brambach 
and  Prometheus  the  last  receiving  a 
prize.  He  also  wrote  a  number  of 
smaller  choral  works;  many  part- 
songs;  duets  and  songs;  beside  an 
opera,  Ariadne;  Tasso,  a  concert  over- 
ture; two  piano  quartets;  a  piano 
sextet  and  concerto  and  a  string 
sextet. 

Brandeis    (bran'-dis),    Federic.    1835- 

1899. 

A  German  pianist  and  composer, 
whose  professional  life  was  spent  in 
the  United  States.  He  was  born  at 
Vienna,  and  came  to  America  at  the 
age  of  fourteen,  after  studying  with 
Fischoff,  Karl  Czerny,  Rufinatscha, 
and  Wilhelm  Meyerhofer.  He  made 
his  debut  as  a  pianist  in  New  York, 
in  1851,  and  as  solo-pianist  and  as 
conductor  toured  throughout  this 
country.  He  held  the  position  of 
organist  in  various  New  York 
churches.  Brandeis  was  the  author 
of  much  vocal  music,  both  sacred 
and  secular.  He  also  wrote  a  great 
many  compositions  for  the  piano,  and 
orchestral  and  other  music. 

Brandes  (bran-des),  Emma.    1854- 

A  German  pianist.  She  was  born 
near  Schwerin,  studied  under  the  court 
music-director  at  Schwerin,  Aloys 
Schmitt,  and  later  was  a  pupil  of 
Goltermann,  the  court-pianist.  Emma 
Brandes  made  her  first  public  appear- 
ance in  Schwerin,  in  1866;  visited 
England,  1871-1872,  where  she  was  re- 
garded as  a  player  of  much  ability 
and  promise,  and  played  with  Joachim 
and  Madame  Schumann.  In  Austria 
and  Germany  her  playing  met  with 
great  success,  but  she  retired  from 
public  life  on  her  marriage  to  Pro- 
fessor Engelmann  of  Utrecht. 

Brandt  (brant),  Marianne.    1842- 

A  brilliant  Austrian  operatic-singer 
of  both  soprano  and  mezzosoprano 
parts.  Her  real  name  is  Marie 
Bischof.  She  was  born  in  Vienna, 
and  studied  in  that  city  under  Frau 
Marschner,  later  being  a  pupil  of 
Madame  Viardot.  She  made  her  debut 
at  Gratz,  in  1867,  as  Rachel  in  La 
Juive.  She  appeared  in  Hamburg 
and  in  Berlin,  was  immediately  suc- 
cessful and  was  engaged  for  a  num- 
ber of  years  at  the  Court  Opera.  In 
1882  she  sang  in  German  Opera  in 
London,  her  singing  of  the  part  of 
Brangiine  in  Tristan  und  Isolde,  being 
very  enthusiastically  received,  as  well 


Brema 

as  her  interpretation  of  Fidelio.  At 
the  second  performance  at  Bayreuth, 
of  Parsifal,  July,  1882,  Marianne 
Brandt  sang  the  role  of  Kundry, 
alternating  with  Materna,  creator  of 
the  part.  She  visited  New  York  in 
1886,  appeared  several  seasons  here  in 
German  Opera,  and  in  1890  settled 
in  Vienna  as  a  teacher  of  singing. 

Brassin  (bras-san),  Louis.    1840-1884. 

Most  distinguished  member  of  a 
Belgium  musical  family,  his  father 
being  a  singer  of  note  and  his  brothers 
well-known  musicians.  He  was  a 
composer  and  pianist.  He  studied  at 
the  Conservatory  of  Leipsic  for  five 
years,  being  a  pupil  of  Moscheles, 
during  which  time  he  gained  a  num- 
ber of  prizes.  After  finishing  his 
studies  he  made  several  concert  tours 
with  his  brothers,  one  of  whom,  Leo- 
pold, was  also  a  fine  pianist,  while 
the  other,  Gerhard,  was  a  violinist.  In 
1866  he  became  first  professor  of  the 
piano  in  the  Stern  Conservatory  at 
Berlin.  Later  he  was  professor  in 
the  Conservatory  at  Brussels,  and  from 
1878  until  his  death  held  the  same 
position  in  the  St.  Petersburg  Con- 
servatory. He  wrote  two  operettas, 
Der  Thronfolger  and  Der  Missionar, 
beside  many  piano-pieces,  the  best  of 
which  were  his  etudes,  and  also  songs. 

Brema  (bra'-ma),  Marie.     1856- 

Brilliant  dramatic  soprano.  Her 
real  name  was  Minny  Fehrman,  and 
although  she  was  born  in  Liverpool, 
her  father  was  a  German  and  her 
mother  an  American,  a  native  of 
Richmond,  Virginia.  At  the  age  of 
eighteen  she  was  married  to  Mr. 
Arthur  Braun  of  Liverpool,  and  did 
not  consider  a  musical  career  seri- 
ously until  1890,  when  she  began 
studying  with  Henschel.  Later  she 
studied  with  Mr.  Blume  and  Madame 
Bessie  Cox.  Since  making  her  debut 
in  1891,  in  Schubert's  Ganymede,  she 
has  appeared  most  successfully  in 
many  roles,  in  London,  Paris  and 
Brussels,  beside  singing  twice  at 
Bayreuth  in  Wagnerian  opera  and 
making  a  tour  through  America  in 
1894  with  the  Damrosch  Company. 
She  sang  the  part  of  Beatrice  at  the 
first  production  of  Stanford's  Much 
Ado  About  Nothing  in  1901.  She  has 
also  been  heard  at  all  the  most  im- 
portant English  festivals  of  the  last 
ten  years,  notably  at  the  Birmingham 
Festival  of  1900,  when  she  sang  The 


BIOGRAPHIES 


99 


\ 


Brema 

Angel,  in  Elgar's  Dream  of  Geron- 
tius.  Among  Madame  Brema's  cele- 
brated roles  are  Orpheus  in  Gluck's 
opera  of  that  name,  Ortrude  in  Lohen- 
grin and  Brangane  in  Tristan  and 
Isolde. 

Breslaur   (bras'-lowr),  EmiL    18  3  6- 
1899. 

German  pianist,  musical  writer  and 
critic.  Studied  at  the  Stern  Conserv- 
atory, Berlin,  for  four  years  and  after- 
ward, in  1868,  became  a  teacher  at 
Kullak's  Academy,  where  he  remained 
nine  years.  In  1883  he  became  choir- 
master for  a  Berlin  Synagogue.  The 
Deutscher  Musiklehrer  Verband  was 
founded  by  him  as  a  music-teachers* 
union  in  1879  and  he  also  founded 
and  was  director  of  a  college  for  the 
training  of  piano  teachers.  He  wrote 
a  number  of  works  on  musical  sub- 
jects, was  editor  of  the  Klavierlehrer, 
a  musical  periodical,  and  also  wrote 
several  choral  pieces,  some  piano- 
pieces  and  songs. 

Breville,  Pierre  Onfroy  de.    1861- 

A  French  composer  of  the  modern 
school,  a  pupil  and  disciple  of  Cesar 
Franck.  He  was  born  at  Bar-le-Duc. 
His  interest  in  music  turned  him  from 
following  a  diplomatic  career  to  devo- 
tion to  art.  He  entered  the  Paris 
Conservatory,  where  he  studied  under 
Theodore  Dubois  and  then  under 
Franck.  The  opera,  Ghiselle,  left  un- 
finished by  Franck,  was  completed  by 
de  Breville,  Coquard,  Rousseau, 
d'lndy  and  Chausson.  His  composi- 
tions include  much  church  music, 
works  for  the  organ,  and  vocal  and 
instrumental  pieces.  Grove  says  of 
him:  "  If  he  cannot  yet  be  numbered 
among  the  most  illustrious  of  Franck's 
pupils,  de  Breville  has  shown  such 
constant  sincerity  and  artistic  earnest- 
ness, that  his  compositions  are  highly 
esteemed  by  all  who  appreciate  the 
modern  French  school." 

Brewer,  Alfred  Herbert.    1865- 

An  eminent  contemporary  English 
organist,  conductor  and  composer 
who  occupies  the  post  of  organist 
and  master  of  choristers  at  Gloucester 
Cathedral.  He  was  born  at  Glouces- 
ter and  was  educated  at  the  Ca- 
thedral School  in  that  city  and  at 
Exeter  College,  Oxford,  From  1877 
to  1880  he  was  chorister  at  Gloucester 
Cathedral,  and  in  1881  filled  the  post 
of  organist  at  St.  Catharine's  Church. 


Brewer 

Later  he  was  organist  at  St.  Mary  de 
Crypt,  and  from  1882  to  1885  was 
organist  at  St.  Giles'  Church,  Oxford. 
At  Exeter  College,  Oxford,  he  pro- 
cured the  post  of  organ  scholar  and 
was  also  organ  scholar  at  the  Royal 
College  of  Music.  He  was  elected 
organist  of  Bristol  Cathedral  in  1885 
and  for  awhile  served  as  organist  at 
St.  Michael's  Church,  Coventry. 
From  1892  to  1897  he  was  organist 
and  master  of  music  at  Tonbridge 
School,  and  since  1897  has  held  the 
post  at  Gloucester  Cathedral.  His 
influence  on  the  music  life  of  his  city 
is  marked.  He  conducted  the  Glouces- 
ter Festivals  in  1898,  1901  and  1904 
and  is  conductor  of  the  Gloucester- 
shire Orchestral  Society,  the  Glouces- 
ter Choral  Union,  the  Gloucester 
Orpheus  Society  and  the  Gloucester 
Diocesan  Choral  Unin,  He  is  Ex- 
aminer of  the  Associated  Board  of 
the  Royal  Academy  of  Music  and  the 
Royal  College  of  Music.  From  Dub- 
lin University,  he  holds  the  degree  of 
Bachelor  of  Music,  while  the  degree 
of  Doctor  of  Music  was  conferred 
upon  him  by  the  Archbishop  of  Can- 
terbury in  1905.  Dr.  Brewer  is  the 
author  of  pieces  for  the  violin  and 
the  piano;  songs  and  part-songs; 
works  for  the  organ,  and  various 
compositions  for  the  church.  His 
compositions  include  an  Orchestral 
Service  in  C;  music  to  the  Ninety- 
eighth  Psalm;  the  sacred  cantatas 
Emmaus  and  The  Holy  Innocents; 
Love's  Philosophy;  a  Song  of  Eden, 
setting  to  Milton's  words;  and  In 
Springtime,  the  latter  given  at  the 
Leeds  Festival  of  1907. 

Brewer,  John  Hyatt.    1856- 

Amepican  composer,  teacher  and 
organist.  Born  in  Brooklyn  and  has 
lived  there  all  his  life.  Began  his 
career  as  a  choir  boy  at  the  age  of 
six  and  sang  until  he  was  fourteen. 
At  the  age  of  fifteen  he  was  organist 
of  a  Brooklyn  church.  He  studied 
vocal  music  with  Cutler  and  Wilder, 
piano  and  harmony  under  Rafael 
Navarro,  organ  with  Diller,  Caulfield 
and  Whitely,  and  later  organ,  coun- 
terpoint and  composition  for  ten 
years  with  Dudley  Buck.  He  has 
been  organist  successively  of  a  num- 
ber of  Brooklyn  churches,  and  has 
conducted  numerous  glee  clubs  and 
orchestras,  among  them  the  Boylston, 
Orpheus,  Brooklyn  Hill  and  Dam- 
rosch  Glee  Clubs,  the  Cecilia  Ladies* 


100 


BIOGRAPHIES 


Brewer 

Vocal  Society  and  the  Hoadley  Ama- 
teur Orchestra.  He  was  a  charter 
member  as  well  as  second  tenor  and 
accompanist  of  the  Brooklyn  Anollo 
Club,  founded  in  1878,  and  in  1903  he 
became  its  conductor.  He  was  one 
of  the  founders  of  the  American 
Guild  of  Organists  and  has  been  an 
active  member  of  the  New  York  State 
Music  Teachers'  Association.  Since 
1899,  he  has  been  professor  of  music 
at  Adelphi  College.  Brewer's  com- 
positions number  over  one  hundred, 
including  the  cantatas,  Holy  Night, 
The  Birth  of  Love,  Hesperus,  Sea  and 
the  Moon,  Herald  of  Spring,  and  Fire- 
light Pictures;  a  suite,  The  Lady  of 
the  Lake,  for  orchestra;  about  thirty 
songs,  sacred  and  secular;  pieces  for 
the  piano,  organ  and  strings;  and  also 
duets  for  organ  and  piano.  Some  of 
his  best  works  are  his  cantatas  Hes- 
perus and  The  Birth  of  Love;  the 
part-songs  for  men,  Fisher's  Song. 
May  Song  and  the  Katydid;  and  for 
women's  voices,  Sea  Shine  and 
Treachery;  and  among  his  songs  his 
Meadowsweet  and  Heart's  Rest. 

Bridge,  Sir  John  Frederick.    1844- 

Noted  English  organist  and  com- 
poser. He  entered  the  Rochester 
Cathedral  as  a  choir  boy,  at  the  age 
of  six,  where  he  remained  until  he 
was  fifteen.  In  1865  he  studied  with 
John  Hopkins  and  was  assistant 
organist  at  the  Rochester  Cathedral. 
From  1865  to  1869  he  was  organist 
at  Trinity  Church,  Windsor,  studying 
with  Sir  John  Goss,  and  taking  the 
degree  of  Bachelor  of  Music  at  Oxford, 
in  1868.  Bridge  became  organist  of 
Manchester  Cathedral  in  1869.  This 
position  he  held  for  six  years  and 
was  at  the  same  time  professor  of 
harmony  at  Owens'  College,  also 
taking  the  degree  of  Doctor  of  Music 
at  Oxford  in  1874.  In  1875  he  was 
appointed  organist  at  Westminster 
Abbey,  in  which  capacity  he  arranged 
all  the  music  and  composed  an  anthem 
for  Queen  Victoria's  jubilee  service  in 
1887,  and  for  the  coronation  of  King 
Edward  _ VII.  in  1902.  At  the  jubilee 
service  in  1887  he  received  a  medal 
from  the  Queen  and  at  the  diamond 
jubilee  in  1897  he  was  knighted  and 
received  the  clasp  to  the  medal.  At 
the  coronation  of  Edward  VII.  he  was 
made  a  member  of  the  Victorian 
order.  In  1890  he  was  elected  Gres- 
ham  professor  of  music  in  the  Royal 
Academy    of    Musio      He    succeeded 


Bright 

Barnby,  in  1896,  as  conductor  of  the 
Royal  Choral  Society,  and  since  1902 
he  has  been  King  Edward  professor 
of  music  at  London  University. 
Among  his  compositions  are  the  can- 
tatas, Boadicea  and  Callirrhoe;  the 
oratorios.  Mount  Moriah  and  Repen- 
tence  of  Ninevah;  the  motet.  Hymn  to 
the  Creator;  the  concert  overture  for 
orchestra,  Morte  d'Arthur;  Rock  of 
Ages  for  barytone  solo,  chorus  and 
orchestra;  settings  for  Kipling's 
poems.  The  Flag  of  England  and  The 
Ballad  of  Camperdown;  a  dramatic 
piece.  The  Forging  of  the  Anchor; 
and  two  choral  ballads,  The  Festival 
and  Inchcape  Rock;  besides  anthems, 
church  services,  hymns,  part-songs 
and  organ  music. 

Bridge  has  also  edited  a  number  of 
hymn-books  and  has  published  prim- 
ers on  counterpoint,  double-counter- 
point, canon  and  organ  accompani- 
ment. 

Bridge,  Joseph  Cox.    1853- 

Brother  of  the  above  and  also  a 
celebrated  organist  and  a  composer 
of  some  merit.  He  studied  under 
Hopkins,  was  his  brother's  assistant 
at  Manchester  Cathedral  and  was 
afterwards  organist  at  Exeter  Col- 
lege, Oxford,  and  from  1877  at  Ches- 
ter Cathedral.  He  has  the  degrees  of 
Bachelor  of  Music  and  Doctor  of 
Music  from  Oxford.  He  has  written 
the  oratorios,  Daniel  and  Rudel;  a 
string  quartet  in  G  minor,  anthems, 
songs,  part-songs  and  piano-music. 

Bright,  Dora.    1863- 

An  English  pianist  and  composer. 
Born  in  Sheffield.  Studied  first  with 
her  father,  who  was  an  excellent 
amateur  violinist.  At  his  death,  in 
1881,  she  entered  the  Royal  Academy 
of  Music,  where  she  studied  com- 
position under  Prout,  and  the  piano 
under  Walter  Macfarren.  In  1884 
she  gained  the  Potter  prize  and  in 
1888,  the  Lucas  medal  for  composi- 
tion, being  the  first  woman  to  have 
that  honor.  She  remained  at  the 
Academy  until  1888  and  during  that 
time  produced  several  important  com- 
positions. In  1882  she  appeared  at 
the  Promenade  concerts,  Covent  Gar- 
den, and  in  1891,  at  the  Crystal  Pal- 
ace concerts,  playing  her  own  piano 
concerto  in  A  minor.  In  1892,  she 
played  her  Fantasia  in  G  for  piano 
and  orchestra  at  the  Philharmonic 
concerts.    This  was  the  first  time  that 


BIOGRAPHIES 


101 


Bright 

a  composition  by  a  woman  was 
allowed  to  go  on  the  program  of  that 
society.  In  1889,  she  began  piano 
recitals,  making  a  tour  of  the  Con- 
tinent with  great  success.  In  1892, 
Miss  Bright  married  Capt.  Knatchbill, 
of  Bath.  From  1892  to  1895  she  gave 
recitals  from  the  works  of  English 
composers.  Her  compositions  include 
a  concerto  for  piano;  a  concerto  in 
A  minor  for  piano  and  orchestra;  a 
Fantasia  in  G;  quartet  for  piano  and 
strings;  suite  for  violin  and  piano; 
duet  for  two  pianos;  solo  pieces  for 
piano  and  flute  and  twelve  songs. 

Bristow,    George    Frederick.    18  2  5- 
1898. 

One  of  America's  most  representa- 
tive composers.  His  father  was  an 
Englishman,  who  came  to  America 
and  became  a  well-known  conductor 
in  New  York.  Bristow,  the  younger, 
was  born  in  Brooklyn  and  began  the 
study  of  music  at  the  early  age  of 
five,  becoming  second  leader  of  vio- 
lins in  an  orchestra  at  thirteen  and 
publishing  his  first  composition  at 
fourteen.  When  the  New  York  Phil- 
harmonic Society  was  organized,  in 
1842,  he  entered  the  orchestra  as  vio- 
linist, and  remained  in  that  position 
until  1883.  This  society  performed 
several  of  his  compositions,  his_  first 
overture  being  given  when  Bristow 
was  only  seventeen.  During  the  bril- 
liant concert  tour  of  Jenny  Lind  in 
America,  under  the  management  of 
Sir  Jules  Benedict,  Bristow  was  her 
conductor,  and  afterwards  held  the 
some  position  in  Julien's  orchestra. 
He  was  also  leader  of  the  New  York 
Harmonic  Society  and  was  for  three 
years  director  of  the  Mendelssohn 
Union.  Besides  being  a  talented 
composer,  Mr.  Bristow  was  a  fine 
organist,  a  good  violinist,  an  excellent 
orchestra  conductor  and  choral  leader 
and  a  teacher  of  broad  experience. 
For  a  large  part  of  his  life  he  had 
charge  of  the  music  in  the  New  York 
public  schools.  In  private  life  he  was 
simple  and  unassuming,  caring  noth- 
ing for  society  but  devoting  himself 
with  much  energy  and  industry  to 
work.  His  works,  between  seventy 
and  eighty  in  number,  include  or- 
chestral, piano  and  organ  music, 
operas,  oratorios  and  cantatas.  Many 
of  these  have  never  been  published. 
Among  his  larger  and  more  im- 
portant compositions  are  the  operas. 
Rip  Van  Winkle  and  Columbus;  his 


Brodsky 

oratorios,  Praise  To  God,  and  Daniel; 
his  cantatas.  The  Pioneer,  and  The 
Great  Republic  with  orchestral  ac- 
companiment; The  Arcadian  Sym- 
phony; a  Symphony  in  F  sharp-minor; 
and  Niagara,  a  descriptive  piece  for 
chorus  and  orchestra  given  in  New 
York  in  1898. 

Brockway,  Howard  A.    1870- 

American  pianist  and  composer. 
He  was  born  in  Brooklyn  and  received 
his  education  at  the  Brooklyn  Poly- 
technic Institute.  From  1881  to  1889 
he  studied  the  piano  in  Brooklyn  with 
H.  O.  C.  Kortheuer.  In  1890  he  went 
to  Berlin,  where  for  five  years  he 
studied  composition  with  O.  B.  Boise, 
also  an  American,  and  piano  with 
Barth.  In  1895  he  gave  a  concert  of 
his  own  works  in  Berlin,  with  the 
Berlin  Philharmonic  Orchestra,  at 
which  his  Symphony  in  D  major  was 
produced.  The  same  year  he  returned 
to  America  and  lived  in  New  York  as 
pianist  and  teacher  until  1903,  when 
he  became  a  member  of  the  faculty  of 
Peabody  Institute,  Baltimore,  which 
position  he  still  holds.  In  spite  of 
the  fact  that  his  symphony  was 
received  with  great  favor  in  Berlin, 
Brockway  did  not  obtain  a  hearing  in 
this  country  until  1901,  when  his 
Sylvan  Suite  was  performed  by  the 
Boston  Symphony  Orchestra.  Other 
compositions  of  Rockaway's  are  a 
Nocturne,  a  Characterstiick,  a  Ballade, 
a  Fantasiostiick,  a  set  of  variations,  a 
sonata  for  piano  and  violin,_  a  Cava- 
tina  and  a  Romanza  for  violin  and 
orchestra,  a  Movement  Musicale  for 
violin  and  piano,  a  Scherzo  for 
orchestra,  two  part-songs  and  songs. 
Hughes  says  that  Brockway  may  be 
counted  as  one  of  the  most  fluent, 
brilliant,  and  thoroughly  equipped  of 
American  composers. 

♦Brodsky  (brod'-shki), Adolph.    1851- 

Celebrated  contemporary  Russian 
violinist  and  teacher.  He  was  born 
at  Taganrog,  Russia,  and  early  dis- 
played exceptional  musical  talent.  He 
began  taking  lessons  at  the  age  of 
five,  and  at  the  age  of  nine  gave  a 
concert.  At  this  concert  he  enlisted 
the  sympathy  of  a  wealthy  citizen, 
who  sent  him  to  study  at  Vienna.  In 
the  year  1860,  he  entered  the  Vienna 
Conservatory  and  became  a  pupil  of 
the  famous  Joseph  Hellmesberger. 
This  great  teacher  took  much  delight 
in  his   gifted  pupil  and   allowed  the 


102 


BIOGRAPHIES 


Brodsky 

"wonder  child"  to  play  at  many  con- 
certs in  Vienna,  and  finally  admitted 
him  into  his  own  quartet,  then  in  the 
height  of  its  popularity,  the  personnel 
being  Hellmesberger,  Brodsky,  Bod- 
erich  and  Popper.  After  a  residence 
of  ten  years  in  Vienna,  Brodsky 
made  a  tour  in  his  native  land,  1870 
to  1874,  and  with  two  other  artists 
gave  concerts  all  over  Russia,  the 
itinerary  extending  as  far  as  Tiflis  in 
the  Caucasus  and  Baku  on  the  Cas- 
pian. He  subsequently  settled  in 
Moscow,  that  he  might  come  under 
the  influence  of  Ferdinand  Laub;  but 
he  was  never  a  pupil  of  Laub,  as  Is 
stated  in  some  biographies,  though 
Dr.  Brodsky  considers  that  Laub  had 
a  greater  influence  on  the  formation 
of  his  style  than  even  Hellmesberger. 
In  1874,  Brodsky  was  appointed  pro- 
fessor in  the  Munich  Conservatory. 
He  remained  there  four  years,  then 
for  two  years  conducted  the  sym- 
phony concerts  at  Kiev,  and  toured 
Austria,  Germany  and  England  from 
1881  to  1883.  The  latter  year,  he 
accepted  the  post  of  violin  professor 
at  Liepsic  Conservatory,  where  he 
remained  eight  years,  there  forming 
the  well-known  Brodsky  Quartet. 
From  1891  to  1894  he  toured  the 
United  States  and  Canada,  making  his 
headquarters  in  New  York.  On  his 
return  to  Europe  he  settled  at  Man- 
chester, England,  assuming  the  duties 
of  chief  professor  of  violin  at  the 
Royal  College  of  Music,  and  leader 
of  the  Halle  Orchestra.  On  the  death 
of  Sir  Charles  Halle,  October,  1895, 
he  became  principal  of  the  College. 
Victoria  University,  in  1902,  con- 
ferred upon  him  the  honorary  degree 
of  Doctor  of  Music,  and  he  is  the 
possessor  of  the  Olaf  Order  of  Nor- 
way. 

Bronsart     (bron'-zart),     Hans     von. 
1830- 

German  pianist  and  composer, 
whose  full  name  is  Hans  Bronsart 
von  Schellendorff.  He  was  born  at 
Berlin  and  received  his  education  at 
Danzig  and  at  the  University  of  Ber- 
lin. Studied  composition  under  Dehn 
and  his  first  work  in  piano  was  with 
Kullak.  From  1854  to  1857  he 
studied  with  Liszt  at  Weimar.  After 
a  number  of  successful  European 
concert  tours,  Bronsart  conducted 
the  Euterpe  concerts  at  Leipsic  from 
1860  to  1862,  and  the  Gesellschaft  der 
Musikfreunde    concerts    at    Berlin    in 


Bruch 

1865  to  1866,  and  in  1867,  became 
Intendant  of  the  Court  Theatre  at 
Hamburg.  In  1887  he  was  appointed 
superintendent  of  the  court  music  at 
Berlin.  He  retired  from  public  life 
in  1895.  Bronsart's  wife,  Ingeborg 
Starck,  whom  he  married  in  1862,  was 
a  famous  pianist.  His  two  best  known 
works  are  a  trio  in  G  minor  and  a 
concerto  in  F  sharp  minor.  Other 
compositions  are  a  cantata,  Christ- 
nacht;  an  opera,  Der  Corsar;  Friihl- 
ings-Fantasie  for  orchestra;  a  Polo- 
naise in  C  minor  and  a  string  sextet 
and  solo  pieces  for  the  piano. 

Bronsart,  Ingeborg  von.     1840- 

Wife  of  the  preceding.  Noted  con- 
temporary composer  and  pianist.  She 
was  born  in  St.  Petersburg,  of  Swed- 
ish parentage,  her  maiden  name  being 
Starck.  She  came  of  a  musical  fam- 
ily, and  had  the  benefit  of  good  in- 
struction from  the  first,  studying 
under  Martinoff,  Decker  and  Henselt. 
When  only  twelve  years  old  she  gave 
a  concert,  at  which  was  presented  a 
composition  of  her  own.  After  this 
success  she  made  other  public  appear- 
ance while  still  very  young.  Applica- 
tion for  lessons  was  made  to  Liszt, 
and  on  proving  her  ability  she  was 
accepted  as  a  pupil,  and  became  a 
great  favorite  with  that  great  teacher. 
After  a  series  of  concert  tours 
throughout  Germany,  appearing  also 
in  St.  Petersburg  and  Paris,  she  was 
married  in  1861,  to  Hans  von  Bron- 
sart, and  settling  in  Hanover,  retired 
from  concert  work,  hereafter  devoting 
her  time  to  composition.  She  is  the 
author  of  songs,  several  male 
choruses,  works  for  violoncello  and 
piano,  a  fantasie  for  violin  and  piano, 
numerous  compositions  for  the  piano, 
and  three  dramatic  works.  Die 
Gottin  von  Sais  was  her  first  opera. 
Her  setting  to  Goethe's  Jery  und 
Bately  has  been  very  successful,  as 
has  also  her  third  opera,  Konig 
Hierne. 

*  Bruch  (brookh),  Max.     1838- 

An  eminent  German  composer  and 
conductor,  specially  distinguished  in 
the  field  of  the  epic  cantata.  He  was 
born  at  Cologne,  his  mother  being  a 
singer  and  teacher,  and  a  member  of 
a  family  of  marked  musical  talent. 
From  her.  Max  received  his  first  in- 
struction in  music,  and  his  further 
training  progressed  under  her  guid- 
ance.    While  studying  with   Breiden- 


BIOGRAPHIES 


103 


Bruch 

stein  at  Bonn  he  was  considered  a 
remarkably  promising  pupil.  Gaining 
the  scholarship  of  the  Mozart  Founda- 
tion, which  assured  him  an  income 
for  four  years,  he  was  enabled  to 
continue  his  musical  education  under 
Hiller,  Reinecke,  and  Breuning,  the 
while  producing  some  work  and  mak- 
ing his  name  known.  Then  for  three 
years,  from  1858  to  1861,  he  was  en- 
gaged in  teaching  in  his  native  town, 
and  here,  at  the  age  of  twenty,  he 
set  Goethe's  Scherz,  List  und  Rache, 
this  operetta  being  his  first  dramatic 
composition.  Bruch's  first  composi- 
tion, produced  at  the  age  of  fourteen, 
was  a  symphony.  Visits  to  various 
musical  centers,  Vienna,  Berlin,  Dres- 
den, Leipsic,  and  Munich,  aided  in  his 
development.  In  the  city  of  Mann- 
heim, in  1863,  his  opera  The  Lorelei 
was  produced,  written  to  the  libretto 
prepared  by  the  poet  Geibel  for  Men- 
delssohn. 

The  Lorelei  was  followed  by  the 
great  male  chorus-cantata  Frithjof, 
still  considered  one  of  his  best  works. 
His  most  successful  work  is  the 
heroic  cantata  Odysseus;  another 
great  work,  Arminius,  Bruch  likes 
best  of  all  his  compositions.  Achil- 
leus  and  Lied  von  der  Glocke,  works 
for  solos,  choir  and  orchestra,  should 
be  included  in  a  mention  of  Bruch's 
most  important  creations.  Of  the 
composer's  accomplishment  in  this 
field.  Grove  gives  this  estimate: 
"  Bruch's  real  field  is  concert  music 
for  chorus  and  orchestra;  he  is  above 
all  a  master  of  melody,  and  of  the 
effective  treatment  of  masses  of 
sound.  Bruch's  melody  is  not  drawn 
from  hidden  depths  of  innermost  feel- 
ing, but  rather  from  the  upper  sur- 
face of  his  nature;  yet  it  is  true,  un- 
constrained, natural,  and  excellent  in 
structure,  broad,  impressive,  and 
vocal."  In  addition  to  the  composi- 
tions mentioned,  Bruch  has  written 
many  songs,  three  symphonies, 
choruses,  pieces  for  the  piano,  violin 
concertos,  the  oratorio  Moses,  and 
the  opera  Hermione,  based  on  The 
Winter's  Tale.  His  first  violin  con- 
certo is   very   well  known. 

Bruch  was  musical  director  at  Cob- 
lenz  from  1865  to  1867,  and  from 
1867  to  1870  court-conductor  at  Son- 
dershausen.  On  resigning  the  latter 
post,  he  resided  for  a  while  at  Ber- 
lin, and  then  went  to  Bonn,  where  he 
remained  for  five  years,  devoting  all 
his  time  to  composition.     In   1878  he 


Brull 

succeeded  Stockhausen  as  director  of 
the  Stern  Singing  Society  in  Berlin. 
In  1880  he  was  invited  to  Liverpool, 
as  director  of  the  Philharmonic  So- 
ciety, and  for  three  years  occupied 
this  post;  resigning  to  become  direc- 
tor of  the  Orchestral  Society  at  Bres- 
lau.  Later  he  was  appointed  director 
in  the  branch  of  composition  at  the 
Royal  Hochschule  in  Berlin,  in  which 
city  he  now  resides  and  which  post 
he  still  occupies.  In  1881  he  mar- 
ried the  singer  Emma  Tuczek,  of 
Berlin.  Max  Bruch  holds  honorary 
degrees  from  Breslau  University  and 
Cambridge  University  and  is  corre- 
sponding member  of  the  French 
Academy  of   Fine  Arts. 

Bruckner  (brook' -ner),  Anton.     1824- 
1896. 

Austrian  composer  and  organist. 
He  received  his  first  musical  instruc- 
tion from  his  father,  after  whose 
death  he  entered  the  Church  of  St. 
Florian  as  chorister  and  later  be- 
came organist.  Bruckner,  although 
almost  entirely  self-taught,  in  1855 
obtained  the  position  of  cathedral 
organist  at  Linz,  in  a  competition, 
and  while  here  he  studied  counter- 
part with  Sechter  and  composition 
with  Otto  Kitzler.  When  Sechter 
died,  in  1867,  Bruckner  was  appointed 
his  successor  as  organist  of  the  Im- 
perial Chapel  at  Vienna  and  also  be- 
came professor  of  counterpoint,  com- 
position and  organ  playing  in  the 
Vienna  Conservatory.  In  1875  he 
was  made  lecturer  on  music  at  the 
University  of  Vienna.  Bruckner  is 
known  chiefly  by  his  symphonies,  of 
which  there  are  eight  complete  and 
one  unfinished.  Other  works  are  a 
Grande  Te  Deum;  three  grand 
masses;  a  psalm;  a  quartet  for 
strings;  a  male  chorus,  Germanenzug; 
beside  motets  and  choruses 

Briill   (bril),  Ignaz.     1846-1907. 

Talented  pianist  and  composer. 
Born  in  Moravia.  Studied  composi- 
tion with  Dessoflf  and  Rufinatscha 
and  the  piano  with  Epstein.  After 
finishing  his  studies,  he  made  a  num- 
ber of  very  successful  concert  tours, 
playing  many  of  his  own  composi- 
tions. From  1872  to  1878  he  was 
professor  of  piano  at  the  Horak  In- 
stitute, Vienna,  and  in  1881  he  be- 
came one  of  the  directors  of  this 
institute.  In  1875  his  opera.  Das 
Goldene    Kreuz,    was    produced    and 


104 


BIOGRAPHIES 


Brull 


was  so  successful  in  Germany  that 
he  turned  his  attention  almost  en- 
tirely to  composition.  Other  works 
are  Die  Bettler  von  Samarkand,  his 
first  opera,  produced  in  1864;  Grin- 
goire;  Der  Landfriede;  Konigin  Mari- 
ette;  Das  Steinerne  Herz;  Schachdem 
Konig  and  Der  Husar.  Beside  these 
Brull  wrote  many  orchestra  works, 
among  which  are  a  symphony  in  E 
minor;  overture  to  Macbeth;  Tanz 
suite  and  three  serenades.  He  pro- 
duced much  chamber-music,  many 
beautiful  songs  and  solo  pieces  for 
the  piano  and  violin. 

*Bruneau  (brii-no),  Alfred.     1857- 

One  of  the  most  noted  of  contem- 
porary French  composers  and  the 
leader  of  the  realistic  school  of  mod- 
ern French  Opera.  He  was  born  in 
Paris  and  inherited  his  musical  ability 
from  both  father  and  mother,  both 
of  whom  were  musicians.  He  studied 
at  the  Conservatory  of  Paris,  first 
taking  up  the  violoncello  with  Franc- 
homme.  Later  he  studied  composi- 
tion with  Massenet,  winning  the 
JPrize  of  Rome,  in  1881,  with  his  can- 
tata, Genevieve  de  Paris.  His  first 
opera,  Kerim,  attracted  but  little  at- 
tention, but  in  1891  a  four-act  opera, 
Le  Reve,  based  upon  Zolo's  story  of 
the  same  name,  was  produced  at  the 
Opera  Comique  with  the  greatest  suc- 
cess. From  this  on  his  operas  were 
all  prepared  from  Zolo's  stories  and 
there  followed,  L'Attaque  du  Moulin; 
Messidor;  L'Ouragan;  L'Enfante  Roi 
and  La  Faute  de  I'Abbe  Mouret. 
Bruneau  has  also  composed  a  num- 
ber of  works  besides  his  operas.  The 
most  important  of  these,  his  Requiem, 
a  highly  original  and  powerful  work, 
was  produced  in  1896.  In  1884,  his 
overture  heroique  and  Leda,  a  choral 
symphony,  were  performed  and  in 
1886,  La  Belle  au  Bois  dormant  and 
the  symphonic  poem  Penthesilee 
were  given.  He  has  also  written  many 
beautiful  songs,  notably  his  Lieds  de 
France,  written  to  words  by  Catulle 
Mendes  and  Chasons  a  danser,  six 
songs  arranged  from  suggestions 
from  the  old  French  dances.  Bruneau 
received  the  decoration  of  the  Legion 
of  Honor  in  1895.  He  has  published 
three  volumes  of  musical  criticism 
and  has  been  music  critic  for  a  num- 
ber of  Paris  papers.  Bruneau's 
music  has  caused  a  great  amount  of 
discussion,  resulting  in  decided  differ- 
ences  of   opinions    among   musicians, 


Buck 

the  more  conservative  element,  who 
believe  that  the  opera  must  neces- 
sarily be  melodic  throughout,  criticis- 
ing him  severely;  while  many  of  the 
newer  composers,  who  advocate  indi- 
viduality and  realism  in  music,  admire 
him  most  enthusiastically.  All  opin- 
ions seem  to  agree  that  he  is  sincere 
and  original  and  that  he  has  de- 
veloped a  line  of  music  peculiarly  his 
own  and  peculiarly  French. 

Buck,  Dudley.     1839- 

Dudley  Buck,  the  widely-known 
American  composer,  organist,  and 
teacher,  was  one  of  the  first  musicians 
of  this  country  to  win  general  recog- 
nition. He  has  written  in  all  forms, 
but  his  fame  as  a  composer  rests 
largely  upon  his  church  music  and 
cantatas.  He  is  a  native  of  New  Eng- 
land, was  born  at  Hartford,  Conn., 
in  1839,  the  son  of  a  prosperous 
shipping  merchant.  It  was  intended 
that  he  enter  business  life,  and  up 
to  his  sixteenth  year  he  received  no 
formal  instruction  in  music.  But  he 
early  showed  a  passion  for  music  and 
set  to  work  to  teach  himself.  Rupert 
Hughes  in  his  Contemporary  Ameri- 
can Composers,  gives  a  suggestive 
picture  of  Dudley's  youthful  en- 
deavors to  learn  something  of  the  art 
of  music  — "Buck,  though  intended  for 
a  commercial  life,  borrowed  a  work 
on  thorough-bass  and  a  flute  and  pro- 
ceeded to  try  the  wings  of  his  muse. 
A  melodeon  supplanted  the  flute,  and 
when  he  was  sixteen  he  attained  the 
glory  of  a  piano,  a  rare  possession 
in  those  times.  He  took  a  few  les- 
sons and  played  a  church  organ  for 
a  salary  —  a  small  thing  but  his  own. 
After  reaching  the  Junior  year  in 
Trinity  College,  Hartford,  he  pre- 
vailed upon  his  parents  to  surrender 
him  to  music,  an  almost  scandalous 
career  in  the  New  England  mind  of 
that  day,  still  unbleached  of  its  blue 
laws." 

His  father  now  concluded  to  send 
him  abroad  for  study,  and  in  1858  he 
went  to  Germany,  remaining  there 
three  years.  In  Leipsic  he  studied 
theory  and  composition  with  Richter 
and  Hauptmann,  the  piano  with 
Plaidy  and  Moscheles,  and  orches- 
tration under  Rietz,  and  when  the 
latter  removed  to  Dresden  continued 
his  work  with  him  there.  In  Dresden 
he  also  studied  organ  under  Fried- 
rich  Schneider.  Then  followed  a 
year    of    work    in     Paris,     which    in- 


BIOGRAPHIES 


105 


Buck 

eluded  study  of  organ  construction. 
On  his  return  to  America  he  as- 
sumed, in  1862,  the  duties  of  organist 
at  the  Park  Church,  Hartford,  and 
also  engaged  in  teaching.  It  was  in 
this  period  he  published  his  first 
Motette  Collection,  which  Mathews, 
A  Hundred  Years  of  Music  in  Amer- 
ica, says  marks  an  epoch  in  American 
church  music,  the  book  "  notable  be- 
cause it  was  the  first  collection  pub- 
lished in  America  in  which  modern 
styles  of  German  musical  composi- 
tion were  freely  used,  with  unlimited 
freedom  of  modulation  and  addition 
of  an  independent  organ  accompani- 
ment. In  the  latter  respect  the  book 
had  a  vast  influence,  for  to  many 
organists  it  was  the  first  authentic 
information  they  had  received  con- 
cerning the  proper  manner  of  using 
the  organ  effectively  for  accompany- 
ing and  heightening  the  effect  of  the 
choir  singing." 

As  a  concert  organist,  Dudley  Buck 
now  made  numerous  and  extensive 
tours,  and  with  these  concerts  and 
various  series  of  sacred  compositions 
did  notable  pioneer  work  toward 
elevating  the  popular  taste  of  the 
time.  In  1869  he  went  to  Chicago  to 
fill  the  post  of  organist  at  St.  James' 
Church,  and  here  added  very  consid- 
erably to  his  reputation  both  as 
organist  and  composer.  Many  of  the 
compositions  written  for  his  choir 
were  included  in  the  second  Motette 
Collection.  He  built  a  home  in  Chi- 
cago, and  close  to  his  house  erected 
a  small  music  hall,  where  organ  re- 
citals were  given,  that  proved  of 
much  inspiration  to  students  and 
music-lovers  generally.  When  the 
great  fire  swept  the  city,  in  1871,  all 
his  early  compositions  were  burned, 
and  his  house  and  library  destroyed. 
On  leaving  Chicago  he  went  to  Bos- 
ton; in  this  city  he  remained  two 
years,  holding  the  post  of  organist  at 
St.  Paul's  and  later  being  given 
charge  of  the  organ  at  Music  Hall. 
While  in  Boston  he  taught  at  the 
New  England  Conservatory.  In  1875 
he  was  invited  to  be  organist  of  the 
Cincinnati  Music  Festival.  For  a 
while  Buck  filled  the  post  of  assistant 
conductor  of  the  Thomas  Orchestra 
in  New  York,  and  then  became  organ- 
ist of  Holy  Trinity  Church,  Brooklyn, 
and  director  of  the  Apollo  Club.  He 
served  as  organist  at  Trinity  for 
twenty-five  years,  until  his  retirement 
from  church  work,  in  1903.     The  ser- 


Buck 


vice  of  Dudley  Buck  as  organist  and 
choirmaster  has  been  long  and  mem- 
orable. As  a  teacher  he  ranks  with 
the  famous  instructors,  among  his 
noted  pupils  being  George  Chadwick, 
Frederick  Grant  Gleason,  W.  H. 
Niedlinger,  Harry  Rowe  Shelley,  C. 
B.   Hawley  and  John   Hyatt   Brewer. 

In  1874  appeared  his  cantata,  Don 
Munio,  from  Irving's  Alhambra,  the 
music  written  for  mixed  chorus  and 
orchestra.  This  became  very  popu- 
lar. The  same  year  the  Boston 
Handel  and  Haydn  Society  gave  the 
first  production  of  his  setting  of  the 
Forty-sixth  Psalm,  God  is  Our 
Refuge.  For  the  Philadelphia  Cen- 
tennial Celebration,  in  1876,  he  wrote 
the  music  to  the  Centennial  Medita- 
■•tion  of  Columbus  with  words  by  Sid- 
ney Lanier,  which  work  was  per- 
formed by  a  chorus  of  one  thousand 
voices  and  an  orchestra  of  two  hun- 
dred under  the  direction  of  Theodore 
Thomas.  His  largest  cantatas,  or 
oratorios,  are  the  Golden  Legend, 
from  Longfellow,  and  the  Light  of 
Asia,  founded  upon  the  poem  by  Sir 
Edwin  Arnold.  From  the  American 
poets,  Lanier,  Longfellow  and  Sted- 
man,  hs  has  taken  many  of  his  texts. 
In  Irving's  Life  of  Columbus,  he 
found  the  libretto  for  his  cantata.  The 
Voyage  of  Columbus.  He  has  written 
a  great  deal  for  male  choruses.  Of 
works  in  this  class  are  the  Chorus  of 
Spirits  and  Hours  from  Shelley's 
Prometheus  Unbound,  King  Olaf's 
Christmas,  the  Nun  of  Nidaros,  Voy- 
age of  Columbus,  and  Paul  Revere's 
Ride.  He  has  several  pieces  for  the 
piano;  composed  the  opera  Deseret, 
in  which  use  is  made  of  a  Mormon 
theme;  and  is  the  author  of  the  sym- 
phonic overture  Marmion. 

In  religious  compositions  he  very 
frequently  makes  use  of  dramatic 
effect,  but  it  is  so  employed  as  to  in 
no  way  lessen  the  grace  and  dignity 
of  these  works.  A  series  of  sacred 
cantatas,  the  fruit  of  his  later  years, 
are  designed  for  the  various  church 
festivals  and  called  the  Christian 
Year.  His  large  mass  of  sacred  com- 
positions include  anthems,  hymns, 
offertories,  and  Te  Deums.  He  is  the 
author  of  a  wide  variety  of  organ 
mitsic;  has  made  various  transcrip- 
tions for  the  organ;  published  Studies 
for  Pedal  Phrasing,  the  Influence  of 
the  Organ  in  History,  and  an  excel- 
lent handbook  for  organists  and 
students  called   Illustrations  in   Choir 


106 


BIOGRAPHIES 


Buck 

Accompaniment.  His  compositions 
for  the  organ  belong  in  the  list  of 
his  most  important  works.  Musicians 
generally  are  familiar  with  his  two 
organ  sonatas  and  the  Triumphal 
March,  which  Elson  prophesies  are 
sure  to  remain  in  the  standard  reper- 
tory. 

Bull,  John.     1563-1628. 

Noted  English  organist  and  com- 
poser, of  the  time  of  Queen  Eliza- 
beth. He  received  his  training  at  the 
Queen's  Chapel.  In  1582  he  became 
organist  at  Hereford  Cathedral  and 
later  master  of  the  children.  He 
was  made  a  member  of  the  Chapel 
Royal  in  1585  and  was  appointed 
organist  in  1591.  He  received  the 
degree  of  Bachelor  of  Music  from  Ox- 
ford in  1586  and  that  of  Doctor  of 
Music  from  the  same  institution  in 
1592.  From  1596  to  1607  he  was 
professor  of  music  at  Gresham  Col- 
lege. In  1617,  having  left  England 
some  years  before,  he  became  organ- 
ist of  the  Cathedral  of  Notre  Dame  at 
Antwerp,  where  he  remained  until  his 
death.  Bull's  compositions,  vocal  and 
instrumental,  numbered  about  two 
hundred  and  consisted  of  anthems, 
canons  and  pieces  for  the  organ  and 
virginals.  Bull  has  been  spoken  of 
as  the  "  first  performer  in  the  world  " 
of  his  time  and  as  the  "  Liszt  of  his 
age."  And  he  is  said  to  have  done 
a  great  deal  to  develop  harpsichord 
music. 

Bull  (bool),  Ole.     1810-1880. 

A  famous  Norwegian  violinist  of 
strong  individuality  and  originality. 
Riemann  defines  him  as  "  a  famous 
though  somewhat  eccentric  violin-vir- 
tuoso, whose  capricious  playing  often 
brought  on  him  the  reproach  of  char- 
latanism." But  though  Ole  Bull's 
playing  was  capricious,  though  he 
resorted  to  tricks  with  his  violin,  he 
was  saved  by  the  poetry  of  his  inter- 
pretations from  meriting  the  term 
charlatan. 

Though  largely  self-taught,  he  at- 
tained to  a  very  rare  technical  pro- 
ficiency. He  was  a  much  better  in- 
terpreter of  his  own  work  than  of  any 
other  and  seldom  played  any  but  his 
own  compositions,  being  noted  for  his 
improvisations.  He  used  a  bow  of 
unusual  length  and  heaviness,  which 
a  smaller  man  could  not  have  em- 
ployed; and  played  with  an  almost 
flat  bridge  which,  although  there  were 


Bull 


disadvantages  in  its  use,  allowed  the 
production  of  very  beautiful  effects. 
Some  critics  characterized  his  playing 
as  wanting  in  taste,  but  it  was  uni- 
versal!}' conceded  that  he  performed 
with  much  skill  and  feeling.  George 
William  Curtis  said  of  him:  "Ole 
Bull  is  precisely  an  irrefragable  fact, 
against  which  criticism  may  dash  its 
head  at  leisure.  The  public  heart 
will  follow  him  and  applaud,  because 
he  plays  upon  its  strings  as  deftly  as 
upon   those  of  a  violin." 

In  America,  Ole  Bull  enjoyed  the 
greatest  popularity.  He  was  im- 
mensely successful  here,  being  so 
popular  that  the  concert  halls  often 
proved  inadequate  for  the  crowds  that 
thronged  to  hear  him.  He  came  to 
America  first  in  1843,  and  made  his 
last  visit  in  1879.  He  amassed  a  large 
fortune  in  this  country.  His  second 
wife,  whom  he  married  in  1870,  was 
an  American.  His  last  winter,  the 
winter  of  1879,  he  spent  at  Cambridge. 
He  lived  at  Elmwood,  in  Lowell's 
house  and  mingled  with  the  literary 
society  of  Cambridge  and  Boston.  He 
was  on  intimate  terms  with  Long- 
fellow, and  is  the  tall  musician,  "  the 
blue-eyed  Norseman,"  described  in  the 
Wayside  Tales.  ]\Iany  of  his  compo- 
sitions are  on  American  themes  — To 
the  memory  of  Washington,  Niagara, 
The  Solitude  of  the  Prairies.  He 
dreamed  of  founding  in  America  a 
Norwegian  colony,  and  with  this  ob- 
ject in  view  purchased  125,000  acres  of 
land  in  Pennsylvania;  a  store  and 
church  were  built  and  many  colonists 
had  taken  up  residence,  when  the  dis- 
covery was  made  that  the  title  to  the 
land  was  not  clear,  and  that  Ole  Bull 
was  the  victim  of  a  gigantic  swindle. 
Now  for  long  tedious  years  he  was 
involved  in  litigation,  lost  a  very 
large  sum  of  money,  and  found  him- 
self practically  ruined.  Financial  loss 
and  the  misunderstanding  of  his  coun- 
trymen at  home  were  the  rewards 
attending  his  eflforts  to  establish  the 
Norwegian  colony. 

In  appearance  and  character  Ole 
Bull  was  a  typical  Norseman.  He 
was  of  giant  build,  fair-haired  and 
blue-eyed,  original,  independent,  and 
courageous.  After  his  loss  at  the 
hands  of  the  unscrupulous  agent  in 
the  Pennsylvania  c9lony  scheme,  he 
at  once  set  to  work  to  rebuild  his 
fortunes  and  accomplished  this  in  a 
comparatively  short  time.  He  loved 
with  a  deep  and  abiding  passion  the 


BIOGRAPHIES 


107 


BuU 


Bullard 


Northland  and  the  North  folk,  and 
was  always  planning  and  working  for 
them.  He  labored  zealously,  but  un- 
successfully, to  found  "  a  Norse  thea- 
tre with  a  Norse  orchestra,"  but  not 
until  years  after  his  death  was  this 
effort  fully  appreciated.  Herr  Paul 
David,  writing  in  Grove,  declares  that 
the  ruling  passion  of  Ole  Bull's  life 
was  the  love  he  bore  to  his  native 
land.  "  The  glorious  scenery  of  the 
mountains  and  fjords  of  his  home, 
the  weird  poetry  of  the  Sagas  of  the 
North,  took  hold  of  his  sensitive 
mind  from  early  childhood  and  filled 
his  imagination.  They  were  re- 
flected in  his  style  of  playing,  and 
gave  to  it  that  originality  and  poetic 
charm  by  which  he  never  failed  to 
captivate  his  audience." 

Ole  Bull  was  born  at  Bergen,  Nor- 
way, in  1810,  and  was  the  son  of  a 
physician.  Several  of  his  kinsfolk 
were  musical,  and  during  his  boyhood 
he  dwelt  in  an  environment  that  gave 
him  inspiration  for  the  career  in 
which  he  was  to  become  world- 
famed.  That  he  might  play  at  the 
family  gatherings,  he  studied  the  vio- 
lin by  himself,  and  presently  became 
so  proficient  as  to  be  able  to  play 
first  violin  in  a  public  orchestra.  He 
received  some  instruction  from 
teachers  in  Bergen,  but  not  much,  his 
father  not  approving  of  Ole  following 
the  profession  of  a  musician.  Hov>'- 
ever,  the  music  interest  was  always 
strong  with  him,  and  at  the  Univer- 
sity of  Christiania,  where  he  had  been 
sent  to  study  theology,  he  failed  in 
his  Latin  but  won  the  post  of  music- 
director  of  the  Philharmonic  and 
Dramatic  Society.  That  he  might 
hear  Spohr,  whose  compositions  he 
ardently  admired,  and  that  he  might 
get  the  renowned  teacher's  judgment 
of  his  own  work,  he  left  Christiania 
and  journeyed  to  Cassel.  Spohr  gave 
him  but  a  cold  reception,  and  Ole 
Bull,  after  tarrying  awhile  at  Gottin- 
gen,  where  his  playing  was  well  ap- 
plauded, returned  to  Norway.  In 
Christiania  the  people  welcomed  him 
back  warmly.  He  gave  successful 
concerts  at  Trondhjem  and  Bergen, 
and  thought  himself  now  in  a  posi- 
tion to  make  his  way  in  Paris.  But 
the  early  Paris  days  were  days  of 
disheartening  struggle  and  gloom;  un- 
known and  unappreciated  he  walked 
the  streets  of  the  gay  city;  he  lost  his 
money,  he  met  with  no  success  in  his 
search    for   a    hearing,    and    his    case 


grew  so  desperate  that  the  waters  of 
the  Seine  seemed  to  invite  him  to 
end  it  all.  Fortunately  at  the  darkest 
hour  a  friend  appeared,  Madame 
Villeminot,  a  wealthy  lady  who  took 
him  into  her  home,  and  from  this  on 
his  fortunes  mended.  In  1836  he 
married  Felicie  Villeminot,  grand- 
daughter of  his  benefactress,  and  the 
union  proved  a  very  happy  one. 

In  was  in  1831  that  Ole  Bull  first 
heard  Paganini  play,  hearing  whom 
inspired  him  to  renewed  hope  and 
vigor.  In  1832  he  made  his  first 
public  appearance  in  Paris,  played 
with  Chopin  and  other  great  artists, 
and  then  went  to  Italy,  where  he  en- 
tered into  his  own.  At  Bologna,  the 
most  musical  city  in  Italy,  Ole  Bull 
may  be  said  to  have  experienced  the 
beginning  of  his  great  celebrity.  He 
conquered  even  Naples,  a  city  more 
fond  of  singer  than  of  player.  Pres- 
ently his  fame  spread  throughout 
Europe,  and  ere  long  both  in  Europe 
and  North  America  the  name  of  Ole 
Bull  became  a  household   word. 

Ole  Bull  counted  among  his  friends 
Liszt  and  Chopin,  and  through  his 
friendship  with  the  latter  figures  in 
George  Sand's  Malgretout.  He  was 
on  terms  of  intimacy  with  Mendels- 
sohn, Rossini  showed  him  favors, 
Hans  Christian  Andersen  was  a  close 
friend,  and  he  was  admired  by  the 
great  Malibran,  and  appreciated  by 
Paganini.  To  the  end  of  his  long 
life  he  traveled  and  gave  concerts. 
He  celebrated  his  seventieth  birthday 
in  America,  and  the  same  year  died  at 
his  country  place  near  Bergen.  Ole 
Bull  played  with  his  whole  soul, 
played  he  to  peasant  or  played  he  to 
prince,  and  on  his  death  was  mourned 
by  prince  and  peasant  alike.  Upon 
his  coffin,  his  friend  Edward  Grieg, 
laid  a  laurel  wreath;  saying,  as  he 
placed  it,  "  in  the  name  of  our  Norse 
memorial  art." 

Bullard,   Frederick   Field,     1864-1904. 

An  American  composer  and  teacher, 
particularly  distinguished  as  a  song- 
writer. He  did  notable  work  in  the 
field  of  the  dramatic  ballad.  Bullard 
was  born  in  Boston.  He  entered  the 
Massachusetts  Institute  of  Technol- 
ogy, as  a  special  student  of  chemistry, 
but  was  led  by  his  love  of  music  to 
forsake  this  beginning  and  devote  his 
attention  to  art.  In  1888  he  went  to 
Munich,  entered  the  Conservatory, 
and  studied  under  Josef  Rheinberger, 


108 


BIOGRAPHIES 


BuUard 


the  teacher  of  such  strong  influence 
on  American  composition.  He  re- 
mained abroad  four  years;  then  re- 
turned to  Boston,  and  made  a  name 
for  himself  as  a  teacher,  composer, 
and  song-writer,  by  no  means  least  in 
what  has  come  to  be  called  the  "  Bos- 
ton Colony."  Mention  should  be 
made  of  the  songs,  In  The  Green- 
wood; A  June  Lullaby;  From  Dreams 
of  Thee;  The  Lass  of  Norwich  Town; 
At  Daybreak;  On  The  Way;  The 
Sworti  of  Ferrara;  The  Indifferent 
Mariner;  The  Best  of  All  Good  Com- 
pany; The  Singer;  and  The  Hermit. 
He  edited  various  collections  of 
songs,  was  the  author  of  a  series  of 
cantatas  and  of  other  music,  and  had 
more  ambitious  work  under  way 
when  death  brought  his  career  to  an 
untimely  close. 

In  his  Contemporary  American 
Composers,  Rupert  Hughes  says: 
"  Bullard's  setting  of  Tennyson's 
almost  lurid  melodrama  in  six  stanzas, 
The  Sisters,  has  caught  the  bitter 
mixture  of  love  and  hate,  and  avoided 
claptrap   climaxes   most  impressively. 

Bullard    has    found    the 

right  occasion  for  wild  dissonances, 
and  has  dared  to  use  them.  The  effect 
is  one  of  terrific  power.  His  war  song 
of  Gamelbar,  for  male  voices,  the 
Song  of  Pan  and  The  Sisters  give 
him  a  place  apart  from  the  rest  of 
native  song-writers."  And  in  further 
survey  of  the  work  of  this  composer, 
the  writer  calls  attention  to  the 
virility  of  his  settings  to  Richard 
Hovey's  songs.  Here's  a  Health  to 
Thee,  Roberts;  Barney  McGee;  and 
the  Stein  Song,  and  declares: 
"  These  songs  have  an  exuberance  of 
the  roistering  spirit,  along  with  a 
competence  of  musicianship,  that  lifts 
them  above  any  comparison  with  the 
average  balladry." 

Biilow  (fon  bii-lo),  Hans  Guido  von. 

1830-1894. 

Musician  of  rare  skill  and  intel- 
lectuality, chief  pianist  of  the  ad- 
vanced school  of  piano  playing,  a 
renowned  teacher,  and  a  conductor  of 
world-wide  reputation.  He  was  born 
at  Dresden  in  1830,  and  died  at  Cairo, 
in  1894. 

When  a  career  was  being  planned 
for  young  Hans  von  Biilow,  it  was 
intended  that  he  study  law.  Though 
there  was  no  thought  of  a  great 
future  in  music  for  him,  at  an  early 
age  he  was  given  instruction  m  that 


Biilow 

line  and  was  most  fortunate  in  one 
of  his  early  teachers,  Friedrick  Wieck, 
father  of  Clara  Schumann  and  a 
noted  teacher  of  the  piano.  Under 
him  von  Biilow  received  excellent 
technical  instruction  and  doubtless 
Wieck  laid  the  foundation  of  von 
Biilow's  marvelous  technical  ability. 
Further  musical  study  progressed 
under  Herr  Eberwein,  with  whom  he 
studied  harmony  and  thorough-bass. 
In  1848  he  entered  Leipsic  Univer- 
sity, and  here,  while  engaged  in  the 
study  of  law,  found  time  to  continue 
his  musical  education,  now  having 
Hauptmann  for  a  teacher.  Law  and 
music  did  not,  however,  wholly 
absorb  him,  for  shortly  he  is  heard 
of  at  the  University  of  Berlin,  taking 
an  active  interest  in  political  affairs, 
which  interest  led  to  his  becoming  a 
contributor  to  the  democratic  journal. 
Die  Abendpost.  At  this  period  von 
Biilow  made  acquaintance  with  those 
advanced  spirits,  Liszt  and  Wagner, 
and  with  much  enthusiasm  and  ardor 
he  set  to  work  to  champion  Wagner's 
radical  views  in  Die  Abendpost.  At 
Weimar,  hearing  a  performance  of 
Lohengrin,  he  decided  to  give  up  the 
law  and  ally  himself  unreservedly 
with  Wagner,  then  in  exile  at  Zurich. 
At  Zurich  and  St.  Gall  he  gained 
some  knowledge  of  the  art  of  con- 
ducting and  then,  his  piano  playing 
giving  promise  of  a  brilliant  future, 
he  was  enrolled  as  a  pupil  of  Liszt, 
and  under  this  master  perfected  his 
studies.  In  1857  he  married  Liszt's 
daughter,  Cosima.  In  1853,  von 
Billow  made  his  first  concert  tour, 
playing  at  Vienna,  Pesth,  Carlsruhe, 
Bremen,  Hamburg  and  Berhn.  In 
1855  he  was  given  the  post  of  prin- 
cipal master  of  piano  playing  at  the 
Stern  and  Marx  Conservatory  in  Ber- 
lin, and  for  nine  years  occupied  this 
post.  In  the  programs  organized  by 
him  during  this  period,  a  marked 
preference  is  shown  for  music  of  the 
modern  German  school. 

His  activities  at  this  time  were 
varied;  he  still  contributed  to  the 
papers,  writing  on  political  and  musi- 
cal subjects,  and  he  made  a  tour 
through  Germany,  Holland  and 
Russia,  adding  to  his  fame  as  player 
and  conductor.  In  1864,  King  Lud- 
wig  II.,  of  Bavaria  appointed  him 
conductor  of  the  Royal  Opera  and 
director  of  the  Conservatory  at 
Munich,  and  he  remained  in  this  city 
till   1869.     Then  followed  a  series  of 


BIOGRAPHIES 


109 


Billow 


concerts  in  Germany,  Italy,  Russia, 
Poland,  England  and  America. 

On  his  first  tour  in  America,  von 
Billow  gave  one  hundred  and  thirty- 
nine  concerts.  He  visited  this  coun- 
try again  some  thirteen  years  later, 
and  was  paid  homage  as  "  one  of  the 
most  able  of  living  pianists,  the  most 
magnetic  and  inspired  of  living  con- 
ductors." Von  Bulow  became  the 
greatest  living  authority  on  Beetho- 
ven, and  published  a  most  valuable 
edition  of  his  works  for  the  piano. 
On  some  of  his  concert  tours,  he 
gave  programs  made  up  entirely  of 
the  most  difficult  of  Beethoven's 
sonatas.  Von  Biilow  had  a  marvelous 
musical  memory,  playing  and  con- 
ducting without  a  book.  His  repertory 
as  pianist.  Grove  says,  "  embraced  the 
master  works  of  all  styles  and  schools 
from  the  early  Italian  to  the  present 
day;  it  would  in  fact  be  difficult  to 
mention  a  work  of  any  importance 
by  any  composer  for  the  piano 
which  he  did  not  play  in  public  and 
by  heart."  His  rank  as  composer 
does  not  equal  the  exalted  place  he 
holds  in  the  fields  spoken  of.  He  is 
the  author  of  songs,  compositions  for 
the  piano,  and  some  orchestral  work. 
Mention  should  be  made  of  his  tran- 
scriptions for  the  piano  from  Wagner, 
Liszt  and  Berlioz.  In  1878,  Biilow 
was  appointed  music-director  of  the 
Court  Theatre  at  Hanover,  but  dis- 
putes soon  caused  his  surrender  of 
this  post.  From  1880  to  1885  he  held 
the  post  of  Hofmusikintendant  to 
the  Duke  of  Meiningen,  and  under 
him  the  Meiningen  Orchestra  attained 
the  widest  celebrity.  He  served  as 
director  of  the  Philharmonic  Socie- 
ties of  Berlin  and  Hamburg,  and  both 
in  Berlin  and  Frankfort  continued  his 
work  as  teacher,  for  which  work  he 
had  very  exceptional  ability. 

Hans  von  Billow  was  a  most 
eccentric  genius.  A  sufferer  from  ill- 
health  the  greater  part  of  his  life,  he 
was  of  an  extremely  nervous,  high- 
strung  temperament;  hasty  of  speech, 
given  to  saying  without  modification 
what  he  thought,  he  made  many 
enemies,  and  was  looked  upon  gen- 
erally as  an  artist  of  exceedingly 
irritable  nature.  But  "  The  Early 
Correspondence  of  Hans  von  Biilow," 
edited  by  his  widow,  and  published 
shortly  after  his  death,  gives  quite 
another  side  of  his  character.  And 
one  biographer,  Nohl,  speaks  of  von 
Bulow  as  "incomparably  unselfish  and 


Bungert 

self-sacrificing,"  these  superlative 
words  are  used  in  reference  to  von 
Biilow's  attitude  toward  Wagner,  who 
caused  the  separation  between  him- 
self and  his  wife,  and  to  whom 
Cosima  was  eventually  married.  After 
the  separation  von  Biilow  retired  to 
Florence,  and  lived  here,  save  when 
absent  on  concert  tours,  from  1869  to 
1872,  becoming  a  power  in  the  music 
life  of  Florence.  In  1882  he  mar- 
ried again,  his  second  wife  being 
Marie  Schlanzer,  court  actress  at 
Meiningen. 

Bufifen  in  his  "  Musical  Celebrities  " 
speaks  thus  of  Hans  von  Biilow's 
work  as  a  pianist:  "With  the  excep- 
tion of  the  famous  Moldavian,  Anton 
Rubinstein,  Hans  von  Biilow  may 
be  regarded  as  the  first  of  piano- 
players,  and  in  the  interpretation  of 
the  severely  classical  masters,  such 
as  Bach  and  Beethoven,  he  is  ac- 
knowledged by  musicians  to  be  unap- 
proachable by  any  living  artist.  With 
him  everything  is  emphatically 
learned  and  profound.  His  piano 
playing  exhibits  great  subtlety  and 
power  of  analysis,  and  his  intellectual 
grasp  is  so  great  that  it  has  been 
more  than  once  observed  of  him  that 
he  thinks  music,  but  does  not  feel  it." 

Bungert   (boong-ert),   August.     1846- 

High  talented  German  composer. 
Born  at  Miihlheim  and  had  his  first 
musical  instruction  there  under  Ferd- 
inand Kufiferath.  From  1860  to  1862 
he  studied  at  the  Cologne  Conserv- 
atory and  later  for  four  years  at  the 
Paris  Conservatory.  He  became 
musical  director  at  Kreuznach  in  1869 
and  later  at  Carlsruhe.  From  1873  to 
1881  he  lived  at  Berlin  and  studied 
counterpoint  and  fugue  diligently 
under  Kiel.  Since  1882  he  has  lived 
at  Pegli  near  Genoa  and  has  devoted 
himself  to  composition.  In  1878  he 
won  a  prize  offered  by  the  Florentine 
Quartet,  with  his  piano  quartet. 
Among  Bungert's  orchestral  works 
are  his  overture,  Tasso;  his  sym- 
phonic poem,  Auf  der  Wartburg;  and 
his,  Hohes  Lied  der  Liebe.  He  also 
wrote  a  comic  opera.  Die  Studenten 
von  Salamanka;  many  piano  pieces 
and  many  songs,  among  which  are 
numerous  settings  to  Carmen  Sylva's 
words.  The  later  years  of  his  life, 
have  been  occupied  with  his  series  of 
six  operas,  dealing  with  the  Homeric 
legends,  as  Wagner  dealt  with  the 
Norse.     The  work  as  planned  is  di- 


110 


BIOGRAPHIES 


Bungert 
vided  into  two  groups,  the  first  taken 
from  the  Iliad  and  the  second  from 
the  Odyssey.  The  four  operas  based 
on  the  Odyssey  are  Kirke,  Nausikaa, 
Odysseus  Heimkehr  and  Odysseus 
Tod,  and  they  have  been  completed 
and  produced.  The  group  founded 
on  the  Iliad  comprises  Achilles  and 
Klytemnestra,  and  is  partly  finished. 
The  entire  work  has  the  title  Homer- 
ische  Welt,  and  what  has  been  pro- 
duced, is  said  by  competent  critics,  to 
have  great  beauty  and  power  and  to 
be  exceedingly  melodic,  and,  in  spite 
of  the  apparent  influence  of  Wagner, 
to  be  characteristic  and  original. 

Bunning,  Herbert.     1863. 

English  contemporary  composer 
and  music-director  of  distinction.  He 
was  born  in  London,  educated  at  Har- 
row, matriculated  at  Brasenose  Col- 
lege, Oxford,  entered  the  army,  and 
from  1884  to  1886  was  Lieutenant  in 
the  Fourth  Queen's  Own  Hussars. 
The  latter  year  he  resigned  his  corn- 
mission  that  he  ^  might  indulge  his 
fondness  for  music.  He  studied  first 
in  London  with  Bruno  Schurig,  later 
at  Hanover  under  Engel  and  at  Har- 
row under  John  Farmer.  He  made 
a  sojourn  in  France  and  Italy,  study- 
ing composition,  with  Dominicetti 
and  Ferroni  at  Milan.  He  returned 
to  London  in  1892,  was  appointed 
music-director  of  the  Lyric  Theatre, 
occupied  this  post  one  year,  and  from 
1895  to  1896  was  music-director  at 
the  Prince  of  Wales  Theatre.  He  is 
the  author  of  numerous  composi- 
tions, and  is  highly  regarded  both  as 
a  composer  and  conductor.  An 
eminent  critic  speaks  thus  of  his  work: 
"  That  this  Englishman  will  one  day 
make  a  big  mark  in  the  world  of 
music  I  instinctively  feel.  His  is  a 
singularly  graceful  talent,  and  of 
orchestral  effects  he  is  a  consummate 
master."  His  first  successful  work 
was  an  Italian  scena,  Lodovico  il 
Moro,  produced  in  London  in  1892. 
His  most  important  work,  the  opera 
La  Princess  Osra,  appeared  ten  years 
later.  He  has  written  much  vocal 
and  instrumental  music,  is  the  author 
of  a  rhapsody,  two  symphonic  poems, 
overtures,  and  suites  for  orchestra. 

Bunting,  Edward.     1773-1843. 

Distinguished  for  his  zeal  and 
accomplishment  in  the  preservation 
of  the  music  of  Ireland.  He  was 
born  at  Armagh,  of  Irish  descent  on 


Buongiomo 
his  mother's  side,  his  father  being  an 
English  engineer.  He  studied  both 
organ  and  piano,  and  from  1806  to  1817 
served  as  organist  in  a  church  in  Bel- 
fast. Attending  a  meeting  of  the  old 
harpers,  held  at  Belfast  in  1792,  he 
was  roused  to  enthusiasm  for  the 
native  airs;  and  this  enthusiasm  did 
not  abate.  He  made  a  life-study  of 
the  music  of  Ireland,  and  preserved 
for  posterity  the  songs  of  the  Irish 
bards.  In  1796  he  brought  out  his 
General  Collection  of  the  Ancient 
Irish  Music,  an  enlarged  edition  in 
1809,  and  a  third  collection  in  1840. 
His  life-work  was  a  labor  of  love. 

Buonamici    (boo-o-na-me'-che),    Giu- 
seppe.   1846- 

Distinguished  contemporary  Italian 
pianist  and  writer.  He  was  born  at 
Florence,  and  studied  the  piano  under 
his  uncle  Giuseppe  Ceccherini.  In 
1868  he  entered  the  Munich  Conserv- 
atory, where  he  had  for  teachers  von 
Billow  and  Rheinberger.  After  two 
years  of  study,  he  was  appointed  pro- 
fessor of  advanced  piano-playing  at 
the  Conservatory.  In  1873  he  went 
back  to  Florence,  and  here  carried  on 
his  work  as  piano-professor.  He  was 
conductor  of  the  "  Cherubini,"  the 
Florentine  choral  society,  and  in 
Florence  founded  a  distinguished 
trio-party.  He  is  the  author  of  some 
chamber-music,  but  has  won  special 
distinction  with  his  editions  of  selec- 
tions from  great  composers.  He  has 
published  a  set  of  studies  on  special 
difficulties  in  Beethoven;  an  edition 
of  Beethoven's  sonatas;  fifty  etudes 
from  Bertini,  this  work  being  pre- 
paratory to  Bulow's  edition  of 
Cramer's  studies;  has  edited  Bach's 
lesser  preludes  and  fugues;  and  is  the 
author  of  The  Art  of  Scale  Study. 
The  playing  of  Buonamici  is  highly 
artistic,  and  his  interpretations  of 
Beethoven  of  rare  beauty. 

Buongiomo  (bo  o-6n  -  j  e  -  5r'-n6), 

Crescenzo.    1864- 

Contemporary  Italian  composer, 
whose  work  is  representative  of  the 
later  Italian  school.  He  was  born  at 
Bonito,  near  Naples,  and  studied  at 
the  Naples  Conservatory.  After 
graduation  he  became  a  member  of 
an  operetta  company  and  wrote  for 
this  company  a  number  of  works, 
some  of  which  have  enjoyed  much 
popularity.  After  changing  his  resi- 
dence   to    Dresden,    Buongiomo    de- 


BIOGRAPHIES 


111 


Buongiorno 
voted  his  time  to  more  ambitious 
work,  in  this  period  producing  among 
other  compositions  the  lyric  opera 
Das  Madchenherz.  Elson,  in  his 
Modern  Composers  of  Europe,  speaks 
appreciatively  of  the  tender  sentiment 
of  Das  Madchenherz,  and  likewise 
appreciatively  of  the  "  decided  emo- 
tional beauty  of  the  musical  setting." 

Biirde-Ney  (biir'-de-ni'),  Jenny.     1826- 

1886. 

A  German  dramatic  soprano.  She 
was  born  at  Gratz,  the  daughter  of  a 
singer,  from  whom  she  received  her 
early  training.  In  1842  she  made  her 
debut  at  Olmiitz,  appeared  later  in 
Prague  and  Lemberg,  in  1850  sang  in 
Vienna,  and  in  1853  in  Dresden.  She 
visited  London  the  season  of  1855  and 
1856,  and  was  heard  in  Berlin  and 
Hanover  and  other  cities  of  Germany. 
She  was  married,  in  1855,  to  E.  Burde, 
an  actor,  and  retired  from  the  stage 
in  1867. 
Burgmiiller     (boorkh'-miil-ler),    Nor- 

bert.     1810-1836. 

A  gifted  German  pianist  and  com- 
poser, whose  brilliant  promise  was 
cut  short  by  death.  He  was  born  at 
Diisseldorf,  and  came  of  a  musical 
family.  His  father,  who  at  the  time 
of  his  birth  was  music-director  at 
Diisseldorf,  was  his  first  instructor. 
He  studied  at  Cassel  under  Spohr 
and  Hauptmann,  showed  remarkable 
originality  and  ability  in  his  work, 
but  died  at  Aix-la-Chapelle  at  the 
age  of  twenty-six.  Among  his  pub- 
lished compositions  are  an  overture 
and  two  symphonies.  An  elder 
brother,  Johann  Friedrich  Franz, 
1806  to  1874,  was  the  author  of  nu- 
merous pieces  for  the  piano. 

Burmeister  (boor'-mi-shter),  Richard. 

1860- 

German  pianist  and  composer. 
Born  at  Hamburg.  Educated  in  the 
public  schools  and  at  the  Academy 
at  Hamburg.  From  1881  to  1884  he 
studied  with  Liszt  at  Rome,  Buda- 
pest and  Weimar,  following  him  in 
his  travels.  From  1883  to  1885  he 
made  concert  tours  in  Europe  and  in 
1885  came  to  America  as  head  of  the 
piano  department  of  Peabody  Insti- 
tute, Baltimore,  where  he  stayed  for 
twelve  years.  During  the  winter  of 
1893  he  made  a  concert  tour  through 
Europe  and  in  1897  settled  in  New 
York  and  became  director  of  the 
Scharwenka    Conservatory.      In    190.3 


Burney 

he  was  appointed  head  of  the  piano 
department  of  the  Royal  Conserv- 
atory of  Dresden  and  this  position  he 
still  holds.  Burmeister  has  also  made 
concert  tours  all  over  the  United 
States.  His  compositions  consist  of 
a  Concerto  in  D  minor  for  piano  and 
orchestra;  The  Chase  After  Fortune, 
a  symphonic  fantasy  for  orchestra; 
two  Capriccios  for  piano;  a  Romance 
for  violin  and  orchestra;  a  Ballade  for 
the  piano;  and  The  Sisters,  a  dramatic 
tone  poem  for  contralto  and  or- 
chestra. He  has  also  rescored  Chopin's 
F  minor  concerto  and  has  arranged 
for  piano  and  orchestra,  Liszt's  Con- 
certo Bathetique  and  Mephisto  Waltz, 
and  Chopin's  Rondo. 

Burney,  Charles.    1726-1814. 

English  organist,  composer  and  mu- 
sical historian,  who  first  studied  music 
under  Baker,  the  organist  of  the 
Chester  Cathedral,  later  with  his  older 
brother,  James  Burney,  organist  at 
Shrewsbury,  and  finally  for  three 
years  with  Dr.  Thomas  Arne  of  Lon- 
don. In  1749  he  become  organist  of 
a  large  London  Church.  Later,  hav- 
ing left  London  on  account  of  his 
health,  from  1751  to  1760  he  was 
organist  at  Norfolk.  In  1750  he  wrote 
for  Drury  Lane  Theatre  the  music 
for  three  dramas,  Alfred,  Robin  Hood 
and  Queen  Mab.  Upon  his  return  to 
London,  in  1760,  he  again  devoted 
himself  to  composition,  publishing 
several  concertos  for  the  piano,  and 
for  the  stage  the  musical  piece,  The 
Coming  Man.  In  1769,  the  degrees  of 
Bachelor  and  Doctor  of  Music  were 
given  him  by  Oxford  University. 
From  1760  on  he  was  always  con- 
stantly busy  planning  and  arranging 
for  a  History  of  Music,  and  after 
1770  he  made  tours,  first  to  France 
and  Italy  and  later  to  Germany  and 
the  Netherlands,  gathering  large  quan- 
tities of  material  for  this  work.  Very 
interesting  accounts  of  these  journeys 
were  published  in  diary  form  after  his 
return  under  the^  titles:  The  Present 
State  of  Music  in  France  and  Italy 
and  The  Present  State  of  Music  in 
Germany  and  the  Netherlands.  In 
1776,  the  first  volume  of  his  General 
History  of  Music  appeared  and  in 
1789  the  fourth  and  last  was  pub- 
lished. This  was  an  elaborate  and 
most  interesting  work,  well  arranged 
and  written  in  an  amusing  and  gos- 
sipy style.  In  comparison  with  Sir 
John  Hawkins*  work  along  the  same 


112 


BIOGRAPHIES 


Bumey 

line,  which  came  out  the  same  year 
that  Burney's  first  volume  appeared, 
it  is  said,  that  while  Burney's  literary 
style  and  arrangement  are  better, 
Hawkins'  work  is  more  accurate  and 
thorough.  The  first  volume  of 
Burney's  History  takes  up  the  music 
and  poetry  of  the  Hebrews,  Greeks 
and  Egyptians,  the  second  and  third 
volumes  contain  the  biographies  of 
the  great  musicians  of  the  Fifteenth, 
Sixteenth,  and  Seventeenth  Centuries, 
while  the  fourth  volume  discusses  the 
music  of  the  times  in  which  it  was 
written,  and  this  volume  is  particularly 
open  to  criticism  on  the  score  of 
including  many  worthless  and  for- 
gotten composers  and  compositions, 
while  such  masters  as  Bach  and 
Handel  are  almost  ignored.  Burney 
also  wrote  many  musical  essays  and 
articles.  In  1783  he  was  appointed 
organist  at  Chelsea  College;  here  he 
lived  in  comfort  and  independence 
until  his  death.  Dr.  Burney  had  a 
family  of  eight  children,  four  of  whom 
became  famous.  Mme.  D'Arblay,  the 
novelist,  was  his  second  daughter. 
Besides  the  compositions  already 
mentioned,  Dr.  Burney's  works  in- 
clude six  concertos  for  violin,  two 
sonatas  for  violin  and  bass,  six  con- 
cert pieces  for  the  organ,  two  sonatas 
for  piano,  violin  and  violoncello,  six 
flute  duets,  six  harpsichord  lessons 
and  an  anthem  with  overture,  solos 
and  choruses. 

♦Burton,  Frederick  Russell.    1861- 

American  composer.  Born  in  Mich- 
igan. Was  graduate  at  Harvard  Col- 
lege in  1882,  with  high  honors  both  in 
college  work  and  in  music.  In  1895 
he  settled  in  Yonkers,  N.  Y.,  where 
he  has  since  lived  as  a  teacher  and 
composer.  In  1896  he  organized  the 
Yonkers  Choral  Society,  of  which  he 
is  conductor.  One  of  the  best  known 
of  Burton's  compositions  is  Hia- 
watha, a  dramatic  cantata,  in  which 
he  has  used  a  real  Indian  theme. 
Striking  numbers  in  the  cantata  are 
a  contralto  aria  and  a  beautiful  set- 
ting of  the  death  song  of  Minnehaha. 
Other  works  by  Burton  are  The 
Legend  of  Sleepy  Hollow,  also  a 
dramatic  cantata;  an  Inauguration 
Ode,  composed  for  McKinley's  second 
inauguration;  Songs  of  the  Ojibway 
Indians;  anthems,  and  many  songs. 
Burton  is  an  author  as  well  as  a  com- 
poser, having  written  poems,  musical 
essays  and  short  stories. 


Busch 
Busby,  Thomas.    1755-1838. 

English  organist,  composer  and  mu- 
sical writer.  He  was  a  pupil  of 
Battishill  and  was  organist  success- 
ively of  a  number  of  London  churches^ 
He  was  given  the  degree  of  Doctor  of 
Music  by  Cambridge  in  1801.  He 
was  a  very  industrious  composer  of 
dramatic  and  other  music,  but  his 
works  had  no  amount  of  originality. 
Some  of  his  best  compositions  were 
The  Prophecy,  an  oratorio;  dramatic 
music  to  Joanna,  to  A  Tale  of  Mys- 
tery, to  Rugantino  and  to  The  Fair 
Fugitive;  also  odes,  anthems  and 
glees.  He  was  also  the  author  of  a 
Dictionary  of  Music,  a  Grammar  of 
Music,  and  a  General  History  of 
Music,  which  was  largely  compiled 
from  Burney  and  Hawkins. 

Busch,  Carl.     1862. 

Contemporary  composer  and  con- 
ductor. A  Dane  by  birth,  but  a 
naturalized  citizen  of  the  United 
States.  He  has  attracted  wide  atten- 
tion in  the  world  of  music  as  a  com- 
poser who  has  drawn  inspiration  from 
the  music  of  the  native  Indians,  hav- 
ing developed  from  their  melodies 
compositions  of  much  interest,  songs, 
dances,  choruses,  orchestral  suites  and 
a  cantata.  A  recent  work  is  the  can- 
tata, The  Four  Winds.  Another  work 
in  this  line  is  the  Indian  suite.  Echoes 
of  the  Indians,  which  consists  of  five 
movements:  Greeting  of  Hiawatha, 
Chibiabos,  Funeral  Procession  of  the 
Omahas,  Indian  Love-Song,  fantasia, 
variations  and  fugUe  over  an  original 
Indian  air. 

Carl  Busch  was  born  at  Bjerre,  Jut- 
land, Denmark,  studied  law  at  the 
University  of  Copenhagen  and  spent 
three  years  at  the  Copenhagen  Con- 
servatory, studying  violin  under  Tofte 
and  theory  and  composition  with 
Hartmann  and  Niels  Gade.  He  then 
came  to  the  United  States  and  be- 
came a  member  of  the  Philharmonic 
Orchestra.  Later  returning  to  Europe 
he  studied  under  Godard  in  Paris. 
When  he  came  back  to  America  he 
settled  in  Kansas  City,  Missouri,  and 
has  continued  to  make  that  place  his 
residence.  He  organized  the  great 
festivals  held  in  Convention  Hall 
there  and  is  actively  engaged  in  con- 
ducting orchestras  and  choral  socie- 
ties. He  has  conducted  orchestral 
concerts  of  his  own  works  in  Leipsic, 
Dresden  and  Copenhagen,  has  con- 
ducted his  own  works  with  the  Anton 


BIOGRAPHIES 


113 


Busch 

SeidI  Orchestra,  Cincinnati  Symphony 
Orchestra,  Theodore  Thomas  Orches- 
tra, and  St.  Louis  World's  Fair  Or- 
chestra. In  addition  to  the  works 
spoken  of,  his  compositions  include  a 
number  of  songs  and  choruses;  the 
cantatas.  The  League  of  the  Alps, 
The  Lady  of  Shalott,  The  Voice  of 
Spring  and  King  Olaf's  War  Horns; 
Elegy  for  stringed  orchestra;  and 
Orchestral  Prologue  to  Tennyson's 
Passing  of  Arthur. 

Busoni   (boo-s6'-ne),  Ferruccio   Ben- 

venuto.     1766- 

Gifted  Italian  pianist  and  composer. 
He  received  his  first  instruction  in 
music  from  his  parents,  both  of  whom 
were  musicians,  his  father  being  a 
clarinettist  and  his  mother  a  pianist. 
He  appeared  in  public  at  the  age  of 
nine  at  Vienna  and  studied  there 
under  Hans  Schmidt  and  later  under 
Dr.  Wilhelm  Mayer  at  Gratz.  After 
making  a  concert  tour  in  Italy, 
Busoni  at  the  age  of  eighteen,  was 
elected  a  member  of  the  Accademia 
Filarmonica  of  Bologna  and  received 
a  gold  medal  from  the  city  of  Flor- 
ence. From  1886  to  1888  Busoni 
lived  at  Leipsic  and  gave  his  time  to 
composition.  After  a  year  as  pro- 
fessor of  piano,  at  Helsingfors,  he 
became  professor  at  the  Moscow  Im- 
perial Conservatory,  in  1890.  In 
1891,  Busoni  came  to  America  as  pro- 
fessor of  piano  at  the  New  England 
Conservatory  at  Boston,  but  remained 
only  a  short  time,  returning  to  Europe 
in  1893  and  has  since  lived  in  Berlin, 
making  successful  concert  tours  and 
composing.  In  1890  Busoni  took  the 
Rubinstein  prize  for  composition  and 
piano-playing.  Among  his  composi- 
tions are  an  orchestral  sviite;  a 
Synphonisches  Tongedicht  for  an 
orchestra;  a  Concertstiick  for  piano 
and  orchestra;  a  set  of  variations  and 
fugue  on  Chopin's  C  minor  prelude; 
a  violin  concerto  in  D;  four  ballet 
scenes;  seven  etudes  and  twenty-four 
preludes  for  the  piano;  beside  many 
solo  piano  pieces  and  songs.  He  has 
also  made  an  arrangement,  of  Bach's 
organ  works,  for  the  piano,  which  is 
most  remarkable  and  in  the  execution 
of  which  he  excels.  As  a  pianist  he 
is  very  accomplished. 

Bussler     (boos'-ler),     Ludwig.    1838- 

1900. 

Noted    musical    writer    and    critic. 
Born  in  Berlin,  where  his  father  was 


Butt 


a  diplomat,  painter  and  author.  Buss- 
ler received  his  first  musical  training 
as  a  choir  boy  from  Von  Hertzberg, 
and  later  studied  theory  and  instru- 
mentation with  Wieprecht,  Dehn  and 
Grell.  In  1865  he  was  appointed 
teacher  of  theory  in  the  Ganz  School 
of  Music,  at  Berlin,  and  in  1879  he 
took  the  same  position  at  the  Stern 
Conservatory.  He  also  acted  for  a 
time  as  conductor  at  the  Memel 
Theatre.  In  1883,  Bussler  became 
musical  critic  of  the  National  Zeitung. 
His  writings  are  very  practical  and 
very  popular,  and  he  was  most  inde- 
pendent in  work,  studying  all  authori- 
ties and  methods  and  taking  the  best 
from  all,  but  following  none.  He 
published  in  all  about  twelve  works, 
among  them  Musikalische  Elemen- 
tarlehre;  Praktische  Harmonielehre; 
Harmonische  Ubungenam  Klavier; 
Praktische  Musikalische  Komposi- 
tionslehre;  Instrumentation  und  Or- 
chestersatz    and    Lexikon    der    Har- 


Butt,  Clara.    1873- 

Celebrated  English  contemporary 
singer.  She  possesses  a  rich  con- 
tralto voice,  an  unusually  fine  stage 
presence,  and  in  her  later  work  has 
given  admirable  interpretations.  She 
was  born  at  Southwick,  Sussex,  and 
studied  at  Bristol  with  Daniel 
Rootham.  When  she  was  sixteen  she 
gained  a  scholarship  at  the  Royal 
College  of  Music,  London,  and  here 
was  a  pupil  of  J.  H.  Blower.  She 
made  her  formal  debut  at  Albert 
Hall,  London,  singing  the  part  of 
Ursula  in  The  Golden  Legend,  and 
very  shortly  afterward  sang  the  part 
of  Orpheus  in  a  pupil's  performance 
at  the  Lyceum  Theatre.  She  was  very 
warmly  received,  immediately  found 
herself  a  success,  and  received  proffers 
of  engagements  from  all  sides.  Pres- 
ently realizing  the  need  of  further 
training  she  went  to  Paris,  placed  her- 
self under  Jacques  Bouhy,  and  had 
some  lessons  of  Madame  Gerster. 
She  has  enjoyed  eminent  success  in 
Elgar's  Sea  Pictures,  written  espe- 
cially for  her.  Other  special  music 
written  for  her  are  the  compositions, 
Triumph  of  Alcestis  by  Frederick 
CHffe  and  Juliet  by  Herbert  Bedford. 
In  1900  she  married  Mr.  Kennerley 
Rumford,  with  whom  she  has  been 
associated   professionally. 


114 


BIOGRAPHIES 


Buxtehude 


Buxtehude    (boox'-te-hoo-de),    D  i  e  - 

trich.     1637-1707. 

Very  famous  Danish  organist,  who 
was  born  at  Elsinore,  where  his  father 
was  an  organist  before  liim,  and  prob- 
ably trained  his  son  in  music  though 
this  is  not  certain.  At  any  rate  the 
son,  in  1668,  was  enough  of  a  musician 
to -become  organist  at  the  Marien- 
kirche  at  Liibeck,  one  of  the  best 
positions  in  Germany.  Here  Buxte- 
hude built  up  a  great  reputation  and 
became  the  magnet  in  musical  affairs 
for  northern  Europe,  drawing  musi- 
cians from  all  quarters  to  hear  him. 
Beside  his  regular  duties  as  organist, 
Buxtehude  inaugurated  the  popular 
"Abendmusiken,"  which  became  fa- 
mous all  over  Germany.  These  were 
concerts  given  every  year  on  the  five 
Sundays  before  Christmas.  The  pro- 
grams consisted  of  sacred  music  for 
orchestra  and  chorus  and  organ  num- 
bers. It  was  to  hear  these  concerts 
that  Johann  Sebastian  Bach  walked 
fifty  miles,  in  1705.  As  a  composer, 
Buxtehude's  very  greatest  strength  lay 
in  pure  instrumental  organ  music, 
although  he  also  produced  some  fine 
vocal  works.  Among  his  composi- 
tions were  seven  sonatas  for  violin, 
gamba  and  cemballo;  five  wedding 
arias;  a  number  of  cantatas;  and 
works  for  the  organ  and  the  harpsi- 
chord. 

Byrd,  William.    About  1538-1623. 

Famous  English  composer,  who 
was  undoubtedly  one  of  the  greatest 
musicians  of  his  time,  as  well  as  the 


Caccini 

finest  organist  of  the  day.  Authori- 
ties differ  in  regard  to  the  year  of  his 
birth  and  the  details  of  his  early  his- 
tory, and  indeed  the  first  really  au- 
thentic fact  of  his  life  is  his  going  as 
organist  to  Lincoln  Cathedral  in  1563. 
It  is  said  that  before  this  he  studied 
under  Tallis  and  was  senior  chorister 
at  St.  Paul's.  In  1569  he  was  made 
a  member  of  the  Chapel  Royal  and 
in  1575  received  the  honorary  title 
of  organist  thereof.  In  the  same 
year  Byrd  and  Tallis  applied  for  and 
received  from  Queen  Elizabeth  an 
exclusive  patent  for  printing  and 
selling  music  and  music  paper,  and 
on  the  death  of  Tallis,  in  1585,  this 
patent  passed  entirely  into  Byrd's 
hands.  During  the  next  few  years 
Byrd  composed  a  great  deal.  In 
1588  he  published  Psalms,  Sonets 
and  Songs  of  Sadness  and  Pietie.  In 
1589,  Songs  of  Sundrie  Natures,  some 
of  Gravitie  and  Others  of  Mirth,  and 
also  a  number  of  madrigals  appeared. 
He  is  said  to  have  been  probably  the 
first  Englishman  who  wrote  madri- 
gals. In  1693  Byrd  and  the  elder 
Ferrabosco,  who  were  friendly  rivals, 
published  the  results  of  a  contest,  in 
which  each  set  a  plain-song  forty 
different  ways.  Unfortunately  no 
copy  of  this  has  been  preserved.  In 
1607  Byrd  published  the  first  and 
second  books  of  the  Gradualia,  a  col- 
lection of  church  motets,  for  the 
Catholic  Ecclesiastical  Year,  and  m 
1611,  Psalms,  Songs  and  Sonnets.  In 
addition  to  these  works  he  wrote  three 
masses  and  anthems. 


Cabel  (ka-bel),  Marie  Josephe.     1827- 

A  Belgian  soprano,  who  was  born 
at  Liege.  As  a  child  she  showed  great 
talent  tor  the  piano  and  at  the  sug- 
gestion of  Meyerbeer  studied  at  the 
Paris  Conservatory  She  appeared  in 
Paris  as  a  vocalist  in  1847,  but  her 
regular  debut  was  not  made  until 
1849,  when  she  appeared  at  the  Opera 
Comique.  She  also  sang  for  three 
years  in  Brussels,  also  at  Lyons, 
Strasburg,  St.  Petersburg  and  various 
points  in  Germany.  In  1854  she  came 
to  England  with  a  company  and  ap- 
peared with  success  in  Le  Bijou,  The 


Promise,  Fille  du  Regiment  and 
Sirene.  In  1856  she  made  her  appear- 
ance in  Auber's  Manon  Lescaut  at  the 
Opera  Comique  and  remained  there 
until  1861.  In  1856  she  created  the 
part  of  Dinorah,  which  had  been 
written  for  her,  and  played  in  the 
French  provinces  until  1877,  but  in 
the  following  year  was  taken  ill  and 
never  sang  again. 

Caccmi  (kat-che'-ne),  Giulio.     1588  or 
1560-1615. 

Italian   composer,    singer  and   lute- 
player    Considerable  difference  exists 


BIOGRAPHIES 


115 


Caccini 
between  musical  biographies  in  regard 
to  his  dates,  which  are  evidently  not 
known  accurately.  The  exact  year  of 
his  birth  and  death  are,  however,  of 
minor  importance  compared  with  his 
work,  for  he  was  really  a  reformer  in 
music  and  laid  the  foundations  for 
modern  opera  by  breaking  away  from 
the  old  style  composition  for  many 
voices  and  writing  for  one  voice,  first 
in  recitative  form,  followed  by  set- 
tings of  detached  dramatic  scenes  and 
finally  leading  up  to  the  opera.  His 
first  works  were  madrigals  in  the  old 
style,  but  influenced  by  his  friends, 
Galilei  and  Peri,  and  inspired  by  the 
musical  discussions  held  in  Florence, 
he  soon  began  writing  in  the  new 
dramatic  style,  composing  for  a  single 
voice,  with  instrumental  accompani- 
ment. These  compositions  he  sang  to 
his  own  accompaniment  on  the 
theorbo,  with  great  success.  His  first 
large  work,  in  this  new  style,  was  the 
opera,  II  Combattimento  d'Apolline 
Col  Serpente;  next  appeared  Dafne, 
Eurydice  in  1600  and  the  same  year 
II  rapimento  di  Cefalo,  the  first  opera 
ever  produced  in  a  public  theatre. 
Eurydice  and  Dafne,  written  in  col- 
laboration with  Peri,  an  Italian  poet 
of  considerable  ability  and  a  friend  of 
Caccini's,  are  considered  the  begin- 
ning of  modern  operas  —  and  the  reci- 
tatives composed  and  sung  by  Caccini, 
were  of  the  greatest  importance  in 
musical  development,  this  form  being 
originated  and  first  used  by  him. 
Another  important  work  of  Caccini's 
was  his  New  Music,  a  series  of 
madrigals  for  single  voice.  Caccini 
was  also  one  of  the  greatest  vocal 
teachers  that  Italy  has  produced,  and 
to  him  was  no  doubt  due,  in  great 
part,  the  vocal  method  which  has 
made  Italy  famous. 

Caffarelli    (kaf-fa-rel'-li),  G a  e  t  a n  o. 
Majoriano.     1703-1783. 

Celebrated  Italian  vocalist,  who 
was  born  at  Bari,  near  Naples,  of 
poor  and  ignorant  parents.  He  early 
attracted  the  attention  of  Cafaro,  or 
Caffarelli,  director  of  the  Conserv- 
atory of  Naples,  who  had  him  edu- 
cated. After  studying  with  Porpora, 
he  made  his  debut  at  Rome,  in  1724, 
and  appeared  in  various  Italian  cities, 
among  them  Milan,  Florence,  Venice, 
Turin,  Genoa  and  Naples.  He  appeared 
in  London  in  Handel's  Faraniondo,  in 
1738,  and  at  Paris  also.     He   figured 


Caldicott 
largely  in  his^  day  as  a  rival  of 
Farinelli  and  is  said  to  have  pos- 
sessed such  vocal  qualifications  that 
old  Porpora,  his  teacher,  dismissed 
him,  after  several  years'  instruction 
with  the  words:  "Go  my  son,  I  have 
nothing  more  to  teach  you.  You  are 
the  greatest  singer  in  Europe,"  He 
was  courted  by  the  highest  society  of 
Rome,  and  was  also  received  with 
every  honor  in  London,  when  he 
appeared  there.  He  seems,  however, 
not  to  have  fulfilled  the  expectation 
of  the  Londoners  and  returned  to 
Italy,  where  his  appearances  in  every 
town  he  visited  were  veritable 
triumphs.  At  the  invitation  of  the 
Dauphin  of  France,  he  went  to  Paris, 
in  1750,  and  sang  at  several  concerts. 
He  was  still  singing  at  the  age  of 
sixty-five,  but  shortly  afterward  pur- 
chased a  dukedom,  and  retired  to  a 
palace,  which  he  had  built  in  Santo 
Dorato.  He  died  in  1783,  leaving  his 
wealth  and  dukedom  to  a  nephew. 
He  was  at  his  best  in  the  bravura 
style  of  singing  and  was  a  master  of 
pathetic  song. 

Cahen  (ka-an)..  Albert.     1846-1903. 

A  French  composer  and  pupil  of 
Mme.  Szarvady,  and  of  Cesar  Franck, 
having  studied  the  piano  under  the 
former  and  composition  under  the  lat- 
ter. He  produced  several  works  of 
importance,  including  Jean  le  pre- 
curseur,  a  biblical  drama,  which  was 
given  at  the  Concert  National  in 
1874,  and  Endymion,  a  mythical  poem, 
in  1875.  He  made  his  debut  on  the 
stage  with  Le  Bois,  a  one-act  play, 
at  the  Opera  Comique  in  1888.  In 
1886  he  produced  another  play,  La 
Femme  de  Claude,  a  three-act  lyric 
drama,  which  was  not  a  success. 
Cahen  also  wrote  a  set  of  songs  en- 
titled Marines.  He  died  at  Cap  d'Ail 
in  March,  1903. 

Caldicott,  Alfred  James.    1842-1897. 

English  composer  and  organist. 
Inherited  his  musical  ability  from  his 
father.  His  first  musical  education 
consisted  of  a  course  of  training  in 
the  choir  of  Worcester  Cathedral.  At 
the  age  of  fourteen  he  became  as- 
sistant to  William  Done,  the  organist. 
Later  studied  at  the  Conservatory  of 
Leipsic,  with  Moscheles,  Hauptmann, 
Richter  and  others.  Returned  to 
Worcester,  his  native  place,  in  1864 
and  became  organist  of  St.  Stephen's 
Church    and    to    the    corporation    of 


116 


BIOGRAPHIES 


Caldicott 
^yo^cester,  also  conductor  of  the  mu- 
sical and  instrumental  societies  of  that 
city.  In  1878  he  took  the  degree  of 
Bachelor  of  Music  at  Cambridge. 
Went  to  London  in  1883  and  was  ap- 
pointed professor  of  harmony  at  the 
Royal  College  of  Music.  In  1885, 
Caldicott  became  musical  director  at 
the  Albert  Palace,  Battersea.  During 
1890  and  1891  he  made  a  tour  in 
America,  as  conductor  of  the  Agnes 
Huntington  Opera  Company.  In 
1892  he  was  made  principal  of  the 
Educational  Department  in  the  Lon- 
don College  of  Music  and  musical 
director  at  the  Comedy  Theatre  in 
1893.  His  best  known  works  are  the 
sacred  cantata,  The  Widow  of  Nain; 
two  cantatas  for  women's  voices,  A 
Rhine  Legend  and  Queen  of  May; 
and  the  operettas,  Treasure  Trove,  A 
Moss  Rose  Rent,  Old  Knockles,  and  A 
Fishy  Case.  He  also  wrote  many 
glees,  of  which  Winter  Days  won  a 
prize  for  a  serious  glee  and  Humpty 
Dumpty  for  a  humorous  glee;  and 
beside  these,  numerous  songs,  includ- 
ing a  Dickens  series  of  songs. 

Calkin,  John  Baptiste.     1827- 

English  composer,  pianist  and  or- 
ganist. He  studied  with  his  father. 
From  1846  to  1853  was  organist,  pre- 
centor and  choirmaster  at  St.  Co- 
lumba's  College,  Ireland,  and  afterward 
at  several  churches.  Is  a  member  of 
the  Philharmonic  Society  and  pro- 
fessor at  the  Guildhall  School  of 
Music.  His  works  consist  of  sacred 
compositions,  comprising  services,  an- 
thems and  introits,  also  many  part- 
songs,  glees  and  songs,  beside  pieces 
for  strings,  organ  and  piano. 

Callcott,  John  Wall.    1766-1821. 

Born  at  Kensington,  London,  and 
became  one  of  the  most  noted  of  the 
English  glee  writers.  He  learned  the 
rudiments  of  music  when  quite  young 
by  frequenting  the  Kensington 
Church,  and  by  attending  the  Chapel 
Royal  at  Westminster  Abbey.  He 
studied  without  a  teacher  for  many 
years.  From  1783  until  1785  he  was 
assistant  organist  at  the  Church  of 
St.  George  the  Martyr,  under  Rein- 
hold,  and  the  latter  year  was  intro- 
duced to  the  leader  of  the  orchestra 
of  the  Academy  of  Ancient  Music  and 
won  several  medals  for  glees  and 
canons,  and  also  took  active  part  in 
the  formation  of  the  Glee  Club  in 
1787.     He   was  joint  organist   at   St. 


Calve 

Paul's  Church,  Covent  Garden,  and, 
in  1790,  took  lessons  from  Haydn  in 
instrumental  composition,  in  order  to 
perfect  himself  in  orchestral  writing. 
In  1793,  having  studied  the  works  of 
the  best  musical  theorists,  he  proj- 
ected _  a  musical  dictionary.  While 
studying  with  Haydn  he  composed  a 
song,  These  as  They  Change,  which 
won  much  praise  for  him.  Oxford 
conferred  upon  him  the  degree  of 
Doctor  of  Music  in  1800  and  in  1806 
he  published  his  dictionary.  In  1795, 
upon  the  formation  of  a  volunteer 
corps  at  Kensington,  Calcott  had  ac- 
cepted a  commission  in  it  and  aided 
by  a  subscription,  he  formed  a  band 
for  the  corps,  for  which  he  purchased 
instruments,  composed  and  arranged 
the  music  and  instructed  the  per- 
formers. In  1806  he  published  a  musi- 
cal grammar  and  also  wrote  a  scena 
upon  the  death  of  Lord  Nelson.  In 
that  year  he  was  appointed  lecturer 
on  German  music,  at  the  Royal  Insti- 
tution, to  succeed  Dr.  Grotch,  but 
under  his  heavy  work  his  mind  gave 
way  and  for  five  years  it  was  a  blank. 
He  recovered  for  a  time,  but  elapsed 
into  the  same  condition  again  and 
died  at  Bristol  in  1821.  His  works 
consist  mainly  of  glees,  catches  and 
canons,  and  were  edited  after  his 
death  by  W.  Horsley.  He  showed  but 
little  skill  in  orchestral  writing.  He 
left  in  manuscript  many  anthems, 
odes  and  songs  and  other  pieces  of 
music.  His  daughter  Sophia  became 
eminent  as  a  teacher  of  the  piano 
and  his  son,  William  Hutchins  Call- 
cott, attained  considerable  distinction 
as  a  composer  and  adapted  many  of 
the  elder  Callcott's  glees  for  male 
voices. 

Calve  (kal-va),  Emma.     1866- 

The  greatest  interpreter  of  the  role 
of  Carmen.  A  famous  singer,  who  was 
born  at  Decazeville,  near  Aveyron, 
France,  according  to  most  authorities, 
although  Grove's  dictionary  gives  her 
birthplace  as  Madrid  and  the  year  of 
her  birth  as  1864. 

Her  name  was  originally,  Emma 
Roquer,  her  father  being  a  Spaniard, 
and  a  civil  engineer.  Emma  attended 
a  convent  school  and  while  there  her 
singing  attracted  the  attention  of  a 
Parisian  gentleman,  who  urged  her 
mother  to  send  her  to  Paris  to  study. 
There  she  was  instructed  by  a  tenor, 
Puget,  and  another  teacher  named 
Laborde,  and  made  her  debut  at  the 


BIOGRAPHIES 


117 


Calve 

Brussels  Theatre,  as  Marguerite  in 
Faust  in  1881.  After  appearing  at 
another  theatre  in  the  same  city,  she 
became  a  pupil  of  Mme.  Marchesi 
and  then  made  a  tour  of  Italy.  Here 
she  saw  Eleanora  Duse,  the  Italian 
tragedienne,  whose  impersonations 
made  a  deep  impression  on  the  young 
singer.  According  to  Calve  herself, 
her  first  public  appearance  was  made 
at  Nice,  at  a  charity  concert.  Later 
she  sang  at  La  Scala,  in  Milan,  with 
great  success  and  also  at  the  principal 
theatres  of  Naples,  Rome,  and  Flor- 
ence. Returning  to  Paris,  in  1891,  she 
created  the  part  of  Suzel  in  L'Amigo 
Fritz,  by  Mascagni,  playing  and  sing- 
ing the  role  later  at  Rome  and,  be- 
cause of  her  great  success  in  it,  she 
was  chosen  to  originate  the  role  of 
Santuzza  in  Cavalleria  Rusticana, 
which  has  been  ever  since  one  of  her 
greatest  parts.  She  repeated  her  suc- 
cess in  it  in  London.  Her  next 
triumph  was  Carmen,  and  before  be- 
ginning the  study  of  this  part,  she 
went  to  Spain,  learned  the  Spanish 
dances,  mingled  with  the  people  and 
patterned  her  characterization  after 
the  cigarette  girls  whom  she  watched 
at  their  work  and  at  play.  In  1894 
she  made  her  appearance  in  the  role 
at  the  Opera  Comique,  Paris,  and  her 
triumphs  followed.  She  was  immedi- 
ately hailed  as  the  greatest  Carmen 
that  had  ever  appeared  and  other  cities 
all  over  the  world  have  since  agreed 
with  the  Parisian  verdict.  She  had 
had  many  famous  predecessors  in  the 
role,  Patti,  Minnie  Hauk  and  Mme. 
Galli-Marie,  but  critics  and  musicians 
were  agreed,  that  in  Calve  they  had 
found  their  ideal  of  Bizet's  cigarette 
girl  of  Seville,  and  her  man^"-  charms 
of  voice,  figure,  and  personality  com- 
bined to  make  it  one  of  the  most 
brilliant  impersonations  ever  given  in 
opera.  Calve  first  appeared  in  America 
in  the  season  of  1893-1894,  as  Mignon 
and  her  reception  then  and  ever  after- 
ward was  flattering.  She  has  made 
regular  visits  to  this  country  ever 
since,  both  in  grand  opera  and  in  con- 
cert tours.  She  created  the  part  of 
Anita,  which  was  written  for  her,  in 
Massenet's  Navarraise  in  London,  in 
1894,  and  sang  Sappho,  in  an  opera 
written  by  the  same  composer,  in 
1897.  She  also  sang  Ophelie  in  Am- 
broise  Thomas'  Hamlet  in  Paris  in 
1899,  but  the  part  was  not  suited  to 
her  and  she  dropped  it.  She  has 
appeared  with  success  in  many  roles, 


Cambert 

among  them,  as  the  Countess  in  The 
Marriage  of  Figaro,  the  title  role  in 
Lalla  Rookh,  and  Pamina  in  The 
Magic  Flute,  but  she  is  best  known  as 
Carmen,  and  best  liked  in  it.  Her 
voice  is  a  soprano,  rich,  and  sympa- 
thetic and  well-trained,  and  her  sing- 
ing has  great  charm.  Her  phrasing 
and  vocalization  show  perfect  art  and 
natural  musical  instinct,  combining  to 
make  her  a  star  of  the  first  magnitude. 
Mme.  Calve  is  singularly  philan- 
thropic and  among  other  things  has 
built  an  orphanage  near  her  mountain 
home  at  Aveyron,  France,  where  forty 
girls  are  received  and  cared  for,  taught 
to  cook,  sew  and  knit  and  trained  in 
useful  professions,  the  singer  taking 
a  great  deal  of  interest  in  the  home. 
She  is  a  great  believer  in  the  occult 
and  all  things  mystic  appeal  to  her, 
so  it  is  said.  She  resides  most  of 
the  year,  except  when  on  tour  at  her 
castle,  near  Aveyron,  which  was  built 
in  the  Eleventh  Century  and  which 
she  acquired  a  few  years  ago. 

Cambert    (kan-bar),    Robert.      16  2  8- 

1677. 

Originator  of  French  opera  and  a 
great  composer  and  organist.  Was 
born  in  Paris,  and  was  the  first 
Frenchman  to  write  operas  in  the 
French  vernacular,  in  imitation  of 
Peri  and  Caccini,  who  wrote  Eurydice. 
He  was  regarded  as  the  best  of  the 
French  composers  until  the  intrigues 
of  Lully  destroyed  his  position  at  the 
French  court.  He  was  a  pupil  of 
Chambonnieres,  with  whom  he  studied 
the  clavichord,  and  later  he  became 
the  organist  at  the  Church  of  St. 
Honore,  Paris.  His  work  in  imitation 
of  Peri's  opera  was  La  Pastorale, 
written  at  the  suggestion  of  Abbe 
Perrin,  and  performed  for  the  first 
time,  in  1659,  at  the  Chateau  D'Issy 
and  afterwards  repeated  by  command 
of  Louis  XIV.  at  the  palace.  In  1666 
he  was  appointed  superintendent  of 
the  music  of  Queen  Anne  of  Austria, 
the  mother  of  Louis  XIV.  He  be- 
came associated  with  Abbe  Perrin, 
who  had  secured  a  patent  giving  him 
the  right  to  perform  opera,  and  for 
thirty-two  years  they  were  associated 
in  the  enterprise.  After  being  driven 
from  France  by  Lully,  he  settled  in 
London,  but  his  residence  there  was 
not  wholly  pleasant  or  satisfactory 
and  the  failure  of  his  works  there  is 
believed  to  have  hastened  his  death. 
While  in  England  he  became  master 


118 


BIOGRAPHIES 


Cambert 

of  music  to  Charles  II.  Among  his 
works  are  the  operas  La  Pastorale; 
Adonis,  which  was  written  in  1662; 
Ariane,  produced  in  1667;  and  Po- 
mona, a  pastoral.  The  score  of 
Adonis  was  lost,  and  was  never  per- 
formed. "  Lully's  jealousy  of  Cam- 
bert," says  Grove,  "  Implies  that  he 
(Cambert)  was  a  formidable  rival." 
Cambert  died  in  London. 

Campagnoli   (kam-pan-y5'-le),  Barto- 
lomeo.    1751-1827. 

A  violinist  of  great  renown,  of  the 
school  of  Pugnani  and  Giardini,  who 
aided  in  forming  the  more  modern  one 
of  Viotti,  Kreutzer  and  Spohr.  He 
was  born  at  Centon,  near  Bologna,  and 
studied  violin  under  Dall  'Ocha,  a 
pupil  of  Lolli's.  He  was  violinist  at 
the  Pergola  Theatre,  Florence,  where 
he  met  Cherubini,  and  was  later  a 
leader  at  Rome,  and  in  1776,  chapel- 
master  to  the  bishop  of  Freysing. 
Two  years  later  he  was  violinist  to 
the  Duke  of  Courtland  at  Dresden. 
He  traveled  through  Europe  as  a  vio- 
linist and  resided  in  Leipsic  from  1797 
until  1818,  where  he  was  conductor  of 
the  Gewandhaus  concerts,  and  he  also 
lived  in  Paris.  Among  his  works  are 
a  number  of  exercises,  which  are 
widely  used  among  professors  of 
music  for  the  young  violinist  who 
has  achieved  a  moderate  mastery  over 
his  instrument.  He  also  wrote  duets 
for  flute  and  violin;  three  concertos 
for  flute  and  orchestra;  polonaises; 
suites;  divertissements,  and  other 
music. 

Campana  (kam-pa'-na),  Fabio.    181 9- 
1882. 

Italian  opera  composer,  song-writer 
and  vocal  teacher.  Born  at  Bologna 
and  studied  there  at  the  Conservatory. 
His  Italian  operas,  composed  in  early 
life  and  given  in  Italy,  were  unsuc- 
cessful. These  were  Caterina  di 
Guise;  Guilio  d'Este;  Vannina  d' 
Ornano;  and  Luisa  di  Francia.  In 
1850,  Campana  settled  in  London  and 
remained  there  as  a  teacher  and  com- 
poser until  his  death.  He  produced 
two  operas  in  England,  Almira,  and 
Esmeralda,  in  the  last  of  which  Patti 
appeared  as  the  heroine.  He  also 
composed  a  large  number  of  suc- 
cessful songs. 

Campanari  (kam-pa-na'-re),  Giuseppe. 

Eminent  dramatic  barytone,  who  is 
a    native    of    Venice,    and    extremely 


Campanini 
popular  as  a  singer,  in  America  as 
well  as  in  Europe.  He  began  his  mu- 
sical career  by  becoming  a  cello- 
player  at  La  Scala,  Milan,  and  while 
there  he  began  studying,  with  a  view 
to  cultivating  his  voice.  He  made  his 
appearance  as  a  singer  in  various 
opera  houses  of  Italy  and,  in  1884, 
came  to  America  at  the  request  of  his 
brother  Leandro,  the  violinist,  and 
became  a  member  of  the  Boston 
Symphony  Orchestra.  While  in  New 
York,  he  appeared  as  a  singer  with 
the  Handel  and  Haydn  Society  and  in 
opera.  In  1893  he  joined  Hinrich's 
Opera  Company,  traveling  with  it  for 
two  years.  He  next  became  a  mem- 
ber of  the  Abbey  and  Grau  Company, 
appearing  in  II  Trovatore  and  other 
operas  with  success.  He  has  sung  of 
late  years  with  the  Metropolitan 
Opera  Company,  under  Maurice  Grau 
and  later  under  Heinrich  Conried. 
His  most  recent  appearances  were 
with  the  San  Carlos  Opera  Company, 
under  the  management  of  Henry  Rus- 
sell, when  he  sang  Figaro  in  The 
Barber  of  Seville;  Tonio  in  I'Pa- 
gliacci;  and  other  roles.  He  also 
appeared  in  recital  with  Mme.  Melba 
in  the  spring  of  1907.  Sig.  Campanari's 
voice  is  a  rich  and  flexible  barytone, 
full  of  dramatic  feeling. 

Campanari,  Leandro.    1857- 

Italian  violinist.  Studied  at  Con- 
servatory of  Milan.  Made  successful 
European  concert  tours.  In  1789, 
came  to  America  and  made  his  first 
appearance  with  The  Boston  Sym- 
phony Orchestra.  Remained  in  Bos- 
ton and  in  1883  became  music-director 
of  the  choir  of  the  Jesuit  Church,  also 
first  professor  of  violin  at  New  Eng- 
land Conservatory  of  Music.  Went 
to  Europe  in  1887,  where  he  remained 
until  1900,  when  he  returned  to 
America  and  went  to  Cincinnati  as 
professor  of  violin  and  head  of  the 
orchestral  department  of  the  Cincin- 
nati Conservatory.  In  1897,  returned 
to  Europe  and  since  then  has  been 
conductor  of  the  orchestral  concerts 
given  in  La  Scala  Theatre,  Milan.  He 
has  written  many  songs  and  also  text- 
books for  violinists.  He  is  a  brother 
of  Giuseppe  Campanari  the  well- 
known  grand  opera  singer. 

Campanini    (kam-pa-ne'-ne),    1 1  a  I  o . 

1846-1896. 

Noted  Italian  operatic  tenor,  who 
was  hailed  on  his  first  appearance  as 


BIOGRAPHIES 


119 


Campanini 
a  worthy  successor  to  Mario.  He 
was  born  in  Parma,  Italy,  was  the  son 
of  a  blacksmith,  and  was  brought  up 
to  follow  a  trade,  but  joined  the  army 
and  went  to  war  with  Garibaldi.  After 
he  returned,  a  musician,  who  took  an 
interest  in  him,  secured  for  him  a 
course  of  instruction  at  Parma  Con- 
servatory and  at  the  age  of  twenty- 
one  he  began  his  career  as  a  singer. 
After  a  period  of  study  with  Lam- 
perti,  at  Milan,  he  made  his  debut  at 
Odessa,  in  1869,  in  II  Trovatore  and 
sang  for  several  years  with  success. 
He  made  his  London  debut,  in  1872, 
as  Gennaro  in  Lucrezia  Borgia.  He 
toured  the  United  States  several 
times,  in  1873,  in  1879  with  Abbey's 
company,  and  in  1892  with  Mme. 
Patti  and  again  in  1894.  He  sang  the 
leading  roles  in  Lohengrin,  Mephistof- 
eles,  Faust,  Carmen,  Don  Juan  and 
Lucia.  He  was  said  at  ouc  time  to 
have  had  a  repertory  of  one  hundred 
operas.  He  never  fulfilled  the  early 
promise  which  he  showed,  but  was  a 
hard  worker  and  zealous.  He  pos- 
sessed a  voice  of  great  flexibility  and 
brilliancy,  but  it  decayed  rapidly.  He 
is  said  to  have  received  as  high  as 
$1,000  a  night,  yet  he  died,  as  have  so 
many  of  his  kind,  poor,  and  at  the  last 
voiceless.  He  made  his  greatest  suc- 
cesses as  Rhadames  in  Aida;  Faust  in 
Boito's  Mefistofeles;  Kenneth  in 
Balfe's  Talismano,  a  posthumous  opera 
produced  at  Drury  Lane  in  1874;  as 
Raoul  in  Les  Huguenots  and  in  the 
tenor  role  of  La  Favorita. 

Campenhout  (kam'-pen-oot),  Franjois 

van.    1779-1848. 

Born  at  Brussels,  and  began  his 
career  in  the  orchestra  of  the  Theatre 
de  la  Monnaie,  later  appearing  on  the 
stage  as  a  tenor  singer.  For  thirty 
years  he  sang  in  the  chief  towns  of 
Holland,  Belgium,  and  France,  mak- 
ing his  farewell  appearance  at  Ghent, 
in  1872.  He  composed  several  operas, 
among  them,  Grotius,  produced  at 
Amsterdam  in  1808.  He  also  wrote 
songs,  choruses,  and  much  church 
music.  His  name  is  chiefly  associated 
with  La  Brabangonne,  which  he  com- 
posed at  the  time  of  the  Revolution 
of  1830  and  which  has  since  become 
the  national  air  of  Belgium.  Cam- 
penhout was  a  pupil  in  singing  of 
Plantade  at  The  Hague,  in  1807,  and 
in  harmony  and  composition  under 
Navoigille,  the  elder,  and  of  Saint- 
Amand,  at  Amsterdam  in   1808.     He 


Camporese 
received   his   first   instruction   on   the 
violin  from  Pauwels  at  Brussels. 

Camporese  (kam-p6-ra'-ze),  Violante. 

1785-1839. 

Born  at  Rome,  and  was  a  member 
of  a  good  family.  Cultivated  music 
from  her  earliest  years  because  she 
loved  it.  After  her  marriage  to  a 
nobleman  named  Giustiniani,  she 
found  herself  compelled  by  circum- 
stances to  support  herself,  and  soon 
afterward  began  to  appear  at  concerts. 
She  was  destined  to  become  one  of 
the  most  brilliant  and  popular  singers 
of  her  time.  She  was  engaged  for  the 
private  concerts  of  Napoleon  in  Paris, 
and  under  instruction  from  Crescen- 
tini  her  pure  soprano  voice  developed 
great  flexibility  and  sweetness.  Both 
as  a  singer  and  as  a  woman  she 
fascinated  everyone  with  whom  she 
came  in  contact,  and  there  are  many 
stories  of  her  goodness  and  gener- 
osity. Ebers,  while  in  Paris,  in  1816, 
met  the  singer  at  the  house  of  Paer, 
the  composer,  and  described  her 
voice  as  fine-toned  and  pure,  and  thus 
described  her  personal  appearance: 
"  She  was  a  handsome,  elegant  woman 
of  one  and  thirty,  with  dark  hair, 
eyes,  and  complexion,  tall,  slender 
figure,  fine  Roman  countenance,  full 
of  tragic  dignity,  and  a  manner  of 
stately  grace  and  irresistible  sweet- 
ness." From  Paris  she  went  to  Milan, 
where  she  crowded  La  Scala  nightly 
during  the  engagement.  In  1817  she 
was  engaged  for  the  King's  Theatre, 
London,  making  her  debut  in  Cima- 
rosa's  Penelope.  She  gained  a  great 
reputation  as  a  vocalist  when  singing 
Suzanna  in  The  Marriage  of  Figaro, 
in  spite  of  the  fact  that  she  succeeded 
Vestris  in  the  part.  This  success  was 
followed  by  another  when  she  sang 
Donna  Anna  in  Don  Giovanni.  She 
appeared  in  other  operas  and  also  at 
the  Ancient  Music  and  Philharmonic 
concerts.  She  went  back  to  Milan, 
singing  there  until  1821,  when  she  re- 
turned to  London,  being  received  in 
the  highest  artistic  and  social  circles. 
Believing  she  could  sing  comic  as 
well  as  tragic  roles,  Camporese  under- 
took to  sing  Zerlina  in  Don  Giovanni, 
but  was  not  a  success  and  wisely,  never 
again  repeated  the  experiment.  She 
won  fresh  laurels  by  her  performance 
of  Desdemona  in  Rossini's  Othello 
and  by  the  purity  and  force  of  her 
singing  and  her  gentle  dignity  and 
bearing  elicited  universal  admiration. 


120 


BIOGRAPHIES 


Camporese 

She  appeared  at  the  King's  Theatre 
again  in  1823,  bringing  out  at  her 
benefit,  Rossini's  Riccardo  e  Zoraide. 
In  1824  she  again  returned,  but  her 
voice  had  by  this  time  begun  to  show 
signs  of  wear  and  she  could  not  bear 
comparison  with  Malibran,  Sontag  and 
Pasta,  who  had  the  musical  world  at 
their  feet  Camporese  shortly  after- 
ward retired  to  Rome.  In  1827  she 
was  singing  Rossini's  operas  in 
Ancona  and  two  years  later  came  to 
London  to  sing  in  concert,  but  her 
voice  was  practically  gone  and  the 
performance  was  not  a  success.  She 
died  in  Rome. 

Campra  (kan-pra),  Andre.  1660-1744. 
Was  born  at  Aix,  Provence.  His 
operas  are  the  only  ones,  besides  those 
of  Lully,  which  kept  their  place  on 
the  stage  during  the  first  half  of  the 
Eighteenth  Century.  He  was  also  the 
first  composer,  who  obtained  per- 
mission to  use  other  instruments  than 
the  organ  in  church  music.  He  studied 
music  under  G.  Poitevin,  but  gave 
little  promise  of  distinguishing  himself 
as  a  musician  until  his  sixteenth  year, 
when  he  composed  a  motet  that 
caused  his  teacher  to  predict  a  great 
future  for  him.  His  first  position  in 
Paris  was  the  directorship  of  the 
choir  of  the  College  of  Jesuits  and 
from  there  he  was  promoted  to  the 
directorship  of  Notre  Dame.  At  the 
great  church  festivals,  immense 
crowds  flocked  to  hear  his  composi- 
tions, but  while  thus  employed  he  was 
spending  all  of  his  leisure  moments 
in  studying  the  operatic  masters  and, 
in  1697,  his  first  opera,  L'Europe 
Galante,  was  produced.  This  was  fol- 
lowed, in  1699,  by  an  operatic  ballet 
Le  Carnaval  de  Venise,  but  both  were 
published  in  his  brother's  name,  as  he 
feared  losing  his  appointment  in  the 
church  if  it  became  known  that  he 
wrote  anything  but  sacred  music.  In 
1700  he  abandoned  the  church  for 
the  stage  and  brought  out  Hesione, 
the  first  opera  produced  under  his 
own  name.  From  that  time  until 
1740,  when  his  last  opera  was  pro- 
duced, his  works  enjoyed  a  great 
popularity.  He  received  many  honors 
at  the  hands  of  his  countrymen.  Was 
made  teacher  and  director  of  the 
pages  at  the  Chapel  Royal,  an  ap- 
pointment he  held  until  his  death,  and 
was  granted  a  pension  by  the  King,  in 
1718,  in  recognition  of  his  services  as 
a   dramatic   composer,   and   was   also 


Cannabich 
made  master  of  the  Chapel  to  the 
King.  Besides  his  operatic  works  he 
wrote  three  books  of  cantatas,  a  mass 
and  five  books  of  motets.  He  was  too 
deferential  to  the  tastes  and  fancies 
of  the  time  to  have  contributed  much 
to  the  development  of  French  opera. 
Instead  of  improving  the  music,  he 
helped  to  popularize  what  were  known 
as  the  spectacles  coupes,  or  per- 
formances of  fragmentary  plays,  and 
this  gave  him  only  an  ephemeral 
popularity. 

Candeille    (kan-de'-yu),   Amelie   Julie 

Simon.     177-1834. 

Dramatic  soprano  and  actress,  also 
a  composer  of  considerable  talent, 
who  was  born  in  Paris  and  made  her 
debut  in  1782  as  Iphigenie  in  Gluck's 
opera,  Iphigenie  en  Aulide.  She  was 
engaged  from  1783  to  1796  as  an 
actress  at  the  Theatre  Frangaise  in 
Paris.  In  1798  she  married  Simon,  a 
carriage  manufacturer  of  Brussels, 
but  separated  from  him  and,  in  1821, 
married  a  painter  named  Pierie.  Mme. 
Simon,  as  she  was  known,  resided  in 
Paris  for  a  number  of  years  as  a 
teacher,  and  was  highly  esteemed. 
She  composed  the  music  and  wrote 
the  libretto  of  a  successful  opera,  La 
Belle  Fermiere,  which  was  produced 
in  1792.  In  it  Mme.  Simon  took  the 
leading  part,  singing  to  her  own 
accompaniment  on  the  piano  and 
harp.  Another  opera,  Ida,  produced 
in  1807,  was  not  a  success.  Besides 
the  operatic  works  mentioned  she 
also  composed  three  piano  trios,  four 
piano  sonatas,  fantasias,  romances, 
and  songs.  She  was  the  daughter  of 
Pierre  Joseph  Candeille,  an  operatic 
composer  of  some  repute  in  his  day. 

Cannabich    (kan'-na-bikh).    Christian. 

1731-1798. 

A  violin-player,  composer  and  or- 
chestral conductor,  who  earned  the 
esteem  and  admiration  of  Mozart, 
Burney  and  other  musicians  and 
critics  for  his  remarkable  execution. 
He  was  born  at  Mannheim,  Germany, 
and  studied  under  his  father,  a  flute- 
player,  and  Stamitz,  who  was  the 
head  of  the  Mannheim  Orchestra.  He 
was  sent  by  the  Elector  to  Italy, 
where  he  studied  for  a  time  imder 
Jommelli,  in  composition.  About 
1765,  he  was  the  leader  of  the  Mann- 
heim Orchestra  and  was  conductor  of 
the  same  ten  years  later.  He  was 
conductor    at    Munich    in    1778.      He 


BIOGRAPHIES 


121 


Cannabich 


Caradori-Allan 


died  at  Frankfort.  Cannabich  was  a 
good  composer  and  was  one  of  the 
best  conductors  of  his  day.  He  was 
highly  praised  by  Mozart  for  the  per- 
fect ensemble  in  his  orchestral 
performances  at  Mannheim.  He  was 
also  a  fine  teacher,  and  many  of  his 
pupils  afterwards  became  distinguished 
musicians.  He  composed  six  quartets 
for  strings;  three  symphonies  for  or- 
chestra; six  trios  for  strings;  six  duets 
for  flute  and  violin;  concertos;  a 
symphony  for  flutes;  an  opera,  Aza- 
caja,  produced  in  1778,  and  ballets.  A 
son,  Carl,  inherited  a  good  deal  of  his 
father's  musical  ability  and  followed 
him  as  composer  and  conductor, 
writing  chiefly  vocal  works. 

Capocci  (ka-p6t'-che),  Gaetano.    1811- 

1898. 

The  Capoccis  were  two  highly  dis- 
tinguished organists  of  the  Church  of 
St.  John  Lateran,  Rome,  Gaetano,  the 
father  having  been  born  and  reared 
in  the  Eternal  City.  He  pursued  his 
musical  studies  under  Sante  Pascoli, 
the  organist  at  St.  Peter's,  studying 
counterpoint  afterward  with  Valentino 
Fioravanti  and  composition  with 
Francesco  Cianciarelli.  He  received 
the  diploma  of  organist  in  1831  and 
in  1833  that  of  composer  from  the 
Academy  of  St.  Cecilia.  He  held 
various  posts  of  importance  and 
finally  was  made  organist  at  the  Lat- 
eran, which  position  he  held  until  his 
death.  His  sacred  compositions  were 
used  frequently  at  that  church  up  to 
his  death  and  include  forty-two  pieces, 
mostly  masses,  motets,  and  psalms, 
all  adhering  closely  to  the  ecclesi- 
astical style  of  the  Italian  School. 

Capocci,  Filippo.    1840- 

Born  in  Rome  and  succeeded  his 
father  as  master-director  of  the  choir 
in  1898.  He  began  the  study  of  music 
when  only  nine  years  of  age,  his 
father  teaching  him  the  organ  and 
harmony.  Alexandre  Guilmant,  whom 
he  visited  in  1880,  induced  him  to 
devote  himself  to  the  organ,  and  he 
afterward  became  famous  for  his 
arrangements  of  stops  and  his  musi- 
cianly  playing.  He  has  published  a 
number  of  compositions  for  the 
organ,  among  them  five  sonatas,  and 
eleven  books  of  original  pieces. 

Capoul    (ka-pool),    Joseph    Victor 

Amedee.     1839- 

French  tenor,  who  was  born  at 
Toulouse.    France,   and   studied   sing- 


ing at  the  Paris  Conservatory  under 
Revial  and  comic  opera  under 
Mocker,  gaining  the  prize,  in  1861, 
in  the  latter  class.  In  that  year  he 
made  his  debut  as  Daniel  in  Le 
Chalet  by  Adam,  and  for  many  years 
was  considered  one  of  the  best  tenors 
on  the  French  stage.  He  next  played 
in  The  Daughter  of  the  Regiment. 
He  visited  America  first,  in  1873,  as 
a  member  of  the  Strakosch  Company, 
which  included  Annie  Louise  Cary, 
Christine  Nilsson,  Campanini  and 
Maurel.  He  was  also  the  chief  tenor 
of  the  French  Opera  Bouffe  Company 
which  visited  the  United  States  in 
1879.  He  was  engaged  by  the  man- 
agers of  the  Opera  Comique,  where 
he  remained  for  several  years,  being 
considered  by  the  Parisians  as  the 
successor  of  Roger,  although  he  never 
equaled  him.  He  sang  with  success 
in  English  in  Faust  and  Rigoletto, 
and  won  much  praise  for  his  imper- 
sonations of  Lionel  in  Martha  and 
Wilhelm  Meister  in  Mignon.  He  was 
extremely  handsome  in  face  and 
physique,  had  a  pleasing  voice  and 
was  also  an  excellent  actor.  His  last 
appearance  was  in  Godard's  opera, 
Jocelyn,  when  he  sang  the  title  role  in 
Paris  in  1888.  He  was  for  some  time 
engaged  in  a  business  capacity  at  the 
Paris  Opera.  During  the  last  few 
years  he  has  resided  in  New  York, 
where  he  is  a  teacher  of  singing. 

Caradori-Allan,  Maria  Caterina  Rosal- 

bina.     1800-1865. 

French  soprano.  Born  in  the  Ca.sa 
Palatina,  Milan,  daughter  of  the 
Baron  de  Munck,  an  Alsatian  officer, 
who  had  served  with  the  French 
army.  Her  education  in  music  was 
completed  by  her  mother  entirely 
unassisted,  and  when,  at  her  father's 
death,  she  was  compelled  to  support 
herself  she  went  on  the  stage,  taking 
her  mother's  name  of  Caradori.  She 
made  her  debut  at  the  King's  Thea- 
tre, London,  in  1822,  as  Cherubino  in 
The  Marriage  of  Figaro.  Her  charm- 
ing manner  of  performing  the  role 
laid  the  cornerstone  of  her  later  suc- 
cess. In  1824  she  sang  the  second 
role  in  II  Fanatico  with  Catalani,  and 
later  appeared  in  La  Clemenza  di 
Tito,  Elisa  e  Claudio,  and  in  Corra- 
dino,  as  the  prima  donna.  In  1825 
she  sang  the  second  part  in  L'Adeliiia 
by  Generali,  and  the  same  year  she 
sang  in  Beethoven's  Ninth  Symphony 
on    its    production     by     the    Philhar- 


122 


BIOGRAPHIES 


Caradon-Allan 

monic  Society.  She  next  sang  in  The 
Barber  of  Seville,  Romeo  and  Juliet 
and  in  The  Marriage  of  Figaro  again, 
and  her  salary  rose  from  three  hun- 
dred pounds,  in  1822,  to  one  thou- 
sand two  hundred  pounds  in  1827. 
But  it  was  in  concerts  that  she  was 
most  successful  and  did  her  best 
work.  She  took  part  in  the  festival 
in  Westminster  Abbey,  singing.  With 
Verdure  Clad,  brilliantly,  and  in  1846 
sang  the  soprano  part  in  the  first  per- 
formance of  Elijah.  She  died  at 
Surbiton,  Surrey  in  1865. 

Carafa    (ka-ra'-fa),    Michele    Enrico. 
1787-1872. 

Italian  composer  and  teacher,  the 
son  of  Prince  Colobrano,  Duke  of 
Alvito.  He  was  born  in  Naples,  and 
wrote  many  operas.  He  studied  under 
Cherubini,  Fazzi  and  other  teachers, 
then  entered  the  army  and  became  an 
officer  in  the  body-guard  of  Murat, 
King  of  Naples.  He  made  the  cam- 
paign in  Russia,  was  decorated  by 
Napoleon,  and  occupied  many  impor- 
tant positions.  He  settled  in  Paris 
after  the  battle  of  Waterloo  and 
adopted  music  at  his  profession.  In 
1828  he  was  appointed  professor  of 
composition  at  the  Paris  Conserv- 
atory, at  the  suggestion  of  his  former 
teacher,  Cherubini.  Became  a  mem- 
ber of  the  Institut,  in  1837,  and  was 
made  a  Chevalier  of  the  Legion  of 
Honor.  Was  also  a  director  of  the 
Military  School.  His  first  opera  was 
II  Fantasma,  and  this,  as  well  as  his 
later  ones,  achieved  a  great  amount  of 
popularity  despite  the  vogue  of  Auber 
and  Rossini.  His  compositions  for 
the  piano  were  also  very  much  liked. 
He  produced  his  operas,  Gabriele, 
Ifigenia;  and  Bernice  in  Italy,  and 
a  number  in  Vienna,  which  city  saw 
the  first  production  of  Le  Solitaire  in 
1822.  Five  years  later  he  became  a 
resident  of  Paris  and  there  brought 
out  La  Violette.  His  best  operas 
were  Masaniello,  which  is  not  to  be 
confounded  with  Auber's  opera  of 
the  same  name,  and  La  Prison  d'Edim- 
bourg.  He  wrote  in  all  about  thirty- 
five  operatic  pieces;  masses  and  a 
Stabet  Mater;  orchestral  and  piano- 
forte music;  ballets  and  several 
smaller  pieces.  He  died  in  Paris. 
Says  one  writer:  "  Carafa's  music  is 
rather  shallow  and  more  clever  than 
learned.  His  works  are  all  of  them 
pleasing  and  he  had  a  decided  comic 
faculty." 


Carey 
Carestini  (ka-ras-te-ne),  Giovanni. 

1705-1758. 

A  male  soprano,  whose  voice  was 
at  first  a  powerful  and  clear  soprano, 
and  afterwards  changed  to  the  fullest, 
deepest  contralto  that  has  perhaps 
ever  been  heard.  He  became  one  of 
the  most  renowned  of  Italian  singers. 
Carestini  was  born  at  Monte  Fila- 
trano,  near  Ancona,  Italy,  and  when 
twelve  years  of  age  he  went  to 
Milan,  where  he  was  taken  under  the 
protection  of  the  Cusani  family.  He 
made  his  debut  as  a  singer  when  six- 
teen in  Bononcini's  Griselda,  taking 
the  female  character  in  it,  and  assum- 
ing the  stage  name  Cusanino,  from 
the  family  of  his  protectors.  Two 
years  later  he  appeared  at  Prague  at 
the  coronation  of  Charles  VI.  as 
King  of  Bohemia,  taking  part  in  the 
great  musical  congress  in  that  city. 
He  returned  to  Italy  and  next  sang 
at  Mantua  and  for  many  years  ap- 
peared successfully  in  various  Italian 
cities,  in  rivalry  with  Farinelli.  He 
was  next  engaged  by  Handel  to  sing 
in  place  of  Senesino,  who  had  de- 
serted Handel  to  enlist  with  Porpora. 
Carestini  sang  in  Berlin,  St.  Peters- 
burg and  in  other  cities  on  the  con- 
tinent, being  received  with  great 
applause  everywhere.  He  became  also 
a  great  favorite  in  London.  He 
earned  the  friendship  and  esteem  of 
Handel,  although  it  is  related  of  him 
that  he  once  very  much  displeased 
the  composer  by  sending  back  to  him 
a  song  which  he  considered  unfit  for 
his  voice,  and  which  called  forth  upon 
his  head  the  severest  anathemas  in 
the  composer's  best  broken  English. 
Carestini  was  tall,  of  excellent  phy- 
sique and  decidedly  handsome. 

Carey,   Henry.     1690-1743. 

An  English  composer  and  minor 
poet,  supposed  to  be  the  natural  son 
of  George  Savile,  Marquis  of  Halifax. 
He  received  a  little  instruction  in 
music  from  Roseingrave  and  Gemin- 
iani,  but  was  otherwise  self-taught. 
He  taught  music  for  a  time,  but  spent 
most  of  his  life  writing  for  the  thea- 
tres. He  died  by  his  own  hand  at 
London.  Carey  is  chiefly  remem- 
bered for  his  ballad,  Sally  In  Our 
Alley,  which  has  always  enjoyed  a 
wide  popularity,  being  almost  as 
popular  today  as  it  was  in  his  day. 
By  some  he  was  credited  with  being 
the  author  of  God  Save  the  Queen, 
but  this  is  one  of  the  knotty  points 


BIOGRAPHIES 


123 


Carey 

in  musical  controversy  and  has  never 
been  decided  with  any  degree  of 
authority.  His  opera,  The  Dragon  of 
Wantley,  was  an  attack  on  ItaHan 
opera,  and  the  success  of  it,  although 
its  music  was  sparkHng  and  dainty, 
was  due  entirely  to  Carey's  clever 
satire.  It  ran  sixty-seven  nights  at 
Covent  Garden.  In  1715  he  wrote  a 
farce  and  the  music  to  it,  called  The 
Contrivances,  which  was  produced  at 
Drury  Lane  with  great  success.  In 
1737  he  published  one  hundred  ballads 
under  the  title,  The  Musical  Century. 
Among  his  other  works  are  about 
nine  music  dramas  or  ballad  operas 
which  had  considerable  success;  can- 
tatas; ballads  and  interludes.  His 
posthumous  son,  George  Savile  Carey, 
inherited  his  father's  talent  to  a  con- 
siderable extent,  but  finally  became  an 
actor.  The  last  years  of  his  life  he 
sought  to  secure  recognition  of  his 
father's  claim  to  having  written  God 
Save  the  Queen.  His  daughter  Anne 
was  the  mother  of  Edmund  Kean,  the 
tragedian. 

Carissimi     (ka-ris'-se-me),     Giacomo. 

1604-1674. 

By  some,  this  composer  is  called 
the  true  father  of  the  modern  ora- 
torio, and  is  credited  as  one  of  the 
most  excellent  of  Italian  musicians, 
who  did  more  than  any  other  man 
of  his  epoch  to  perfect  recitative.  His 
biography  is  obscure.  Carissimi  was 
born  at  Marino,  near  Rome,  and 
served  as  chapelmaster  at  Assisi  and 
of  the  Church  of  St.  Apollinare  at 
Rome.  He  educated  and  had  a  great 
influence  on  several  noted  composers, 
among  them  Scarlatti,  Bononcini 
and  Marc  Antonio  Cesti.  Carissimi 
is  the  reputed  inventor  of  the  can- 
tata, which  is  borrowed  from  the 
opera,  but  according  to  most  authori- 
ties it  was  not  invented  by  him  but 
first  applied,  by  Carissimi,  to  religi- 
ous subjects  and  by  him  introduced 
into  the  church.  He  was  among  the 
first  that  introduced  the  accompani- 
ment of  violins  and  other  instruments 
with  the  voices  into  the  service  of 
the  churches.  Carissimi  is  reckoned 
more  influential  in  an  educational 
than  in  an  artistic  sense  and  the  in- 
novations which  he  made  in  the  realm 
of  sacred  music  and  his  own  develop- 
ment of  the  recitative,  which  Peri 
and  Caccini  invented,  place  him  among 
the  great  reformers  of  melody  and 
rhythm.      Of    his    works,   Jeptha,    an 


Carl 


oratorio,  is  considered  his  master- 
piece. It  is  one  of  the  most  finished 
of  his  compositions  and  is  adapted  to 
the  church  service.  It  consists  of 
recitatives,  airs  and  choruses.  Among 
his  other  works  are  the  oratorios, 
Jonah,  which  is  probably  the  most 
popular  of  all;  The  Last  Judgment; 
Solomon;  Job;  and  Hezekiah; 
motets;  cantatas;  and  much  other 
sacred  music.  He  left  a  vast  amount 
of  music  in  manuscript.  "  Carissimi's 
cantatas,"  says  one  writer,  "are  re- 
markable works  of  the  period  which 
produced  them  and  must  be  regarded 
as  the  forerunners  of  the  more  mag- 
nificent efifusions  of  Handel."  Caris- 
simi lived  to  a  ripe  old  age  and  died 
exceedingly  rich.  Many  of  his  works 
were  lost,  for  when  the  order  of  the 
Jesuits  was  abolished  the  library  of 
the  German  College  was  sold.  The 
Paris  Library  possesses  a  manuscript 
with  ten  oratorios  by  Carissimi  and 
the  library  of  the  Paris  Conservatory 
and  the  British  Museum  also  possess 
copies.  Some  of  his  works  have  been 
reprinted  in  England,  and  a  collec- 
tion, almost  complete,  was  made  by 
Dr.  Aldrich  and  is  in  the  library  of 
Christ's  Church,  Oxford.  Specimens 
of  his  music  are  to  be  found  in 
Stevens'  Sacred  Music  and  in  Dr. 
Crotch's  selections.  By  some,  Caris- 
simi has  been  called  the  greatest  of 
Italian  composers  between  Palestrina 
and  Scarlatti  and  he  is  entitled  to 
consideration,  at  least,  as  a  most 
gifted  and  voluminous  composer.  His 
oratorio,  Jonah,  was  given  in  Rome, 
in  1876,  under  the  direction  of  Ferd- 
inand Hiller.  Jeptha  has  been  given 
several  times  in  Germany,  and  in- 
England  has  appeared  upon  the  pro- 
grams of  concerts  of  several  singing 
societies.  According  to  some  authori- 
ties Purcell,  partly  formed  his  style 
on  the  productions  of  Carissimi,  who 
also  had  an  influence  upon  many 
other  composers  of  greater  and  lesser 
talents.  Some  curious  specimens  of 
this  composer's  works  are  in  Dr. 
Burney's  History  of  Music. 

*Carl,  Willam  Crane.     1865- 

Concert  organist,  who  was  born  at 
Bloomfield,  N.  J.,  the  son  of  Samuel 
Randolph  and  Mary  Prudence 
(Crane)  Carl.  Mr.  Carl  was  a  pupil 
of  Alexandre  Guilmant  in  Paris,  and 
since  his  return  to  his  native  country 
has  held  many  posts  of  importance  in 
various   parts    of    the    United    States. 


124 


BIOGRAPHIES 


Carl 


Caron 


He  was  organist  and  choirmaster  of 
the  First  Presbyterian  Church  of  New 
York  City,  conductor  of  the  Baton 
Club,  with  its  mixed  chorus  of 
seventy-five  voices,  which  was  later 
merged  into  the  Gamut  Club,  has 
inaugurated  many  of  the  large  organs 
of  the  country,  and  has  appeared  with 
all  the  well-known  orchestras  and  at 
music  festivals.  Mr.  Carl  has  also 
given  one  hundred  and  twenty-five 
free  organ  concerts  in  the  First 
Presbyterian  Church  of  New  York 
City.  He  is  one  of  the  founders  of 
the  Council  of  the  American  Guild  of 
Organists  and  has  conducted  numer- 
ous vocal  societies.  At  present  he  is 
a  director  of  the  Guilmant  Organ 
School,  of  New  York  City,  of  which 
Alexandre  Guilmant  is  president.  Mr. 
Carl  has  toured  Japan  and  made  a 
successful  study  of  the  music  of  the 
Orient.  He  is  the  author  of  thirty 
postludes  for  the  organ;  novelties  for 
the  organ  in  two  volumes;  Master 
Studies  for  the  organ;  songs;  and 
many  articles  on  musical  subjects.  He 
is  a  director  of  the  Manuscript  So- 
ciety of  New  York,  beside  holding 
other  important  offices. 

Carmichael,  Mary  Grant. 

Was  born  at  Birkenhead,  England. 
An  accomplished  musican  who  has 
written  several  compositions  and 
accompanied  many  of  the  principal 
singers  and  violinists.  She  received 
her  musical  education  at  Aix-la- 
Chapelle,  Bonn,  Lausanne,  Munich 
and  London.  Among  her  composi- 
tions are  the  music  for  the  operetta, 
The  Snow  Queen;  The  Stream,  a 
song-cycle;  a  suite;  minor  pianoforte 
pieces;  sacred  compositions  and 
songs.  She  published  editions  of  old 
English  songs  with  new  accompani- 
ments and  also  translated  H.  Ehrlich's 
Celebrated  Pianists  of  the  Past  and 
Present.  Her  most  important  work 
is  a  Mass  in  E  flat  for  men's  and 
boys*  voices. 

Carnicer  (kar'-ne-thar),  Ramon.   1789- 
1855. 

Spanish  operatic  composer  and 
teacher,  who  was  born  at  Lerida, 
according  to  some  historians  and  ac- 
cording to  others  at  Tarregge,  Cata- 
lonia. He  pursued  his  early  studies 
at  the  Madrid  Conservatory,  and  after 
graduating  from  that  institution  oc- 
cupied several  important  posts.  From 
1818   to    1820,    he    was    professor    of 


composition  at  the  Madrid  Conserv- 
atory, from  1830  to  1854,  conductor 
of  the  Italian  Opera  at  Barcelona,  and 
from  1828  to  1830  of  the  Royal 
Opera,  Madrid.  He  is  credited  with 
being  one  of  the  creators  of  Spanish 
national  opera,  the  zarzuela.  While 
conducting  the  opera  at  Barcelona  he 
produced  his  first  operatic  work, 
Adela  de  Lusignano,  and  for  the 
Theatre  Royal  at  Madrid  he  wrote 
Elena  e  Malvino,  in  1829,  and  Co- 
lombo, in  1831,  which  last  was  con- 
sidered by  many  to  be  his  best.  His 
music  is  thoroughly  saturated  with 
the  national  airs  of  Spain.  In  all, 
Carnicer  composed  nine  operas;  wrote 
much  church  music;  several  sym- 
phonies; Spanish  songs;  and  national 
hymns. 

Caron    (ka-ron),   Rose   Lucile.     1857- 

A  famous  French  soprano  who  was 
heard  in  opera  and  in  concert  and 
whose  maiden  name  was  Meuniez. 
She  was  born  at  Monerville,  in  France, 
and  was  a  pupil  at  the  Paris  Con- 
servatory from  1880  until  1882,  when 
she  obtained  second  prize  for  singing 
and  accessit  for  opera.  She  made  her 
debut  at  the  Theatre  de  la  Monnaie, 
Brussels,  in  1882,  creating  the  part  of 
Brunhilde  in  Reyer's  Sigurd.  She 
remained  at  this  theatre  until  188.^, 
when  she  sang  at  the  Paris  Opera 
in  the  Reyer  piece.  She  also  sang 
the  principal  roles  in  La  Juive,  Frey- 
schiitz,  Henry  VIII.  and  in  Mas- 
senet's Cid.  She  returned  to  Brussels, 
in  1887,  and  created  the  soprano  part 
in  Godard's  Jocelyn  in  1888  and 
Reyer's  Salammbo,  in  1890.  In  that 
year  she  went  to  Paris  again,  appear- 
ing in  Sigurd,  Lohengrin  and  Sal- 
ammbo and,  in  1893,  she  sang  at 
the  French  performance  of  Die 
Walkiire  the  part  of  Sieglindc, 
and  the  following  year  appeared  in 
Verdi's  Otello.  Elizabeth  in  Tann- 
hauser  and  Donna  Anna  are  con- 
sidered her  best  roles.  She  was  also 
successful  in  Fidelio  and  in  Gluck's 
Iphigenie  en  Tauride.  She  appeared 
in  the  latter,  in  1900,  and  since  then 
has  been  heard  chiefly  in  concerts.  In 
1902  she  was  appointed  one  of  the 
professors  of  singing  at  the  Paris 
Conservatory.  At  the  height  of  her 
career,  Mme.  Caron  was  admired 
quite  as  much  for  the  great  beauty 
of  her  face  and  figure  as  for  her  won- 
derful voice. 


BIOGRAPHIES 


125 


Carpani 
Carpani  (kar-pa'ne),  Giuseppe.     1752- 

1825. 

Poet  and  writer  on  musical  sub- 
jects, who  was  born  at  Villalbese,  m 
the  district  of  Brianza,  Italy,  and 
studied  at  Milan.  He  composed  ora- 
torios and  church  music  and  was  the 
author  of  several  opera  librettos  and 
translated  others  from  the  French 
and  German.  He  greatly  loved  and 
esteemed  Haydn  and  wrote  an  eulogy 
on  his  compositions,  which  was  pub- 
lished at  Milan  in  1812  and  was  trans- 
lated into  French  in  1837.  He  also 
translated  The  Creation  into  Italian 
and  wrote  a  sonnet  on  the  perform- 
ance of  that  work,  at  which  Haydn 
was  present,  the  year  before  his 
death. 

Carrefio  (kar-ran'-yo),  Teresa.     1853- 

One  of  the  most  eminent  of  women 
pianists,  who  was  born  in  Caracas, 
Venezuela,  and  whose  musical  career 
was  most  successful.  Her  father  was 
at  one  time  Minister  of  Finance  and 
a  musician,  who  at  fourteen  years  of 
age,  composed  a  mass  that  was  given 
in  the  Cathedral.  He  was  a  talented 
violinist,  as  well  as  a  pianist,  and  be- 
gan giving  his  little  daughter  lessons 
in  music  when  she  was  only  seven. 
Driven  from  his  country  by  the  civil 
war,  he  caused  her  to  turn  her  ex- 
traordinary talents  to  account,  and 
in  New  York  she  was  hailed  as  a 
prodigy.  At  eight  years  of  age  she 
became  the  pupil  of  Louis  Gottschalk, 
and  at  twelve  was  sent  to  Paris,  where 
she  became  a  pupil  of  George  Ma- 
thias,  who  had  been  a  pupil  of  Chopin. 
Here  she  attracted  the  attention  of 
Liszt  who  would  have  liked  to  in- 
structed her,  had  her  father's  means 
permitted.  He  encouraged  and  ad- 
vised her,  and  early  in  her  career  she 
took  front  rank  among  the  world's 
pianists,  but  for  a  time  studied  sing- 
ing and  appeared  with  Tietjens  on 
the  stage.  Eventually  she  went  back 
to  the  piano.  In  1885  she  conducted 
the  orchestra  of  her  own  opera  com- 
pany which  she  had  organized  and 
taken  to  Caracas.  The  leader  en- 
gaged left  the  company  because  of 
threats  from  the  revolutionists  and 
Carrefio  took  up  the  baton  and  fin- 
ished the  season,  as  leader,  with  great 
success.  She  traveled  through  Ger- 
many and  other  countries  and  made 
an  especially  successful  tour  of  the 
United  States  with  her  husband,  Emil 
Sauret.     This  was  in   1874.     In   1875 


Caruso 

she  made  her  first  appearance  on  the 
stage,  when  she  sang  the  role  of  the 
Queen  in  Les  Huguenots,  a  part  she 
had  learned  at  three  days'  notice.  Her 
compositions  all  rank  high  and  she 
has  published  a  number  of  works, 
among  them  a  serenade;  a  hymn  for 
the  Bolivar  Centennial,  which  has  be- 
come the  national  song  of  Venezuela; 
a  set  of  waltzes;  fantasies;  ballads; 
and  songs  without  words.  Her  best 
work  was  a  string  quartet  in  B,  which 
met  with  a  warm  reception  in  Leipsic. 
Carreiio  was  married  three  times  and 
each  time  to  a  musician.  Her  first 
husband  was  Emil  Sauret,  the  emi- 
nent composer  and  violinist,  whom  she 
divorced.  She  then  married  a  singer 
named  Tagliapietra,  with  whom  she 
appeared  under  the  management  of 
Maurice  Strakosch.  She  was  divorced 
from  him,  and,  in  1892,  she  married 
Eugen  D'Albert,  the  well-known  com- 
poser, from  whom  she  parted  three 
years  later.  Prior  to  her  separation 
from  D'Albert  she  played  his  compo- 
sitions on  all  her  tours,  doing  much 
to  further  their  success.  It  is  from 
J889,  when  she  reappeared  as  a  pian- 
ist, that  her  fame  developed.  Best 
known  because  of  her  great  skill  as  a 
performer  on  the  piano,  her  work  as 
a  composer  has  placed  her  on  a  high 
plane  as  well. 

Caruso   (ka-ro6-z6),  Enrico.     1874- 

The  greatest  of  living  tenors  was 
born  in  Naples,  his  parents  belonging 
to  the  peasant  class.  It  is  said  that 
he  is  one  of  a  family  of  twenty-four 
children.  When  he  was  a  child  he 
sang  in  the  streets  of  Naples  and  his 
mother  relates,  that  when  he  was  not 
more  than  seven  or  eight  years  of 
age,  she  used  to  stop  her  work  to 
listen  to  him  sing.  He  has  never  had 
any  vocal  instruction  to  speak  of. 
When  he  was  barely  fifteen  he  began 
singing  in  various  churches  in  Naples, 
where  his  voice  attracted  much  atten- 
tion. He  was  obliged  to  go  to  work 
at  something  to  help  support  the 
family,  so  went  into  a  factory  and  re- 
mained there  for  three  years.  He 
one  day  met  a  distinguished  barytone 
singer,  who  was  so  impressed  by  the 
great  range  and  natural  beauty  of 
Caruso's  voice,  that  he  took  him  to 
M.  Vergine,  a  teacher  of  singing,  who 
offered  to  teach  him  and  take  twenty- 
five  per  cent  of  his  earnings  for  the 
first  five  years  after  he  made  his 
debut.     Caruso  consented  to  this,  but 


126 


BIOGRAPHIES 


Caruso 

after  a  short  period  of  study  he  had 
some  disagreements  with  his  instruc- 
tor and  left,  enlisting  in  the  Italian 
army.  His  colonel  became  interested 
in  him  and  procured  him  a  teacher. 
A  year  and  a  half  later  a  brother 
became  his  substitute  and  Enrico  was 
exempted  from  further  service,  to  go 
back  to  Vergine.  Six  months  later  he 
made  his  debut  at  the  New  Theatre, 
Naples,  in  L'Amico  Francesco.  It 
was  a  brilliant  success.  In  1897  he 
sang  the  role  of  Alfredo  in  La  Tra- 
viata  and  next  appeared  in  La  Favor- 
ita  and  in  La  Gioconda.  His  real 
debut  was  made  at  Milan,  in  1898, 
where  he  appeared  in  La  Boheme, 
La  Navarraise  and  in  Cilea's  opera 
founded  on  Daudet's  La  Arlesienne. 
He  next  went  to  Genoa,  but  returned 
to  Milan  to  sing  at  La  Scala  as  Jean 
in  the  first  Italian  performance  of 
Sappho.  He  created  there,  also,  the 
role  of  Loris  in  Fedora.  Then  fol- 
lowed a  successful  season  in  Russia 
and  a  season  in  the  principal  cities  of 
South  America.  Caruso  was  first 
heard,  in  America,  in  January,  1904, 
and  his  singing  created  a  veritable 
furore  in  New  York,  Chicago  and  the 
half-dozen  other  cities  where  he  ap- 
peared. He  sang  the  role  of  the  duke 
in  Rigoletto,  on  the  opening  night  at 
the  Metropolitan  Opera  House,  New 
York,  and  was  declared  by  musical 
critics  to  be  the  finest  tenor  heard  in 
a  generation.  Since  then  he  has  been 
heard  every  season  in  this  country 
and  is  one  of  the  most  popular  singers 
and  also  one  of  the  biggest  drawing 
cards  of  the  Conried  aggregation  of 
operatic  stars.  One  of  his  vocal  feats 
is  to  reach  the  high  C  in  Donna  e 
Mobile  in  Rigoletto  without  apparent 
effort,  and  musicians  have  declared 
that  he  has  never  been  equaled  in 
quality  and  range  of  voice,  even  by 
Jean  De  Reszke  in  his  palmiest  days. 
His  voice  is  a  pure  tenor  of  the  great- 
est sweetness  and  mellowness  and  of 
magnificent  range.  When  he  first 
began  singing  he  was  content  with 
forty  francs  a  month.  His  salary  at 
the  present  time  as  one  of  the  stars 
of  the  Metropolitan  Opera  Company 
is  $1,200  a  night.  Vocally  perfect, 
Caruso  is  also  an  actor  of  consid- 
erable ability  and  has  won  much 
praise  for  his  impersonation  of 
Rodolpho,  in  La  Boheme,  as  the 
clown  Canio  in  I'Pagliacci,  as 
Rhadames  in  Aida  and  as  Faust.  He 
has  also  been  heard  as   Edgardo  in 


Carvalho 

Lucia  de  Lammermoor,  as  Des 
Grieux  in  Manon  Lescaut,  in  Lohen- 
grin, L'Africaine  and  La  Gioconda. 
His  first  attempt  to  sing  in  any  other 
language  than  Italian  was  when  he 
essayed  a  few  years  ago  the  title  role 
of  Faust  in  French.  Caruso  is 
talented  as  a  caricaturist  and  delights 
in  making  humorous  drawings  of  his 
friends  and  of  himself.  He  is  mar- 
ried, and  when  not  on  tours  occupies  a 
country  home,  the  Villa  alle  Panche, 
near  Florence,  Italy.  In  1907,  Signor 
Caruso  was  honored  by  Emperor  Wil- 
liam of  Germany,  who  conferred  upon 
him  the  Order  of  the  Crown  of  Prus- 
sia, the  Emperor  personally  remitting 
to  the  singer  the  insignia  of  the  order. 

Carvalho  (kar-val'-6),  Marie  Caroline 
Felix.     1827-1895. 

Famous  singer,  who  appeared  on 
the  operatic  stage  simultaneously  with 
Mile.  Tietjens,  about  1849,  and  be- 
came the  foremost  lyric  artist  on  the 
French  stage.  She  was  born  at  Mar- 
seilles and  was  the  daughter  of  Felix 
Miolan,  an  oboe-player,  who  gave 
her  a  good  musical  education.  She 
entered  the  Paris  Conservatory,  where 
she  gained  the  first  prize  for  singing 
in  1843.  She  remained  there  until 
1847.  Her  first  appearance  was  made 
at  a  performance  for  the  benefit  of 
her  teacher,  Duprez.  She  sang  in  the 
first  act  of  Lucia  and  in  the  trio  in 
the  second  act  of  La  Juive.  In  1853 
she  married  Leon  Carvaille,  gen- 
erally known  as  Carvalho,  who  be- 
came director  of  the  Opera  Comique. 
She  was  destined  to  sing  for  many 
years  at  that  theatre  and  also  at  the 
Grand  Opera,  Paris.  She  is  said  to 
have  made  her  reputation  as  Isabella 
in  Le  Pre  aux  Clercs,  although  Mar- 
guerite in  Faust  was  considered  one 
of  her  great  impersonations.  She 
made  her  first  appearance  at  the 
Lyrique  in  the  new  opera  La  Fan- 
chonnette,  and  also  appeared  as 
Cherubino,  as  Zerlina  in  Don  Gio- 
vanni, in  Romeo  and  Juliette  and  other 
operas.  Her  voice  was  high  and  thin, 
but  she  handled  it  with  the  greatest 
skill  and  delicacy.  Chorley  gave  her 
the  most  extravagant  praise  for  her 
impersonation  of  Marguerite,  and 
called  her  "  an  exquisitely-finished 
artist,  with  sensibility  combined  with 
rare  execution."  Her  first  appear- 
ance in  England  was  made  as  Din- 
orah  in  Pardon  de  Ploermel  and  was 
a  great  success.     She  also  sang  fre- 


BIOGRAPHIES 


127 


Carvalho 

quently  in  Berlin,  St.  Petersburg  and 
other  cities.  Her  last  appearance 
took  place  in  1887,  two  years  after  her 
retirement  from  the  stage,  and  was 
also  a  benefit,  to  aid  the  sufiferers  in 
the  fire  at  the  Opera  Comique.  On 
this  occasion  she  sang  with  Faure. 
Her  husband  was  imprisoned  and 
fined  at  the  time  of  the  fire,  as  the 
accident  was  a  result  of  managerial 
carelessness.  Two  brothers  of  Mme. 
Carvalho  were  also  musicians.  Ame- 
dee  Felix,  was  an  orchestral  conduc- 
tor, and  Alexandre,  a  professor  of 
organ  and  harmonium,  was  attached 
to  the  Lyrique  for  several  years. 

Gary,  Annie  Louise.     1848- 

One  of  the  most  distinguished  and 
popular  American  contraltos,  who  had 
a  long  and  successful  career  as  a 
singer  in  opera,  oratorio  and  concert. 
She  was  born  in  Wayne,  Maine,  and 
studied  first  at  Boston  and  later  at 
Milan,  to  which  musical  center  she 
went,  in  1866,  to  prepare  for  an 
operatic  career.  Her  teacher  was 
Giovanni  Corsi,  and  after  fifteen 
months'  study  she  secured  an  opera- 
tic engagement  at  Copenhagen.  For 
two  seasons  she  sang  there  with  great 
success,  then  went  to  Baden-Baden 
as  a  pupil  of  Mme.  Viardot-Garcia, 
and  in  1869  sang  in  Brussels.  She 
then  went  to  Paris,  to  pursue  her 
studies  with  Maurice  Strakosch  and 
Bottesini.  She  made  successful  tours 
in  London,  St.  Petersburg,  and  other 
European  cities.  She  returned  to  the 
United  States,  in  1870,  and  from  then 
on  until  her  retirement  in  1882  was 
most  popular,  her  voice  being  of  great 
range  and  remarkable  sweetness.  She 
married  Charles  Mensen  Raymond  in 
1882  and  has  since  resided  in  New 
York  City. 

Castil-Blaze.    See  Blaze. 

Castro,  Ricardo.    1907. 

Mexico's  foremost  composer  and 
pianist,  although  not  forty  years  of 
age,  when  he  died,  had  a  remarkable 
musical  career.  At  the  age  of  seven- 
teen, having  completed  his  course  of 
study  in  the  Conservatory,  he  was 
sent  by  the  Government  on  a  concert 
tour  through  the  United  States,  where 
he  received  an  ovation  in  all  the  mu- 
sical centers  of  the  country.  On  his 
return  to  Mexico  he  was  appointed 
professor  of  composition  in  the  Con- 
servatory, which  position  he  held  for 
two    years,    when    he    was    sent    to 


Catalan! 

Europe  to  perfect  his  studies.  Dur- 
ing his  sojourn  of  four  years  in  the 
principal  capitals  of  Europe,  he  was 
often  heard  in  concert  and  was  the 
recipient  of  the  most  favorable  criti- 
cisms. But  it  was  in  Italian  music 
that  he  found  the  most  favorable  and 
best  accomplishments  in  operatic 
endeavor,  and  while  in  Rome  he  wrote 
what  promises  to  become  one  of  the 
most  popular  modern  operas.  La 
Leyenda  de  Rudal  (The  Legend  of 
Rudel),  a  lyric  poem  in  three  acts, 
founded  on  a  French  provincial  legend 
of  the  Twelfth  Century.  On  the 
completion  of  the  opera  he  was  of- 
fered flattering  propositions  to  put 
it  on  in  Paris,  but  he  wished  to 
reserve  his  maiden  eflfort  for  his  own 
country,  and  it  was  performed  in  his 
native  city  on  his  return  from  the  Old 
World.  Soon  after  the  performance 
of  his  opera  he  was  appointed  director 
of  the  Mexican  Conservatory  of 
Music.  Castro  was  regarded  in  his 
country  as  a  musician  with  a  great 
future. 

Catalani    (kat-a-la'-ne),    Angelica. 
1780-1849, 

Talented  singer,  who  was  born  in 
Sinigaglia,  Italy,  about  forty  miles 
from  Rome.  Her  father  was  a  local 
magistrate.  When  twelve  years  of 
age  she  was  sent  to  the  convent  of 
Santa  Lucia  at  Gubbio  to  become  a 
nun.  She  soon  showed  such  talent 
for  music,  that  the  abbess  gave  her 
every  opportunity  to  cultivate  her 
gift,  had  her  instructed  in  the  rudi- 
ments and  allowed  her  to  sing  short 
solos  in  the  chapel  on  Sundays.  The 
villagers  flocked  to  the  church,  and 
the  fame  of  her  wonderful  voice  soon 
spread.  Later  she  studied  at  Flor- 
ence, under  Marchesi,  a  master  of 
singing,  and  at  sixteen  secured  her 
first  engagement,  singing  the  title 
role  of  Lodoiska  by  Mayr  at  Venice. 
In  1798  she  sang  at  Leghorn,  a  year 
later  at  La  Pergola  in  Florence  and, 
in  1801,  in  Milan.  Crescentini  took 
an  interest  in  her  and  gave  her  much 
valuable  advice.  In  1899,  the  Prince 
Regent  of  Portugal  invited  her  to 
Lisbon  to  sing  at  the  Chapel  Royal. 
She  received  an  offer  from  the  direc- 
tor of  the  opera,  shortly  after,  which 
the  Prince  permitted  her  to  accept 
and  immediately  she  became  the  idol 
of  the  music  lovers  of  the  city.  Here 
she  married  Valabregue,  a  captain  of 
hussars,  who  was  connected  with  the 


128 


BIOGRAPHIES 


Catalan! 


French  embassy,  the  wedding  taking 
place  in  the  Chapel  Royal  at  Lisbon 
in  the  presence  of  the  Prince  Regent 
and  the  French  ambassador.  Accept- 
ing an  offer  from  the  London  Italian 
Opera,  Catalani  sang  there,  in  1806, 
at  a  salary  of  200  guineas.  She  also 
gave  concerts  in  Paris,  where  Napo- 
leon made  her  many  costly  gifts  in 
recognition  of  her  talents,  gave  her  a 
pension  and  allowed  her  the  use  of 
the  opera  house  free.  For  many 
years  she  reigned  in  London,  where 
her  generosity  and  good  humor  made 
her  greatly  beloved.  One  writer  in 
speaking  of  her  voice  says  it  had  a 
prodigious  volume  and  an  exquisite 
quality  and  that  she  bewildered  the 
ear  with  the  power  and  richness  of 
it,  but  the  feelings  remained  un- 
touched. Catalani  introduced  The 
Marriage  of  Figaro  to  the  English 
stage,  singing  the  role  of  Suzanna. 
She  made  large  sums  of  money  and 
retired  in  1831  from  the  operatic 
stage,  residing  on  a  beautiful  estate 
she  had  purchased  near  Florence. 
She  died  in  Paris  of  cholera.  One  of 
her  sons  became  an  equerry  to  Napo- 
leon III.  Prior  to  her  retirement 
Catalani  founded  a  school  of  singing 
for  young  girls  near  Florence. 

Catel,  Charles  Simon.     1773-1830. 

French  composer  and  writer,  who 
was  born  at  L'Aigle  (Orne),  France, 
and  is  known  best  as  the  author  of  a 
first-rate  book  on  harmony,  which 
was  the  text-book  used  for  many 
years  at  the  Paris  Conservatory,  and 
which  has  not  been  wholly  sup- 
planted in  France  or  elsewhere.  He 
began  studying  under  Sacchini,  Go- 
bert  and  Gossec  at  the  Royal  School 
of  Singing  and  Declamation,  and,  in 
1787,  was  made  accompanist  and 
assistant  professor  of  the  institution, 
and,  in  1790,  accompanist  at  the 
Opera.  His  first  work  to  attract  no- 
tice was  a  De  Profundus  for  the 
funeral  of  Gouvion,  in  1792.  Upon 
the  formation  of  the  Conservatory  in 
1795  he  was  made  professor  of  har- 
mony and  began  immediately  to  com- 
pile his  work  on  the  subject.  This 
was  published  in  1802.  In  1810  he 
became  one  of  the  inspectors  of  the 
Conservatory  and  remained  there 
until  1814.  In  1817  he  was  elected 
a  member  of  the  Institut  and,  in  1824, 
was  made  a  Chevalier  of  the  Legion 
of  Honor.  His  operas  are  few  in 
number,  but  of  high  quality.    Wallace 


Cavalli 

was  long  regarded  as  his  best  work, 
although  he  won  high  praise  for  his 
Semiramis  and  Des  Bayaderes,  which 
Napoleon  upon  one  occasion  had  per- 
formed with  instruments  muted  and 
every  mark  of  expression  suppressed, 
a  severe  test  for  any  work.  He  also 
wrote  symphonies  for  wind-instru- 
ments; hymns;  choral  pieces;  quin- 
tets; and  quartets  for  strings  and 
wind-instruments;  overtures;  songs; 
and  solfeggi.  His  treatise  on  har- 
mony has  been  translated  into  Ger- 
man, Italian  and^  English. 

Catley,  Anne.  1745-1789. 

English  soprano,  who  was  born  in 
London  of  poor  parents  and  articled 
at  an  early  age  to  Bates  the  com- 
poser, appearing  at  Vauxhall  Gardens 
and  at  Covent  Garden,  London,  in 
1762.  When  only  ten  years  of  age  she 
is  said  to  have  supported  her  parents 
by  singing  in  public  houses  in  and 
about  London.  She  became  involved 
in  a  scandalous  criminal  case,  in  1763, 
in  connection  with  which  her  father 
caused  the  arrest  and  conviction  of 
three  men,  one  of  whom  was  a  baro- 
net. Sir  Francis  Delavel.  She  was 
very  beautful  in  person  and  was 
possessed  of  a  charming  voice,  and 
was  one  of  the  few  vocalists  who 
successfully  made  use  of  the  stac- 
cato. For  several  years  she  appeared 
in  London  and  in  Ireland  and  was  a 
great  social  favorite,  much  feted  and 
courted,  some  of  the  London  women 
of  fashion  even  copying  her  style  of 
hair-dressing.  She  became  a  pupil 
of  Macklin,  the  actor,  and  through 
him  secured  an  engagement  in  Dub- 
lin, where  she  made  a  great  success. 
Returning  to  London,  in  1770,  she 
appeared  at  Covent  Garden,  as  Ros- 
etta,  in  Love  in  a  Village,  and  was 
often  seen  afterward  in  the  most 
popular  burlettas,  comic  operas  and 
plays  of  the  day.  She  was  especially 
well  received  as  Juno  in  The  Golden 
Pippin.  She  made  enough  money  to 
enable  her  to  retire  from  the  stage 
in  1784.  Five  years  later  she  died  at 
the  home  of  Gen.  Lascalles,  to  whom 
she  was  supposed  to  have  been  mar- 
ried. At  the  time  of  her  death  she 
was  eulogized  as  a  good  wife  and 
mother   and    a   talented   woman. 

Cavalli  (ka-val'le),  Pietro  Francesco. 

1599  or   1600-1676. 

One  of  the  most  famous  of  Mon- 
teverde's    pupils    and    followers   and 


BIOGRAPHIES 


129 


Cavalli 

among  the  first  to  employ  airs  and 
recitative  in  opera  in  a  dramatic  man- 
ner. He  is  an  important  figure  in  the 
history  of  music  and  was  born  at 
Crema,  near  Venice.  His  real  name 
was  Caletti-Bruni,  but  he  took  that 
of  his  patron,  a  Venetian  gentleman, 
named  Cavalli.  He  began  his  musical 
career  by  singing  in  the  choir  of  St. 
Mark's,  Venice,  under  Monteverde, 
about  1617.  He  became  organist  of 
the  second  organ  at  that  church,  in 
1639,  and  organist  of  the  first  organ 
in  1665.  Three  years  later  he  was 
chapelmaster  there.  Of  his  church 
music  nothing  was  published  except  a 
mass,  psalms  and  antiphons  for  two 
to  twelve  voices  and  vespers  for  eight 
voices.  He  went  to  Paris  by  invita- 
tion of  Cardinal  Mazarine,  in  1660, 
and  there  he  produced  his  opera  of 
Xerse,  in  the  grand  gallery  of  the 
Louvre.  Returning  to  Paris,  in  1662, 
after  a  sojourn  in  Venice,  he  wrote 
Ercole  Amante.  Cavalli  began  to 
write  for  the  theatre  in  1639,  and  his 
operas  were  very  numerous  and 
achieved  a  certain  amount  of  popu- 
larity. His  first  work  was  Le  Nozze 
di  Teti,  produced  in  1639,  and  Eitner 
gives  a  list  of  twenty-seven  operas 
still  extant  in  manuscript.  An  air  by 
Cavalli  and  some  fragments  of  his 
music  are  to  be  found  in  Burney's  His- 
tory. "  He  had,"  says  Streatfield, 
"  the  true  Venetian  love  of  color  and 
he  tried  to  make  his  orchestra  give 
musical  significance  to  the  sights 
and  sounds  of  nature,  such  as  the 
murmuring  of  rivers  and  the  sighing 
of  the  winds  and  in  his  works,  as  in 
those  of  Monteverde,  over  whom  he 
showed  a  decided  advance  in  the 
matter  of  form,  we  begin  to  pass 
from  the  merely  experimental  stage 
to  opera  proper."  One  biographer 
goes  so  far  as  to  say,  "  He  was  cer- 
tainly the  greatest  dramatic  composer 
of  his  day  and  one  of  the  greatest  of 
all  time."  Cavalli  grew  very  rich  and 
was  highly  esteemed  both  as  a  man 
and  musician.     He  died  in  Venice. 

Cavallini    (ka-vaWe'-ne),    Ernesto. 

1807-1873. 

Great  clarinet-player  and  composer, 
■who  was  born  at  Milan,  and  studied 
at  the  Conservatory  of  that  city.  He 
became  a  player  in  the  orchestra  of 
La  Scala  and  later  occupied  the  post 
of  professor  at  the  Conservatory.  He 
was  called  "  The  Paganini  of  the 
clarinet."     He     traveled     extensively 


Cellier 

and  for  fifteen  years  was  a  resident 
of  St.  Petersburg,  but  he  returned  to 
his  native  city  three  years  before  his 
death.  The  Paris  Academy  of  Fine 
Arts  elected  him  a  member  in  1842. 
He  composed  a  concerto,  which  he 
played  at  a  Philharmonic  concert  in 
1845,  and  also  many  duets  and  studies 
for  his  instrument.  These  works  are 
considered  very  difficult. 

Cecilia,  St.    200-230. 

Descended  from  a  noble  Roman 
familj'-,  she  suffered  martyrdom  for  the 
Christian  faith,  which  she  espoused 
when  a  very  young  woman.  Is 
credited  with  the  invention  of  the 
organ,  which  many  famous  painters, 
notably  Raphael  and  Carlo  Dolci, 
have  pictured  her  as  playing.  There 
are  numerous  traditions  in  regard  to 
her  skill  in  music,  but  early  writers 
make  no  mention  of  it.  She  is  gen- 
erally regarded  as  the  patron  saint 
of  sacred  music.  Odes  for  St. 
Cecilia's  Day,  which  is  celebrated  by 
the  church,  November  22,  were  written 
by  Dryden  and  Pope  and  have  been 
set  to  music  by  a  large  number  of  the 
older  composers.  The  custom  of 
holding  festivals  in  honor  of  St. 
Cecilia  obtained  for  many  years  in 
many  countries. 

Cellier   (sel'-yer),  Alfred.     1844-1891. 

He  was  best  known  as  a  composer 
of  light  opera  or  opera  bouffe  and 
was  born  in  Hackney,  England,  of 
French  extraction.  He  was  a  choris- 
ter at  the  Chapel  Royal,  St.  James, 
from  1855  until  1860,  and  organist  of 
All  Saints,  Blackheath,  in  1862.  He 
succeeded  Dr.  Chipp  as  organist  of 
the  Ulster  Hall,  Belfast,  and  became 
conductor  of  the  Classical  Harmon- 
ists. Two  years  later  he  was  ap- 
pointed organist  of  St.  Albans,  Hol- 
born.  He  next  turned  his  attention 
to  composing  and  conducting  and 
acted  in  the  latter  capacity  at  Prince's 
Theatre,  Manchester,  at  the  Opera 
Comique,  London  and  with  Sir  Ar- 
thur Sullivan  as  joint  conductor  of 
the  Promenade  concerts  at  Covent 
Garden  in  1878,  and  the  following 
year.  Cellier  lived  after  that  much 
abroad,  spending  a  good  deal  of  time 
in  Australia.  He  died  in  London 
while  giving  the  finishing  touches  to 
an  opera,  The  Mountebanks.  He  was 
a  brilliant  cellist,  and  a  man  of  high 
literary  tastes.  Among  his  works  are 
about  fourteen  operas,  including  Nell 


130 


BIOGRAPHIES 


Cellier 

Gwynne;  The  Sultan  of  Mocha;  inci- 
dental music  to  As  You  Like  It;  a 
suite  symphonique  for  the  orchestra; 
barcarolle;  songs  and  piano  pieces. 
He  also  set  Gray's  Elegy  as  a  can- 
tata and  it  was  given  at  the  Leeds 
Festival  in    1883. 

Cesti   (chas'-te),  Marcantonio.     1620- 

1669. 

Was  a  famous  operatic  composer 
and  an  ecclesiastic,  a  native  of  Arezzo, 
according  to  Baini,  but  of  Florence, 
according  to  Adami.  He  became  a 
pupil  of  Carissimi  and  was  one  of 
Monteverde's  most  faithful  followers. 
He  is  credited  with  being  the  origina- 
tor of  the  cantata  and  is  best,  known 
by  his  cantatas,  of  which  he  com- 
posed a  large  number.  He  was  chapel- 
master  to  Ferdinand  IL  of  Medici  at 
Florence  in  1646  and  a  tenor  sin'ger 
in  the  Vatican  chapel  in  1660.  From 
1666  to  1669  he  was  assistant  chapel- 
master  to  the  Emperor  Leopold  I.  at 
Vienna,  then  returned  to  Venice.  He 
wrote  several  operas,  among  them  II 
Pomo  d'Oro,  which  was  produced  in 
Vienna,  in  1667;  La  Dori;  and 
L'Orontea,  his  first  opera,  which  was 
produced  first  in  Venice,  in  1649.  With 
the  exception  of  II  Pomo  and  La 
Dori  his  operas  are  now  known  only 
by  name.  The  manuscripts  of  many 
of  his  cantatas  are  in  the  music  school 
of  Oxford,  in  the  British  Museum  and 
in  libraries  on  the  Continent. 

Chabrier  (shab-ri-a),  Alexis  Em- 
manuel. 1842-1894. 
He  was  born  in  Ambert,  France, 
studied  law  in  Paris  and  entered  the 
oflice  of  the  Minister  of  the  Interior. 
In  1879  he  resigned  from  this  admin- 
istrative appointment  to  devote  him- 
self to  the  study  of  music.  He  was 
almost  wholly  self-taught.  At  the 
Lycee  St.  Louis,  he  had  been  taught 
piano  by  Edouard  Wolff,  and  had 
studied  harmony  and  counterpoint 
with  Aristide  Hignard.  Two  years 
before  he  had  written  an  opera  bouffe, 
entitled  L'fitoile,  which  was. produced 
at  the  Bouffes  Parisiens,  and  which 
attracted  considerable  attention.  An- 
other operetta,_L'Education  Manquee, 
was  produced  in  1879  and  was  a  suc- 
cess also.  From  1884  to  1886  Chab- 
rier was  choirmaster  at  Chateau 
d'Eau,  and  there  he  helped  Lam- 
oureux  to  produce  the  first  two  acts 
of  Tristan  and  Isolde.  While  there 
he  also  produced  a  scena  for  mezzo 


Chadwick 

and  female  chorus.  La  Sulamite,  and 
selections  from  Gwendolin,  afterward 
given  in  its  entirety  at  Brussels,  in 
1886,  and  since  then  given  with  suc- 
cess under  Mottl  in  Carlsruhe  and 
Munich.  In  Le  Roi  Malgre  Lui,  he 
attempted  an  entirely  different  style 
from  Gwendolin,  and  it  is  a  charming 
example  of  a  modernized  form  of 
opera  comique.  His  orchestral  rhap- 
sody, Espana,  which  is  built  upon 
Spanish  melodies,  has  done  much  to 
popularize  Chabrier's  name.  His  best 
work  is  said  by  musicians  to  have 
been  done  in  Le  Roi  Malgre  Lui, 
which  was  a  brilliant  success  at  the 
Opera  Comique,  Paris,  but  its  run 
was  brought  to  an  end  by  the  fire  at 
that  theatre.  Chabrier's  work  is  in- 
tensely poetical  and  in  spite  of  his 
great  admiration  for  Wagner,  is  also 
marked  by  much  individuality  and 
originality.  In  order  to  train  himself 
in  orchestration,  at  the  beginning  of 
his  musical  career  it  is  said  he  copied 
the  entire  score  of  Tristan  and  Isolde. 
He  has  produced  many  important 
works  beside  those  mentioned,  among 
them,  his  Pieces  Pittoresques  for  the 
piano  which  have  much  beauty  and 
originality;  Suite  Pastorale;  March 
Joyeuse;  a  number  of  piano  pieces; 
and  many  humorous  songs.  His  un- 
finished opera,  Briseis,  only  one-act 
of  which  was  completed,  was  pro- 
duced at  the  Opera,  Paris,  in  1899. 
"  The  libretto  of  his  first  work, 
L'fitoile,"  says  Grove,  "  was  used  as 
the  basis  of  The  Lucky  Star  by  Ivan 
Caryll  and  a  number  of  adapters,  pro- 
duced at  the  Savoy  Theatre,  London, 
January,  1899,  a  single  number  from 
Chabrier's  original  music  being  intro- 
duced. This  is  the  only  example  of 
the  composer's  work  which  has  been 
heard   on   the   English   stage." 

*  Chadwick,  George  Whitefield.  1854- 
Composer  and  conductor;  was  born 
in  Lowell,  Massachusetts.  His  an- 
cestors for  many  generations  were  of 
New  England  stock,  his  great  grand- 
father having  fought  in  the  battle  of 
Bunker  Hill.  His  father  and  mother 
were  both  musical,  the  father  being 
an  amateur  performer  on  several 
orchestral  instruments  as  well  as  the 
teacher  of  a  country  singing  school, 
and  the  mother  gifted  with  a  fine 
voice.  In  1860,  the  family  removed 
to  Lawrence,  Mass.,  where  the  boy 
was  instructed  in  music  during  his 
youth  by  an  elder  brother,  eventually 


BIOGRAPHIES 


131 


Chadwick 
becoming,  at  the  age  of  sixteen,  the 
organist  of  a  local  church.  Between 
the  ages  of  seventeen  and  twenty-one 
his  time  was  passed,  much  against 
his  will,  in  an  insurance  office,  but  at 
the  same  time  he  was  attending  the 
New  England  Conservatory  of  Music 
in  Boston,  where  he  received  instruc- 
tion in  piano  and  organ  playing  and 
in  harmony  from  such  teachers  as 
Dudley  Buck  and  Steven  Emery. 
Later  he  studied  with  Eugene  Thayer, 
an  excellent  organist  and  an  enthus- 
iastic teacher,  who  recognized  the 
young  man's  talent  and  did  much  to 
encourage  and  stimulate  him.  In 
1876  he  took  charge  of  the  musical 
department  of  Olivet  College,  Michi- 
gan, resigning  after  a  year's  service 
in  order  to  devote  himself  to  further 
study  in  Europe.  The  years  1877  and 
1879  were  spent  in  Leipsic,  at  the 
Conservatory,  where  his  teachers 
were  Richter,  Reinicke,  and  Jadas- 
sohn. The  latter  showed  from  the 
first  a  particular  interest  in  the  young 
American  and  gave  him  much  of  his 
private  time  in  addition  to  his  Con- 
servatory lessons.  At  this  time  Chad- 
wick produced  two  string  quartets;  an 
overture.  Rip  Van  Winkle;  and  many 
small  pieces.  The  overture  was  per- 
formed at  the  Grosse  Prufung  of  the 
year  1879,  and  was  conceded  by  the 
critics  to  be  the  best  student's  work 
of  the  year. 

After  a  short  residence  in  Dresden, 
where  he  worked  mostly  by  himself, 
he  went  to  Munich,  where  he  placed 
himself  under  the  instruction  of 
Rheinberger,  both  in  composition  and 
in  organ  playing.  From  this  eminent 
pedagogue  he  received  severe  con- 
trapuntal training,  but  not  much 
stimulus  for  his  imagination  or  en- 
couragement toward  poetic  expres- 
sion. In  the  meantime  his  Rip  Van 
Winkle  overture  had  been  perforrned 
at  a  concert  of  the  Harvard  Musical 
Association  in  Boston  and  received 
with  such  approval  that  it  was  imme- 
diately repeated  at  a  subsequent  con- 
cert of  the  Association  —  a  very  un- 
usual proceeding  for  this  conservative 
organization.  In  1880,  Chadwick  re- 
turn to  Boston  and  his  Rip  Van 
Winkle  was  once  more  performed, 
under  his  own  direction,  at  the  Musi- 
cal Festival  of  the  Handel  and  Haydn 
Society  in  May  of  that  year,  when  his 
ability  as  a  conductor  was  at  once 
recognized.  He  was  appointed  organ- 
ist  of   St.   John's    Church   and   joined 


Chadwick 


the  staff  of  the  New  England  Con- 
servatory of  which,  seventeen  years 
afterward,  he  became  director.  From 
this  time  his  career  has  been  one  of 
ever  increasing  activity  as  composer, 
conductor,  organist  and  teacher,  and 
in  the  latter  capacity  he  has  num- 
bered among  his  pupils  such  well- 
known  musicians  as  Horatio  Parker, 
Arthur  Whiting,  Wallace  Goodrich, 
Frederick  S.  Converse  and  Henry 
Hadley. 

As  a  composer  he  shows  much 
originality  and  distinction  of  style 
combined  with  great  knowledge  of 
the  resources  of  the  modern  orches- 
tra. He  is  regarded  by  foreign  critics 
and  by  many  of  his  countrymen  as 
the  leader  of  the  American  School, 
and  his  Third  Symphony  in  F  major; 
his  Melpomene  and  Adonais  over- 
tures; and  his  string  quartet  in  D 
minor,  are  probably  the  best  works 
of  their  class  yet  produced  in  Amer- 
ica. As  a  conductor  he  has  many 
times  led  the  Boston  Symphony 
Orchestra,  in  his  own  works,  beside 
serving  as  leader  of  the  Arlington 
and  Boston  Orchestral  Clubs,  the 
Springfield  Festivals  (for  ten  years) 
and  the  Worcester  Festivals.  At  the 
latter  he  gave  the  first  performance 
of  Cesar  Franck's,  Beatitudes,  in  the 
English  language,  and  he  has  often 
been  invited  to  conduct  his  own 
works  in  the  prominent  choral  and 
orchestral  concerts  of  the  United 
States.  As  a  conductor  of  chorus  and 
orchestra  he  possesses  both  magnet- 
ism and  authority  and  he  probably 
has  no  superior  in  America  in  this 
difficult  art. 

In  1897  he  was  appointed  director 
of  the  New  England  Conservatory  of 
Music  in  Boston,  and  this  he  has  de- 
veloped from  a  relatively  unimpor- 
tant school  into  an  institution  which 
ranks  in  equipment  and  discipline 
with  the  best  Conservatories  of 
Europe.  In  the  same  year  he  re- 
ceived the  honorary  degree  of  M.A 
from  Yale  University  and  in  1905  that 
of  LL.D.  from  Tufts  College.  He  is 
also  a  corresponding  member  of  the 
Royal  Institute  of  Music  in  Florence. 
He  spent  the  winter  of  1905  in 
Europe,  during  which  time  a  concert 
of  his  compositions  was  ^iven  by  the 
Concordia  Verein  in  Leipsic,  which 
caused  much  favorable  comment.  His 
symphonic  poem,  Cleopatra,  was  also 
performed  at  the  Philharmonic  con- 
certs in  London. 


132 

Chaminade 
Chaminade     (sham'-i-nad),     C  e  c  i  1  e 

Louise  Stephanie.    1861- 

A  notable  woman  composer  and 
piano  virtuoso,  of  whom  Ambroise 
Thomas,  the  composer  of  Mignon,  is 
said  to  have  remarked:  "This  is  not 
a  woman  who  composes,  but  a  com- 
poser who  happens  to  be  a  woman." 
Chaminade  was  born  in  Paris  and 
came  of  a  musical  family,  her  father 
having  been  an  excellent  violin-player 
and  her  mother  a  remarkable  singer 
and  pianist.  She  lived  in  a  musical 
atmosphere  and  had  many  musicians 
of  prominence  for  friends.  The  piano 
was  her  favorite  companion  from 
earliest  childhood  and  she  devoted 
herself  to  its  study.  She  says  her 
mother  was  her  only  teacher  until 
she  was  fifteen.  At  eight  she  was 
composing  so  well  as  to  attract  the 
attention  of  Bizet,  who  advised  her 
parents  to  give  her  a  complete  musi- 
cal education.  After  her  fifteenth 
year  she  pursued  her  studies  in  fugue 
and  counterpoint  under  Savard,  who 
had  taught  Massenet  and  Saint-Saens, 
and  she  also  studied  with  Le  Coup- 
pey,  Marsick  and  Benjamin  Godard, 
and  made  such  rapid  progress  that 
she  was  soon  in  the  front  rank  of 
composers.  She  gave  her  first  con- 
cert when  she  was  eighteen,  and  that 
was  really  the  beginning  of  her 
career.  In  her  early  twenties  she 
wrote  The  Amazons,  a  dramatic  sym- 
phony for  solo  voices,  chorus  and 
orchestra,  and  it  was  produced  at 
Marseilles  in  1888.  About  the  same 
time  her  other  compositions  began  to 
attract  attention  and  were  heard  in 
Paris  at  concerts.  Many  of  these 
were  orchestral.  She  also  wrote  La 
Sevillane,  a  one-act  ballet;  Callirhoe, 
a  symphonic  poem;  concertos  for  the 
piano  and  orchestra;  many  orchestral 
works  and  short  piano  pieces.  Al- 
though a  composer  of  rare  ability  for 
the  piano,  it  is  her  songs  that  have 
made  Chaminade  famous.  She  has 
published  over  sixty  and  all  are  of 
the  greatest  beauty.  Of  her  piano 
pieces  the  best  known  are  etudes; 
sonatas;  waltzes  and  five  airs  de 
ballet,  among  them  the  well-known 
Scarf  Dance.  For  the  orchestra  her 
more  ambitious  compositions  are  Par- 
don Breton;  Noel  des  Marius;  Ange- 
lus  and  Angelique.  As  a  pianist  she 
has  been  heard  in  many  cities,  notably 
London,  Berlin,  Leipsic  and  Paris, 
her  native  city.  Chaminade  has  re- 
ceived many  honors  and  decorations 


BIOGRAPHIES 


Charpentier 

from  her  own  country  and  from  others. 
In  1888  she  received  the  purple  rib- 
bon from  the  French  Academy  and,  in 
1892,  was  made  an  officer  of  public 
instructions.  She  received  the  laurel 
wreath  from  the  students  of  the  Con- 
servatory of  Athens,  after  giving  a 
concert  there,  and  was  decorated  by 
the  Sultan  of  Turkey  with  the  order 
of  Chefakat,  one  of  the  highest  honors 
it  is  in  his  power  to  bestow  and  only 
given  to  people  of  the  highest  genius. 
Moszkowski  said,  in  his  opinion,  her 
orchestration  was  magnificent,  and 
the  Colonne  and  Lamoureux  orches- 
tras have  played  her  ballet  music  at 
their  concerts.  Her  ballet  Callirhoe 
was  given,  in  1902,  in  Bordeaux,  with 
great  success,  and  many  of  her  songs 
have  been  sung  by  the  famous  singers 
of  the  operatic  stage,  among  them 
Nordica  and  Plangon.  Among  the 
most  popular  of  her  many  songs  are 
the  following:  Ritournelle;  a  Madri- 
gal; Rosamunde;  The  Silver  Ring;  and 
Berceuse.  Most  of  her  well-known 
works  have  been  written  at  her 
father's  estate  Perigorre,  in  the  Midi, 
but  she  resides  at  present  at  Le  Vise- 
net,  near  Paris,  a  beautiful  estate, 
where  Bizet,  who  was  a  neighbor  in 
her  childhood,  often  used  to  visit. 

Charpentier    (shar-pant-ya),    Gustave. 
1860- 

One  of  the  youngest  and  not  the 
least  gifted  of  the  modern  French 
composers  was  born  at  Dieuze,  in 
Lorraine,  and  first  studied  at  a  school 
in  Tourcoing,  where  his  parents 
moved  after  the  Franco-German  war. 
He  also  studied  at  Lille  and,  in  1881, 
entered  the  Paris  Conservatory,  where 
he  became  a  pupil  of  Massenet  on 
the  violin  and  studied  harmony  under 
Pessard.  While  at  the  Conservatory 
he  won  the  Prize  of  Rome  and  dur- 
ing his  residence  in  the  Eternal  City, 
wrote  the  orchestral  suite,  Impres- 
sions de  Italie,  consisting  of  five  tone- 
pictures,  entitled  At  the  Fountain, 
Serenade,  Naples,  On  Mule-Back,  and 
On  the  Summits.  He  lived  at  Mont- 
martre_  for  some  time  after  his  return 
to  Paris,  and  did  daily  labor,  and  the 
scenes  of  the  life  of  the  artisan  enter 
much  into  his  music  and  tend  to  give 
it  much  of  its  individuality.  His  first 
work  on  the  life  of  the  people  was 
La  Vie  du  Poete,  or  the  Life  of  a 
Poet,  which  was  a  symphonic  drama 
set  to  words  of  his  own.  About  this 
time  he  also  wrote  another  symphony. 


BIOGRAPHIES 


133 


Charpentier 

which  was  performed  at  the  Mont- 
martre  Festival  in  1897,  and  reached 
the  operatic  stage  the  next  year. 
Louise,  his  chief  work,  brought  him 
fame  and  fortune,  and  shows  great 
dramatic  skill.  In  it  he  depicts  the 
modest  home  of  the  French  working 
man,  and  deals  with  episodes  in  the 
life  of  a  young  working  girl.  It  was 
first  produced  at  the  Opera  Comique, 
in  1900,  and  the  Parisians  becarne 
most  enthusiastic  over  it.  It  is 
among  the  operatic  novelties  which 
Oscar  Hammerstein  brought  to 
America,  for  the  season  of  1907,  at  the 
Manhattan  Opera  House,  New  York. 
Didon,  a  scene  lyrique,  with  which 
Charpentier  won  the  Prize  of  Rome, 
in  1887,  was  first  performed  at  the 
Institut  and  afterwards  at  a  Colonne 
concert  at  Brussels,  and  since  then 
has  been  heard  in  many  cities  on  the 
Continent.  Charpentier  wrote  the 
libretto  as  well  as  the  music  for  it. 
His  other  works  are  Fleurs  du  Mai, 
set  to  the  poems  of  Baudelaire;  an 
orchestral  suite;  a  Serenade  a  Wat- 
teau,  performed  at  the  Luxenbourg 
Gardens;  Ophee;  Tete  rouge;  La 
Couronnement  de  la  Muse;  Impres- 
sions fausses,  for  voices  and  orches- 
tra, and  many  others. 

Charpentier,     Marc    Antoine.      1634- 
1702- 

A  dramatic  composer,  who  was 
born  in  Paris  and  became  a  pupil  of 
Carissimi  at  Rome.  He  had  gone  to 
Italy  to  study  painting,  but  was 
drawn  to  music  by  Carissimi's  com- 
positions, and  from  then  on  devoted 
himself  entirely  to  the  study  of 
music.  He  was  master  of  the  chapel 
to  the  Dauphin,  under  Louis  XIV., 
but  was  displaced  by  Lully,  whose 
rival  he  became.  He  next  became 
master  of  the  chapel  to  Marie  Guise, 
the  betrothed  of  the  Duke  of  Orleans. 
After  composing  much  for  the  thea- 
tre, he  began  composing  for  churches 
and  became  professor  of  music  in  the 
Jesuit  College.  Among  his  works 
were  fifteen  operas,  pastorals,  drink- 
ing songs,  cantatas,  preludes  and 
symphonies,  while  in  sacred  music  he 
wrote  a  number  of  masses  and 
motets,  and  several  cantatas.  He  was 
superior  in  training  and  knowledge  to 
Lully,  but  lacked  the  latter's  genius. 
In  spite  of  the  fact  that  he  lived  at  a 
time  when  Lully  dominated  the  scene 
he  was  recognized  as  a  greater  musi- 
cian, and  won  much  renown   for   his 


Chelard 

opera,  Medee,  a  lyric  tragedy  in  five 
acts  and  a  prologue,  the  words  by 
Thomas  Corneille.  It  was  first  per- 
formed in  Paris,  in  1693,  and  despite 
its  success  was  never  repeated.  _  A 
number  of  Charpentier's  compositions 
are  in  the  library  of  the  Paris  Con- 
servatory and  in  the  Bibliotheque 
Nationale. 

Chausson  (sho-son),  Ernest.    18  5  5- 

1899. 

He  was  born  in  Paris  and  was 
trained  by  his  parents  for  the  law,  but 
when  twenty-five  years  old  turned  to 
music  and  studied  at  the  Paris  Con- 
servatory with  Massenet,  then  for 
two  years  with  Cesar  Franck.  He 
might  have  become  one  of  France's 
greatest  composers  had  he  lived,  but 
his  career  was  brought  to  an  end  by 
a  bicycle  accident  on  his  estate  at 
Limay.  He  was  thrown  from  the 
machine  against  a  stone  wall,  being 
killed  almost  instantly.  Chausson 
left  a  large  number  of  works,  includ- 
ing a  symphony;  a  symphonic  poem, 
Viviane;  the  orchestral  pictures.  Soli- 
tude In  the  Wood;  a  poeme  for  violin 
and  orchestra;  several  pieces  of  cham- 
ber-music; a  number  of  choruses  and 
several  songs  His  best  work  in  opera 
was  Le  Roi  Artlius,  in  three  acts, 
written  to  a  libretto  of  his  own,  and 
which  was  produced  at  the  Theatre 
de  la  Monnaie,  in  Brussels^  in  1903. 
He  also  wrote  a  three-act  lyrical 
drama,  Helene;  La  Legende  de  Sainte 
Cecile,  a  drama  for  soprano  a^id 
female  chorus;  the  incidental  music 
for  Shakespeare's  The  Tempest;  and 
much  church  music. 

Chelard    (shu-lar),    Hippolyte    Andre 

Jean  Baptiste.     1789-1861. 

A  composer,  who,  in  spite  of  many 
failures  and  vicissitudes,  produced 
three  successful  operas,  and  had  a 
considerable  influence  upon  the  music 
of  his  time.  Born  in  Paris.  He  was 
the  son  of  a  clarinettist  in  the  Grand 
Opera  and  began  his  career  as  an 
instructor  of  music  and  a  violinist. 
Was  a  pupil  of  Fetis,  then  of  Gossec, 
and  Dourleu,  in  the  Conservatory  of 
Paris,  taking  the  Grand  Prize  of 
Rome  in  1811.  He  was  court  chapel- 
master  at  Weimar,  from  1836  to  1850. 
His  first  opera  was  brought  out  at 
Naples,  in  1815,  but  it  was  not  a  suc- 
cess and  its  author  returned  to  Paris, 
where  he  entered  the  orchestra  as  a 
violinist  and  gave  music  lessons.     He 


134 


BIOGRAPHIES 


Chelard 

wrote  a  second  opera,  which  failed, 
and  then  opened  a  music  shop  which 
was  destroyed  during  the  Revolution. 
Conducted  the  German  opera  in  Lon- 
don, which  also  failed,  and  revisited 
Munich,  where  his  opera,  Die  Her- 
mannschlacht,  was  given,  in  1835,  and 
was  well  received.  He  subsequently 
wrote  the  music  for  Macbeth,  the 
libretto  of  which  was  written  by 
Rouget  de  Lisle,  who  is  credited  with 
having  written  the  French  national 
hymn,  La  Marseillaise,  Macbeth,  Der 
Student  and  Mitternacht,  were  all 
great  successes.  A  posthumous  opera 
was  given  in  Milan  in  1864,  but  his 
works  are  no  longer  performed, 
although  the  overture  to  Macbeth  is 
heard  sometimes  in  concerts. 

Cherubini     (ka-roo-be'-ne),     L  u  i  g  i . 
1760-1842. 

One  of  the  great  modern  masters  of 
counterpoint  and  the  earhest  of  the 
modern  Italian  composers,  who  has 
justly  been  styled  "  The  last  and 
noblest  Roman  in  the  purely  classical 
style  of  music."  Was  at  an  early  age 
instructed  in  music  by  his  father,  who 
was  cymbalist  at  the  Pergola  Theatre 
at  Florence,  in  which  city  Cherubini 
was  born.  He  began  to  study  har- 
mony when  he  was  only  nine  and  his 
progress  was  rapid,  and  after  study- 
ing under  various  teachers  he  was 
sent  to  Bologna  and  Milan  by  Duke 
Leopold  IL,  of  Tuscany  (the  future 
Emperor  Leopold  IIL),  who  defrayed 
the  expenses  of  his  education  and 
enabled  him  to  become  the  pupil  of 
the  great  Sarti.  At  thirteen  he  wrote 
a  mass  and  a  stage  intermezzo  for  a 
theatre  in  Florence.  Under  Sarti's 
direction  he  confined  himself  to 
church  music,  but,  in  1780,  began  to 
compose  dramatic  works  and  his  first 
opera,  Quinto  Fabio,  was  produced  in 
that  year.  After  the  production  of 
this  opera  he  brought  out  seven  others 
in  various  cities  in  Italy.  In  1784,  he 
went  to  London,  where  he  brought 
out  two  operas,  but  they  were  not 
successful.  In  Turin  he  wrote  and 
produced  his  successful  opera,  Ifigenia 
in  Aulide,  and  returning  to  Paris,  in 
1787,  he  was  made  composer  to  the 
King,  and  the  next  year  his  first 
French  opera,  Demophon,  was  pro- 
duced. This  was  Cherubini's  initial 
step  in  the  work  of  founding  a  grand 
style  of  French  opera  and  it  was  not 
a  success,  because  it  was  written 
above  the  heads  of  the  public  of  that 


Cherubini 

time.  Dramatic  music  was  an  un- 
known quantity  when  Cherubini 
appeared,  and  his  efforts  to  improve 
the  music  of  his  time  were  so  dis- 
couraging that  he  shortly  after  re- 
turned to  the  light  style  made  popular 
by  Cimarosa  and  Paisiello.  In  1791 
he  wrote  Lodoiska,  in  which  he  re- 
turned to  his  old  ideals  as  expressed 
in  Demophon,  and  this  work  caused  a 
thorough  revolution  in  the  style  of 
the  French  dramatic  school.  Other 
composers  soon  followed  the  lead  of 
Cherubini,  and  he  seems  to  have  had 
an  influence  for  good  on  the  music  of 
his  time.  He  followed  Lodoiska, 
with  Elisa  and  Medee,  but  their  poor 
librettos  made  them  anything  but 
popular.  In  Les  Deux  Journees,  he 
found,  however,  a  text  worthy  of  his 
music  and  this  opera  is  generally  con- 
sidered his  masterpiece.  In  it,  he  is 
declared  by  musicians  to  have  struck 
the  first  blow  in  the  system  for 
annihilating  the  tyranny  of  the  leading 
singers  in  opera,  an  accepted  Wag- 
nerian theory.  In  1805,  Cherubini 
accepted  an  engagement  at  Vienna, 
where  he  wrote  Faniska.  This  opera 
had  an  almost  unprecedented  success, 
Haydn  and  Beethoven  both  declaring 
that  its  author  was  the  first  dramatic 
composer  of  his  time,  and  for  some 
years  it  was  considered  the  greatest 
opera  since  Mozart.  Cherubini  ulti- 
mately became  very  friendly  with 
Beethoven. 

When  the  French  took  Vienna, 
Cherubini  left  the  scene  of  his 
triumphs  and  returned  to  Paris,  but 
Napoleon  had  never  liked  the  com- 
poser, whose  musical  opinions  he  did 
not  agree  with,  and  for  this  reason, 
Cherubini,  humiliated  and  embittered, 
retired  to  the  country,  and  at  the 
house  of  the  Prince  de  Chimay  de- 
voted himself  to  the  study  of  botany. 
One  day  a  mass  was  needed  for  the 
consecration  of  a  church  and  he  was 
urged  by  his  friends  to  write  it. 
After  much  thought  upon  the  subject 
he  complied  and  set  to  work  on  his 
Mass  in  F  for  three  voices  and  or- 
chestra. With  this  successful  work 
a  new  field  was  opened  to  him  and  a 
new  era  began.  Although  he  wrote 
many  operas,  he  devoted  himself 
almost  entirely  from  then  on  to  the 
composition  of  sacred  music,  and  in 
this  field  he  probably  did  his  greatest 
work.  Upon  the  restoration  of  the 
House  of  Bourbon  he  returned  to 
Paris,    and,    in    1816,    he    succeeded 


BIOGRAPHIES 


135 


Cherubini 

Martini  as  superintendent  of  the 
King's  music  and  wrote  many  masses 
for  the  Royal  Chapel.  In  the  same 
year  he  was  appointed  professor  of 
composition  at  the  Conservatory,  and 
in  1822  director.  As  chief  of  his 
famous  school  he  influenced  his  pupils 
to  a  great  extent,  but  for  some  reason 
or  other,  he  took  no  lasting  hold  on 
the  French  people.  In  Germany  he 
was  much  more  popular  and  his  music 
was  appreciated  there  as  it  never  was 
in  France.  His  adopted  country,  how- 
ever, made  him  a  Chevalier  of  the 
Legion  of  Honor,  afterwards  an 
officer,  and  honored  him  in  many  other 
ways.  As  a  man  and  a  musician  there 
was  much  that  was  noteworthy  in  his 
career,  and  musicians  at  the  time 
generally  regretted  that  he  had  no 
copyists.  His  influence  consisted  in 
the  lofty  light  in  which  he  always 
regarded  music,  but  he  seems  to  have 
just  missed  being  a  great  musician. 

He  wrote  altogether  fifteen  Italian 
operas  and  fourteen  French  operas, 
and  beside  those  already  mentioned 
the  following  rank  among  his  best 
work,  Pimmaglione;  Les  Abencerages; 
La  Finta;  Principessa  (opera  buffa) 
and  Giulio  Sabine.  Cherubini's  last 
work,  like  Mozart's,  was  a  Requiem 
which  was  first  performed  at  his  own 
funeral.  His  portrait  by  Ingres  is  in 
the  gallery  of  the  Louvre,  Paris.  The 
most  exhaustive  work  on  Cherubini 
is  his  life  by  Edward  Bellasis,  the  title 
being,  Cherubini:  Memorials  illustra- 
tive of  his  life.  The  article  on 
Cherubini  in  the  Biographic  uni- 
verselle  by  Fetis  is  also  very  com- 
plete, as  is  also  an  article  by  Ferdi- 
nand Hiller,  which  was  published  in 
Macmillan's  Magazine  for  July,  1875. 

Chickering,  Jonas.     1798-1853. 

The  pioneer  in  American  piano- 
building  and  founder  of  the  house  that 
has  done  so  much  to  make  the 
American  piano  famous.  He  was  born 
at  Ipswich,  New  Hampshire,  was 
apprenticed  to  a  cabinetmaker  there, 
and  early  displayed  an  interest  in 
music  and  musical  instruments.  When 
the  one  piano  in  his  native  town  got 
out  of  order  he  offered  to  tune  it  and 
put  it  in  repair,  his  success  in  this 
attempt  encouraging  him  to  turn  to 
piano  construction.  He  went  to  Bos- 
ton and  secured  employment  under 
Mr.  John  Osborn,  at  that  time  the 
only  piano  manufacturer  there,  learned 
the  details  of  the  work  and   showed 


Chipp 

rnuch  interest  in  the  development  of 
piano-making.  P'or  awhile  he  was 
associated  in  this  development  with  a 
Scotchman  named  James  Stewart,  but 
in  1823  he  set  up  in  business  for  him- 
self, and  from  this  time  dates  the 
founding  of  the  house  of  Chickering 
and  Sons.  In  1837  he  patented  an 
important  improvement,  added  others 
in  1843  and  1845;  which  inventions, 
says  Elson,  made  the  American  piano 
the  most  durable  in  the  world.  On 
Jonas'  death,  which  occurred  at  Bos- 
ton, he  was  succeeded  by  his  son. 
Colonel  Thomas  E.  Chickering,  born 
in  Boston  in  1823,  died  in  that  city  in 
1871.  Numerous  important  develop- 
ments in  piano-building  were  intro- 
duced by  the  Chickerings.  Of  the 
many  notable  prizes  earned,  mention 
may  be  made  of  first  award  won  at 
the  Paris  Exposition  of  1867,  at  which 
time  Colonel  Chickering  was  created 
Chevalier  of  the  Legion  of  Honor. 

Child,  William.    1606-1697. 

An  English  composer  and  organist, 
who  was  born  at  Bristol,  and  studied 
the  rudiments  of  music  under  Elway 
Bevin,  as  a  chorister  in  the  Bristol 
Cathedral.  He  entered  Oxford,  and, 
in  1631,  received  the  degree  of  Bach- 
elor of  Music  from  that  institution.  He 
was  organist  at  St.  George's  Chapel, 
Windsor,  in  1632,  and  one  of  the 
organists  of  the  Chapel  Royal,  Lon- 
don, and  later  a  chanter  in  the  Chapel 
Royal.  He  also  served  as  a  member 
of  the  King's  private  band  and  was 
composer  to  the  King  in  1661.  He 
died  at  Windsor  and  is  buried  in  St. 
George's  Chapel.  Among  his  works 
are  anthems,  catches,  canons  and 
psalms.  His  compositions  are  ex- 
tremely simple,  but  his  harmony  is 
rich  and  glowing.  He  is  said  to  have 
paved,  at  his  own  expense,  the  body 
of  Windsor  Chapel. 

Chipp,  Edmund  Thomas.     1832-1886. 

Was  a  noted  English  organist, 
who  began  his  career  in  London  as  a 
chorister  in  the  Chapel  Royal,  St. 
James,  and  was  from  1843  to  1845  in 
the  Queen's  royal  band.  Took  the 
degree  of  Bachelor  of  Music  at  Cam- 
bridge in  1859  and  was  organist  at  St. 
Paul's,  Edinburgh,  in  1886.  He  com- 
posed Job,  an  oratorio;  Naomi,  a 
sacred  idyll;  and  many  works  for 
the  church,  both  for  the  voice  and 
organ. 


136 


BIOGRAPHIES 


Chladni 
Chladni  (khlat'-ne),  Ernst  Florens 

Friedrich.    1756-1827. 

Born  at  Wittenberg.  He  was  a 
noted  lecturer  and  the  originator  of 
many  inventions  for  musicians  and 
has  been  called  "  The  father  of  modern 
acoustics."  He  was  at  first  a  student 
and  professor  of  law  at  Wittenberg 
and  Leipsic,  but  turned  to  physics,  for 
which  he  had  a  natural  aptitude.  He 
did  not  begin  the  study  of  music  until 
he  was  nineteen.  The  domain  of 
acoustics  appealed  particularly  to  him 
and  he  rnade  highly  important  re- 
searches in  that  field,  and  among 
other  inventions,  the  Clavicylinder 
(steel  rod  keyboard  harmonica)  and 
glass  reed  harmonica  are  ascribed  to 
him.  He  wrote  voluminously  on  the 
subject  of  acoustics  and  delivered 
many  scientific  lectures.  In  1802  he 
published  a  treatise  on  his  favorite 
subject,  which  attracted  the  attention 
of  scientists  and  musicians  in  all 
parts  of  the  world.  Upon  his  intro- 
duction to  Napoleon,  in  1808,  the 
Emperor  presented  him  with  six  thou- 
sand francs,  to  defray  the  expenses  of 
having  his  work  translated  into 
French.  It  was  published  in  1809. 
After  that  its  author  resumed  his 
travels  and  lectures.  He  died  at 
Breslau,  and  left  behind  him  at  least 
fourteen  books  on  the  subject  of 
acoustics. 

Chollet  (shol-la),  Jean  Baptiste  Marie. 
1798-1892. 

A  great  singer,  who  was  born  in 
Paris  and  studied  singing  and  the 
violin  at  the  Paris  Conservatory  from 
1804  until  1816,  gaining  in  1814  the 
solfeggio  prize.  He  became  a  chorus 
singer  and  later  sang  in  the  provinces 
with  great  success,  despite  many  de- 
fects in  his  mezzo  voice.  He  sang  in 
many  of  Auber's  and  Herold's  operas, 
notably  Fra  Diavolo,  Zampa  and 
others,  at  the  Opera  Comique,  where 
he  was  engaged  from  1826  until  1832. 
Later  he  appeared  at  The  Hag^e,  as 
director  of  the  opera,  and  reappeared 
at  Paris  as  a  singer  with  Mitchell's 
company.  He  made  his  farewell 
appearance  at  a  benefit  at  the  Opera 
Comique  in  1872.  He  died  at  Ne- 
mours in  1892. 

Chopin,  Frederic  Frangois.    1809-1849. 

He  was  the  greatest  genius  of  the 
piano  who  has  ever  lived,  one  of  the 
most  lovable,  interesting  and  romantic 
figures  in  the  history  of  music,  and  a 


Chopin 

great  lyric  composer,  who  was  aptly 
called  by  Robert  Schumann,  "  The 
boldest  and  proudest  poetic  spirit  of 
the  age."  His  life  was  brief,  but  full 
of  incident  and  replete  with  energy 
and  his  service  to  the  art  of  music 
cannot  be  too  highly  estimated. 
Chopin  was  a  composer  for  the  piano 
and  for  the  piano  alone,  and  his  style 
is  suited  to  no  other  instrument.  In 
this  he  is  unique.  He  was  not  only 
a  great  composer  for  the  piano,  but 
he  made  most  important  modifications 
in  that  instrument,  and  realized  its 
possibilities  as  no  one  else  ever  did. 
He  did  for  the  piano  what  Paganini 
did  for  the  violin  and  what  Schubert 
did  for  song.  He  stands  absolutely 
alone,  and  cannot  be  classified  with 
any  other  composer. 

His  music  is  tinctured  through  and 
through  with  his  personality.  In  it 
there  is  an  echo  of  what  he  felt,  loved 
and  suffered.  His  compositions  have 
been  well-called  his  memoirs  and  his 
autobiography.  No  other  poet,  for 
Chopin  was  as  much  a  poet  as  he  was 
a  musician,  has  like  him  embodied  in 
art  the  romance  of  the  land  and  the 
people  of  Poland,  and  no  other  has 
like  him  embodied  in  art  the  romance 
of  his  own  life.  James  Huneker  has 
written  of  him:  "Never  so  long  as 
the  piano  remains  the  piano  will 
Chopin  be  forgotten.  He  is  as  Ru- 
binstein, said,  its  soul." 

Perhaps  no  musical  genius  ever 
lived  over  whom  there  has  been  so 
much  controversy,  and  about  whom 
so  many  erroneous  statements  have 
been  made.  "  Since  1888,"  says  one 
biographer,  "  Much  has  been  written 
of  Chopin  and  much  surmised."  His 
biographers  disagree  as  to  dates  and 
important  incidents  in  the  life  of  the 
composer,  and  as  Chopin  wrote  few 
letters  and  was  most  reticent  even  to 
those  nearest  and  dearest  to  him. 
many  events  said  to  have  transpired 
in  his  life  cannot  be  verified.  The 
date  of  his  birth  is,  to  begin  with,  a 
matter  of  dispute.  Some  authorities 
declare  it  took  place  in  1809,  others 
are  equally  positive  it  was  1810.  The 
latter  date  is  inscribed  upon  the  com- 
poser's tombstone  at  Pere  le  Chaise 
cemetery  in  Paris,  but  Prof.  Frederick 
Niecks,  whose  biography  of  Chopin  is 
generally  conceded  to  be  the  best  and 
most  authoritative,  favors  the  year 
1809  as  being  the  year  of  the  com- 
poser's birth.  Authorities  also  differ 
as  to  the  circumstances  of  his  family, 


BIOGRAPHIES 


137 


Chopin 

some  saying  that  they  were  far  from 
comfortable  in  his  early  youth  and 
that  Chopin  was  educated  by  a  Polish 
prince  who  befriended  him  for  many 
years,  others  that  his  parents  were  in 
easy  circumstances  and  that  his  father 
gave  him  a  good  education,  until  he 
was  well  along  in  manhood,  and  sup- 
plied him  quite  liberally  with  money. 

The  most  widely-discussed  event  in 
his  life  was  his  aflfair  with  George 
Sand  and  a  literature  has  grown  out 
of  the  controversies  regarding  their 
friendship  and  the  woman's  influence 
upon  the  career  of  the  composer. 
Various  constructions  have  been  put 
upon  their  relations,  but  all  the  biog- 
raphers agree  as  to  the  disastrous 
results  of  this  friendship,  the  severing 
of  which  undoubtedly  hastened 
Chopin's  death,  and  very  few  regard 
Sand's  participation  in  it  as  wholly 
blameless.  Half  a  dozen  versions  have 
been  given  of  the  scenes  which 
attended  Chopin's  death,  and,  to  cap 
the  climax  of  inaccuracies,  a  false  date 
was  placed  upon  his  tombstone.  The 
sadness  of  the  composer's  life  and  his 
melancholy  disposition  have  been 
dwelt  upon  by  every  biographer,  per- 
haps to  an  undue  extent.  That  Chopin 
was  of  a  melancholy  nature  and  that 
he  let  his  pensive  outlook  upon  life 
color  his  music  through  and  through, 
there  is  no  doubt,  for  he  was  a  Pole, 
and  his  countrymen  even  dance  to 
music  written  in  a  minor  key  and  take 
all  their  pleasures  sadly.  Besides,  he 
was  harassed  all  his  life  long  by  ill- 
health,  and  he  took  deeply  to  heart 
little  troubles  and  ills  and  was  bruised 
by  trifling  vexations  and  irritations 
that  would  not  have  aflfected  a 
healthier  person.  He  himself  said  that 
his  life  was  an  episode  without  a 
beginning  and  with  a  sad  end.  But 
he  was  not  always  melancholy  and  his 
music  is  not  all  sad.  It  is  a  mixture 
of  gayety  and  sadness,  for  his  days 
were  not  all  gray  days  and  when  he 
was  happy  he  was  deliriously  so. 

Frederic  Frangois  Chopin  was  born 
at  Zelazowawola,  Poland  (sometimes 
spelled  Zela  Zowa  Wola),  a  village 
belonging  to  the  Countess  Skarbek, 
near  Warsaw.  His  father,  Nicholas 
Chopin,  was  a  French  refugee,  the 
natural  son  of  a  Polish  nobleman  who 
accompanied  King  Stanislaus  to 
France,  taking  there  the  name  of 
Chopin.  Nicholas  Chopin  was  born  in 
Nancy,  Lorraine,  in  1770,  and  went  to 
Warsaw  at   the   time   of  the  political 


Chopin 

disturbances,  in  1787.  He  there  be- 
came a  bookkeeper  in  a  tobacco  fac- 
tory, was  afterwards  tutor  to  the  son 
of  a  Polish  nobleman,  and  took  part 
in  the  revolution  under  Kosciusko, 
fighting  for  Poland.  He  finally  settled 
in  Zelazowawola  and  became  tutor  to 
the  son  of  the  Countess  Skarbek,  later 
being  professor  of  French  in  the 
Warsaw  Lyceum,  and  finally  setting  up 
a  private  school  of  his  own,  which 
was  patronized  by  the  wealthiest 
families  in  Warsaw.  He  also  taught 
French  at  the  School  of  Artillery  and 
Engineering,  and  at  the  Military 
Elementary  School.  Nicholas  Chopin 
appears  to  have  been  a  man  of  refine- 
ment and  education,  to  whom  the 
composer  was  indebted  for  many  of 
his  lovable  traits  of  character  and  for 
much  of  the  aristocratic  bearing  that 
always  distinguished  him.  It  was 
while  he  was  in  the  service  of  the 
Countess  Skarbek,  that  Nicholas 
Chopin  met  and  married,  in  1806, 
Justina  Kryzanowska,  a  Polish  woman 
of  poor  but  noble  family,  who  was 
possessed  of  all  the  womanly  virtues. 
She  bore  her  husband  four  children, 
three  girls  and  the  boy,  Frederic. 
Frederic  grew  up  in  an  atmosphere  of 
love  and  refinement,  petted  and  made 
much  of  by  his  sisters,  and  tenderly 
cared  for  and  loved  by  his  parents. 
He  was  always  delicate  and,  from  his 
earliest  years,  his  health  gave  his 
family  much  concern.  Auber,  in  later 
years,  remarked  that  Chopin  was 
dying  all  his  life.  But  in  spite  of  his 
physical  weakness  he  was,  at  least  in 
his  youth,  full  of  animal  spirits  and 
has  been  described  as  a  mischievous 
lad,  fond  of  playing  pranks  on  his  sis- 
ters and  companions,  and  also  of  a 
particularly  gentle  and  affectionate 
disposition.  He  was  naturally  bright 
and  quick  to  learn  and  a  favorite  with 
all  his  teachers.  Some  writers  have 
pictured  his  youth  as  almost  poverty- 
stricken,  but  this  is  disclaimed  by 
those  who  have  looked  into  the  sub- 
ject, among  others,  Professor  Niecks, 
who  declares  that  Chopin's  childhood 
was  passed  in  comfort  if  not  in  afflu- 
ence, as  befitted  the  son  of  a  professor 
enjoying  a  comfortable  income.  In  all 
his  life  Chopin  never  underwent  such 
privations  as  fell  to  the  lot  of  Mozart, 
Schubert  and  other  musical  geniuses. 
His  fondness  for  music  early  as- 
serted itself  and  his  parents  wisely  let 
him  have  his  way  in  this  respect.  He 
showed     such     proficiency     that     his 


13S 


BIOGRAPHIES 


Chopin 

father  procured  for  him  the  best  in- 
struction possible  in  the  town,  and 
sent  him  to  study  with  Adalbert 
Zywny,  a  Bohemian  musician  of  the 
old  school,  who  thoroughly  grounded 
him  in  the  rudiments  of  music.  At 
nine  years  of  age,  Chopin  played  in 
public  at  a  concert,  and  from  then  on 
was  made  much  of  by  the  Polish 
nobility,  who  looked  upon  him,  if  not 
as  a  second  Mozart,  at  least  as  an 
exceptionally  talented  boy,  worthy  of 
being  encouraged.  After  this  he  fre- 
quently appeared  at  the  houses  of  the 
nobility  in  Warsaw.  When  he  was 
ten,  Chopin  composed  his  first  piece 
of  music,  a  march,  which  he  dedicated 
to  the  Russian  Grand  Duke  Con- 
stantine,  who  had  it  scored  for  the 
military  band.  '  At  twelve  he  finished 
his  studies  with  Zywny  and  entered 
the  Lyceum,  where  his  father  was  a 
professor,  and  there  he  was  taught 
Latin,  French,  mathematics  and  other 
branches.  His  father  then  sent  him  to 
the  Warsaw  Conservatory,  where  he 
studied  harmony  and  counterpoint 
with  Joseph  Eisner,  a  rigid  disciplin- 
arian, who  recognized  Chopin's  genius 
and  gave  him  the  help  and  encour- 
agement he  needed.  Through  him  the 
young  musician  learned  to  study  and 
to  love  Bach,  playing  the  composi- 
tions of  that  master  with  wonderful 
precision,  and  profiting  so  much  by 
the  instruction  he  received  that  he 
carried  off  several  prizes  while  at  the 
Conservatory.  Eisner  in  those  days 
encouraged  Chopin  to  write  an  opera, 
not  realizing  that  his  talents  lay  in  an 
entirely  different  direction.  Chopin,  in 
later  years,  declared  that  he  could 
have  done  nothing  without  Eisner's 
instruction  and  encouragement,  and 
was  fond  of  remarking  that  the  veriest 
idiot  could  not  help  but  learn  some- 
thing from  such  men  as  Zywny  and 
Eisner.  In  Warsaw,  Chopin  appeared 
in  public  twice,  and  when  he  was 
fifteen  wrote,  with  his  sister,  a  one-act 
comedy,  which  was  produced  by  a 
juvenile  company.  He  found  his 
greatest  delight  in  playing  and  com- 
posing and  was  happiest  when  he  was 
studying  the  works  of  the  great  mas- 
ters, preferably  Mozart  and  Bach.  He 
used  to  spend  half  the  night  practicing 
and  trying  out  his  compositions  on 
the  piano  which  he  had  in  his  bed- 
room. 

After  finishing  his  studies  at  War- 
saw, Chopin's  father  decided  it  would 
be  well  for  his  son  to  see  a  bit  of  the 


Chopin 

world,  and  therefore,  in  1828,  he  was 
sent  with  a  friend  of  the  family  to 
Berlin.  There  he  met  Mendelssohn, 
Spontini  and  Zelter,  among  other 
musicians.  His  letters,  some  of 
which  are  preserved  in  Karasowski's 
book.  The  Life  and  Letters  of  Chopin, 
give  interesting  glimpses  of  the  life 
he  led  in  the  German  capital,  the 
music  he  heard  and  the  people  whom 
he  met.  He  _  next  visited  Vienna, 
where  he  was  induced  to  give  a  con- 
cert in  1829,  at  which  he  improvised 
and  made  a  great  impression  upon  the 
musical  critics  and  the  nobility.  From 
Vienna  he  journeyed  to  Prague  and 
then  on  to  Dresden  and  to  Posen, 
where  he  was  entertained  by  Prince 
Radziwill,  a  patron  of  the  arts  and  a 
warm  friend  of  the  Chopin  family, 
then  he  returned  to  Warsaw,  but  for 
only  a  short  time.  Chopin  had  grown 
restless  and  wished  to  see  more  of  the 
world.  He  set  out  again  from  War- 
saw in  1830  and  was  never  to  return. 
It  is  related  that  just  before  his  de- 
parture, Eisner,  his  old  teacher,  and 
the  pupils  of  the  Conservatory  sang  a 
cantata,  composed  for  the  occasion, 
and  presented  him  with  a  silver  cup 
filled  with  Polish  earth,  which  was 
destined  to  be  sprinkled  upon  the 
coffin  of  the  composer  eighteen  years 
later  as  he  was  laid  to  rest  in  a  Paris 
cemetery. 

Chopin  went  to  Vienna  from  War- 
saw, but  his  former  successes  had  by 
this  time  been  forgotten  ("  there  were 
no  newspaper  articles  or  press  agents 
to  keep  him  before  the  public,"  says 
one  biographer),  and  he  was  so  dis- 
couraged and  disheartened  by  the  cold 
reception  he  received  and  the  fact 
that  the  music  publishers  would  have 
none  of  his  music,  that  he  thought 
seriously  of  going  to  Italy  and  friends 
even  gave  him  letters  of  introduction 
which  he  was  fated  never  to  use.  In 
Vienna  he  played  at  two  concerts,  but 
his  reception  was  not  warranted  to 
encourage  him,  so  he  wrote  to  his 
father  for  the  necessary  funds,  and 
started  for  Paris,  stop^jing  off  at 
Munich,  where  he  made  his  first  and 
last  appearance  before  a  German 
audience.  In  1831,  Chopin  reached 
the  French  capital,  at  a  time  when 
opera  was  in  its  glory,  when  literature 
as  well  as  art  was  at  full  flower  and 
also  at  a  time  of  revolution.  In  Paris, 
Chopin's  artistic  career  may  be  said 
to  have  begun,  and  there  he  spent  his 
happiest  as  well  as  his  most  miserable 


BIOGRAPHIES 


139 


Chopin 
days.  One  of  the  first  things  he  did 
was  to  seek  out  Kalkbrenner,  who 
was  then  the  most  famous  pianist  in 
Paris.  He  found  fault  with  Chopin's 
playing  and  would  consent  to  become 
his  teacher  only  on  condition  that 
Chopin  would  remain  with  him  three 
years.  The  young  musician  hesitated, 
feeling  that  this  was  too  long  a  time 
to  give  to  his  studies  and  finally  wrote 
to  Eisner,  who  urged  him  not  to 
become  a  pupil  of  Kalkbrenner's  lest 
he  destroy  his  individuality,  in  which 
Eisner,  at  least,  had  the  greatest 
faith.  Chopin  gave  his  first  concert, 
in  Paris,  in  1832,  but  it  was  a  failure 
financially,  although  many  of  the 
prominent  musicians,  including  Men- 
delssohn, were  present  and  praised 
him.  The  following  May  he  gave  his 
second  concert,  but  it  was  not  suc- 
cessful, and  as  Chopin  was  deplorably 
in  need  of  money,  he  grew  greatly 
discouraged.  In  letters  to  friends  he 
confessed  that  he  was  deeply  dejected, 
because  he  felt  himself  to  be  a  burden 
to  his  father.  He  talked  about  emi- 
grating to  America  and  was  prevented 
from  so  doing  only  by  a  chance  meet- 
ing with  Prince  Radziwill  who  took 
him  to  the  house  of  the  wealthy 
Rothschilds  in  Paris,  where  his  play- 
ing captivated  his  auditors,  and 
secured  for  him  several  paying  pupils. 
From  that  time  on  it  was  to  be  plain 
sailing  so  far  as  recognition  of  his 
talents  was  concerned.  Pupils  flocked 
,o  him,  among  them  many  noble 
ladies  and  gentlemen;  he  was  besieged 
with  offers  from  managers  of  con- 
certs and  invitations  without  number 
found  their  way  to  him  from  his 
wealthy  patrons.  He  was  heard  much 
in  public  and  at  private  houses.  In 
ohort,  Chopin  was  the  vogue,  and 
threatened  to  dislodge  even  Liszt, 
who  was  then  the  idol  of  Parisian 
society.  He  took  part  that  year  with 
Hiller  and  Liszt  in  a  performance  of 
Bach's  concerto  for  three  harpsi- 
chords, played  on  piano,  and  his  ap- 
pearances were  frequent  and  success- 
ful. He  was  gradually  winning  his 
way  with  his  compositions  and  by 
i835  was  teaching,  making  many 
friends,  and  enjoying  life  in  his  quiet 
way.  During  the  summer  of  1835  he 
visited  his  parents,  who  were  staying 
at  Carlsbad,  and  then  went  to  Dresden 
and  to  Leipsic  with  Hiller,  where  he 
renewed  his  acquaintance  with  Men- 
delssohn, and  through  him  met  Robert 
Schumann,  and  Clara  Wieck,  who  was 


Chopin 

later  to  become  Schumann's  wife. 
Schumann  was  the  first  of  the  Ger- 
mans to  estimate  Chopin  at  his  true 
worth.  He  called  attention  to  the 
compositions  of  the  Pole,  and  to  their 
excellence  in  the  since  oft-quoted 
words:  "Hats  ofif,  gentlemen;  a 
genius."  In  that  year  Chopin  made 
the  acquaintance  of  John,  usually 
known  as  "  Russian  "  Field,  whose  in- 
vention, the  nocturne,  Chopin  so 
elaborated  and  improved  upon  as  to 
make  his  own.  Field  disliked  Chopin 
and  belittled  his  talents.  In  later 
years  the  latter  was  often  asked  if  he 
had  been  a  pupil  of  Field,  because  of 
their  similarity  of  style. 

On  his  return  to  Paris,  the  com- 
poser became  the  center  of  an  artistic 
circle,  which  included  Cherubini, 
Bellini,  Berlioz,  Meyerbeer,  Liszt,  who 
became  one  of  the  most  ardent  and 
loyal  of  his  admirers,  and  in  later 
years  his  devoted  friend;  the  painter, 
Delacroix;  Heine,  the  poet;  Balzac 
and  others.  The  following  year 
(1837)  Chopin  visited  Marienbad  and 
went  to  London  where  he  stayed 
incognito  and  neither  received  nor 
paid  visits  because  of  the  condition 
of  his  health,  which  was  gradually 
growing  worse.  There  the  first  symp- 
toms of  the  disease,  which  finally 
carried  him  off,  asserted  themselves. 
He  played  at  the  house  of  James 
Broadwood,  in  London,  but  appeared 
nowhere  else,  and  it  is  probable  that 
his  visit  to  London  was  for  the  pur- 
pose of  seeking  a  physician's  advice. 
Chopin's  public  appearances  were  now 
becoming  fewer  and  fewer.  He  loved 
the  intimacy  of  the  private  salon; 
among  the  friends  he  was  fond  of  but 
disliked  playing  in  public,  saying  the 
audiences  "stifled  and  suffocated" 
him,  and  that  he  could  never  do  his 
best  under  those  conditions. 

On  his  return  to  Paris  from  Lon- 
don, Chopin  met  George  Sand  (Mme. 
Aurore  Dudevant),  then  at  the  height 
of  her  fame  and  the  leading  literary 
woman  in  Paris,  who  shared  with 
Victor  Hugo  the  honor  of  pre- 
eminence in  French  letters.  She  was 
a  woman  who  challenged  the  atten- 
tion of  the  world,  as  much  by  the 
irregularities  of  her  private  life  as  by 
her  literary  genius.  She  dominated 
Chopin's  life  after  they  became 
friends,  and  her  influence  upon  his 
career  was  most  marked.  The  story 
of  this  attachment  has  been  told  by 
Taine,    Henry  Janes,   W.    H.    Hadow, 


140 


BIOGRAPHIES 


Chopin 

James  Huneker  and  numerous  others 
and  has  been  touched  upon  in  all  the 
biographies  of  the  composer  and  the 
writer.  Chopin  seems  to  have  had 
other  love  affairs,  it  being  said  of  him 
that  he  was  in  the  habit  of  falling  in 
and  out  of  love  all  the  time.  In  his 
early  days  in  Warsaw  the  composer 
had  met  and  loved  Constantia  Glad- 
kowska,  or  Gladowska,  a  pupil  of  the 
Warsaw  Conservatory,  but  he  is  said 
never  to  have  let  her  know  of  his 
affection,  although  she  inspired  him  to 
write  the  adagio  of  the  concerto  in  F 
minor  and  the  valse  in  D  flat.  She 
sang  at  one  of  his  concerts  in  Warsaw 
and  later  went  on  the  operatic  stage. 
Later  she  married  and  Chopin  appears 
to  have  dropped  her  from  his  mind. 
His  second  affair  of  the  heart  took 
place  in  1836,  when  he  visited  Dres- 
den and  there  met  Marie  Wodzinski, 
whose  brothers  had  been  pupils  at  his 
father's  school  in  Warsaw.  Marie  is 
said  by  Karasowski  to  have  recipro- 
cated Chopin's  love  and  desired  to 
marry  him,  but  was  debarred  from 
doing  so  by  her  parents,  who  wished 
her  to  wed  a  man  richer  in  the  world's 
goods.  The  following  year  she  mar- 
ried the  son  of  Chopin's  godfather, 
the  man  for  whom  Chopin  had  been 
named,  Count  Frederic  Skarbek,  and 
after  a  time  she  vanished  into  ob- 
scurity. George  Sand  was  the  third  and 
last  of  Chopin's  love  affairs.  She  has 
been  variously  described.  Professor 
Niecks  pictured  her  as  a  female  Don 
Juan,  and  as  a  pen  painter  of  fallen 
and  defiled  natures.  Hadden  calls  her 
a  cormorant,  even  while  admitting 
that  she  nursed  and  cared  for  Chopin 
in  his  illness  as  his  mother  might; 
while  on  the  other  hand,  Elizabeth 
Barrett  Browning,  George  Eliot  and 
W.  H.  Hadow,  (apparently  her  only 
apologist  among  the  opposite  sex), 
called  her  good  and  great  and  de- 
scribed her  affection  for  Chopin  as 
maternal  and  nothing  more.  Mme. 
Sand  had  had  many  lovers  before 
Chopin  came  into  her  life;  Alfred  de 
Musset,  Delacroix  the  painter,  Jules 
Sandeau,  (in  conjunction  with  whom 
she  had  written  her  first  book.  Rose 
et  Blanche),  Franz  Liszt  and  others, 
nnd  on  account  of  most  of  these 
"  affairs,"  after  their  termination, 
sooner  or  later  found  their  way  into 
her  novels.  Chopin  was  destined,  if 
the  gossps  of  the  time  were  to  be 
believed,  to  go  the  way  of  all  the 
rest.     According  to  Liszt  and   Mme. 


Chopin 

Sand  herself,  the  meeting  took  place 
at  the  apartment  of  Chopin,  through 
Liszt,  who  brought  tlie  novelist  to 
call.  Chopin  is  said  to  have  disliked 
her  at  first  and  even  wrote  to  his 
parents  of  meeting  the  great  novelist 
and  of  not  being  attracted  to  her. 
Sand  was  unconventional,  eccentric  in 
dress  and  brusque  in  manner.  She 
was  fond  of  smoking  cigars  and  had 
none  of  the  social  graces,  preferring 
to  lapse  into  absolute  silence  if  not 
particularly  interested  in  the  person 
who  was  talking  to  her.  She  was 
many  years  older  than  Chopin,  a  di- 
vorced woman  with  two  children,  a 
son  and  daughter.  She  overcome  all 
of  Chopin's  prejudices,  however,  as  she 
had  those  of  others,  and  there  is  every 
reason  to  believe  that  he  grew  to  love 
her  as  he  never  loved  anyone  else. 
Shortly  after  the  meeting,  about  1837, 
Chopin  being  in  feeble  health,  visited 
the  novelist  at  her  country  home  at 
Nohant,  where  she  was  in  the  habit 
of  passing  several  months  each  year. 
Here  she  nursed  and  cared  for  him 
until  he  grew  better.  Bronchitis  hav- 
ing developed  the  following  year, 
Mme.  Sand  arranged  for  him  to  ac- 
company her  and  her  son  and  daughter 
to  the  island  of  Majorca  in  Spain  to 
pass  the  winter.  Sand  is  said  to  have 
decided  upon  the  trip,  "  Chopin  dread- 
ing to  leave  Paris,  as  every  change 
was  a  terrible  event  in  his  life."  Mme. 
Sand  gives  an  account  of  the  sojourn 
in  her  little  book,  A  Winter  in  Ma- 
jorca, which  has  been  translated  into 
English.  For  a  time  life  ran  smoothly 
enough  and  Chopin  apparently  showed 
signs  of  improvement,  but  after  the 
wet  season  had  set  in  his  health  grew 
worse,  he  suffered  from  hemorrhages, 
and  the  climate  and  the  strange  people 
fretted  him  continually.  The  natives 
drove  "  that  consumptive  person,"  as 
they  called  him,  from  the  villa,  which 
the  party  had  rented  and  they  were 
obliged  to  take  up  their  abode  in  a 
disused  Carthusian  monastery  on  the 
outskirts  of  the  town.  Here  the  dis- 
comforts were  so  many  that  life 
became  unbearable.  Chopin  made  a 
"  detestible  invalid,"  said  Sand;  but 
here  he  wrote  some  of  his  most  beau- 
tiful compositions,  among  others  the 
preludes,  which  Rubinstein  called  "  the 
very  pearls  of  Chopin's  work,"  in 
which  is  to  be  found  such  a  combina- 
tion of  sweetness  and  strength,  that 
Robert  Schumann  described  them  as 
"  canons     buried    in     flowers."      The 


BIOGRAPHIES 


141 


Chopin 

party  finally  left  the  island,  making 
short  stops  at  Barcelona  and  at 
Genoa,  and  then  returning  to  Paris. 
For  several  years  the  friendship  be- 
tween the  two  continued,  Chopin 
passing  a  part  of  every  summer  at 
Nohant  with  Mme.  Sand  and  her 
family,  and  the  winters  in  Paris  with 
her.  He  was  prosperous  and  happy, 
was  teaching  music  and  his  compo- 
sitions were  beginning  to  meet  with 
the  appreciation  that  they  deserved. 
In  1846,  the  rupture  of  the  friendship, 
which  Professor  Niecks  calls  the  catas- 
trophe of  Chopin's  life,  occurred  and 
he  was  never  the  same  afterward. 
No  one  appears  to  have  been  taken 
into  the  confidence  of  either  as  to  the 
cause,  although  many  conjectures 
were  made.  By  some,  Chopin  is  said 
to  have  displeased  Sand  by  receiving 
her  daughter  and  the  husband  she  had 
married  against  her  mother's  wishes. 
Others  declare  Sand  was  tired  of 
playing  nurse  to  an  irritable  invalid, 
and  that  she  gave  that  as  an  excuse  to 
rid  herself  of  Chopin.  Still  others  see 
in  Sand's  book,  Lucrezia  Floriani, 
published  that  year,  and  in  which  she 
is  said  to  have  caricatured  Chopin  in 
the  role  of  Prince  Karol,  the  cause  of 
the  severence  of  the  friendship.  But 
whatever  the  cause,  it  was  final.  They 
met  but  once  afterward,  and  then 
Chopin  coldly  repulsed  Sand's  at- 
tempts at  a  reconciliation.  While  the 
novelist  has  been  criticized  for  her 
heartless  treatment  of  Chopin,  all  are 
agreed  that  by  the  care  and  affection 
that  she  brought  him  at  a  time  when 
he  was  sadly  in  need  of  both,  she 
probably  prolonged  his  life  for  several 
years.  His  was  a  nature  that  was 
dependent  upon  sympathy  and  affec- 
tion, and  for  a  time  at  least  as  a 
member  of  Mme.  Sand's  household, 
he  received  both.  The  novelist  denied 
that  the  separation  had  come  about 
through  her,  and  she  likewise  denied 
that  she  had  had  the  composer  in 
mind  when  she  described  the  char- 
acter of  Prince  Karol  in  her  book. 
The  sympathies  of  mutual  friends 
were  wholly  with  the  composer,  how- 
ever, because  it  was  not  Sand's  first 
offense  at  "making  copy"  out  of  her 
love  affairs,  when  she  was  through 
with  the  victim. 

After  the  quarrel,  Chopin's  health 
grew  rapidly  worse,  and  although  he 
continued  to  give  lessons  and  appear 
occasionally  in  public,  his  friends  all 
realized  that  the  end  was  not  far  off. 


Chopin 
He  grew  more  and  more  irritable  and 
had  frequent  quarrels  with  those 
whom  he  loved  the  best^  the  most 
serious  one  of  all  with  Liszt,  which 
was  never  made  up. 

In  1847  his  last  composition  was 
published,  the  sonata  for  piano  and 
cello  in  G  minor  and  his  last  concert 
in  Paris  took  place,  when  he  played 
with  Alard  and  Franchomme,  the 
cellist,  in  1848.  In  that  year  the  revo- 
lution drove  him  along  with  others 
from  the  French  capital  and  he  went 
to  England.  The  condition  of  the 
composer's  health  was  at  this  time 
most  pitiable.  He  was  suffering  not 
only  bodily  pain,  but  was  in  the 
deepest  dejection  of  spirit.  Those  last 
days  in  London,  while  he  was  in  the 
throes  of  consumption,  were  a  torture 
to  him.  The  climate  irritated  his 
complaint  and  the  people  wearied  him 
by  their  unremitting  attentions  and 
the  hospitality  they  fairly  forced  upon 
him,  when  he  longed  only  for  rest 
and  quiet.  He  was  dragged  about  to 
receptions  and  musicales  and  asked 
to  play,  when  he  was  often  so  weak 
that  he  had  to  be  carried  into  the 
concert-room.  He  was  presented  to 
the  Queen,  appeared  at  many  of  the 
fashionable  houses  in  London,  Man- 
chester and  Edinburgh,  and  stayed 
for  a  time  at  the  castle  of  friends  in 
Scotland,  giving  concerts  in  several 
English  and  Scotch  cities.  The  last 
concert  he  ever  gave  was  in  aid  of  the 
Polish  refugees  in  London.  He  was 
in  the  last  stages  of  decline  when  he 
left  that  city  early  in  October,  1849, 
for  Paris.  He  was  now  no  longer 
able  to  teach,  and  as  he  had  never 
saved  any  money  in  his  days  of 
plenty,  was  sadly  in  need  of  funds. 
Friends  railed  to  his  aid  and  his 
"  good  Scots  ladies,"  who  had  so 
wearied  him  with  their  attentions,  saw 
to  it  that  his  last  days  were  made 
comfortable.  A  Miss  Sterling,  whose 
family  he  had  visited  in  Scotland  and 
who  was  one  of  his  pupils,  sent  him 
a  large  gift  of  money,  more  than 
enough  for  his  needs.  It  was  she 
who  bought  all  of  the  composer's  be- 
longings, including  his  piano,  at  a 
public  auction  after  his  death.  These 
were  burned  along  with  many  of  his 
letters  during  the  sacking  of  Warsaw, 
in  1863,  when  the  soldiers  made  a 
bonfire  of  the  collection. 

As  death  approached  Chopin  was 
not  alone.  His  sister  and  her  family 
had   come    from    Poland    to   be   with 


142 


BIOGRAPHIES 


Chopin 

him,  his  friend  and  pupil,  Gutmann, 
Solange,  the  daughter  of  George 
Sand,  and  the  Countess  Delphine 
Potocka,  to  whom  he  had  dedicated 
one  of  the  lovehest  of  his  waltzes, 
were  near  him  in  his  last  hours. 
George  Sand  called  to  see  him,  but 
was  denied  admission,  his  friends 
fearing  the  excitement  of  seeing  her 
might  add  to  his  distress.  As  the  end 
approached,  Chopin  received  the  sac- 
raments and,  according  to  Liszt,  the 
Countess  Potocka  sang  at  his  death- 
bed the  famous  canticle  to  the  Virgin, 
which  had  once  saved  the  life  of  Stra- 
della.  Professor  Niecks  declares  it  was 
a  psalm  by  Marcello,  while  _  Franc- 
homme  insisted  it  was  an  air  from 
one  of  Bellini's  operas,  of  which  the 
composer  was  especially  fond.  Chopin 
expired  in  the  arms  of  his  pupil,  Gut- 
mann, Oct.  17,  1849,  "dying,"  said 
Liszt  "  as  he  had  lived — loving." 

He  was  buried  from  the  Church  of 
the  Madeleine,  in  Paris,  with  pomp 
and  ceremony.  Mozart's  requiem  was 
sung  at  his  funeral  by  Lablache,  the 
famous  tenor,  and  after  his  body  had 
been  assigned  to  the  grave,  the  cup 
of  Polish  earth  which  had  been  given 
him  so  many  years  before  was 
sprinkled  upon  the  casket.  He  was 
laid  to  rest,  at  his  own  request, 
between  the  graves  of  Cherubini  and 
Bellini  at  Pere  le  Chaise.  His  heart 
was  taken  back  to  Warsaw,  where  it 
is  preserved  in  the  Church  of  the 
Holy  Cross.  His  tomb  in  Paris  is 
marked  by  a  monument,  raised  by 
popular  subscription,  and  designed  by 
George  Sand's  son-in-law,  M.  Cle- 
singer.  Chopin's  mother  and  two  of 
his  sisters  survived  him  many  years. 
The  woman  to  whom  Chopin  was  in- 
debted for  much  of  his  happiness  and 
who  was  responsible  for  a  great  deal 
of  his  misery  has  summed  up  his 
worth  as  a  composer  thus: 

"  His  genius  has  never  been  sur- 
passed in  the  depth  and  fulness  of 
sentiment  and  emotion.  He  has  made 
an  instrument  speak  the  language  of 
the  infinite.  He  preserved  an  indi- 
viduality even  more  powerful  than 
that  of  Sebastian  Bach,  more  exquisite 
than  that  of  Beethoven,  more  dramatic 
than  that  of  Weber  ...  He  com- 
bines the  three  and  is  himself.  Mozart 
alone  is  superior,  because  Mozart  had 
the  calm  of  health  and  consequently 
the  fulness  of  life." 

No  music  is  better  known  to  both 
musician  and  amateur,  than  Chopin's 


Chopin 

music,  and  yet  it  baffles  analysis.  He 
was  not  governed  by  the  ordinary 
conventions  of  harmony  and  counter- 
point and  yet  his  works  have  beauty 
and  finish,  are  fanciful,  tender,  imag- 
inative to  the  border  of  the  fantastic, 
and  abound  in  poetry  and  sentiment. 
Chopin  is  essentially  a  musician  of 
the  moderns,  and  no  compositions 
except  the  sonatas  of  Beethoven,  can 
equal  in  interest  his  etudes,  nocturnes, 
impromptus,  mazurkas  and  polonaises. 
In  his  own  sphere  of  music  he  is 
quite  as  original,  revolutionary  and 
epoch-making  as  Wagner  himself, 
although  it  is  only  in  recent  years 
that  Chopin  has  been  placed  where 
he  belongs,  in  the  front  rank  of  com- 
posers, side  by  side  with  Bach,  Bee- 
thoven and  Wagner.  He  was  a  musi- 
cian of  sound  training,  who  gave  of 
the  .best  that  was  in  him  to  the  work 
that  he  did  in  the  field  that  he  had 
chosen,  and  he  was  content  to  leave 
the  larger  forms  of  composition  to 
other  hands.  Chopin  loved  the  Polish 
melodies,  and  was  much  influenced  by 
them.  The  popular  music  of  his 
country  is  founded  on  dance  forms 
and  dance  rhythms,  as  one  writer  had 
pointed  out,  and  more  than  a  quarter 
of  Chopin's  compositions  are  made  up 
of  dance  forms.  Into  his  music  he 
often  introduced  these  national  airs, 
which  are  of  a  wild,  plaintive  char- 
acter, and  which  have  led  people  to 
describe  hs  music  as  a  mingling  of 
the  gay  and  the  sad,  the  tender  and 
the  debonair.  Chopin  revived  the  old 
Polish  dance,  the  Polonaise,  which  is 
the  court  dance  of  his  countrymen,  and 
gave  in  it  a  glowng  picture  of  Poland, 
her  past  glory  and  her  long-hoped- 
for  regeneration.  His  music  is  some- 
times morbidly  intense  and  passionate, 
full  of  pain  and  desolation,  "  with  a 
taint  of  the  tomb  about  it,"  at  other 
times  vivacious  and  gay.  In  short,  his 
whole  emotional  life  is  mirrored  in 
his  music.  He  wrote  a  good  deal  of 
his  music  in  clusters,  which  included 
nocturnes,  concert  studies,  mazurkas, 
polonaises,  waltzes,  sonatas,  ballades, 
fantasies,  Polish  songs  and  variations 
on  Polish  airs,  rondos,  trios,  scherzos, 
and  many  other  works,  all  of  which 
as  one  writer  has  expressed  it  "are 
for  stronger  hands  than  his." 

During  the  composer's  life  his  pub- 
lished works  were  sixty-eight  in  num- 
ber, four  being  without  opus  numbers. 
After  his  death,  ten  more  works  were 
added  that  had  no  opus  numbers,  in- 


BIOGRAPHIES 


143 


Chopin 
eluding  seventeen  Polish  songs,  six 
mazurkas  and  several  other  pieces, 
making  in  all  nearly  one  hundred 
compositions.  The  earliest  w^ork  of 
which  there  is  any  mention  is  the 
march,  before  referred  to,  which  he 
composed  when  he  was  ten  and  dedi- 
cated to  the  Grand  Duke  Constantine. 
The  next  was  a  rondo  for  piano, 
written  in  1825,  when  the  composer 
was  sixteen.  In  1828  was  published 
his  B  Flat  Minor  sonata,  called  by 
Liszt,  his  greatest  work,  and  in  which 
occurs  the  funeral  march  which  has 
since  become  one  of  the  most  popular 
of  his  compositions.  In  1830  appeared 
his  famous  variations  for  the  piano 
with  orchestral  accompaniment,  and 
among  his  earlier  works  were  two 
concertos  and  the  berceuse,  a  cradle 
song  of  wonderful  beauty,  called  by 
Dumas,  the  younger,  "  muted  music." 

Chopin's  nocturnes  are  more  gen- 
erally admired  than  any  of  his  works, 
and  with  them  his  name  is  indis- 
solubly  linked.  From  John  Field,  the 
inventor  of  the  form,  he  undoubtedly 
obtained  some  of  his  ideas,  but 
Chopin's  nocturnes  are  far  more  beau- 
tiful and  more  elaborate,  with  a  mys- 
terious poetic  beauty  all  their  own. 
The  polonaise  and  the  mazurka,  the 
principal  Polish  dances,  became  in  Cho- 
pin's hands,  expressions  of  the  national 
spirit  and  character  of  the  country 
which  he  loved,  and  these  two  forms 
are  the  most  characteristically  Polish 
of  any  of  his  works.  Huneker  calls 
the  mazurkas  the  dances  of  the  soul, 
and  next  to  the  nocturnes  they  are 
the  best  known  of  Chopin's  works. 
The  framework  of  the  form  the  com- 
poser appropriated  from  the  national 
dance.  The  preludes,  most  of  which 
were  written  during  the  composer's 
sojourn  on  the  island  of  Majorca, 
have  won  for  him  more  praise,  per- 
haps, than  any  of  his  works,  and  all 
musicians  are  of  the  one  opinion,  that 
had  Chopin  written  nothing  else  he 
still  would  have  been  entitled  to  rank 
as  a  genius.  To  the  waltz,  which  had 
been  raised  from  the  level  of  a  com- 
mon dance  tune  by  Weber  and  Schu- 
bert, Chopin  gave  the  dignity  of  an 
art-form,  and  in  all  his  works  the  com- 
poser kept  away  from  the  ordinary 
and  the  hackneyed,  giving  forth  com- 
positions only  of  beauty,  originality, 
grace  and  nobility,  expressions  of  his 
inner  life. 

As  a  pianist  Chopin  was  noted  for 
an   exquisite   grace,   a    delicate   touch 


Chopin 
and  a  wonderful  depth  of  sentiment 
and  expression.  He  had  no  fiery 
brilliancy  or  powerfulness  of  touch, 
because  his  physical  condition  de- 
barred him  from  every  bodily  exer- 
tion. He  was  never  a  virtuoso  in  the 
ordinary  sense,  and  was  seriously 
restricted  always  by  a  lack  of 
strength,  yet  at  times  he  electrified  his 
hearers  by  the  volume  of  sound  his 
feeble  fingers  could  evoke  from  the 
instrument.  He  was  a  student  of 
Bach  and  when  practicing  for  his 
recitals,  he  played,  said  his  friends, 
not  Chopin,  but  Bach  over  and  over 
and  over  again. 

He  never  played  his  compositions 
twice  alike  and  his  execution  was  said 
to  be  the  despair  and  the  delight  of 
his  hearers.  His  playing  was  dis- 
tinguished by  many  embellishments 
and  refinements,  and  he  discarded  the 
rigidity  of  the  hand  in  favor  of  abso- 
lute elasticity. 

Chopin  had  several  pupils,  but  none 
of  them  ever  attained  to  any  great 
degree  of  prominence  as  performers. 
The  career  of  Filtsch,  the  brightest 
and  most  promising  of  all,  was  cut 
short  by  death,  when  he  was  thirteen. 
Of  him,  Liszt  once  remarked  that 
when  Filtsch  made  his  debut  he  would 
retire,  because  he  could  never  com- 
pete with  the  lad.  Chopin's  other 
pupils  were  Gutmann,  Lysberg, 
Mikuli,  Telefsen,  George  Mathias, 
and  Princess  Radziwill,  who  became 
under  his  instruction,  an  expert 
pianist,  and  often  appeared  in  recitals 
with  Liszt  and  other  musicians.  His 
English  pupils  were  Lindsey  Sloper 
and  Brinley  Richards.  Chopin  started 
a  method  for  the  piano,  but  he  never 
lived  to  finish  it. 

Chopin  has  been  compared  by  some 
writers  to  Heine,  the  German  poet. 
James  Huneker  compares  him  with 
Edgar  Allen  Poe,  because  "  both  were 
morbid,  neurotic  wraiths  of  genius," 
who  were  "  foredoomed  to  unhappi- 
ness  and  supped  their  fill  of  misery." 
Henry  F.  Chorley  described  him  as 
"  pale,  thin  and  profoundly  melan- 
choly" in  appearance  and  said  his 
touch  had  in  it  all  the  delicacy  of  a 
woman's.  According  to  Nieck's  biog- 
raphy, Chopin  was  slender  of  build, 
not  above  medium  height,  with  deli- 
cately formed  hands,  long  silky  hair, 
intelligent  brown  eyes,  and  a  curved 
aquiline  nose,  while  the  melancholy 
aspect  of  his  face  was  often  relieved 
by  a  sweet  and  gracious  smile.     He 


144 


BIOGRAPHIES 


Chopin 


Choron 


was  a  man  of  refined  sensibilities  and 
detested  vulgarity  in  every  form.  He 
liked  fine  clothes,  was  immaculate 
about  his  personal  appearance,  was 
fond  of  flowers  and  loved  to  have  his 
apartments  dainty  and  furnished  in  a 
tasteful  and  artistic  manner.  He  was 
devotedly  attached  to  his  family,  was 
an  ardent  patriot  always,  and  while 
he  loved  Paris  and  his  friends  there, 
Poland  and  her  wrongs  were  never 
long  out  of  his  mind.  He  worked 
hard  at  his  compositions,  laboring 
long  and  painstaking  over  them 
and  literally  burning  away  his  slight 
frame  for  his  art.  He  was  good 
hearted  and  liberal  and  was  always 
assisting  his  needy  countrymen,  mak- 
ing many  gifts  to  his  friends  and  often 
giving  lessons  free.  Poetic  distinc- 
tion, exquisite  refinement  and  a  noble 
bearing  are  the  characteristics  appar- 
ent in  all  the  portraits  of  Chopin. 
Charles  K.  Salaman  in  speaking  of 
the  composer  as  "  great  and  lovable 
in  disposition,  an  inspired  composer 
and  an  enchanting  pianist,"  only 
echoed  what  was  said  by  all  who  knew 
him,  for  his  great  genius  was  equaled 
only  by  his  lovable,  unselfish  dispo- 
sition, his  remarkable  modesty  of 
speech  and  bearing,  and  his  gentle 
and  gracious  manner. 

BIBLIOGRAPHY. 

Hadden,  J.  C.  —  Chopin. 

Hadow,  W.   H.  —  Studies  in  Modem 

Music.      Second    Ser.     (Article    on 

Chopin.) 
Huneker,  James  —  Chopin;  The  Man 

and  his  Music. 

Mezzotints  in  Modern  Music   (The 
Greater  Chopin). 
Karasowski,    Moritz  —  Frederic    Cho- 
pin;  His  Life,  Letters  and  Works. 

2  vols. 
Liszt,  Franz  —  Life  of  Chopin. 
Niecks,    Frederick — Frederic    Chopin 

as  a  Man  and  Musician.    2  vols. 
Oldmeadow,  E.  J.  —  Chopin. 

Chorley,    Henry    Fothergill.     18  0  8- 

1872. 

Born  at  Blackley  Hurst,  Lancashire, 
England.  He  was  intended  by  his 
parents  for  a  mercantile  career,  but 
throughout  a  long  life  was  success- 
fully a  dramatist,  translator,  art  critic, 
novelist  and  journalist  and  wrote 
much  that  is  authoritative  and  valua- 
ble on  music  and  its  history.  From 
1833  to  1871  he  was  the  musical  critic 
of  the   London    Athenaeum,    was  al- 


ways a  great  traveler  and  intimate 
with  most  of  the  musical  celebrities 
of  his  day.  He  was  distinguished  for 
being  absolutely  honest  in  his  criti- 
cisms. He  was  opposed  strenuously 
to  recent  and  "  advanced  "  composers 
and  to  the  day  of  his  death  could  see 
no  merit  or  beauty  in  the  works  of 
Schumann.  In  the  letters  of  Mendels- 
sohn he  is  mentioned  in  terms  of 
admiration  more  than  once,  and  he 
won  the  esteem  and  affection  of  many 
othermen  and  women  in  literary  and 
artistic  circles.  Among  his  most 
celebrated  works  are  National  Music 
of  the  World,  Modern  German  Music, 
Handel  Studies,  and  others.  He  also 
translated  several  opefas,  notably 
Gounod's  Faust,  Herold's  Zampa,  and 
Mendelssohn's  Son  and  Stranger.  A 
many-sided  man,  who  did  too  many 
things  well  to  attain  any  great  fame 
in  one  particular  field;  his  musical 
writings    have   great   literary  value. 

Choron  (sho-ron),  Alexander,  fitienne. 
1772-1834. 

Born  at  Caen,  France.  He  was  the 
founder  of  a  famous  school  of  music 
in  Paris  which  was  supported  by  the 
government  from  1824  to  1830,  was  a 
composer  of  ability  and  exerted  a 
good  influence  on  the  music  of  his 
country.  He  was  a  scholar  before 
taking  up  music  and  received  instruc- 
tion from  Roze,  Bonesi,  and  other 
Italian  professors.  He  became,  in 
1805,  a  music  publisher  and  pubhshed 
the  works  of  famous  Italian  and  Ger- 
man masters  and  also  a  work  of  his 
own,  at  great  expense,  which  con- 
tained among  other  things  a  new 
system  of  harmony  of  his  own.  He 
also  published  a  Dictionary  of  Musi- 
cians, in  Paris  in  1810.  Was  ap- 
pointed director  of  the  Academic 
royale  de  musique  in  1816.  His  sub- 
sidy was  so  reduced  by  the  Revolu- 
tion of  1830,  that  he  could  not  carry 
out  his  plans  and  his  premature  death 
is  ascribed  by  Grove  to  disappoint- 
ment and  the  difficulties  encountered 
after  the  death  of  Charles  X.  Among 
his  compositions  are  a  mass  for  three 
voices;  Stabet  Mater  for  three  voices; 
hymns,  psalms,  and  vocal  pieces  for 
church;  and  his  song  La  Sentinelle 
is  still  popular  and  often  introduced 
in  French  plays.  He  also  left  nu- 
merous translations,  treatises  on 
music,  besides  his  manuels  and  ency- 
clopedias and  essays. 


BIOGRAPHIES 


145 


Chrysander 
Chry Sander    (kre-zant-er),    Friedrich. 

1826-1901. 

Eminent  German  writer  on  music, 
who  devoted  his  life  to  the  study  of 
Handel,  edited  the  complete  works  of 
that  master  and  wrote  a  memorable 
biography  of  the  great  composer.  He 
was  born  at  Liibthee,  Mecklemburg, 
Germany,  studied  philosophy  at  the 
University  of  Rostock  and  after  a 
long  period  spent  in  England  settled 
at  Bergedorf,  near  Hamburg.  His 
zealous  study  of  the  life  and  works 
of  Handel  was  carried  on  at  the  cost 
of  infinite  labor.  The  biography  is  a 
monument  to  the  author's  exhaustive 
research  and  exactitude.  On  the 
critical  side  the  work  is  not  so  highly 
valued,  the  biographer  carried  away 
by  enthusiasm  for  his  subject,  show- 
ing prejudice  for  masters  of  the  mod- 
ern school  and  underrating  those  pre- 
ceding Handel.  From  1865  to  1871, 
and  from  1875  to  1882,  Dr.  Chrysander 
was  editor  of  the  Allgemeine  Musi- 
kalische  Zeitung  of  Leipsic.  Of  his 
other  work  mention  should  be  made 
of  the  two  treatises,  tjber  die  Moll- 
tonart  in  Volksgesangen  and  t)ber 
das  Oratorium;  and  excellent  editions 
of  Bach's  Klavierwerke.  He  also  pub- 
lished a  collection  called  Denkmaler 
der  Tonkunst.  Of  Dr.  Chrysander's 
service  as  editor  of  the  complete 
works  of  Bach,  Grove  says:  "His 
laborious  collations  of  the  original 
manuscripts  and  editions,  his  aston- 
ishing familiarity  with  the  most  mi- 
nute details,  and  his  indefatigable 
industry,  combine  to  make  this  edi- 
tion of  the  highest  importance,  at 
once  worthy  of  the  genius  of  Handel 
and  honorable  to  the  author." 

Cimarosa   (che-ma-ro'-sa),  Domenico. 

1749-1801. 

One  of  the  most  celebrated  of 
Italian  composers.  He  was  born  at 
Aversa,  near  Naples,  was  a  son  of 
parents  in  humble  circumstances  and 
orphaned  at  an  early  age.  He  re- 
ceived his  first  musical  instruction 
from  Polcano,  the  organist  of  the 
monastery  where  he  was  a  charity 
pupil.  His  talent  early  manifested 
itself  and,  in  1761,  he  obtained  a  free 
scholarship  in  the  Conservatory  of 
Naples,  which  school  he  attended 
eleven  years,  acquiring  a  thorough 
knowledge  of  the  Italian  masters.  In 
1772  he  produced  his  first  opera  in 
Naples  and  it  immediately  gave  him 
an  important  place   among  the  com- 


Claassen 

posers.  For  eight  years  he  lived 
alternately  at  Rome  and  Naples,  com- 
posing in  that  time  about  twenty 
operas,  which  were  performed  in  vari- 
ous cities  in  Italy.  Cimarosa  was  in- 
vited by  Catherine  II.  of  Russia  to  St. 
Petersburg,  as  chamber  composer, 
where  he  made  great  progress  in  his 
musical  studies.  The  rigors  of  the 
Russian  climate,  however,  forced  him 
to  leave  the  court  of  the  Empress,  and 
some  years  later  at  the  invitation  of 
Leopold  II.  he  succeeded  Salieri  as 
court  chapelmaster  at  Vienna.  It 
was  here  that  he  composed  his  most 
celebrated  work,  II  Matrimonio 
Segreto,  which  is  the  only  work  by 
which  he  is  known  at  present.  In 
1793,  after  the  death  of  Leopold,  he 
returned  to  Naples,  where  he  was 
appointed  chapelmaster  to  the  King 
and  teacher  to  the  Princesses.  Here 
he  was  received  with  every  kindness, 
but  his  last  days  were  anything  but 
tranquil.  Because  of  taking  part 
openly  in  the  Neopolitan  revolution- 
ary demonstration,  on  the  entrance  of 
the  French  army  into  the  city  he 
was  imprisoned  and  sentenced  to 
death,  but  King  Ferdinand  was  pre- 
vailed upon  to  commute  it  to  banish- 
ment. Cimarosa  set  out  for  St. 
Petersburg,  but  before  he  could  reach 
his  destination  he  died  at  Venice.  At 
the  time  of  his  death  he  was  at  work 
on  an  opera,  Artemesia.  Opera  seems 
to  have  been  his  forte,  although  he 
wrote  other  music.  In  twenty-nine 
years  he  wrote  eighty  operas,  and 
excelled  in  representing  a  merry 
vivacity  which  distinguishes  the  gen- 
uine Italian  opera  bufifa.  Beside  his 
operas,  he  composed  oratorios,  can- 
tatas, psalms,  motets,  and  much 
church  music,  principally  masses, 
which  were  much  admired  and  often 
sung.  A  bust  of  Cimarosa  by  Canova 
was  placed  in  the  Pantheon  at  Rome. 

*  Claassen   (klas-sen),  Arthur.     1859- 

He  stands  pre-eminent  in  the  United 
States  among  conductors  of  male- 
chorus  singing  societies,  being  at 
present  the  conductor  of  the  Arion 
Singing  Society  of  Brooklyn,  N.  Y. 
He  was  born  at  Stargard,  Prussia, 
and  studied  at  Weimar  under  Miiller- 
Hartung  and  other  well-known 
teachers.  He  came  to  America  upon 
the  recommendation  of  Dr.  Leopold 
Damrosch  in  1884,  to  become  con- 
ductor of  the  Eichenkranz  Society, 
holding    this   post    for    a    number    of 


146 


BIOGRAPHIES 


Claassen 
years.  In  1890  he  was  made  con- 
ductor of  the  Arion  Singing  Society 
of  Brooklyn,  one  of  the  leading  or- 
ganizations of  its  kind  in  this  country. 
Claassen  also  became  conductor  of 
the  Liederkranz  Society  of  New  York, 
as  successor  to  Heinrich  Zoellner,  and 
he  has  also  acted  as  conductor  at 
various  theatres  in  Germany  The 
Arion  Society  under  Mr.  Claassen 
won  first  prize  at  the  Newark,  New 
York,  and  Baltimore  Saengerfests 
and  at  the  World's  Fairs  at  Chicago 
and  at  St.  Louis.  It  is  to  tour  Ger- 
many the  summer  of  1908.  Mr. 
Claassen  has  also  been  festival  con- 
ductor, in  addition  to  his  other 
duties,  of  the  New  York,  Brooklyn 
and  Philadelphia  Saengerfests.  His 
compositions  attracted  the  attention 
of  Liszt  while  Claassen  was  a  stu- 
dent at  Weimar  and  the  great  master 
gave  him  every  encouragement.  He 
has  written  much  for  the  male- 
chorus;  made  many  beautiful  adapta- 
tions; composed  a  number  of  sym- 
phonic poems  for  orchestra;  a  mass 
and  many  songs  and  piano  pieces. 
Under  his  baton  have  been  given  such 
important  works  as  Wagner's  Love- 
feast  of  the  Apostles;  music  to 
Mendelssohn's  Midsummer  Night's 
Dream;  CEdipus  in  Colonos;  Antigone; 
and  Bruch's  Frithjof,  also  a  number 
of  noted  German  operas.  Mr.  Claas- 
sen was  accorded  a  special  audience 
with  the  Emperor  of  Germany,  in 
1900,  in  recognition  of  his  services  on 
behalf  of  the  German  Maennergesang 
in  America.  He  is  an  honorary  mem- 
ber of  many  of  the  societies  of  Ger- 
many and  other  cities  in  Europe  as 
well  as  being  highly  regarded  as  a 
conductor  in  the  United  States. 

♦Clark,  Charles  W.     1865- 

Contemporary  American  singer,  who 
has  won  distinction  in  oratorio  and 
concert  fields.  He  was  born  at  Van 
Wert,  Ohio.  In  1887  he  studied  in 
Chicago  under  Mr.  Frederick  Root, 
and  afterward  made  extended  tours 
throughout  the  United  States,  sing- 
ing in  concert  and  oratorio.  Annual 
visits  abroad  were  indulged  in  during 
this  period,  some  instruction  being 
received  of  George  Henschel  in  Lon- 
don and  Gura  in  Munich.  He  made 
his  first  public  appearance  in  London, 
with  the  London  Philharmonic  So- 
ciety, in  1897.  He  has  toured  several 
seasons  in  Italy,  France,  Germany 
and  England,  the  latter  country  hav- 


Clarke 

ing  proven  his  broadest  field.  Under 
Richter,  he  sings  frequently  in  Wag- 
nerian roles  In  1902  he  took  up  his 
residence  in  Paris,  and  in  1903  ap- 
peared at  the  Paris  Conservatory 
concerts  —  the  first  American  soloist 
in  the  seventy  years'  history  of  these 
concerts.  Since  his  first  appearance, 
he  has  sung  at  the  Conservatory  con- 
certs each  succeeding  season,  in  Paris 
appearing  also  with  the  Philharmonic 
Society  and  the  Cologne  Orchestra. 
He  returned  to  America  for  the  sea- 
sons of  1905-1906  and  1907-1908.  Mr. 
Clark  possesses  a  barytone  voice  of 
wide  range,  his  work  is  individual, 
and  the  enviable  success  met  with 
abroad  has  been  won  by  unaided 
effort.  He  is  also  very  successful  as 
a  teacher. 

Clark,  Rev.  Frederick  Scotson.    1840- 
1883. 

Born  in  London  and  received  his 
earliest  musical  education  from  his 
mother,  who  had  been  a  pupil  of 
Chopin.  He  studied  piano  and  har- 
mony under  Sargant,  the  organist  at 
Notre  Dame,  in  Paris,  was  the 
founder  of  the  London  Organ  School 
and,  in  1878  was  the  representative 
English  organist  at  the  Paris  Expo- 
sition. He  composed  numerous  pieces 
for  the  organ,  many  sacred  songs  and 
is  the  author  as  well  of  many  works 
for  the  piano.  He  works  have  al- 
ways enjoyed  a  wide  popularity. 

Clarke,    Hugh    Archibald.      1839- 

He  was  born  of  Scottish  parents  in 
Toronto,  Canada,  but  having  lived 
most  of  his  life  in  Philadelphia,  he 
is  generally  classed  with  American 
composers.  He  gained  great  fame  as 
a  teacher  and  was  considered  one  of 
the  most  learned  harmonists  in 
America.  He  studied  the  organ  with 
his  father,  J.  C.  Clarke,  who  was  a 
graduate  of  the  Oxford  Musical 
School  and  a  professor  in  the  Upper 
Canada  University.  In  1859,  young 
Clarke  went  to  Philadelphia,  where 
he  taught  and  composed  and  where 
for  fifteen  years  he  held  the  position 
of  professor  of  the  theory  of  music 
in  the  University  of  Pennsylvania, 
from  which,  in  1886,  he  received  the 
degree  of  Doctor  of  Music.  While 
there  he  taught  a  number  of  pupils 
who  became  eminent,  among  them 
William  W.  Gilchrist.  For  several 
years  Dr.  Clarke  was  the  leader  of 
the    Abt     Male     Singing     Society    of 


BIOGRAPHIES 


147 


Clarke 

Philadelphia,  which  was  disbanded  in 
1876.  He  has  written  the  overture 
and  choruses  to  Aristophenes'  Achar- 
inaus,  produced,  in  1886,  by  students 
of  the  University  of  Pennsylvania, 
one  of  the  few  times  when  a  revival 
of  Greek  comedy  was  attempted  in 
this  country.  Dr.  Clarke  received 
praise  not  only  from  musicians  for 
this  work,  but  from  Greek  scholars,  as 
well,  for  the  perfect  adaptation  of  the 
music  to  the  metres  of  Aristophenes. 
His  oratorio,  Jerusalem,  was  given  in 
Philadelphia  by  the  Philadelphia 
Chorus,  under  the  leadership  of  Dr. 
Gilchrist,  in  1891,  with  great  success. 
He  also  wrote  much  music  for  the 
piano  and  many  songs.  In  manuscript 
are  several  cantatas,  with  orchestral 
accompaniments;  choruses  for  male 
voices;  and  two  sonatas  for  piano  and 
violin;  also  some  church  music.  Dr. 
Clarke  is  the  author  of  a  treatise  on 
harmony  and  instruction  books  for 
piano  and  organ,  and  has  also  trans- 
lated German  poetry  into  English 
verse,  including  a  rendering  into 
blank  verse  of  the  well-known  Ger- 
man drama,  Harold,  by  Ernst  von 
Wildenbruch.  He  has  also  lectured 
in  the  University  Extension  courses 
on  the  art  of  music. 

Clarke,  James  Hamilton  Smee.    1840- 

He  was  born  in  Birmingham,  Eng- 
land. Is  a  dramatic  composer,  chiefly 
self-taught.  Has  been  organist  suc- 
cessively at  Birmingham,  Dublin,  Bel- 
fast, Oxford,  London  and  other  cities. 
Traveled  as  conductor  of  the  Car- 
lotta  Patti  concert  troupe,  in  1873, 
and  with  a  company  performing  The 
Sorcerer.  In  1878,  was  leader  of  the 
Opera  Cimique  in  London  and  musi- 
cal director  of  the  Lyceum  Theatre. 
Among  his  works  are  overtures  to 
Hamlet,  Rob  Roy,  Lady  of  Lyons, 
and  Corsican  Brothers;  several  oper- 
ettas; a  sacred  cantata;  symphonies; 
concertos;  organ  music;  part-songs 
and  much  sacred  music.  While  di- 
rector of  the  Lyceum,  he  wrote  over- 
tures and  incidental  music,  foi  several 
plays  revived  by  Sir  Henry  Irving, 
among  them  The  Iron  Chest;  over- 
ture and  masque  music  for  the 
Merchant  of  Venice;  and  overture, 
and  masque  music,  choruses,  march 
dirge  and  incidental  music  for  The 
Cup,  a  tragedy  by  Tennyson;  and 
produced  by  Irving  at  the  Lyceum 
in   1881. 


Clay 
Clarke,  Jeremiah.    1670-1707. 

A  composer  and  organist,  who  was 
born  in  London  and  studied  under 
Blow  as  a  chorister  in  the  Chapel 
Royal.  From  1692  to  1695  he  was 
organist  at  Winchester  College,  and 
was  organist  and  vicar-choral  of  St. 
Paul's,  also  joint  organist  of  the 
Chapel  Royal  with  Croft,  in  1704.  He 
committed  suicide  by  shooting  him- 
self in  St.  Paul's  churchyard,  Lon- 
don. Clarke  is  best  remembered  for 
a  few  of  his  anthems  and  the  psalm 
tune  St.  Magnus.  His  dramatic  music 
has  been  almost  entirely  forgotten 
and  none  of  his  secular  music  is 
heard  now.  He  wrote  the  music  to 
several  plays,  a  cantata.  The  Assump- 
tion; and  ten  songs,  and  is  the  author 
of  a  text  book,  Lessons  on  the 
Harpsichord. 

Clay,  Frederick.     1840-1889. 

A  musician  of  refined  and  un- 
doubted talent,  who  was  born  of  Eng- 
lish parents  in  Paris.  His  father  was 
James  Clay,  a  member  of  parliament 
for  Hull  and  a  famous  whist  player 
and  author  of  a  treatise  on  the  game. 
Young  Clay  pursued  his  studies  under 
Molique  at  Paris  and  later  under 
Hauptmann  at  Leipsic.  Later  he  held 
a  post  in  the  treasury  department  for 
a  short  time  and  also  resided  in  Lon- 
don as  a  teacher  and  composer.  As 
early  as  1862  he  had  written  a  light 
musical  work  for  the  stage,  entitled 
Love  in  a  Cottage,  which  was  re- 
ceived with  marked  favor.  It  was 
followed  by  a  number  of  others, 
among  them,  Ages  Ago  and  Happy 
Arcadia,  with  the  libretto  by  William 
S.  Gilbert,  later  the  collaborator  with 
Sir  Arthur  Sullivan  in  the  Gilbert  and 
Sullivan  operettas.  Clay  wrote  al- 
most exclusively  for  the  stage  and 
among  his  works  are  fourteen  operas 
and  operettas;  the  cantatas,  Knights 
of  the  Cross  and  Lalla  Rookh,  in 
which  appeared  his  best  known  com- 
position, I'll  Sing  Thee  Songs  of 
Araby,  and  which  was  produced,  with 
great  success,  at  the  Brighton  Festi- 
val in  1877.  Among  his  operas  are 
The  Merry  Duchess,  produced  at  the 
Royalty  Theatre,  in  1883,  and  The 
Golden  Ring,  brought  out  at  the  Al- 
hambra  Theatre  in  the  same  city  the 
same  year.  In  his  later  years.  Clay 
built  on  the  Sullivan  models.  He  it 
was  who  introduced  Gilbert  and  Sulli- 
van, and  of  him  the  latter  said:  "  Clay 


148 


BIOGRAPHIES 


Clay 


shows  a  natural  gift  of  graceful 
melody  and  a  feeling  for  rich,  har- 
monic coloring."  He  wrote  many 
songs;  and  part-songs;  and  the  music 
to  Shakespeare's  Twelfth  Night. 
Among  his  best  known  songs  are  She 
Wandered  Down  the  Mountain  Side; 
The  Sands  o'  Dee;  and  Long  Ago. 
Clement,  Franz.     1780-1842. 

A  great  violin-player  and  composer, 
who  was  born  in  Vienna,  and  who 
studied  music  under  his  father  and 
Kurzweil.  It  is  said  he  began  to  play 
the  violin  at  the  age  of  four  years  and 
his  debut  was  made  in  1789,  when  he 
was  nine  years  old,  at  a  concert  in 
the  Imperial  Opera  House,  Vienna. 
He  traveled  through  Europe,  in  con- 
cert and  appeared  with  success,  in 
1790,  in  London,  where  some  of  his 
concerts  were  conducted  by  Haydn 
and  Salomon.  He  was  solo  violinist 
to  the  Emperor  of  Austria,  in  1802, 
and  was  conductor  of  a  theatre  in 
Vienna  from  1802  until  1811.  The 
following  year  he  began  a  series  of 
concert  tours  through  Germany  and 
Russia  and,  from  1821,  was  on  tour 
as  conductor  with  Catalani,  the 
famous  singer.  Clement  wrote  violin 
concertos  and  an  opera,  besides  sev- 
eral minor  pieces  for  violin.  He  was 
considered  a  violinist  of  great  refine- 
ment and  held  a  high  position  on  the 
continent  as  a  performer.  For  him 
Beethoven  wrote  his  great  violin  con- 
certo, which  is  preserved  in  the  Im- 
perial Library  at  Vienna,  and  Clement 
was  the  first  to  play  it  in  public.  He 
published  twenty-five  concertinos,  six 
concertos,  and  twelve  studies  for  the 
violin;  three  overtures  for  orchestra; 
an  opera  and  the  music  for  a  melo- 
drama, besides  numerous  smaller 
pieces.  His  music  is  never  heard 
today. 
Clementi  (kla-men'-te),  Muzio.    1752- 

1832. 

He  was  the  first  of  the  great  vir- 
tuosos, who  were  considered  dis- 
tinctively composers  for  the  players 
on  the  piano  and  he  has  been  called, 
"  the  Columbus,"  in  the  domain  of 
piano-playing  and  composition  and 
was  the  father  of  the  school  of  mod- 
ern piano  technique.  Has  likewise 
been  called,  "  the  father  of  the 
sonata."  Born  at  Rome,  He  was  the 
son  of  a  silversmith  and  early  showed 
a  taste  for  music,  which  highly 
pleased  his  father,  who  was  himself 
an    amateur    musician     of     no     mean 


Clementi 

ability.  His  father  induced  Buroni, 
the  choirmaster  of  a  Roman  church, 
to  instruct  his  son  in  music,  and  he 
taught  the  boy  singing  and  thorough- 
bass. In  1759,  Buroni  procured  les- 
sons for  him  from  the  organist  Cor- 
dicelli  and  at  this  time  he  was  being 
instructed  in  counterpoint  by  Carpain 
and  in  singing  by  Santarelli.  At  the 
age  of  nine  the  boy  applied  for  and 
obtained  the  position  of  organist  in 
a  church.  At  fourteen  he  had  com- 
posed several  works,  among  them  a 
mass  for  four  voices  and  chorus, 
which  was  publicly  performed  and 
attracted  much  notice.  The  turning- 
point  in  his  career  came,  in  1767, 
when  an  English  gentleman  of  means, 
Peter  Beckford,  induced  dementi's 
father  to  allow  him  to  take  charge  of 
the  boy's  education.  At  the  country 
home  of  Beckford  in  Dorsetshire,  he 
studied  not  only  music  but  the  lan- 
guages and  literature  as  well  and  soon 
became  an  adept  at  musical  composi- 
tion and  so  distinguished  himself  for 
his  other  accomplishments  that,  when 
he  made  his  appearance  in  London, 
he  was  made  much  of  by  the  most 
eminent  men  and  women  in  social  and 
artistic  circles.  About  1773  he  ob- 
tained the  position  of  conductor  of 
the  Italian  Opera,  which  he  filled  for 
three  or  four  years.  He  also  visited 
Strasburg,  Munich  and  Vienna,  where 
he  met  Haydn  and  Mozart,  and  his 
association  with  these  musicians  was 
of  the  greatest  benefit  to  him.  He 
took  part  with  Mozart  in  a  competi- 
tion of  playing  and  improvising, 
which  was  instituted  by  the  Emperor 
Joseph  II.,  and  on  this  occasion 
played  his  sonata  in  B  flat,  the  open- 
ing of  the  first  movement  of  which 
is  said  to  have  been  made  use  of  later 
by  Mozart  in  The  Magic  Flute. 
Clementi  greatly  admired  the  com- 
poser, but  Mozart  was  not  so  gen- 
erous and  often  spoke  slightingly  of 
Clementi  and  his  work.  From  1782 
until  1802,  except  for  his  concert  tours, 
Clementi  spent  all  of  his  time  in  Eng- 
land as  conductor,  virtuoso  and 
teacher.  Meyerbeer  was  his  pupil  at  one 
time^  and  he  was  also  the  instructor 
of  John  B.  Cramer  and  John  Field, 
who  soon  took  rank  among  the  first 
pianists  in  Europe.  During  dementi's 
tour  of  France  he  was  cordially  re- 
ceived by  Marie  Antoinette  and  the 
court  and  there  made  the  acquaint- 
ance of  Gluck,  who  admired  him 
greatly.     He  also  met  Viotti.     After 


BIOGRAPHIES 


149 


Clementi 

returning  to  England,  he  became  a 
member  of  a  firm  of  piano  makers, 
which  for  many  years  bore  his  name 
and  is  now  known  as  Collard's,  and 
ultimately,  in  spite  of  losses  by  fire, 
he  made  a  large  fortune.  He  spent  a 
great  deal  of  time  and  money  on  im- 
proving the  piano,  and  after  his  for- 
tune was  made,  spent  all  his  leisure 
moments  composing.  He  wrote  sym- 
phonies for  the  Philharmonic  Society; 
many  piano  pieces;  and  completed  a 
series  of  one  hundred  studies  entitled 
Gradus  ad  Parnassum,  upon  which  to 
this  day  the  art  of  solid  piano-play- 
ing rests.  He  likewise  left  upward  of 
one  hundred  sonatas,  fugues,  varia- 
tions and  waltzes.  His  works  are 
declared  by  musicians  to  be  indis- 
pensable to  pianists  and  must  always 
remain  so,  although  they  are  noted 
more  for  their  technical  excellence 
than  for  their  musical  feeling.  Bee- 
thoven is  declared  to  have  been 
deeply  indebted  to  Clementi  and  to 
have  esteemed  his  works  as  highly 
conducive  to  good  piano-playing. 
Clementi  was  married  three  times. 
He  lived  to  be  eighty  and  was  hon- 
ored at  his  death  by  a  public  funeral, 
when  his  remains  were  placed  in 
Westminster   Abbey. 

Cliffe,  Frederick.     1857- 

Pianist  and  composer,  who  was 
born  at  Low  Moor,  Yorkshire,  Eng- 
land, and  as  a  child  gained  a  local 
reputation  as  a  pianist  and  organist. 
At  eleven,  he  was  organist  at  the 
Wyke  Parish  Church,  and  at  sixteen 
appeared  as  organist  to  the  Bradford 
Festival  Choral  Society.  About  this 
time  he  also  began  to  attract  atten- 
tion by  his  voice.  In  1876  he  was 
elected  to  a  scholarship  in  the  Na- 
tional Training  School  for  Musicians, 
and  after  graduating  became  pianist 
and  accompanist  on  various  concert 
tours.  He  played  at  the  Promenade 
concerts  at  Covent  Garden,  in  1882, 
and  when  the  Royal  College  of  Music 
was  opened  the  next  year  he  re- 
ceived the  appointment  of  professor 
of  piano  at  that  institution.  He  was 
organist  to  the  Bach  choir  from  1888 
until  1894  and  of  the  Italian  Opera  at 
Drury  Lane,  Her  Majesty's  and 
Covent  Garden  about  the  same  time. 
After  about  twenty  years'  service  in 
various  capacities  he  retired  in  1889. 
Cliffe  came  into  notice  as  a  composer 
with  a  symphony  in  C  minor  pro- 
duced at  Crystal  Palace  in  1889,  and 


Coeme 

the  next  year  composed  an  orches- 
tral picture,  entitled  Clouds  and  Sun- 
shine, which  was  produced  by  the 
Philharmonic  Society  and  attracted 
considerable  notice.  The  Triumph  of 
Alcestis,  a  scena  for  contralto  and 
orchestra  written  for  the  Norwich 
Festival,  was  also  an  ambitious  com- 
position. For  the  Leeds  Festival,  of 
1892,  he  wrote  a  second  symphony, 
A  Summer  Night,  and  a  violin  con- 
certo for  the  Norwich  Festival  of  1896, 
His  compositions  have  won  him  the 
praise  and  esteem  of  musicians  be- 
cause of  their  general  excellence.  He 
was  appointed  examiner  for  the  Asso- 
ciation Board  of  the  Royal  Academy 
of  Music  and  the  Royal  College  of 
Music,  London,  and  for  them  toured 
Australia  in  1898  and  in  1900.  In 
1903   he  visited   South   Africa. 

Coerne     (ker'-ne),     Louis     Adolphe. 
1870- 

A  noted  American  composer,  organ- 
ist and  conductor,  who  was  born  in 
Newark,  N.  J.,  and  studied  from  his 
sixth  until  his  tenth  year  at  Stuttgart 
and  Paris.  Returning  to  America,  he 
devoted  himself  to  the  study  of  music 
under  American  teachers,  and  after 
entering  Harvard  was  a  pupil  in 
harmony  and  composition  of  John 
Knowles  Paine.  He  studied  the  vio- 
lin under  Kneisel,  in  1890,  and  shortly 
after  went  to  Munich,  where  he  de- 
voted his  time  to  the  organ  and  com- 
position at  the  Royal  Academy  under 
Rheinberger,  and  the  violin  under 
Hieber.  He  acted  as  organist  at  Bos- 
ton, in  1893,  and  a  year  later  went  to 
Buffalo,  where  he  directed  the  Lied- 
ertafel.  While  at  college  he  com- 
posed and  produced  a  concerto  for 
the  violin  and  cello,  with  string 
orchestra  accompaniment;  a  fantasy 
for  full  orchestra  and  a  number  of 
anthems,  which  were  performed  in  the 
Unversity  chapel.  While  in  Germany 
he  wrote  and  produced  a  string  suite; 
a  ballet,  Evadne;  and  choral  works 
and  concertos.  His  symphonic  poem 
on  Longfellow's  Hiawatha  was  also 
produced  there  with  great  success 
under  his  direction  and  was  later 
given  by  the  Boston  Symphony 
Orchestra.  He  was  invited  by  the 
late  Theodore  Thomas  to  give  re- 
citals at  Festival  Hall,  at  the  World's 
Fair,  Chicago.  Among  other  works 
from  his  pen  beside  these  mentioned 
are  organ  pieces,  waltzes  and  dance 
music. 


150 


BIOGRAPHIES 


Coleridge-Taylor 
Coleridge-Taylor,  Samuel.     1875- 

An  original  figure  in  music.  He 
was  born  in  London,  and  is  a  mu- 
latto, his  mother  having  been  an  Eng- 
lish woman  and  his  father  a  full- 
blooded  African.  The  latter  was  an 
educated  man  and  encouraged  the 
boy  at  the  age  of  six  to  begin  the 
study  of  the  violin,  under  Joseph 
Beckwith  at  the  Croyden  Conserv- 
atory. This  instrument  has  remained 
ever  since  his  favorite.  At  ten  he 
was  a  chorister  and  five  years  later 
began  to  receive  instruction  at  the 
Royal  College  of  Music,  in  1893,  win- 
ning a  scholarship,  which  enabled 
him  to  study  for  four  years  compo- 
sition under  C.  Villiers  Stanford  and 
the  piano  under  Algernon  Ashton. 
While  studying  at  this  institution  he 
won  a  prize  for  a  composition  which 
he  wrote  for  stringed  instruments. 
His  next  efforts  at  composition  were 
several  anthems,  and  a  symphony  in 
A  minor,  which  were  performed  at 
London  and  Liverpool.  He  also 
wrote  much  chamber-music,  including 
a  clarinet  quintet,  five  fantasias  for 
strings,  and  a  string  quartet.  For  the 
violin  he  composed  the  Southern  Love 
Songs  and  the  African  Romances,  the 
words  of  which  were  written  by  the 
late  Paul  Laurence  Dunbar,  and  the 
Hiawatha  sketches,  which  preceded 
his  later  triumphs  in  the  same  field. 
These  were  three  characteristic 
pieces,  lagoo,  Chibiabos  and  Paupuk- 
keewis,  founded  on  Longfellow's  In- 
dian poem,  and  entitled,  Scenes  from 
Hiawatha.  In  1898  he  brought  out 
his  cantata,  Hiawatha's  Wedding 
Feast,  and  from  then  on  his  name 
was  known  throughout  the  musical 
world.  Critics  all  agree  that  he  is 
one  of  the  best  and  most  original 
composers  that  England  has  ever  pro- 
duced. There  is  a  strength,  a  rich  in- 
strumentation and  a  glowing  effect  in 
his  music  in  the  Indian  cantata,  and 
its  success  encouraged  Coleridge- 
Taylor  to  compose  a  year  later  the 
Hiawatha  overture  and  a  second  part 
of  the  cantata  called.  The  Death  of 
Minnehaha,  while  in  1900  he  pro- 
duced Hiawatha's  Departure.  Since 
then  he  has  written  The  Atonement, 
a  sacred  cantata,  produced  for  the 
first  time  at  the  Heresford  Festival 
in  England  and  the  Blind  Girl  of 
Castel-Cuille  for  the  Leeds  Festival. 
These  works  are  said  by  some  critics 
to  be  very  weak  in  comparison  with 
his     first     compositions     and     it     is 


Combs 

claimed  that  he  is  not  fulfilling  the 
promise  shown  in  his  early  produc- 
tions. He  was  commissioned  to 
write  for  three  musical  festivals  at 
Leeds  and  Birmingham.  Other  works 
that  have  contributed  to  his  success 
as  a  composer  are  an  orchestral  bal- 
lade with  violin;  an  Idyll;  a  prelude; 
the  music  to  Herod,  produced  at  His 
Majesty's  Theatre,  London;  and  four 
waltzes.  Hiawatha  was  sung  for  the 
first  time  in  America  by  the  St. 
Cecilia  Society  of  Boston,  one  of  the 
best  musical  organizations  in  Amer- 
ica, and  since  then  it  has  been  given 
many  times.  The  firm  of  Oliver  Dit- 
son  &  Co.  commissioned  Cole- 
ridge-Taylor to  write  a  book  of 
negro  melodies  and  he  also  wrote 
several  choral  ballads  for  chorus  and 
orchestra.  He  is  at  present  violin 
professor  at  Croyden  Conservatory 
and  professor  of  harmony  and  com- 
position at  the  Crystal  Palace.  He  is 
married  to  an  English  woman  and 
they  have  two  children. 

*  Combs,    Gilbert    Raynolds.      1863- 

He  was  born  in  Philadelphia  and 
came  of  a  musical  family.  He  was 
originally  intended  for  the  career  of 
a  physician,  but  he  very  early  in  life 
showed  a  talent  for  music  and  re- 
ceived a  careful  training  in  it.  He 
was  educated  at  Eastburn  Academy, 
in  Philadelphia,  and  studied  music 
first  under  his  father,  a  pianist  and 
composer,  and  then  under  several 
American  and  European  masters.  Mr. 
Combs  is  a  pianist,  organist,  and 
player  of  stringed  instruments  and 
has  also  been  an  orchestral  and 
chorus  conductor  with  striking  suc- 
cess. At  present,  he  is  the  director, 
proprietor  and  head  of  the  piano  de- 
partment of  the  Broad  Street  Con- 
servatory of  Music,  Philadelphia, 
which  he  founded  in  1885,  and  which 
from  the  outset  was  successful.  He 
is  also  one  of  the  founders,  and 
ex-president  of  the  Sinfonia.  For 
several  years  he  was  organist  and 
choirmaster  in  leading  churches  of 
Philadelphia.  It  was  his  success  and 
popularity  as  a  teacher  that  led  Mr. 
Combs  to  found  the  Broad  Street 
Conservatory,  every  department  of 
which  _  is  under  his  direction  and 
supervision.  He  has  composed  much 
for  the  orchestra,  also  for  pianoforte, 
voice  and  violin.  It  is  as  a  teacher, 
however,  that  he  has  been  most  suc- 
cessful 


BIOGRAPHIES 


151 


Concone 
Concone    (kon-ko'-ne),    Giuseppe. 
1810-1861. 

Noted  Italian  singing  and  piano 
teacher  and  also  an  organist  of  ability. 
Born  in  Turin.  He  lived  and  taught 
in  Paris  from  1832  to  1848.  During 
this  time  he  published  a  number  of 
piano  pieces  and  a  set  of  studies  for 
that  instrument.  In  1848  he  returned 
to  Turin,  where  he  was  appointed  or- 
ganist of  the  Royal  Chapel.  He  is 
known  chiefly  by  his  Vocal  Exercises, 
of  which  he  published  five  books. 
These  exercises  are  for  soprano, 
mezzosoprano,  barytone  and  bass. 
They  have  been  republished  a  number 
of  times  and  are  highly  thought  of 
and  largely  used  by  singing  teachers. 

*  Conus,  Georges.     1862- 

Contemporary  Russian  composer 
and  teacher.  He  was  born  in  Mos- 
cow, studied  at  the  local  Gymnasium 
and  entered  the  Imperial  Conserv- 
atory in  Moscow  in  1882,  from  which 
he  was  graduated  in  1889,  having  com- 
pleted a  special  course  in  composition. 
His  teachers  were  his  father,  Antoine 
Areusky,  Paul  Pabst,  Serge  Taniew, 
and  Tschaikowsky,  the  latter  being 
his  critic  during  the  last  two  years 
at  the  Conservatory.  From  1891  to 
1899  he  was  professor  of  harmony 
and  instrumentation  at  the  Conserv- 
atory at  Moscow,  in  1902  was  pro- 
fessor of  composition  at  the  Phil- 
harmonic School  there,  and  two  years 
later  became  director,  relinquishing 
this  post  to  devote  his  time  to  corn- 
position.  All  his  orchestral  composi- 
tions have  been  given  in  the  syrnphony 
concerts  at  the  Imperial  Society  of 
Music  at  AIoscow,  St.  Petersburg, 
Charkoff  and  Odessa,  and  also  in  the 
concerts  of  the  Philharmonic  Society, 
Moscow.  His  ballet,  Daita,  was 
given  sixteen  representations  in  1896 
and  1897  at  the  Grand  Theatre  Im- 
perial of  Moscow.  The  Emperor  of 
Russia  bestowed  upon  him  an  annual 
pension  for  his  Scenes  enfantines  for 
orchestra  and  choir. 

Converse,  Charles  Crozat.  (Pen-name 
Karl  Redan).     1832- 

He  was  born  at  Warren,  Mass., 
and  after  being  taught  English  and 
the  classics,  he  went  to  Germany  in 
1855  and  studied  at  the  Leipsic  Con- 
servatory. While  there  he  was  taught 
orchestration  by  Richter  and  the 
piano  by  Plaidy,  and  made  the  ac- 
quaintance of  Liszt  and  Spohr.    The 


Converse 

latter  took  a  deep  interest  in  his 
musical  career,  and  gave  him  every 
encouragement.  He  returned  to 
America,  and  studied  law,  graduating 
from  the  law  department  of  the  Al- 
bany University  in  1860,  with  the  de- 
gree LL.B.  Later  he  was  given 
the  degree  of  LL.D.  He  declined 
the  professorship  of  music  at  the 
University  of  Cambridge,  tendered 
him  in  recognition  of  the  talents  he 
showed  in  composing  a  five-voiced 
double  fugue,  that  ends  his  psalm- 
cantata  on  the  126th  Psalm.  It  was 
performed  under  the  baton  of  Theo- 
dore Thomas  in  Chicago  in  1888. 
Converse  has  published  a  large  num- 
ber of  compositions,  under  his  pen- 
name,  Karl  Redan.  One  of  his  best 
known  works  is  the  American  over- 
ture on  Hail  Columbia,  written  for 
the  orchestra.  He  has  also  written 
oratorios  and  many  chorals.  In 
manuscript  he  has  a  large  assortment 
including  two  symphonies;  ten  sona- 
tas; three  symphonic  poems  and  an 
oratorio,  The  Captivity.  Of  these 
manuscript  works,  three  have  been 
produced,  the  Christmas  overture,  at 
one  of  the  public  concerts  of  the 
Manuscript  Society,  under  the  direc- 
tion of  Walter  Damrosch,  an  over- 
ture, Im  Fruhling,  under  the  baton 
of  Theodore  Thomas,  and  the  Ameri- 
can overture,  under  Gilmore  and  his 
band,  and  by  Seidl  and  Thomas.  The 
last  is  built  on  the  air  Hail  Columbia 
and  its  instrumentation  is  brilliant. 

Converse,  Frederick  Shepherd.     1871- 

Young  American  composer,  at 
present  assistant  professor  of  music 
at  Harvard,  who  has  produced  a  num- 
ber of  highly  interesting  and  original 
works,  including  an  opera,  and  a  fes- 
tival work,  entitled  Job.  Mr.  Con- 
verse was  born  at  Newton,  Mass.,  and 
was  intended  by  his  father  for  a  com- 
mercial career,  but  decided  after  a 
few  months  in  an  office  that  he  was 
not  meant  for  business,  and  from  then 
on  devoted  himself  to  the  study  of 
music.  He  entered  Harvard  College, 
graduating  from  it  in  1893,  taking 
the  highest  honors  in  music,  under 
Prof.  John  K.  Paine,  and  later  con- 
tinuing his  musical  studies  with  Carl 
Baermann  and  George  W.  Chadwick. 
After  two  years  under  Rheinberger 
at  the  Royal  School  of  Music  at 
Munich,  from  which  he  graduated,  in 
1898,  with  high  honors.  Converse  re- 
turned    to     Boston     and     became     a 


152 


BIOGRAPHIES 


Converse 
teacher.  He  taught  harmony  at  the 
New  England  Conservatory  of  Music, 
until  1902,  when  he  was  appointed  an 
instructor  in  the  musical  department 
of  Harvard.  In  1905  he  was  appointed 
assistant  professor  of  music  there,  a 
position  he  still  holds.  Mr.  Converse, 
soon  after  freeing  himself  from 
academic  influences,  began  to  show 
strong  originality  in  composition  and 
a  feeling  for  highly  modern  effects. 
Of  late  he  has  devoted  himself  chiefly 
to  program  music.  He  has  ample 
technique  and  his  writing  is  fluent 
and  easy.  His  first  composition  was 
a  sonata  for  violin  and  piano,  which 
was  his  thesis  for  honors  at  Harvard. 
He  next  wrote  a  string-quartet;  a 
concert  overture,  entitled  Youth, 
which  was  performed  at  Munich  in 
1897;  a  symphony  in  D  minor,  given 
in  the  same  city  the  following  year 
and  by  the  Boston  Symphony  Orches- 
tra and  at  the  Worcester  Festival  in 
1899. 

Mr.  Converse  has  done  his  best 
work  as  a  composer  of  symbolic 
poems.  These  include  The  Festival 
of  Pan,  a  romance  for  orchestra,  first 
performed  at  Boston,  in  1900,  then 
given  at  Cambridge,  London,  Cincin- 
nati and  elsewhere;  Endymion's  Nar- 
rative, a  romance  for  orchestra;  and 
Night  and  Day,  for  piano  and  orches- 
tra, first  performed  by  the  Boston 
Symphony  Orchestra,  in  1905,  all  of 
which  are  settings  of  the  poems  of 
Walt  Whitman.  Converse's  opera, 
The  Pipe  of  Desire,  was  first  pro- 
duced in  Boston,  in  January,  1905.  He 
is  at  work  upon  another  opera,  ac- 
cording to  report,  the  libretto  of 
which  treats  of  an  incident  in  the 
Mexican  War,  with  the  action  taking 
place  in  a  seaport  close  to  the  Cali- 
fornia frontier.  Mr.  Converse's  most 
recent  work  is  a  dramatic  poem  for 
solo  voices,  chorus  and  orchestra,  en- 
titled Job,  which  he  composed  for  the 
Worcester  Festival  of  1907.  It  is 
declared  to  be  a  work  in  which  the 
composer  showed  his  purpose  to  free 
himself  from  the  traditions  which 
govern  the  oratorio  and  cantata.  The 
music  of  Job  is  strongly  descriptive, 
and  follows  the  modern  trend  in  or- 
chestral writing.  Beside  the  works 
already  mentioned  Mr.  Converse  has 
written  a  ballade  for  barytone  and 
orchestra,  entitled  La  Belle  dame 
sans  merci;  a  violin  concerto;  a  string 
quartet,  first  played  by  the  Kneisel 
Quartet,   in    1904;   and  an   orchestral 


Coombs 

fantasy  performed  by  the  Philadel- 
phia Orchestra  in  1905.  Converse  is 
rapidly  forging  to  the  front,  and  is 
generally  regarded  by  musicians  as  a 
composer  who  has  done  admirable 
work  in  the  past  and  from  whom 
much  may  be  expected  in  the  future. 

Cooke,  Thomas  Simpson.     1782-1848. 

A  vocalist  and  composer,  who  was 
born  in  Dublin,  and  studied  music 
under  his  father,  Bartlett  Cooke,  an 
oboe-player  in  a  London  theatre,  and 
also  under  Giordani.  In  1803  he 
was  conductor  of  a  theatre  in  Dublin, 
and  made  his  debut  as  a  singer  in 
Storace's  Siege  of  Belgrade.  When 
he  was  only  seven  years  of  age  he 
is  said  to  have  performed  in  public  a 
violin  concerto.  In  1813  he  was  ap- 
pointed conductor  and  vocalist  at 
Drury  Lane,  and  became  a  member 
of  the  Royal  Academy  of  Music  and 
of  the  Philharmonic  Society.  The 
year  before  that,  while  leading  an 
orchestra  in  Dublin,  he  also  kept  a 
music  shop.  He  was  familiarly  known 
as  Tom  Cooke.  He  was  the  director 
of  the  Drury  Lane  and  Covent  Gar- 
den Theatres  and  from  1828  to  1830 
one  of  the  musical  managers  of  Vaux- 
hall  Gardens,  and  the  principal  tenor 
singer  at  Drury  Lane  for  nearly 
twenty  years.  He  also  taught  a 
limited  number  of  pupils,  among 
whom  was  Sims  Reeves.  Cooke  was 
most  successful  as  a  glee  composer, 
although  his  works  for  the  stage  are 
full  of  merit.  He  won  several  prizes 
from  the  Catch  and  Glee  clubs. 
Among  his  works  are  numerous 
farces;  adaptations  of  several  foreign 
operas;  many  glees;  duets;  solfeggi; 
exercises;  and  the  music  to  about 
fifteen  plays.     He  died  in  London. 

*  Coombs,  Charles  Whitney.     1859- 

American  composer,  who  was  born 
in  Bucksport,  Maine,  and  passed  his 
early  years  in  Portland,  where  his 
fondness  for  music  early  manifested 
itself.  He  spent  five  years  at  Stutt- 
gart, becoming,  at  the  age  of  nine- 
teen, a  pupil  in  piano  of  Speidel  and 
in  theory  and  composition  of  Max 
Seifriz,  then  the  director  of  the  Royal 
Opera  at  Stuttgart.  Coombs  also 
spent  some  time  in  Italy  and  Switzer- 
land, six  years  in  Dresden  studying 
under  several  teachers  and  a  year  in 
England,  giving  special  attention  to 
the  music  and  methods  of  the  Eng- 
lish churches.     At  Dresden,  Draeseke 


BIOGRAPHIES 


153 


Coombs 

taught  him  counterpoint,  and  he 
studied  the  organ  under  Janssen  and 
orchestration  under  Hermann  John. 
He  was  organist  of  the  American 
church  at  Dresden  from  1887  to  1891, 
when  he  returned  to  the  United  States 
to  take  charge  of  the  music  of  the 
Church  of  the  Holy  Communion  in 
New  York  City,  a  position  which  he 
still  holds.  Among  Mr.  Coombs' 
works  are  the  following:  The  Vision 
of  St.  John,  a  cantata  with  full  orches- 
tra and  organ;  The  Sorrows  of  Death, 
a  Lenten  motet;  The  First  Christ- 
mas, a  cantata  for  mixed  voices  and 
solos;  A  Hymn  of  Peace;  Song  of 
Judith;  motets  for  soprano  and  bary- 
tone; a  number  of  sacred  songs; 
hymns;  several  anthems;  and  about 
thirty  songs  and  choruses,  among  the 
best  of  which  are  I  Arise  from 
Dreams  of  Thee,  an  Indian  serenade; 
Song  of  a  Summer  Night,  and  The 
Journey  is  Long,  settings  of  two  of 
Charles  Sayle's  poems;  Alone  and  My 
Love.  Mr.  Coombs'  most  recently 
published  works  are  the  song,  My 
Heart  It  Was  a  Cup  of  Gold,  which 
is  singularly  beautiful  and  melodious, 
and  The  Ancient  of  Days,  a  church 
cantata,  generally  considered  his 
ripest  and  best  work,  which  is  purely 
devotional  in  its  spirit. 

Coquard  (ko-kar),  Arthur.     1846- 

French  composer,  who  has  written 
many  lyric  and  dramatic  scenes  for 
voices  and  orchestra,  and  other  music 
of  much  merit.  He  was  born  in 
Paris  and  was  a  private  pupil,  in  har- 
mony, of  Cesar  Franck.  Since  1892 
he  has  been  a  lecturer  at  the  National 
Institute  for  the  Blind,  at  Paris,  and 
was  for  some  time  musical  critic  of 
Le  Monde  (The  World),  Paris.  He 
received  a  prize  from  the  Academy  of 
Fine  Arts  in  1892  for  a  book  on  the 
music  of  France.  Among  his  operas, 
Le  Mari  d'un  Jour;  L'Oiseau  Bleu, 
produced  in  1894  and  La  Jacquerie, 
porduced  at  Paris;  and  Monte  Carlo, 
have  met  with  a  favorable  reception. 
His  other  compositions  are  a  two-act 
opera,  L'fipee  du  Roi,  produced  in 
1884;  a  three-act  comic  opera,  a 
sacred  trilogy;  an  oratorio,  Jeanne 
d'Arc;  several  cantatas;  choruses  to 
Racme's  Esther;  and  several  dramatic 
scenes,  including  Cassandre  and  Hero 
et  Leandre.  "  His  music,"  says  Grove, 
"  Is  distinguished  by  clearness,  charm 
and  exact  dramatic  sentiment,  and 
may  be  regarded  as  a  continuation  of 


Corelli 

the    noble    classic    traditions,    happily 
united  to  modern  harmonic  science." 

Corder,  Frederick.    1852- 

Born  in  London.  He  was  a  dra- 
matic composer  of  considerable  ability, 
and  translated  several  of  Wagner's 
music-dramas  into  English.  He  gave 
promise,  while  very  young,  of  musical 
talent,  but  was  intended  by  his  parents 
for  a  business  career.  He  became  a 
pupil  of  the  Royal  Academy  of  Music, 
where  he  gained  the  Mendelssohn 
Scholarship,  in  1875,  and  also  studied 
at  Cologne  with  Ferdinand  Hiller. 
Returnmg  to  England,  in  1879,  he 
was  appointed  conductor  of  the  or- 
chestra at  the  Brighton  Aquarium, 
where  he  gave  many  important  works 
and  improved  the  character  of  the 
concerts.  The  next  few  years  he 
devoted  to  musical  compositions,  and 
among  his  published  works  are  Morte 
d'Arthur,  an  opera  which  was  written 
in  1877;  The  Cyclops,  a  cantata;  In 
the  Black  Forest,  a  suite  for  the 
orchestra;  overtures,  songs  and  part- 
songs.  In  1890  he  was  appointed 
orchestral  director  at  Trinity  college, 
London,  and  curator  of  the  Royal 
Academy  of  Music.  He  also  was 
made  editor  of  The  Overture,  a 
monthly  paper  published  by  the 
students  of  the  Royal  Academy,  and 
in  1896  lectured  at  the  Royal  Insti- 
tution. Together  with  his  wife  and 
brother  he  translated  Wagner's  Die 
Meistersinger  and  Der  Ring  Des 
Nibelungen.  He  made  many  contri- 
butions to  the  English  press  includ- 
ing elaborate  analyses  of  Wagner's 
operas. 

Corelli  (kor-el'-li),  Archangclo.    1653- 

1713. 

Was  born  at  Fusignano,  near 
Imola,  Italy,  and  was  a  talented  vio- 
linist and  composer.  He  studied  the 
violin  with  Bassani  and. counterpoint 
with  Simonelli.  Very  little  is  known 
of  his  life  until  1681,  when,  after 
traveling  in  Germany  and  holding  a 
position  in  Munich  attached  to  the 
court  of  the  Elector  of  Bavaria,  he 
settled  in  Rome,  where  he  enjoyed 
the  patronage  and  friendship  of  Car- 
dinal Ottoboni,  a  lover  of  the  arts  in 
general  and  of  music  especially.  In 
his  house  Corelli  made  his  home.  Of 
a  winning  personality  and  great  musi- 
cal talent,  he  was  soon  a  prime 
favorite  in  the  highest  circles  of  the 
city,  and  invitations  to  his  concerts, 


154 


BIOGRAPHIES 


Corelli 
in  the  palace  of  the  Cardinal,  were 
eagerly  sought.  He  published  his 
first  work  in  1683,  a  collection  of 
twelve  sonatas,  and  was  most  suc- 
cessful as  a  teacher  as  well  as  a  com- 
poser. The  King  of  Naples  attempted 
several  times  to  press  him  into  his 
service  and  at  length  succeeded. 
Corelli  gave  a  successful  concert 
before  the  court,  but  his  second 
attempt  was  a  failure  and  he  was  so 
chagrined  that  he  returned  to  Rome. 
During  his  absence  a  mediocre  musi- 
cian and  violinist,  named  Valentini, 
had  become  popular  and,  believing 
himself  supplanted  in  the  aflfections 
of  the  people,  Corelli  grieved  himself 
into  an  early  death.  He  was  buried 
in  the  Pantheon  at  Rome,  not  far 
from  the  tomb  of  the  painter  Raphael, 
and  Cardinal  Ottoboni  erected  a 
handsome  monument  to  his  memory, 
and  a  statue  of  him  was  placed  in  the 
Vatican.  Corelli  undoubtedly  laid  the 
foundation  for  ^ood  violin  technique 
and  his  compositions  are  still  regarded 
as  classics.  His  greatest  work  was 
the  Concerti-grossi  which  appeared 
only  six  weeks  before  his  death.  A 
great  many  works  were  published 
under  his  name  that  he  never  wrote. 
By  Grove  he  is  credited  with  having, 
in  his  chamber  sonatas,  and  Concerti- 
grossi,  been  the  founder  of  the  style 
of  orchestral  writings  on  which  the 
future  development  in  this  direction 
was  based.  To  quote:  "He  was  not 
so  much  an  innovator  as  a  reformer. 
He  did  not  introduce  new  or  striking 
effects  but  he  did  give  to  this  branch 
of  art,  a  sound  and  solid  basis  which 
his  successors  could  and  did  build 
upon  successfully," 

Cornelius      (kor-na-li-oos),     Peter. 

1824-1874. 

A  dramatic  composer  and  one  of 
the  principal  members  of  the  new 
German  school  of  music.  He  was 
born  at  Mayence,  and  was  a  nephew 
of  the  painter  Peter  von  Cornelius. 
He  first  took  up  the  profession  of  an 
actor,  but  after  an  unsuccessful  debut 
on  the  stage  he  turned  to  music, 
studying  counterpoint  with  Dehn  at 
Berlin,  from  1845  to  1852,  and  then 
joined  Liszt's  following  of  young 
artists  in  Weimar,  who  were  the 
champions  of  Wagner  and  his  ideas. 
The  failure  of  Cornelius'  opera.  The 
Barber  of  Bagdad,  produced  at  Wei- 
mar in  1858,  so  disgusted  Liszt  with 
the    public's    judgment    that    he    left 


Cossmann 
Weimar,  and  so  influenced  other  musi- 
cians that  it  ceased  to  be  the  center 
of  the  school.  This  opera  of  Cor- 
nelius' met  with  much  success  at 
Dresden  about  1886,  also  later  at 
Hamburg  and  other  cities  in  Germany. 
Its  composer  went  to  Wagner,  at 
Vienna,  in  1859,  and  followed  him  to 
Munich  in  1865,  where  he  was  ap- 
pointed reader  to  King  Ludwg  II.  and 
professor  of  harmony  and  rhetoric  at 
the  Royal  Music  School.  A  second 
opera,  The  Cid,  was  produced  at 
Weimar  in  1865;  a  third,  Gunlod,  in 
which  he  took  the  subject  from  the 
legends  of  the  Edda,  remained  un- 
finished and  was  completed  long  after 
the  death  oi  Cornelius  by  Lassen  and 
produced  at  Strasburg.  Cornelius 
wrote  and  published  numerous  song 
cycles,  and  other  pieces  of  music  which 
had  considerable  vogue.  He  also 
wrote  the  librettos  of  his  operas, 
translated  many  works,  .and  many  of 
his  pieces  were  settings  for  his  own 
poems.  He  left  three  books  con- 
sisting of  eleven  songs  and  four  duets, 
which  were  published  in  1898. 

Cossmann,  Bernhard.    1822- 

A  talented  composer  and  violinist. 
Was  born  in  Dessau,  Germany,  and 
studied  under  Espenhahn,  Drechsler, 
Miiller  and  Kummer  in  Dresden.  He 
was  cellist  at  the  Italian  Opera,  Paris, 
and  appeared  in  London  in  1841.  Re- 
turning to  Germany,  he  played  in  the 
Gewandhaus  at  Leipsic,  and  at  other 
important  concerts.  From  1866  to 
1870  he  was  professor  of  the  violon- 
cello at  the  Conservatory  at  Moscow. 
Later  he  embraced  the  opportunity  to 
study  composition  under  Hauptmann 
and  was  first  violoncello  under  Liszt 
at  Weimar  in  1850.  Cossmann's 
works  include  a  concertstiick  for  vio- 
loncello, pieces  de  Salon  and  fan- 
tasias on  operatic  motives.  He  was 
an  acknowledged  master  of  his  in- 
strument in  Germany.  In  1878  he 
was  appointed  professor  at  the  Frank- 
fort Conservatory,  a  position  he  still 
held  in  1904.  Says  Grove:  "He  was 
a  virtuoso  of  the  first  rank,  and  was 
remarkable  alike  for  science,  polished 
execution  and  power  of  singing  on 
the  instrument.  Furthermore,  he  was 
a  great  soloist  and  an  excellent 
chamber  musician.  He  brought  for- 
ward many  new  concertos  as  well 
as  some  unworthily  neglected  com- 
positions." 


'  l^^GRAPT 


1I6B.1884. 


koO'-^fA-tih},   P  r  I 


GUSTAVE  CHARPENTIER.     1860- 

Born  in  1860,  at  Dieuze,  in  the  Province  of  Lor- 
raine, France.  When  twenty-seven  years  old  he  won 
the  Grand  Prize  of  Rome.  After  his  return  to  Paris 
he  lived  at  Montemartre  and  worked  at  day  labor. 
The  scenes  from  the  life  of  an  artisan  enter  into  much 
of  his  music  and  give  it  individuality. 

His  greatest  work,  the  opera  "  Louise,"  was  pro- 
duced in  1900  at  the  Opera  Comique  and  brought 
him  fame  and  fortune.  ,  Wpsl- 

Charpentier  was  a  pupil  of  Massenet  and  is  one 
of  the  most  gifted  of  the  modern  French  composers. 


ui 


il>  IJK-  I  .'l.'V 


grrr/l  ct  mrjt^'*  ■^rif  ''^'yiM-.  '  .on,. 


-oiq  a  J 


.ai-ji-oqinu' 


BIOGRAPHIES 


155 


Costa 


Costa,  Sir  Michael.    1808-1884. 

Dramatic  composer  and  eminent 
conductor  and  a  member  of  a  musical 
family.  He  was  born  at  Naples,  and 
was  the  son  and  pupil  of  Pasquale 
Costa,  then  at  the  Conservatory  of  Si. 
Sebastian,  Naples.  He  studied  sing- 
ing with  his  grandfather,  Giacomo 
Tritto,  and  composition  with  Zinga- 
relli.  When  only  fifteen  he  composed 
a  cantata,  L'Immagine;  and  also  a 
grand  mass  for  four  voices;  three 
symphonies;  and  an  oratorio.  La 
Passione.  He  won  a  scholarship  from 
Ferdinand,  King  of  the  two  Sicilies,  and 
in  1829  went  to  London.  In  that  same 
year  he  wrote  an  opera,  Malvina,  for 
Barbaja,  the  impressario  of  San  Carlo, 
Naples,  and  also  went  to  Birmingham 
to  direct  a  cantata  of  Zingarelli's.  In 
1830  Costa  was  engaged  by  LaPorte, 
as  master  of  the  piano  at  the  King's 
Theatre  and  in  1833  as  director  and 
conductor.  The  following  year  he 
wrote  music  for  the  grand  ballet, 
Kenilworth,  and  in  1832  was  engaged 
by  Monck  Mason,  the  impressario,  as 
director  of  music.  At  this  time  he 
wrote  a  ballet  and  several  other 
works,  among  them  concert  pieces. 
The  Italian  Orchestra  was  that  year 
placed  under  his  direction,  and  in 
1833,  while  director  and  conductor  of 
the  King's  Theatre,  he  composed  the 
ballet  Sir  Huon,  for  Taghoni.  Costa 
was  naturalized  in  1839  and  became 
conductor  of  the  Philharmonic  Society 
in  1846.  Prior  to  that  he  composed 
the  ballet  music  of  Alma  and  an 
opera,  Don  Carlos.  He  wrote  addi- 
tional accompaniments  for  Soloman, 
Judas  and  other  of  Handel's  oratorios, 
for  the  Sacred  Harmonic  Society,  also 
an  opera,  Malek  Adhel,  which  is  con- 
sidered by  musicians  as  a  thoroughly 
conscientious  work,  with  much  me- 
lodius  music  in  it.  With  the  season 
of  1854  he  gave  up  the  baton  of  the 
Philharmonic  Society  and  was  suc- 
ceeded for  one  year  by  Richard  Wag- 
ner. Costa  was  knighted  in  1868  by 
the  Queen  and  was  decorated  by 
many  countries.  His  fame  rests 
chiefly  upon  his  powers  as  a  con- 
ductor and  leader.  His  tact,  firmness 
and  ability  as  a  conductor  were  gen- 
erally acknowledged  and  his  success 
was,  up  to  that  time,  unprecedented. 
His  compositions  are  occasionally 
brought  forward  by  musicians,  but 
they  never  brought  him  the  fame 
that  his  powers  as  a  leader  did.  He 
died    in     London    in    1884    and    was 


Cowen 

buried   in   the   catacombs   of   Kensel 

Green. 

Couperin    (koo-pu-rah),   Frangois. 

1668-1733. 

Was  a  member  of  the  family  of 
Couperin,  a  brilliant  race  of  musicians, 
distinguished  as  organists  and  com- 
posers. Was  surnamed  "  Le  grande  " 
to  distinguish  him  from  other  mem- 
bers of  the  family.  He  made  a  great 
name  for  himself.  He  was  born  in 
Paris,  where  his  father,  Charles  Cou- 
perin, was  organist  at  the  Church  of 
St.  Gervais.  Upon  the  death  of  the 
latter,  in  1669,  his  father's  friend  and 
successor  became  the  boy's  tutor,  and 
Francois  eventually  became  organist 
at  St.  Gervais.  Three  years  later  he 
was  a  dulcimer-player  and  organist, 
at  the  Chapel  Royal,  to  Louis  XIV. 
As  a  composer  and  as  author  he 
opened  a  new  era  for  piano-playing, 
and  is  one  of  the  principal  figures  in 
the  history  of  piano  and  clavecin- 
writing.  Bach  is  said  to  have  taken 
him  as  a  model.  His  compositions  are 
elegant  and  spirited  in  style  and  of 
decided  originality.  He  published 
four  books  for  the  clavecin,  upon 
which  his  reputation  chiefly  rests;  an 
early  set  of  pieces  for  the  harpsichord, 
upon  which  he  was  a  wonderful 
executant;  and  he  reset  the  dances, 
played  by  the  orchestra  in  LuUy's 
operas,  on  the  clavecin.  A  careful 
reprint  of  his  suites  for  the  harpsi- 
chord was  edited  by  Brahms. 

Coverley,  Robert.    1863- 

He  was  born  at  Oporto,  Portugal, 
of  an  aristocratic  Portuguese  mother 
and  a  Scotch  father.  He  was  grad- 
uated from  Eastbourne  College,  Eng- 
land. He  studied  counterpoint,  or- 
chestra and  violin  under  Weist  Hill, 
Ludwig  and  Jacquinot,  in  London. 
From  1876  to  1878  he  was  a  chorister 
at  St.  Augustine's  Church,  London.  In 
1884  he  came  to  New  York  and  be- 
came an  American  citizen.  From  a 
long  list  of  his  published  works  the 
following  may  be  taken  as  repre- 
sentative: For  the  piano,  tarentellas, 
berceuse  (arranged  from  Gounod), 
impromptus,  and  marches;  a  concert- 
study  for  violin  and  pianoforte,  and 
numerous  songs,  some  of  which  have 
attained  great  popularity.  He  resides 
in  New  York  City  at  the  present  time. 

*  Cowen,  Frederick  Hymen.    1852- 

English  composer  of  note,  who  was 
born   in   Kingston,  Jamaica.     At   the 


156 


BIOGRAPHIES 


Cowen 


Cowen 


age  of  four  he  accompanied  his  father 
to  London,  where  the  elder  Cowen 
became  treasurer  of  Her  Majesty's 
Theatre,  and  later,  about  1867,  took  up 
a  similar  position  under  Mapleson  and 
Gye  at  Drury  Lane.  Cowen  the 
younger,  was  surrounded  by  musi- 
cians, brought  up  in  a  musical  atmos- 
phere, and  encouraged  in  every  way 
to  pursue  his  studies  in  the  art.  One 
of  his  childhood  friends  was  Giuglili, 
who  created,  in  English,  the  part  of 
Faust  in  Gounod's  opera  of  that  name. 
Cowen  showed  his  talents  early  in 
life.  At  the  age  of  six  years  he  pub- 
lished the  Minna  waltz;  when  only 
eight  he  composed  an  operetta,  called 
Garibaldi,  with  the  libretto  written  by 
his  sister,  aged  seventeen,  and  it  was 
performed  privately.  When  quite 
young  he  set  to  music  a  song  entitled 
Mother's  Love,  and  also  composed 
two  sets  of  quadrilles.  Young  Cowen 
was  a  pupil  of  Benedict  and  Goss 
from  1860  to  1865,  having  been  placed 
under  their  instruction  by  the  Earl  of 
Dudley,  to  whom  his  father  was 
private  secretary  and  who  recognized 
the  boy's  great  gifts.  Later  he  was 
a  student  at  the  Conservatory  of 
Leipsic,  under  Hauptmann,  Reinecke 
and  Moscheles.  He  also  was  a  violin 
pupil  of  Carrodus  and  studied  awhile 
at  Berlin  under  Professor  Stern,  and 
was  instructed  in  counterpoint  at  the 
Stern  Conservatory  by  Frederick 
Kiel,  a  distinguished  master  in  coun- 
terpoint and  fugue.  Returning  to  Eng- 
land in  1868  he  soon  became  known 
in  the  musical  world,  and  gave  his 
first  concert  in  June  of  that  year  at 
Dudley  House,  introducing  his  Piano 
Trio  in  A  minor.  Shortly  afterward  he 
went  on  a  tour,  and  appeared  at  vari- 
ous English  and  German  cities  as 
conductor  of  his  own  compositions. 
Cowen  was  appointed  conductor  of 
the  London  Philharmonic  Society 
upon  the  retirement  of  Sir  Arthur 
Sullivan,  and  held  the  post  from  1888 
until  1892,  resigning  it  to  accept  the 
direction  of  the  music  at  the  Cen- 
tennial Exhibition  at  Melbourne,  Aus- 
tralia, from  August,  1888,  until  Feb- 
ruary, 1889.  He  next  visited  Vienna, 
Budapest  and  Stuttgart. 

Dr.  Cowen's  first  composition,  a  trio 
for  piano,  violin  and  violoncello,  was 
performed  by  Joachim,  Pezze  and 
himself  at  a  concert  at  Dudley  House, 
London.  While  still  a  student  he  had 
composed  a  setting  for  the  130th 
Psalm,     written     for     contralto    and 


chorus;  a  fantasia  for  piano;  and  a  trio 
for  piano  and  strings.  His  first 
symphony  and  a  concerto  for  piano 
and  orchestra  was  performed  at  the 
St.  James  Hall  in  1869.  His  first 
attempt  at  a  large  choral  work  was 
the  cantata.  The  Rose  Maiden,  which 
still  retains  its  popularity,  the  bridal 
chorus  of.  which  is  one  of  the 
most  beautiful  compositions  of  its 
kind  ever  written.  This  was  followed 
by  an  overture  and  incidental  music 
to  Schiller's  Maid  of  Orleans,  written 
for  the  Brighton  Festival  in  1871.  That 
same  year  Cowen  was  appointed 
pianist  and  accompanist  for  the  Italian 
Opera  by  Mr.  Mapleson  and  traveled 
with  him  for  several  years.  He  wrote 
during  this  time  a  symphony  for  the 
Liverpool  Philharmonic  Society,  and 
an  overture  for  the  Norwich  Festival 
committee.  In  1876  he  composed  a 
cantata  on  Byron's  Corsair  for  the 
Birmingham  Festival,  and  his  first 
opera,  Pauline,  after  Lord  Lytton's 
Lady  of  Lyons,  was  produced  that 
year  at  the  Lyceum  Theatre,  London, 
by  the  Carl  Rosa  Company. 

Two  years  later  Dr.  Cowen  visited 
the  United  States,  and  on  his  return 
wrote  his  famous  Scandinavian  Sym- 
phony, which  is  generally  considered 
one  of  the  greatest  English  orchestral 
works  written  in  recent  years,  and 
which  immediately  placed  him  in  the 
front  rank  of  English  composers.  Jt 
was  first  performed  at  a  concert  in 
1880,  at  St.  James  Hall,  when  Dr. 
Cowen  inaugurated  a  series  of  Sat- 
urday Orchestral  concerts.  The  next 
year  the  sacred  cantata,  St.  Ursula, 
written  for  the  Norwich  Festival,  and 
the  overture,  Niagara,  were  produced. 
Dr.  Cowen's  latest  works  are  the 
overture.  The  Butterflies'  Ball,  com- 
posed in  1900;  second  rhapsody  for 
orchestra,  and  the  cantata  John  Gilpin 
in  1903  and  a  set  of  old  English  dances 
for  orchestra,  published  in  1905.  His 
other  works  are  the  operas,  Thorgrim, 
founded  on  an  Icelandic  saga;  and 
Harold,  and  Signa.  He  has  written 
much  chamber-music,  many  sym- 
phonies and  songs,  but  is  perhaps 
better  known  for  his  choral  and  or- 
chestral works.  Among  the  former, 
beside  those  already  mentioned,  are 
The  Deluge;  A  Song  of  Thanksgiving; 
and  The  Transfiguration.  Among  his 
cantatas,  Rose  of  Life,  and  A  Daugh- 
ter of  the  Sea  are  worthy  of  mention. 
Among  the  best  known  and  most 
popular  of  his  three  hundred  songs  are 


BIOGRAPHIES 


157 


Cowen 

The  Better  Land;  It  Was  a  Dream; 
and  The  Promise  of  Life.  Dr.  Cowen 
was  re-appointed  conductor  of  the 
London  Philharmonic  Society  in  1900 
and  still  holds  the  post,  and  while 
occupying  the  office  of  conductor  has 
done  some  of  his  best  work,  beside 
raising  the  society  to  a  higher  plane 
than  it  has  ever  occupied  since  the 
death  of  Sir  Michael  Costa.  He  has 
held  many  important  positions  as 
conductor  in  various  parts  of  Eng- 
land. In  1896  he  went  to  Manchester 
as  successor  to  Sir  Charles  Halle, 
holding  the  post  for  three  seasons, 
was  made  conductor  of  the  Scottish 
Orchestra  in  1900,  of  the  Cardiff  Fes- 
tival in  1902  and  of  the  Handel  Festival 
in  1903.  In  1900  the  University  of 
Cambridge  conferred  upon  him  the 
degree  of  Doctor  of  Music,  for  his 
attainments  and  activity  in  his  chosen 
field  of  labor.  He  has  traveled  a  great 
deal,  and  is  especially  fond  of  moun- 
tain climbing,  having  a  knowledge  of 
nearly  all  the  European  heights.  He 
is  likewise  an  ardent  lover  of  all  forms 
of  outdoor  sport. 

Cramer,  Johann  Baptist.    1771-1858. 

Famous  member  of  a  family  of  re- 
nowned German  musicians.  His 
father,  Wilhelm  Cramer,  was  a  cele- 
brated composer,  conductor  and  vio- 
linist. Johann  was  the  eldest  of  three 
sons,  all  of  whom  distinguished  them- 
selves in  music.  Of  the  others  Franz 
or  Frangois  was  a  good  violinist  and 
Carl  was  also  a  violinist  and  a  teacher 
of  repute.  Johann  was  born  at  Mann- 
heim and  was  the  best  known  of  the 
family,  an  executant  of  eminence  on 
the  piano  and  one  of  the  principal 
founders  of  the  modern  piano  school. 
He  was  only  one  year  old  when  his 
father  settled  in  London,  and  he  lived 
there  almost  continuously  all  of  his 
life.  He  was  instructed  by  his  father 
on  the  violin  and  in  the  elements  of 
the  theory  of  music  and  piano-playing. 
He  was  a  pupil  of  the  celebrated 
Muzio  Clementi  for  two  years,  and 
his  musical  taste  was  formed  from  a 
study  of  the  works  of  Handel,  Bach, 
Scarlatti,  Haydn  and  Mozart.  He 
took  a  course  in  thorough-bass,  in 
1785,  from  C.  F.  Abel,  but  he  was  for 
the  most  part  self-educated  in  theory 
and  composition.  His  first  appear- 
ance took  place  in  1781,  and  in  1788 
he  made  tours  of  the  principal  towns 
of  the  continent,  gaining  a  reputation 
as  pianist  and  instructor.     In  1828  he 


Cristofori 

founded  the  music  publishing  house 
of  J.  B.  Cramer  &  Co.  of  London, 
which  he  conducted  until  1842,  and 
which  still  flourishes  under  his  name. 
After  a  residence  in  Munich  and 
Paris,  he  returned  to  London,  in  1845, 
and  passed  the  remainder  of  his  life 
in  retirement.  He  lived  to  play  a  duet 
with  Liszt  in  London,  and  there  are 
numerous  references  to  him  in  Bee- 
thoven's letters,  and  in  Moscheles' 
life.  Indeed,  Beethoven  is  declared 
to  have  said  that  Cramer  was  the 
only  player  of  his  time  who  amounted 
to  anything.  His  most  representative 
work  is  a  book  of  eighty-four  studies, 
which  ranks  with  Clementi's  Gradus 
ad  Parnassum,  and  has  been  long  and 
widely  used  by  pianists  with  profit. 
He  also  published  a  selection  of  fifty 
etudes,  useful  to  teachers,  and  which 
was  edited  by  von  Bulow.  He  pub- 
lished also  numerous  concertos  for 
piano  and  orchestra,  sonatas,  marches, 
waltzes,  suites,  nocturnes  and  a 
method  for  the  piano  in  five  parts. 
His  compositions  were  all  distin- 
guished by  a  style  so  artistic  as  to 
make  them  liked  by  the  few  rather 
than  the  many. 

Crescentini   (kra-shen-te'-ne),  Giro- 

lamo.    1766-1846. 

A  celebrated  Italian  male  soprano 
and  teacher,  who  was  born  near 
Urbino,  Italy,  and  studied  under  Gi- 
belli,  making  his  debut  in  Rome,  in 
1783,  and  going  to  London  three  years 
later.  He  was  considered  the  last  great 
singer  of  his  school,  and  was  heard 
in  all  the  chief  cities  of  Europe  from 
1786  until  1816.  He  was  given  the 
Iron  Cross  by  Napoleon,  because  of 
his  talents.  Fetis  says  of  him,  "  Noth- 
ing could  exceed  the  suavity  of  his 
tones,  the  force  of  his  expression,  the 
perfect  taste  of  his  ornaments  or  the 
large  style  of  his  phrasing."  For  sev- 
eral years  after  his  retirement  he  was 
a  professor  at  the  Royal  College  of 
Music,  Naples,  and  numbered  among 
his  pupils  Isabella  Colbran,  the  opera 
singer,  who  afterwards  became  the 
wife  of  Rossini.  He  wrote  several 
vocal  exercises  which  are  still  in  use. 
He  died  in  Naples. 

Cristofori,  Bartolommeo  di  Francesco. 

His  name  was  also  spelled  Cristo- 
fani  and  Cristofali.  He  was  the  in- 
ventor of  the  piano  or  the  Hammer- 
clavier  as  he  called  it.  This  has  been 
a  greatly  disputed  point,  but  Cristp- 


158 


BIOGRAPHIES 


Cristofori 

fori's  claims  have  been  so  thoroughly 
investigated  and  the  evidence  in  his 
favor  is  so  overwhelming  that  it  is 
considered  established  beyond  a 
doubt.  He  was  born  in  Padua  and 
became  the  best  harpsichord  maker 
in  his  native  town.  About  1690  he 
was  persuaded  to  go  to  Florence  by 
Ferdinand  di  Medici  to  take  charge 
of  his  collection  of  instruments.  Here 
he  continued  his  construction  of  harp- 
sichords and  clavichords,  his  instru- 
ments being  described  in  a  number  of 
Italian  literary  works  of  the  day. 
Prince  Ferdinand  died  in  1713,  and  in 
1716  his  collection  of  eighty-four 
spinets  and  harpsichords  was  placed 
in  charge  of  Cristofori.  Seven  of 
these  were  made  by  Cristofori  him- 
self. Cristofori's  hammer  mechanism 
was  introduced  into  his  instruments 
in  1711,  but  his  first  real  piano  was 
not  made  until  the  year  1720.  The  dis- 
covery of  this  instrument  set  at  rest 
all  doubts  as  to  its  being  his  inven- 
tion, as  it  has  a  plate  bearing  his 
name  with  the  date  and  the  word 
"inventor"  following.  This  inter- 
esting instrument  is  in  the  Metro- 
politan Museum  of  New  York,  having 
been  given  by  Mrs.  J.  Crosby  Brown, 
who  obtained  it  from  the  daughter  of 
Fabio  Mocenni,  who  in  turn  had  pro- 
cured it  from  a  piano-tuner  of  Siena. 
Back  of  this  its  history  is  unknown. 
A  grand  piano  made  by  Cristofori  in 
1726  is  in  one  of  the  museums  of 
Florence.  A  harpsichord  with  three 
keyboards  by  the  same  maker  be- 
longs to  the  University  of  Michigan, 
A  grand  festival  was  held  at  Florence, 
in  1876,  in  honor  of  Cristofori  and  at 
the  same  time  a  memorial  tablet  for 
him  was  placed  in  the  cloisters  of 
Sante  Croce. 

Croft,  William.     1677-1727. 

Born  at  Nether  Eatington,  Eng- 
land. He  was  educated  at  the  Chapel 
Royal  under  Dr.  Blow  and  became  at 
an  early  age  proficient  in  musical 
composition  and  an  organist  of  ability. 
When  he  was  thirty  years  of  age  he 
attained  to  the  position  of  organist  at 
Westminster  Abbey,  master  of  the 
children,  and  composer  of  the  Chapel 
Royal.  Nme  years  later  he  received 
from  Oxford  the  degree  of  Doctor  of 
Music.  While  composer  to  Queen 
Anne  he  wrote  many  hymns,  anthems 
and  songs  to  celebrate  the  victories 
of  Marlborough  at  Blenheim.  Several 
of  these  songs  are  still  heard  in  Eng- 


Crouch 

lish  cathedrals.  In  the  early  part  of 
his  career  he  composed  for  the  theatre 
and  wrote  overtures  and  also  sonatas 
for  both  violin  and  flute.  He  is  noted 
for  his  sacred  compositions.  In  1724 
he  published  his  choral  works  in  two 
volumes.  He  was  one  of  the  original 
members  of  the  Academy  of  Vocal 
Music  founded  in  1725.  He  is  said  to 
have  died  from  his  too-zealous  appli- 
cation to  his  duties  in  connection  with 
the  coronation  of  George  II.  He  is 
buried  in  Westminster  Abbey,  where 
a  monument  is  erected  to  his  memory. 

Crotch,  William.     1775-1847. 

He  was  born  at  Norwich  and  gave 
evidence  in  his  early  youth  of  great 
musical  talent.  When  only  two  and 
a  half  years  old  he  played  on  a  small 
organ  built  by  his  father,  who  was  a 
master  carpenter,  and  when  eleven  he 
was  assistant  organist  at  Cambridge. 
At  fourteen  he  composed  an  oratorio. 
The  Captivity  of  Judah,  which  showed 
great  talent.  He  studied  for  the 
church  at  Oxford,  where  in  later 
years  he  was  a  professor  of  music. 
He  lectured  in  the  Oxford  Music 
School  and  also  at  the  Royal  Insti- 
tution, London,  and  was  principal  of 
the  Royal  Academy  of  Music.  Among 
his  works  are  two  oratorios,  Palestine, 
and  The  Captivty  of  Judah,  which  he 
elaborated  and  improved  from  an 
earlier  work  by  the  same  name; 
anthems,  glees,  fugues  and  cantatas. 
He  also  wrote  a  treatise  on  the  Ele- 
ments of  Musical  Composition,  one 
on  Practical  Thorough-bass  and  the 
Theory  of  Tuning,  and  many  other 
works  along  the  same  lines.  In  his 
early  youth  he  excited  great  interest 
among  English  musicians  by  his  ex- 
traordinary precocity,  and  Dr.  Burney 
and  other  writers  commented  on  his 
musical  attainments.  It  is  generally 
agreed  that  he  did  more  toward  the 
spread  of  a  broad  musical  knowledge 
than  any  other  man  of  his  day.  Of 
his  oratorios,  Palestine  interested 
musicians  because  of  its  departure 
from  the  conventional  style  of  Handel. 
His  organ  concertos  are  good  speci- 
mens of  the  old-time  school  of  instru- 
mental composition. 

Crouch,    Frederick    Nicholls.    18  0  8- 

1896. 

Composer  and  musician  who  filled 
various  offices  during  his  life-time  and 
is  best  known  as  the  author  of  the 
familiar    Kathleen    Mavourneen.      He 


BIOGRAPHIES 


159 


Crouch 

was  born  in  London  and  was  the  son 
of  a  violoncellist.  At  an  early  age  he 
showed  a  talent  for  music.  At  nine 
he  played  in  a  band  at  the  Royal 
Coburg  Theatre,  London,  then  traveled 
through  Yorkshire  and  Scotland.  For 
two  years  he  was  a  seaman  on  coast- 
ing vessels  plying  between  London 
and  Leith.  Through  the  influence  of 
William  Watts,  he  became  a  member 
of  the  orchestra  of  the  Drury  Lane 
Theatre,  studied  music  and  was  in  the 
choirs  of  Westminster  Abbey  and  St. 
Paul's  Cathedral.  Then  he  entered  the 
Royal  Academy  of  Music  for  a  period 
of  study.  While  employed  a  few 
years  later  by  a  firm  of  metal  brokers 
he  invented  an  engraving  process 
known  as  zincography.  For  years  he 
was  known  as  the  Irish  lecturer,  and 
on  one  of  his  tours  the  song  Kathleen 
Mavourneen,  which  was  one  of  a 
series  of  songs  called  The  Echoes  of 
the  Lakes,  was  given.  It  was  pub- 
lished about  1838,  and  has  always 
enjoyed  a  wide  popularity.  Crouch 
went  to  America,  in  1849,  joined  the 
Confederate  army,  and  served  through 
the  Civil  War.  His  last  years  were 
passed  in  Baltimore.  He  wrote  the 
music  of  two  operas.  Sir  Roger  de 
Coverley,  and  The  Fifth  of  November. 
His  published  songs  include  The 
Songs  of  Erin;  Songs  of  a  Rambler; 
Wayside  Melodies;  and  others,  all 
popular  in  their  day. 
Crowest,  Frederick  J.   (Pen-name 

Arthur  Vitten).     1850- 

Composer  of  music  and  writer  on 
musical  subjects,  and  for  some  years 
favorably  known  as  a  tenor  singer 
under  his  non  de  guerre.  He  was 
born  in  London  and  held  several 
appointments  there  and  in  other  Eng- 
lish cities.  In  1897  he  was  organist  and 
precentor  at  Christ  Church,  Kilburn, 
and  choi'-master  at  St.  Mary's, 
Somers'  Town.  He  composed  mostly 
church  music  and  songs.  He  is  best 
known  as  the  author  of  a  short  life 
of  Cherubini,  in  the  Great  Musicians' 
Series;  a  Dictionary  of  British  Musi- 
cians; the  Story  of  British  Music, 
vol.  1;  The  Great  Tone  Poets;  Book 
of  Musical  Anecdotes;  and  Phases 
of  Musical  England,  and  has  con- 
tributed much  to  the  National  Review 
and  other  papers. 
Cruvelli    (kru-vel'-li),   Jeanne    Sophie 

Charlotte.     1826-1907. 

A  German  soprano,  born  in  Biele- 
feld,  Westphalia,   who,  in   spite   of  a 


Cui 


lack  of  proper  vocal  training,  appeared 
successfully  for  many  years  on  the 
operatic  stage.  She  made  her  debut 
in  Venice,  in  1847,  and  created  a  veri- 
table triumph.  Her  voice  was  of  re- 
markable beauty  and  in  face  and  form 
she  was  strikingly  handsome.  With 
these  natural  endowments  her  success 
was  almost  assured  from  the  begin- 
ning. Mme.  Cruvelli  sang  in  Verdi's 
Atilla,  and  when  she  went  to  Paris 
in  1851  created  a  furore  by  her  singing 
in  Ernani,  The  Marriage  of  Figaro, 
and  other  operas.  It  was  then  that 
she  Italianized  her  name,  which  was 
originally  Cruwell.  In  1854  she  was 
engaged  for  grand  opera  in  Paris  at  a 
salary  of  100,000  francs  and  appeared 
with  success  as  Valentine  in  Les 
Huguenots  and  in  Fidelio.  In  1848 
she  sang  in  The  Marriage  of  Figaro 
with  Jenny  Lind,  but  comparison  with 
the  "  Swedish  Nightingale "  did  not 
strengthen  her  position  as  a  singer. 
The  last  role  she  sang  was  Verdi's 
Vepres  Siciliennes  and  she  retired,  in 
1855,  when  she  married  Viscount 
Vigier,  an  equerry  to  Napoleon  III. 
Her  sister,  Fredericka  Marie,  two 
years  older,  was  also  a  singer,  who 
made  her  debut  in  London  in  1851 
and  created  a  furore,  but  failed  even- 
tually because  of  lack  of  training.  She 
is  said  to  have  died  of  a  broken  heart 
because  of  her  failure.  Sophie  Cru- 
velli (Viscountess  Vigier),  died  at 
Nice,  Nov.  6,  1907,  aged  81  years. 

Cui  (kwe),  Cesar  Antonovitch.     1836- 

Distinguished  Russian  composer, 
who,  beside  composing  operas,  songs 
and  pieces  for  the  violin  and  piano,  is 
also  a  musical  critic  and  an  authority 
on  the  subject  of  artillery,  having 
begun  life  as  a  military  engineer.  His 
father,  Antoine  Cui,  a  French  soldier 
who  settled  in  Russia  after  Napol- 
eon's defeat  at  Moscow,  was  a  man  of 
great  intellect  and  an  excellent  French 
teacher.  Cui  was  born  in  Wilna, 
Poland,  and  received  his  early  edu- 
cation at  the  high  school  at  Wilna, 
where  his  father  was  the  instructor  in 
French.  The  boy  from  his  earliest 
years  showed  great  musical  talent, 
and  was  given  lessons  on  the  piano. 
He  was  a  pupil  of  Moniuszko  and 
Balakirev,  and  has  been  called  the  first 
disciple  of  Balakirev,  who  afterwards 
became  his  friend  and  co-worker.  He 
had  also  studied  with  Hermann  and 
Dio,  but  it  was  Balakirev  who  first 
fired  his   enthusiasm  for  music.     He 


160 


BIOGRAPHIES 


Cui 


Cusins 


studied  at  the  Imperial  Academy  of 
Engineering  at  St.  Petersburg,  where 
he  was  afterward  appointed  an  in- 
structor. He  lectured  on  the  subject 
of  fortifications  at  the  Artillery  School 
and  Staff  College  at  St.  Petersburg 
and  numbered  among  his  pupils  at 
that  time,  the  present  Czar,  Nicholas 
II.  He  later  wrote  a  treatise  and 
history  on  the  subject  of  fortifications, 
which  gave  him  a  position  of  great 
importance  in  military  circles.  From 
1864  until  1868  he  was  the  musical 
critic  of  the  St.  Petersburg  Gazette, 
and  in  1878  he  published  a  series 
of  articles  on  the  music  of  Russia. 
His  earliest  operatic  work  was  The 
Prisoner  of  the  Caucasus,  which  was 
based  on  a  poem  of  Pushkin's,  but 
which  was  not  given  until  1883,  after 
some  of  his  other  operas  had  been 
given.  The  first  of  his  work  to  be 
produced  was  The  Mandarin's  Son, 
which  was  in  the  style  of  Auber  and 
did  not  exhibit  much  originality. 
Among  his  other  operas  were  William 
Ratcliffe,  given  at  St.  Petersburg  in 
1869,  which  was  based  on  Heine's 
tragedy;  and  Angelo,  which  was 
modeled  atfer  Victor  Hugo's  drama 
of  the  same  name.  He  also  wrote 
Le  Filibustier,  for  the  French  stage, 
to  a  libretto  by  Jean  Richepin;  while 
another  opera,  The  Saracen,  is 
founded  on  Dumas'  Charles  VII. 
This  opera  was  produced  at  St.  Peters- 
burg in  1899  with  great  success.  Be- 
side his  operatic  music,  Cui  has  com- 
posed two  scherzos,  and  a  tarantelle 
for  the  orchestra;  suites  for  the  piano 
and  violin;  and  many  songs,  in  which 
he  excels.  He  has  not  made  a  signal 
success  of  any  of  his  operas,  and  has 
been  accused  by  his  countrymen  with 
having  lacked  originality,  but  his  com- 
positions are  all  of  great  excellence, 
although  they  show  the  influence  of 
Chopin,  Liszt  and  Schumann.  He  is 
at  his  best  in  solos  and  love-duets. 
He  is  one  of  the  chief  upholders  of 
the  national  school  of  Russia,  whose 
theories  bear  a  strong  resemblance  to 
those  of  Wagner.  Since  1864  Cui  has 
been  a  contributor  to  many  news- 
papers, and  he  has  called  attention  to 
the  activities  of  the  new  Russian 
school  in  numerous  magazine  articles. 
He  is  at  present  a  major  general  and 
professor  of  fortifications  in  a  mili- 
tary school  at  St.  Petersburg  and  is 
also  president  of  the  Imperial  Russian 
Musical  Society,  ranking  high  in  musi- 
cal and  military  circles 


Curschmann     (koorsh'-man),     Karl 
Friedrich.    1804-1841. 

He  was  born  and  spent  most  of  his 
hfe  in  Berlin,  being  well  known  and 
popular,  chiefly  because  of  his  beau- 
tiful songs.  He  was  originally  a  law 
student,  but  from  1824  devoted  him- 
self to  music,  studying  under  Spohr 
and  Hauptmann  at  Kassel,  where  his 
one-act  opera,  Abdul  und  Erinnieh, 
was  produced  in  1828.  He  made  sev- 
eral tours  in  Germany,  France  and 
Italy,  and  his  works  are  equally  as 
popular  in  America  and  England  as 
they  are  in  his  native  land.  His  com- 
positions consist  chiefly  of  books  of 
songs,  among  which  .are  Wiegenlied, 
Die  Stillen  Wanderer,  Der  Abend 
Standchen,  Der  Fischer  Altes  Volks- 
lied,  Jagerlied,  Au  Rose  der  Schiffer, 
and  Der  kleine  Hans.  Most  of  his 
songs  are  of  great  melodic  beauty  and 
well  deserve  their  popularity.  His 
other  works  are  Romeo,  scena  and 
aria;  and  two  canons.  He  wrote  ''n 
all  about  eighty-three  songs  for  single 
voice  and  nine  duets.  Curschmann 
died,  in  the  prime  of  life,  near  Danzig. 
He  is  best  known  in  America  for  his 
song.  In  Every  Opening  Flower,  and 
his  trios,  Ti  prego  and  Addio. 
Curschmann  was  the  favorite  song- 
writer of  Germany  before  Schumann 
and  Schubert  became  known. 

Curwen,  Rev.  John.    1816-1880. 

Born  at  Heckmondwike,  Yorkshire, 
England.  While  he  was  pastor  of  a 
church  in  Essex  he  became  interested 
in  Miss  S.  A.  Glover's  "  Tonic  Sol-fa  " 
system  and  for  many  years  labored 
to  improve  it.  In  1843  his  Grammar 
of  Vocal  Music  appeared,  and  he 
founded  an  Association  in  1853  and  the 
Tonic  Sol-fa  College  in  1862,  resign- 
ing his  pastorate  a  few  years  later  to 
devote  his  whole  time  to  the  systems. 
His  numerous  publications  relate 
chiefly  to  it.  He  also  wrote  various 
hymn  and  tune  books,  collections  of 
part-music  and  school-songs. 

Cusins,    Sir    William    George.    1833- 

1893. 

Born  in  London.  A  composer, 
pianist  and  conductor,  who  began  his 
musical  career  as  a  choir-boy  at  the 
Chapel  Royal  in  1843.  He  was  a  pupil 
of  Fetis  in  the  Brussels  Conservatory, 
in  1844,  and  of  the  Academy  of  Music, 
in  1847,  under  various  teachers.  Took 
the  King's  Scholarship  in  1847,  and 
again  in  1849,  and  in  the  latter  year 


BIOGRAPHIES 


161 


Cusins 

was  appointed  organist  of  the  Queen's 
private  chapel,  and  also  became  vio- 
linist in  the  Italian  Opera  Orchestra. 
In  1851  he  was  assistant  professor  of 
piano  at  the  Royal  Academy  and  suc- 
ceeded Bennett  as  conductor  of  the 
Philharmonic  Society  and,  in  1870, 
became  conductor  of  the  Royal  band. 
He  held  many  high  offices  and  was 
knighted  by  the  Queen  in  1892.  Among 
his  works  are  a  royal  wedding  sere- 
nade, two  cantatas,  an  oratorio,  Gid- 
eon, written  for  the  Gloucester  Fes- 
tival in  1871;  two  concert-overtures, 
piano-pieces,  and  songs  and  marches. 
He  also  contributed  to  Grove's  Dic- 
tionary of  Music. 

Cuzzoni  (kood-z6'-ne),  Francesca. 
1700-1770. 

Famous  singer  of  the  Eighteenth 
Century,  and  one  of  the  heroines  of 
one  of  the  greatest  feuds  ever  re- 
corded on  the  Italian  stage.  She  was 
born,  according  to  Burney,  at  Parma, 
and  according  to  Hawkins  at  Modena, 
Italy,  and  received  her  first  instruc- 
tion from  Lanzi,  a  noted  teacher. 
She  made  her  debut  at  Venice,  with 
Faustina,  in  1719,  in  Gasparini's 
Lamano,  and  after  singing  in  various 
Italian  cities,  she  came  to  England 
and  shortly  afterward  married  San- 
doni,  a  harpsichord-player  and  com- 
poser of  considerable  prominence. 
Her  first  London  appearance  was  in 
1722,  as  Teofane  in  Handel's  Otho. 
For  this  part  she  was  specially  en- 
gaged by  Handel  himself,  who  was 
so  delighted  with  her  success  in  it 
that  he  composed  a  number  of  airs 
to  suit  the  peculiarities  of  her  voice 
and  style.  Success  followed  success, 
and  at  one  time  she  is  said  to  have 
received  a  salary  of  24,000  francs  for 
one  season  from  a  manager  in  Italy. 
She  made  herself  so  popular  in  Corio- 
lano,  Flavio  and  Farnace  that  Dura- 
stanti  and  Anastasia  Robinson  were 
obliged  to  withdraw  from  the  operatic 
stage  before  the  superior  attractions 
of  the  newly-arrived  Cuzzoni.  Her 
success  might  have  continued  for 
many  years  had  it  not  been  for  her 
violent  temper  and  arrogance.  She 
took  such  liberties  with  Handel's 
music,  which  he  had  specially  com- 
posed for  her,  that  he  never  rested 
until  he  found  a  singer  who  could 
eclipse  her.  He  finally  succeeded  in 
Faustina  Bordoni,  who  was  beautiful, 
talented  and  of  agreeable  manners, 
and  who  shortly  afterward  supplanted 


Czemohorsky 

Cuzzoni  in  the  hearts  of  the  London 
opera-goers  and  eventually  forced  her 
out  of  England.  Faustina  had  Handel 
on  her  side  and  had  the  good  sense 
not  to  reject  his  music,  as  her  rival 
had  done.  Shortly  after  her  appear- 
ance on  the  scene  the  musical  public 
becarne  divided  in  its  allegiance  to  the 
two  singers  and  party  feeling  became 
so  strong  that  when  Cuzzoni's  ad- 
mirers applauded  her  the  adherents 
of  Faustina  hissed,  and  vice  versa.  In 
1728,  at  the  close  of  the  season,  the 
managers  became  so  provoked  by  the 
constant  quarrels  that  they  offered 
Faustina  a  larger  salary  than  Cuzzoni, 
and  the  latter  took  her  departure  from 
England  disappointed  and  humiliated. 
She  next  went  to  Vienna  and  sang  at 
court,  but  her  demands  for  her  serv- 
ices were  so  enormous  that  she  was 
prevented  from  securing  engagements 
at  the  theatres.  After  a  series  of 
tours  on  the  Continent  she  returned 
to  London,  in  1734,  and  appeared  as 
Ariadne  at  the  opera  house  in  Lincoln 
Inn  Fields  established  by  Porpora  in 
opposition  to  Handel.  After  a  second 
tour  abroad,  she  again  returned  to 
England,  in  1750,  but  her  voice  had 
failed  and  she  was  now  poor  and 
friendless.  She  next  went  to  Hol- 
land, where  she  was  imprisoned  for 
debt,  and  we  hear  of  her  next  at 
Bologna,  where  she  made  a  meager 
living  by  making  buttons.  She  died 
there  in  the  greatest  poverty.  In  1741 
there  was  a  rumor  that  Cuzzoni  was 
to  be  beheaded  for  poisoning  her 
husband,  but  the  sentence,  if  pro- 
nounced, never  was  put  into  execution, 
and  nothing  more  was  heard  of  it. 

Czernohorsky  (cher-no-hor'-shki),  Bo- 

huslav.    1690-1740. 

A  Minorite  monk,  who  was  born  at 
Nimburg  in  Bohemia,  and  is  noted 
for  having  been  the  teacher  of  Gluck 
and  Tartini.  He  was  choirmaster  at 
St.  Antonio,  Padua,  and  about  1715 
was  organist  at  Assisi.  After  return- 
ing to  Bohemia  he  became  chapel- 
master  at  the  Teinkirche,  Prague, 
and  in  1735  at  St.  Jacob's,  Prague,  and 
here  it  was  that  Gluck  studied  with 
him.  Czernohorsky  belonged  to  that 
school  which  cultivated  and  fostered 
the  severe  and  pure  only  in  musical 
composition.  His  compositions  are 
now  seldom  heard  except  in  the  serv- 
ices of  the  churches  in  Bohemia. 
Many  of  his  manuscripts  were  de- 
stroyed  in   a   fire    which   burned   the 


162 


BIOGRAPHIES 


Czemohorsky 

Minorite  monastery  to  the  ground  in 
1754.  A  few  of  his  works  are  owned 
by  private  individuals,  while  others 
are  in  the  church  archives  at  Prague. 
He  died  while  traveling  in  Italy  in 
1740. 

Czemy  (char-ne),  Karl.    1791-1857. 

Very  famous  teacher  of  the  piano. 
He  was  born  in  Vienna.  Was  a  pupil 
of  his  father,  Wencezlas  Czerny,  and 
also  of  Beethoven  and  Clementi, 
whose  method  of  teaching  he  studied. 
Beethoven  offered  to  teach  him  and 
became  his  warm  friend,  introducing 
him  to  his  patron.  Prince  Lichnowsky, 
whose  friendship  later  proved  of  the 
greatest  benefit  to  Czerny.  As  a  boy 
he  showed  great  skill  in  music  and  at 
ten  he  could  play  by  heart  the  works 
of  all  the  celebrated  masters.  In 
1804  he  made  preparations  for  a  tour, 
but  abandoned  it  because  of  the  un- 
settled state  of  the  Continent  and  de- 
voted himself  instead  to  teaching  and 
composing.  Among  his  pupils  were 
Liszt,  Thalberg,  Belleville,  Mme.  Oury 
and  other  musicians  who  became  fam- 
ous in  later  years.  It  was  said  of  him 
that  he  would  take  no  pupils  except 
those  who  showed  special  talent. 
Liszt  was  only  ten  when  he  became 
his  pupil.  From  1816  until  1823  he 
had  music  performed  by  his  best 
pupils  at  his  house,  where  Beethoven 
loved  to  visit.  Czerny  was  modest 
and  simple  in  his  manner  and  mode 
of  life  and  helpful  and  encouraging  to 
all  young  artists,  if  assured  of  their 


Dalberg 

ability.  About  1850  his  health  began 
to  fail  and  he  was  forced  to  take  a 
rest.  Seven  years  later  he  died.  He 
had  neither  brothers,  sisters  or  near 
relatives  and  he  never  married.  His 
printed  works  consist  of  nearly  one 
thousand  numbers,  and  at  one  time 
he  had  difficulty  in  supplying  the  de- 
mands of  his  publishers.  He  also  left 
an  immense  collection  of  manuscripts 
now  in  the  museum  at  Vienna,  in- 
cluding twenty-four  masses,  four 
requiems,  three  hundred  graduals  and 
offertories,  symphonies  and  songs. 
He  also  arranged,  as  a  special  com- 
mission, the  overtures  of  Semiramide 
and  William  Tell  for  eight  pianos 
(four  hands  each). 

Czibulka   (che-bool'-ka),  Alphons. 
1842-1894. 

A  prolific  composer,  who  was  born 
at  Szepes-Varallya,  in  Hungary;  stud- 
ied at  Pressburg  and  Vienna,  and 
then  went  as  pianist  to  Russia.  In 
1865  he  became  choirmaster  at  the 
Carl  Theatre,  Vienna,  and  the  next 
V^ear  upon  his  own  application  served 
;n  the  17th  regiment  of  infantry,  with 
which  he  made  the  campaign  in  Italy, 
ind  was  later  bandmaster  in  Vienna. 
He  composed  much  dance-music, 
wrote  six  operettas  and  an  opera.  Der 
Berjazze,  which  was  brought  out  in 
Vienna  in  1892.  His  best  works  are 
Gil  Bias,  an  operetta,  produced  in 
Hamburg  in  1889,  and  the  opera, 
Signor  Annibale,  brought  out  the  next 
year. 


D 


Dalayrac    (dal-e-rak),   Nicolas.    1753- 
1809. 

Famous  French  composer,  whose 
works  were  among  the  most  popular 
in  Paris  at  the  close  of  the  Eighteenth 
Century,  although  they  are  now 
seldom  heard.  He  was  born  at  Muret, 
France,  and  was  originally  intended 
for  the  bar,  but  he_  went  to  Paris  and 
became  a  commissioned  officer  in  the 
guards  of  Count  d'Artois,  in  1774.  His 
musical  studies  were  pursued  under 
Langle  and  Caffaro.  His  first  effort 
in  the  operatic  line  was  Le  Petit 
Souper,  produced  in  1781  at  the 
French    Court,   and   which   was   such 


a  success  that  the  young  composer 
wrote,  shortly  afterward,  L'ficlipse 
Totale,  for  the  Opera  Comique.  This 
did  much  to  give  him  a  definite  place 
in  the  musical  world.  Other  works 
that  are  worthy  of  note  are  Le 
Corsaire;  Azemia;  and  Nina,  which 
last  was  performed  two  years  after 
his  death.  He  was  honored  by  his 
country  with  the  appointment  as  a 
Chevalier  of  the  Legion  of  Honor. 
Dalberg  (dal'-barkh),  Johann  Fried- 
rich  Hugo  von.  1752-1812. 
Pianist,  composer  and  writer,  who 
was  born  at  Aschaffenburg,  Germany, 
and   studied   at    Gottingen,   and   later 


BIOGRAPHIES 


163 


Dalberg 

held  ecclesiastical  appointments  at 
Coblentz,  Treves  and  Worms.  He 
wrote  a  number  of  works  on  Oriental 
music,  didactic  works  and  composi- 
tions for  the  piano  and  also  played  on 
that  instrument  excellently.  The  most 
important  of  his  works  are  the  can- 
tatas, Jesus  auf  Golgotha;  Eva's 
Klagen,  a  German  version  of  Pope's 
poem,  The  Dying  Christian  to  His 
Soul;  a  quartet  for  piano  and  wind- 
instruments;  sonatas  for  the  piano, 
with  and  without  violin;  also  several 
books  of  songs.  Dalberg  was  the 
author  of  a  number  of  literary  works 
and  translated  Sir  William  Jones' 
treatise  on  Indian  Music,  entitled 
The  Musical  Modes  of  the  Hindus, 
published  in  1802.  Dalberg  died  in 
the  town  where  he  was  born. 

D'Albert,  Eugen.  See  Albert,  Eugen  d' 

Dalcroze,  fimile  Jaques.    1865- 

Swiss  composer,  who  was  born  in 
Vienna,  of  Swiss  parents,  and  who 
have  lived  in  Geneva  since  1873.  He 
pursued  his  studies  under  Bruckner 
of  Vienna,  worked  on  orchestration 
under  Delibes  at  Paris,  and  was  also 
a  pupil  of  R.  Fuchs  of  Vienna.  He 
has  occupied  the  posts  of  lecturer, 
critic,  professor  of  harmony  and  head 
of  the  solfeggia  class  at  the  Conserv- 
atory of  Geneva  and  has  composed 
all  classes  of  music.  His  songs  have 
been  extremely  popular  in  Switzer- 
land, Germany,  and  Holland  and  his 
string-quartets  are  well  thought  of  by 
musicians.  Among  his  more  impor- 
tant works  are  La  Veillee,  for  solos, 
chorus  and  orchestra;  Jenie,  a  lyric 
comedy;  Sancho  Panza,  also  a  lyric 
comedy;  and  a  violin  concerto,  which 
was  the  cause  of  much  discussion 
among  musicians  because  of  its  de- 
parture from  the  usual  rules  of  form. 

Damoreau  (dam-6-ro),  Laure  Cinthie 
Montalant.    1801-1863. 

She  was  born  in  Paris  and  attained 
to  much  prominence  as  a  singer.  Her 
parents  were  moderately  well-to-do, 
her  father  being  a  professor  of  lan- 
guages and  her  mother  a  wood- 
engraver.  When  a  little  girl  she  was 
taken  to  Catel  and  astonished  him 
by  singing  with  great  feeling  and 
accuracy  the  finale  to  The  Marriage 
of  Figaro.  Her  uncle,  M.  Plautade, 
taught  her  singing,  and  while  study- 
ing she  was  also  composing.  She 
was  admited  to  the  Conservatory  in 
1808  and  became  highly  proficient  as 


Damrosch 

a  performer  on  the  piano.  She  made 
her  debut  in  opera  at  the  Paris  Opera, 
in  La  Cosa  Rara,  in  the  part  of  Lilla. 
Her  first  really  important  part  was 
that  of  Gherubino  in  The  Marriage  of 
Figaro.  While  appearing  at  the 
Theatre  Italien  she  understudied  all 
of  the  prime  donne,  and  upon  advice 
changed  her  name  to  Cinti.  She  was 
engaged  by  Ebers  to  sing  in  London 
and  made  her  first  appearance  there 
in  1822  as  Rosina  in  The  Barber  of 
Seville.  She  was  not  well  received, 
so  returned  to  Paris,  and  there  ap- 
peared in  many  operas,  among  them 
Don  Giovanni,  and  Romeo  and  Juliet. 
Rossini  about  this  time  heard  her  sing 
and  taking  an  interest  in  her  engaged 
her  to  sing  in  his  Moses  in  Egypt, 
and  this  opera  crowned  her  success. 
In  Brussels  she  married  M.  Damo- 
reau, an  actor,  and  from  then  on  was 
frequently  heard  in  London,  Paris 
and  many  of  the  continental  cities. 
In  1841  she  made  her  farewell  ap- 
pearance in  France.  As  a  concert 
singer  she  came  to  the  United  States 
in  1843,  and  on  returning  to  Paris 
accepted  the  post  of  professor  of 
singing  in  the  Paris  Conservatory. 
In  1849  she  published  her  Methode 
de  Chant,  used  by  the  Conservatory. 
She  also  published  some  charming 
compositions  and  taught  many  pupils 
who  afterwards  became  distinguished. 

♦Damrosch     (dam' -  rosh),     Frank 
Heino.     1859- 

The  eldest  son  of  the  late  Dr. 
Leopold  Damrosch,  and  brother  of 
Walter  Damrosch.  He  was  born  in 
Breslau,  Prussia,  and  when  a  mere 
youth  began  his  studies  in  music,  be- 
ing a  pupil  of  Pruckner  and  Jean 
Vogt.  After  his  parent's  removal  to 
New  York,  he  continued  his  studies 
in  piano  under  Von  Inten,  studying 
theory  and  composition  with  his 
father  and  Moszkowski.  He  went  to 
Denver  and  entered  business  life 
there,  but  never  lost  his  mterest  in 
music.  From  1882  to  1885  he  was 
the  conductor  of  the  Denver  Chorus 
Club.  On  his  father's  death  he  re- 
turned to  New  York,  where  his 
brother  Walter  was  already  recog- 
nized as  a  musician  and  conductor  of 
great  promise. 

Frank  Damrosch  chose  the  life  of 
a  teacher,  and  later  that  of  conductor 
and  trainer  of  large  choral  societies. 
During  the  regime  of  German  music 
at    the    Metropolitan    Opera    House, 


164 


BIOGRAPHIES 


Damrosch 

from  1885  until  1891,  he  was  chorus- 
master,  and  until  1891  conductor  of 
the  Newark  Harmonic  Society.  Frank 
Damrosch  has  been  called  the  great 
democrat  among  musical  directors  and 
has  spent  an  unselfish  life  in  develop- 
ing a  taste  for  music  in  America,  by 
training  the  children  of  the  public 
schools  and  the  people  in  the  lower 
Walks  of  life.  His  first  effort  in  this 
direction  was  in  1892,  when  he 
organized  The  People's  Choral  Union 
in  New  York,  for  the  popularization 
of  choral  singing,  which  has  borne 
good  fruits  and  for  which  he  pub- 
lished, in  1894,  his  Popular  Method  of 
Sight  Singing.  This  chorus  was  com- 
posed almost  wholly  of  wage-earners 
and  had  a  membership  of  1200. 

In  1897  he  was  induced  to  become 
the  supervisor  of  music  in  the  public 
schools  of  New  York,  and  it  is  said 
made  a  large  financial  sacrifice  in 
accepting  this  position.  Under  his 
direction  the  singing  of  the  school 
children  vastly  improved.  In  1905, 
Mr.  Damrosch  gave  up  the  work  in 
the  schools,  but  his  influence  will  be 
felt  perhaps  for  generations.  In  1898 
he  succeeded  his  brother  as  conductor 
of  the  Oratorio  Society  of  New  York, 
and  holds  the  position  at  the  present 
time.  He  has  also  been  conductor  of 
the  Musurgia  Society  of  that  city; 
the  Oratorio  Society  of  Bridgeport, 
Connecticut;  the  Orpheus  and  Eury- 
dice  of  Philadelphia;  the  Mendelssohn 
Glee  Club,  since  1905;  Symphony 
concerts  for  young  people,  since  1898; 
and  the  Musical  Art  Society,  since 
1892.  Mr.  Damrosch  is  at  present  the 
director  of  the  new  Institution  of 
Musical  Art  of  New  York,  for  which 
he  has  worked  unceasingly  for  years, 
and  which  is  the  realization  of  all  his 
hopes.  The  new  school  is  the  first 
American  Conservatory  of  Music  or- 
ganized with  the  breadth  of  plan  and 
aim  of  the  best  of  European  institu- 
tions. For  a  year  Mr.  Damrosch 
worked  at  organizing  it.  He  sought 
and  found,  in  James  Loeb,  a  son  of 
the  banker,  Soloman  Loeb,  a  man  of 
culture  and  means  to  endow  the 
school.  Mr.  Loeb,  subscribed  $500,000 
for  the  institution.  In  October,  1905, 
its  doors  were  opened  and  three  hun- 
dred and  fifty  pupils  were  enrolled 
the  first  week.  It  provides  the  stu- 
dents the  highest  musical  instruction 
in  all  branches,  and  is  housed  in  a 
beautiful  building  on  Fifth  Avenue.  A 
special   course   for   the    directors    of 


Damrosch 

music  in  the  public  schools  is  one  of 
the  features  of  the  Institute.  Mr. 
Damrosch  received  from  Yale,  in  1904, 
the  degree  of  Doctor  of  Music.  He 
has  published  only  a  few  composi- 
tions, and  these  being  mostly  songs 
and  choruses. 

Damrosch,  Dr.  Leopold.     1832-1885. 

Well-known  as  one  of  America's 
most  able  conductors,  head  of  a 
highly  musical  and  artistic  family  and 
the  man  who  started  the  crusade  that 
led  to  the  establishment  in  New  York 
of  German  Opera  on  a  firm  basis.  He 
was  born  at  Posen,  Prussia,  and  from 
his  father,  a  man  of  culture  and  means, 
he  inherited  a  love  of  music.  When 
nine  years  of  age  he  commenced  the 
study  of  the  violin  and  later  pursued 
a  course  of  instruction  in  medicine  at 
the  University  of  Berlin,  graduating 
with  high  honors  after  three  years. 
During  this  time  he  devoted  his  spare 
moments  to  music  and  studied  the 
violin  under  Ries,  and  theory  and 
composition  under  Dehn  and  Bohmer. 
Shortly  afterward  he  appeared  as  a 
solo  violinist  in  various  German 
cities  and  was  so  successful  that  his 
reputation  soon  became  a  national 
one.  He  went  to  Weimar,  in  1855, 
where  Liszt  was  much  impressed  with 
his  playing,  and  gave  him  the  post  of 
solo  violinist  in  the  Grand  Duke's 
orchestra.  He  held  this  position  for 
eighteen  months  and  through  it  he 
met  many  prominent  musicians  of  the 
day,  Liszt  becoming  one  of  his  warm- 
est friends.  At  Weimar  he  also  met 
Wagner,  who  took  a  deep  interest  in 
him.  Here  he  met  and  married  the 
singer,  Helene  von  Heimburg.  He 
went  next  to  Breslau,  where  he  be- 
came conductor  of  the  Philharmonic 
concerts,  continuing  in  that  capacity 
for  a  year,  resigning  to  go  on  a  con- 
cert tour  with  von  Biilow  and  Tausig. 
While  conductor  of  the  Philharmonic 
Society  he  gave  a  prominent  place  to 
the  compositions  of  Wagner,  Liszt, 
and  Berlioz,  the  works  of  these  musi- 
cians not  being  then  as  well-known 
as  they  are  today.  In  1862,  Dr. 
Damrosch  returned  to  Breslau  and 
organized  a  symphony  society  with 
an  orchestra  of  eighty  players.  Nearly 
all  the  celebrated  artists  of  the  day 
appeared  at  the  concerts,  among  them 
Rubinstein,  Joachim  and  Mme.  Viar- 
dot-Garcia,  while  both  Liszt  and 
Wagner  took  up  the  baton  on  several 
occasions.     In    1871,    Dr.    Damrosch 


BIOGRAPHIES 


165 


Damrosch 


accepted  a  call  from  the  Arion  So- 
ciety, a  male  chorus  of  New  Yorkj  to 
become  its  conductor.  He  made  his 
debut  in  this  country  at  Steinway 
Hall,  New  York,  as  conductor,  com- 
poser and  violinist,  meeting  with  an 
enthusiastic  reception.  He  almost 
immediately  became  a  factor  in  the 
musical  life  of  the  metropolis,  and 
two  years  later  organized  the  Ora- 
torio Society.  In  1878  a  second  so- 
ciety, the  Symphony  Society,  was 
organized  by  Dr.  Damrosch,  the 
orchestra  of  which  has  become  noted 
through  his  efforts  and  those  of  his 
son  Walter,  who  is  at  present  its 
conductor.  Dr.  Damrosch  remained 
conductor  of  the  society  until  his 
death.  In  1880  he  was  given  the  de- 
gree of  Doctor  of  Music  by  Columbia 
College,  New  York.  In  1881  he  con- 
ducted the  first  great  musical  festival 
held  in  New  York,  with  an  orchestra 
of  two  hundred  and  fifty  and  a  chorus 
of  twelve  hundred.  Two  years  later 
he  made  a  tour  of  the  western  states 
with  his  orchestra,  and  from  this  time 
on  until  his  death  he  conducted  vari- 
ous  festivals. 

Dr.  Damrosch  was  instrumental  in 
establishing  German  Opera  at  the 
Metropolitan  Opera  House,  New 
York.  He  gathered  a  company  of 
German  vocalists  and  made  of  the 
venture  a  success,  producing  Tann- 
hauser,  Lohengrin  and  Die  Walkiire. 
The  season  opened  November,  1884, 
and  ended  February,  1885,  Dr.  Dam- 
rosch conducting  every  performance 
with  the  exception  of  the  last.  He 
was  taken  ill  with  a  cold,  which 
rapidly  developed  into  pneumonia, 
and  died  five  days  later.  He  had  in 
those  few  months,  however,  placed 
German  Opera  on  a  firm  footing  in 
New  York.  This  had  been  his  one 
great  ambition,  and  under  the  direc- 
tion of  Anton  Seidl  it  was  continued 
for  six  years  at  the  Metropolitan 
Opera  House.  The  last  years  of  his 
life  were  busy  and  fruitful  ones,  but 
so  much  of  his  time  was  taken  up 
with  his  other  duties  that  his  com- 
positions are  not  numerous.  They 
consist  of  a  biblical  idyll  or  cantata, 
Ruth  and  Naomi;  a  festival  overture 
and  other  orchestral  pieces;  various 
pieces  for  the  violin;  a  collection  of 
church  music,  entitled  St.  Cecilia; 
Sulamith,  a  sacred  cantata;  and  several 
songs.  "  The  secret  of  his  success 
as  a  conductor  lay  in  the  precision 
and  surety  with  which  he  wielded  the 


Damrosch 

baton,"  says  one  writer,  "the  fine 
artistic  feeling  he  brought  to  bear  on 
the  works  he  interpreted  and  the 
faculty  he  had  of  imparting  that  feel- 
ing to  those  under  him."  Dr.  Dam_- 
rosch  took  a  notable  part  in  the  de- 
velopment of  music  in  America  and 
because  of  his  eflforts  to  raise  the 
standard  of  musical  taste,  by  giving 
the  people  the  best  productions  of 
the  art,  his  name  ranks  high  in  the 
history  of  music  in  this  country.  Two 
sons  of  Dr.  Damrosch,  Walter  and 
Frank,  are  notable  figures  in  the 
world  of  music  today,  and  are  ever 
active    in   furthering   the   art. 

Damrosch,  Walter  Johannes.    1862- 

Talented  conductor,  Wagnerian  lec- 
turer and  composer,  a  son  of  Dr. 
Leopold  Damrosch.  He  was  born  in 
Breslau,  Prussia.  He  showed  a  fond- 
ness for  music  at  an  early  age  and 
was  instructed  by  his  father  in  har- 
rnony  and  also  studied  under  Risch- 
bieter  and  Draeseke  at  Dresden.  He 
came  to  America  with  his  parents  in 
1871,  and  in  1884,  when  his  father 
began  his  season  of  German  Opera  in 
New  York,  Walter  was  made  the 
assistant  conductor.  After  his  father's 
death  he  held  the  same  post  under 
Seidl,  and  also  became  conductor  of 
the  Oratorio  and  Symphony  Socie- 
ties. For  his  father's  musical  festi- 
val, in  1880,  he  trained  the  Newark 
Harmonic  Society,  of  which  he  then 
became  conductor.  As  an  operatic 
impressario  he  showed  good  judg- 
ment and  business  sense.  In  1895  he 
made  an  effort  to  re-establish  German 
Opera  in  New  York  and  gave  a  sea- 
son of  it  at  the  Metropolitan  Opera 
House  and  in  some  of  the  larger 
cities,  bringing  over  from  Europe 
several  noted  singers,  among  them 
Alvary,  Gadski  and  Sucher.  During 
his  second  season  he  produced  his 
own  opera,  The  Scarlet  Letter, 
founded  on  Hawthorne's  novel  of  that 
name.  German  Opera  having  been 
crowded  out  of  the  Metropolitan 
Opera  House  a  few  seasons  later  he 
organized  a  company  from  such  ma- 
terial as  he  could  engage,  turned 
Carnegie  Hall  into  an  opera  house 
and  gave  several  Wagnerian  perform- 
ances, among  them  the  first  perform- 
ance of  The  Ring  of  the  Nibelungen 
in  New  York.  After  another  season, 
however,  interest  seemed  to  have  de- 
clined and  German  Opera  as  an  indi- 
vidual enterprise  ended. 


166 


BIOGRAPHIES 


Damrosch 

As  a  concert  conductor  Damrosch 
has  produced  several  important  novel- 
ties in  America.  Among  them  were 
Tschaikowsky's  Sixth  Symphony, 
Liszt's  Christus  and  Parsifal  (in  ora- 
torio form),  which  were  first  given  in 
this  country  under  his  baton.  As  a 
composer  he  wrote  beside  The  Scarlet 
Letter,  another  opera,  Cyrano,  with 
the  text  by  W.  J.  Henderson  after 
Rostand's  play;  the  Manila  Te  Deurn, 
in  honor  of  Dewey's  victory;  a  violin 
sonata  and  several  songs.  He  is  best 
known  as  a  composer  through  his 
setting  of  one  of  Kipling's  Barrack 
Room  Ballads,  Danny  Deever.  He 
has  also  introduced  many  famous 
artists  to  the  American  public,  includ- 
ing Milka  Ternina,  Brema,  and  Lili 
Lehmann,  besides  those  mentioned 
before.  He  is  at  present  the  conduc- 
tor of  the  New  York  Symphony 
Orchestra,  one  of  the  ablest  and  best 
organizations  of  its  kind  in  this 
country,  numbering  some  fifty-five 
players,  whose  training  has  been  long 
and  thorough.  Mr.  Damrosch  is  a 
man  of  many  winning  personal  traits 
and  is  well-liked  by  the  musicians 
under  him.  He  married  in  1890,  Miss 
Margaret  Blaine,  a  daughter  of  the 
late  James  G.  Blaine.  Their  home  is 
in  New  York. 

Dana,  William  Henry.     1846- 

A  musician  and  lecturer,  and  presi- 
dent of  Dana's  Musical  Institute  at 
Warren,  Ohio,  where  he  was  born. 
His  musical  education  was  begun  at 
Kullak's  Conservatory,  Berlin,  and 
continued  at  the  Royal  Academy  of 
Music,  London.  He  served  during  the 
Civil  War,  was  one  of  the  founders  of 
the  Music  Teachers'  National  Asso- 
ciation, and,  in  1880,  began  a  series 
of  lecturing  tours,  traveling  over 
Europe  and  in  Scandinavia,  Russia 
and  the  Arctic  regions.  He  has  writ- 
ten many  text-books  on  music,  in- 
cluding one  on  thorough-bass,  pub- 
lished in  1874;  one  on  harmony, 
published  in  1880;  and  another  on 
practical  counterpoint,  published  in 
1885;  also  guides  in  orchestration  and 
in  military  band  arranging.  He  re- 
ceived the  bronze  medal  and  diploma 
of  the  exposition  of  Bologna,  Italy, 
in  1888,  for  the  excellence  of  his 
musical  text-books. 

Danby,  John.     1757-1798. 

Famous  English  glee  composer,  of 
whom  very  little  is  known.    He  was 


Dannreuther 


a  pupil  of  Samuel  Webbe,  and  for 
several  years  was  organist  of  the 
chapel  of  the  Spanish  embassy,  Lon- 
don. He  gained  ten  prizes  from  the 
Catch  Club  for  eight  glees,  two 
canons  and  an  ode,  written  between 
1781  and  1794.  In  all  he  wrote  about 
ninety-two  glees,  three  books  of  them 
having  been  published  in  his  life-time 
and  a  fourth  after  his  death.  Among 
his  most  popular  glees  are  When 
Sappho  Tun'd;  Awake  ^olian  Lyre, 
which  is  considered  his  best;  The 
Nightingale;  and  Let  Gaiety  Sparkle 
He  belonged  to  the  pastoral  school 
of  Atterbury,  Paxton  and  Spofiforth 
rather  than  to  that  of  Calcott  and 
Webbe.  His  style  is  smooth  and 
graceful  and  his  glees  are  all  charm- 
ing. He  died  in  London  and  is  buried 
in  Old  St.  Pancras  cemetery,  a  monu- 
ment having  been  raised  to  his 
memory. 

Dancla    (dan-kia),   Jean    Baptiste 

Charles.     1818- 

Violinist,  composer  and  teacher  and 
the  last  surviving  representative  of 
the  old  French  School  of  violin-play- 
ing. He  was  born  at  Bagneres  de 
Bigorre,  France,  and  studied  at  the 
Conservatory,  Paris,  being  a  pupil  in 
violin  of  Baillot.  Halevy  and  Berton 
were  also  his  teachers.  In  1834  he 
entered  the  orchestra  of  the  Paris 
Opera  Comique  as  second  solo-violin- 
ist, and  in  1857  was  appointed  pro- 
fessor of  the  violin  at  the  Conserv- 
atory. His  quartet  soirees  enjoyed  a 
high  reputation  and  he  was  also  suc- 
cessful as  a  soloist  in  the  Societe  des 
concerts.  In  his  soirees  he  was 
assisted  by  his  two  brothers,  Leopold, 
a  violinist,  and  Arnaud,  a  violoncellist. 
Dancla  composed,  in  all,  about  one 
hundred  and  fifty  works,  mostly  for 
the  violin,  but  including  some  cham- 
ber-music, violin  concertos  and  quar- 
tets for  strings,  trios.  He  received 
the  Chartier  prize  for  his  chamber- 
music  in  1861,  jointly  with  Mme. 
Farrenc.  He  wrote  several  educa- 
tional %yorks,  among  them,  a  method 
for  violin  and  other  studies  which  are 
of  the  greatest  value  to  teachers.  His 
minor  compositions  for  the  violin  are 
widely  popular. 

Dannreuther     (dan'-roi-ter),    Edward 
George.     1844-1905. 

German  composer,  writer  and  pian- 
ist, who  was  also  a  teacher,  and  a 
friend  and  champion  of  Wagner.    He 


BIOGRAPHIES 


167 


Dannreuther 


was  born  at  Strasburg,  and  when  five 
years  of  age  was  taken  to  Cincinnati, 
Ohio.  He  studied  music  at  Leipsic, 
from  1859  to  1863,  under  Richter, 
Hauptmann  and  Moscheles.  He  fin- 
ally made  London  his  home,  settling 
there  in  1863.  Dannreuther  is  best 
known  as  a  pianist  and  an  advocate 
of  Wagner.  In  1872  he  founded  a 
Wagner  Society  and  conducted  its 
concerts,  and  his  influence  has  been 
of  the  highest  value  to  the  cause  of 
chamber-music  in  England.  He  was 
a  masterly  interpreter  of  Bach  and 
Beethoven  and  an  earnest  apostle  of 
the  new  school  of  music  and  no  less 
zealous  for  the  old.  Among  his  works 
are  songs  and  piano  music;  a  book 
on  Wagner  and  his  theories  and 
tendencies;  articles  contributed  to 
Grove's  Dictionary  of  Music  and 
Musicians,  articles  on  the  opera,  on 
Beethoven  and  on  Wagner,  which  ap- 
peared in  Macmillan's  Magazine;  and 
he  also  translated  many  of  Wagner's 
works.  Mr.  Dannreuther's  last  liter- 
ary work  was  volume  VI  (The  Ro- 
mantic Period)  of  the  Oxford  His- 
tory of  Music,  issued  by  the  Clarendon 
Press.  This  volume  appeared  shortly 
after  his  death.  A  son,  S.  Dannreu- 
ther, survives  him  and  resides  in  Lon- 
don. 

Danzi  (dan'-tse),  Franz.    1763-1826. 

Dramatic  composer  and  violon- 
cellist, who  was  born  at  Mannheim, 
Germany.  He  studied  music  under 
his  father  who  was  first  violoncellist 
to  the  Elector  Palatine  and  later  took 
a  course  in  composition  under  Abbe 
Vogler.  When  only  twelve,  Danzi 
wrote  music  for  the  violoncello  and 
at  fifteen  was  admitted  to  the 
Elector's  band.  When  the  band  was 
removed  to  Munich  he  went  with  it, 
and  there  produced,  in  1798,  his  first 
opera,  Azakia.  He  married  Margar- 
ethe  Marchand,  the  singer,  and  with 
her  made  a  tour  which  lasted  six 
years.  Returning  to  Munich,  he  was 
successively  vice-chapelmaster  at  the 
Electoral  chapel,  chapelmaster  to  the 
King  of  Wiirtemburg  at  Stuttgart,  and 
chapelmaster  at  the  court  of  Baden 
at  Carlsruhe,  where  his  death  oc- 
curred. Danzi  wrote  many  operas  of 
more  than  usual  merit  and  much 
chamber-music.  Among  the  best 
known  of  his  operatic  works  are  the 
following:  Cleopatra,  given  at  Mann- 
heim in  1797;  Die  Sylphe;  and  Der 
Kuss.     His    other   works   include    an 


Dargomyzsky 


oratorio;  a  cantata  for  four  voices 
and  orchestra;  masses  for  four  voices 
and  orchestra;  the  128th  Psalm  for 
four  voices  and  orchestra;  sym- 
phonies; quintets;  concertos;  sonatas; 
and  many  songs  and  choruses.  He 
also  excelled  as  a  teacher  of  singing. 

Dargomyzsky        (dar-go-mesh'-shke), 
Alexander    Sergievitch.      1813-1869. 

This  name  is  sometimes  spelled 
Dargomijsky.  He  was  a  Russian 
composer  and  pianist  of  noble  birth, 
born  in  the  government  of  Toula, 
Russia,  and  early  in  life  manifested  a 
talent  for  composition.  When  he  was 
four  years  of  age,  Dargomyzsky's 
parents  removed  to  St.  Petersburg 
and  placed  him  in  the  hands  of  good 
teachers,  for  the  serious  study  of 
music.  At  seven  he  wrote  little 
sonatas  for  the  piano,  and  a  short 
time  afterward  entered  the  St.  Peters- 
burg Conservatory  of  Music,  where 
he  studied  violin,  harmony  and  com- 
position under  Schoberlechner,  and 
became  a  brilliant  pianist.  When  he 
was  eighteen,  Dargomyzsky  appeared 
in  recitals  in  St.  Petersburg.  From 
1831  until  1835  he  held  a  government 
position,  but  afterward  devoted  him- 
self exclusively  to  the  study  of  music 
upon  the  advice  of  Glinka,  whom  he 
had  met  and  who  had  become  inter- 
ested in  his  career.  In  1845  the  young 
Russian  visited  Germany,  Brussels  and 
Paris,  as  a  pianist  and  in  Brussels 
especially  was  received  with  the 
greatest  enthusiasm.  Two  years  later 
he  visited  Moscow  and  there,  the 
same  year,  produced  his  opera, 
Esmeralda,  a  light  work  written  in 
the  style  of  Auber  and  Halevy,  which 
he  had  composed  for  the  Russian  Im- 
perial Opera,  but  which  was  rejected 
by  the  managers.  In  Moscow  it  was 
well  received,  and  later  in  St.  Peters- 
burg made  a  success.  Between  1850 
and  1855  Dargomyzsky  published 
more  than  one  hundred  romances; 
airs;  duos;  fantasias  and  waltzes.  In 
1856  he  produced  in  St.  Petersburg 
his  most  striking  success,  the  opera, 
The  Roussalka  (The  Water  Sprite), 
which  by  many  is  considered  his  best 
work  and  which  still  keeps  the  stage. 
Its  libretto  is  founded  upon  Pushkin's 
dramatic  version  of  a  national  legend. 
The  Feast  of  Bacchus,  an  opera-ballet 
founded  on  Pushkin's  dramatic  poem, 
a  part  of  which  was  given  in  1845, 
has  never  been  heard  in  its  entirety. 
Beside    these     works,     Dargomyzsky' 


168 


BIOGRAPHIES 


Dargomyzsky 
wrote  ballads;  vocal  romances;  a 
Finnish  fantasy;  Baba  laza;  the  Cos- 
sack dance;  a  fairy  opera,  Rogdane; 
a  duet  for  an  unfinished  opera, 
Mazeppa;  Tarantelle  Slave,  for  piano; 
a  fantasia;  and  the  Dance  of  the 
Mummers,  all  of  which  have  received 
the  highest  praise  from  musicians. 

Dargomyzsky  was  elected  president 
of  the  Russian  Musical  Society  in 
1867,  and  his  house  became  the 
gathering-place  of  the  young  Russian 
school  of  musicians  who  followed 
Schumann,  Berlioz,  Warner  and 
Liszt.  In  his  later  years  the  com- 
poser was  extremely  popular  in  the 
highest  circles  of  St.  Petersburg  So- 
ciety, and  as  a  pianist  and  composer 
of  many  songs  for  the  salon,  was  in 
great  demand.  His  posthumous  opera, 
The  Marble  Guest,  or  Don  Juan,  was 
scored  by  Rimsky-Korsakov,  accord- 
ing to  a  request  made  by  Dargo- 
myzsky on  his  death  bed  and  with 
a  postlude  by  Cesar  Cui  was  brought 
out  in  St.  Petersburg  in  1872,  with 
striking  success.  Dargomyzsky's 
music  IS  dramatic  and  realistic  in  the 
extreme,  and  shows  the  influence  of 
Wagner  to  a  decided  degree.  Says 
Riemann;  "He  adopted  the  principles 
of  Wagner  more  and  more  freely 
until  he  finally  went  even  further 
than  the  master  of  Bayreuth  to  carry 
out  his  ideas."  Some  of  his  songs 
have  been  compared  to  the  ballads  of 
Schubert  and  Schumann,  and  his 
Finnish  fantasia  and  _  his  Cossack 
dance  for  orchestra  enjoy  the  widest 
popularity. 

D'Arville   (dXr-vil),  Camille.     1863- 

She  was  born  in  the  village  of  Old- 
marck,  Province  of  Overyseel,  Hol- 
land, and  belongs  to  the  old  guard  in 
American  comic  opera,  the  others  be- 
ing Lillian  Russell,  Pauline  Hall,  Fay 
Templeton  and  the  late  Jessie  Bart- 
lett  Davis.  She  received  her  training 
from  French  and  Italian  teachers, 
and  when  she  was  twelve  years  of 
age  was  sent  to  Amsterdam,  where 
she  studied  music  at  the  Conserv- 
atory. In  that  city  she  made  her 
debut  in  concert  in  1877.  Later  she 
went  to  Vienna,  where  she  studied  for 
a  time,  and  she  appeared  in  a  one-act 
operetta,  entitled  Cymbria,  _  at  the 
Strand  Theatre,  London,  with  suc- 
cess. Her  name  was  originally 
Neeltye  Dykstra,  but  after  her  first 
appearance  in  opera,  she  changed  it 
to  Camille  D'Arville.     She  toured  the 


David 

English  provinces  for  a  time  in  vari 
ous  operas,  followed  by  an  engage- 
ment at  the  Gaity  Theatre,  London. 
She  came  to  the  United  States  in 
1888  under  the  management  of  J.  C. 
Duff,  making  her  first  appearance 
here  in  a  comic  opera.  The  Queen's 
Mate.  For  the  next  few  years  she 
appeared  in  New  York  and  London 
frequently,  and  made  her  reputation, 
as  a  comic  opera  star  while  singing 
in  this  country  with  The  Bostonians. 
While  prima  donna  of  this  organiza- 
tion she  sang  with  great  success  in 
The  Bohemian  Girl,  Robinhood,  The 
Highwayman  and  The   Mascotte. 

David  (da-ved),  Felicien  Cesar.    1810- 
1876. 

An  eminent  French  composer,  who 
was  born  at  Cadene,  in  the  south  of 
France.  His  music  is  now  seldom 
heard  and  his  name  is  almost  for- 
gotten, but  his  place  in  the  history 
of  music  is  marked.  "  He  was  rather 
a  tone-painter  than  a  symphonist," 
says  Hervey.  He  was  one  of  the 
musicians  who  rendered  the  reign  of 
the  Citizen  King,  Louis  Philippe, 
memorable  and  his  music,  in  his  time, 
was  immensely  popular.  He  was  the 
first  to  introduce  a  new  element  into 
French  music,  that  Orientalism, 
which  since  his  time  has  been  made 
use  of  by  so  many  other  composers. 
He  made  a  sensation  with  his  can- 
tata, Le  Desert,  by  reason  of  its 
exotic,  Oriental  dances.  David  was  a 
chorister  in  the  Aix  Cathedral  and 
was  educated  at  the  Jesuit  College, 
of  Aix,  from  1825  until  1828.  He 
received  many  honors  from  his  coun- 
try. Was  made  a  Chevalier  of  the 
Legion  of  Honor,  and  was  pensioned 
by  Napoleon  III.  in  1860,  and  nine 
years  later  was  made  a  member  of  the 
Academy  of  Fine  Arts.  He  wrote 
several  operas,  which  were  successful, 
among  them  La  Perle  du  Bresil,  Le 
Saphir,  La  Captive,  Lalla  Roukh,  and 
Herculanum,  performed  in  1859  for 
the  first  time,  the  same  year  that  saw 
the  first  production  of  Gounod's 
Faust.  His  Lalla  Roukh  had  a  tem- 
porary success,  and  his  string  quar- 
tets were  also  held  in  high  esteem 
during  his  life-time,  but  none  of  them 
ever  attained  the  success  of  Le 
Desert.  It  has  been  given  in  London 
and  the  provinces,  and  will  probably 
outlive  any  of  the  composer's  works. 
He  also  wrote  a  symphony,  Chris- 
tophe  Colomb;  songs  and  piano-music. 


BIOGRAPHIES 


169 


David 


David  (da-fet),  Ferdinand.    1810-1873. 

One  of  the  most  celebrated  violin- 
players  and  teachers  of  Germany,  who 
numbered  Joachim,  Wilhelmj  and 
other  well-known  violinists,  among  his 
pupils.  He  was  born  at  Hamburg  and 
lived  there  at  the  time  of  the  French 
occupation.  He  is  said  to  have  played 
in  a  concert  when  only  ten  and  at 
thirteen  he  became  a  pupil  of  Spohr 
at  Cassel.  He  made  a  concert  tour 
with  his  sister,  Mme.  Dulcken,  and  in 
1827  entered  the  orchestra  of  the 
Konigstadt  Theatre  at  Berlin,  where 
he  met  Mendelssohn,  with  whom  he 
became  intimate.  While  in  Berlin  he 
attracted  the  attention  of  a  wealthy 
musical  amateur  named  Liphart,  who 
lived  at  Dorpat  and  who  maintained  a 
quartet  at  his  own  expense.  He  en- 
gaged David  as  leader  and  he  even- 
tually married  Liphart's  daughter. 
When  Mendelssohn  was  appointed 
conductor  at  the  Gewandhaus  con- 
certs at  Leipsic  he  made  David  con- 
certmaster,  and  he  held  this  post 
until  1836.  Seven  years  later  the  Con- 
servatory of  Leipsic  was  founded  bj' 
Mendelssohn,  and  David  became  pro- 
fessor of  the  violin.  In  this  position 
his  influence  became  great  and  bene- 
ficial. In  Leipsic  he  established  a 
quartet,  which  was  one  of  the  best  of 
the  day.  He  died  in  1873  and  is 
remembered  as  one  of  the  most 
admirable  teachers  of  the  century. 
Mendelssohn  is  said  to  have  conferred 
with  him  as  to  his  (Mendelssohn's) 
concerto  during  its  composition,  and 
to  have  given  other  evidences  of  his 
belief  in  his  musical  ability. 

Davide    (da-ve'-de),    Giacomo.    1750- 
1830. 

He  is  better  known  as  "  David  le 
pere,"  and  was  the  most  popular  tenor 
of  his  day.  He  was  born  at  Presezze, 
Italy,  and  studied  long  and  carefully, 
one  of  his  instructors  in  music  being 
Sala,  who  taught  him  composition. 
Davide  was  called  "The  Paganini, 
the  Moscheles  of  singing,"  by  Car- 
pani,  who  explained  the  phrase  by 
saying:  "Like  these  two  despots,  he 
manages  as  he  wishes,  a  voice,  which 
is  not  perfect  but  of  great  extent." 
He  appeared  first  in  London,  in  1791, 
and  was  popular  there  as  well  as  in 
continental  cities.  He  appeared  with 
Mme.  Colbran  in  Otello  and  other  of 
Rossini's  operas  with  much  success. 
He  made  one  of  his  greatest  sensa- 
tions  in   Pergolesi's  Stabet  and  sang 


Davidov 

frequently  at  La  Scala,  Milan.  One 
of  his  last  public  appearances  was  at 
one  of  the  Handel  festivals  at  West- 
minster Abbey.  He  died  at  Bergamo, 
Italy.  Davide  taught  his  son,  Gio- 
vanni, who  became  a  noted  singer,  and 
Nozzari  was  also  one  of  his  pupils. 
Davide,  Giovanni.    1789-1851. 

A  son  of  Giacomo  Davide.  He 
became  an  operatic  singer  and  a 
vocalist  of  renown,  and  was  said,"  in 
spite  of  defects  and  the  want  of  good 
taste  in  singing,  to  carry  his  hearers 
off  their  feet  by  the  prodigious  volume 
and  great  sweetness  of  his  vocal 
organ.  He  made  his  debut  at  Brescia 
in  1810  and  appeared  later  in  the 
chief  cities  of  Italy,  singing  in  sev- 
eral of  Rossini's  operas.  The  com- 
poser is  said  to  have  written  roles  in 
Otello,  La  Donna  del  Lago  and 
Ermione  for  him.  He  was  engaged 
by  Barbaja,  director  of  opera  in 
Naples,  Milan,  Bologna  and  Vienna, 
and  sang  in  these  cities  from  1831  to 
1841  with  great  success.  In  1829  he 
appeared  in  London  for  the  first  time. 
He  founded  a  school  of  singing  in 
Naples  and  this  not  being  a  success 
he  accepted  the  position  of  manager 
of  the  St.  Petersburg  Opera,  and  died 
in  that  city  in   1851. 

Davidov    (da'-vi-dof),   Charles.    1838- 
1889. 

A  famous  violoncellist,  who  was 
born  at  Goldingen  in  Courtland,  Rus- 
sia. After  studying  at  the  Moscow 
University  and  receiving  a  mathe- 
matical degree,  in  1858,  he  took  up  his 
musical  work,  studying  violoncello 
under  Schmidt  at  Moscow,  and  Schu- 
berth  at  St.  Petersburg.  He  later 
studied  composition  at  Leipsic  with 
Hauptmann.  His  first  public  appear- 
ance was  made  at  the  Gewandhaus, 
Leipsic,  in  1859,  and  was  so  successftil 
that  he  was  later  appointed  violon- 
cellist in  the  orchestra,  and  professor 
at  the  Conservatory.  In  1862  he  was 
appointed  cellist  to  the  Emperor  of 
Russia  and  in  the  orchestra  of  the 
Russian  Musical  Society.  He  was 
made  first  violoncellist  to  the  St. 
Petersburg  Opera  the  same  year  and 
later  became  a  professor  in  the  Con- 
servatory there.  He  was  a  member 
of  the  St.  Petersburg  quartet,  which 
was  founded  in  1868  and  continued 
until  Davidov's  death  in  1899.  While 
director  of  the  St.  Petersburg  Opera 
the  number  of  free  scholarships  was 
increased    through    his    influence   and 


170 


BIOGRAPHIES 


Davidov 

he  did  a  great  deal  to  aid  poor 
students.  He  died  in  Moscow.  Among 
his  works  are  a  symphonic  sketch  for 
orchestra,  an  orchestral  suite,  four 
concertos,  Russian  fantasia,  and  sev- 
eral smaller  pieces,  the  best  known  of 
which  are  Adieu,  Solitude,  The  Gifts 
of  Terek,  a  symphonic  poem,  and 
songs,  many  of  which  attained  great 
popularity. 

Davies  (da-vis),  Benjamin  Grey 
(Known  as  Ben).    1858- 

A  popular  tenor,  who  was  born 
near  Swansea,  Wales,  and  who  has 
been  heard  in  Europe  and  the  United 
States  in  opera  and  in  concert.  His 
voice  is  an  instance  of  a  boyish  con- 
tralto passing  into  a  tenor.  After 
gaining  a  local  reputation  as  a  singer 
he  entered  the  Royal  Academy  of 
Music,  at  the  age  of  nineteen,  where 
he  studied  two  years  under  Randegger 
and  Signor  Fiori.  He  was  enabled  to 
study  at  that  institution  through  the 
winning  of  a  prize  at  the  Swansea 
Eisteddfod.  He  joined  the  Carl  Rosa 
Company,  making  his  debut  at  Her 
Majesty's  Theatre,  London,  as  Thad- 
deus  in  The  Bohemian  Girl.  He  sang 
next  in  Cellier's  Dorothy  and  in  the 
title  role  of  Sullivan's  Ivanhoe.  He 
obtained  an  engagement  to  sing  tenor 
solos  in  the  oratorio,  St.  Paul,  at 
Dublin,  because  of  his  success  in  the 
performance  of  the  Hymn  of  Praise, 
given  by  the  Academy  students  in 
1879.  He  made  his  first  appearance 
in  Cardiff  in  1892  in  the  Stabet  Mater 
of  Dvorak,  and  sang  at  the  Norwich 
Festivals  in  1893  and  1896,  and  at 
Bristol  the  latter  year.  In  1894  he 
was  heard  in  Berlin,  and  at  Chicago 
during  the  World's  Fair,  in  1893.  In 
1885  Davies  married  Miss  Clara  Perry, 
a  soprano  singer,  who  had  been  with 
the  Carl  Rosa  Company.  Davies  has 
also  been  heard  in  Goring  Thomas' 
Esmerelda,  in  Colomba,  The  Canter- 
bury Pilgrims  and  in  other  light 
operas,  and  for  years  his  services  have 
been  in  demand  at  all  of  the  important 
music  festivals  and  concerts.  Since 
1893,  when  he  made  his  first  visit  to 
the  United  States,  he  has  been  heard 
here  almost  every  year. 

*  Davies,  David  Thomas  Ffrangcon-. 

1860- 

Renowned  barytone,  v*rho  was  born 
at  Bethesda,  Carnarvonshire,  North 
Wales.  He  received  his  early  edu- 
cation at  the  Friars'  School,  Bangor, 


Davies 


and  studied  music  under  his  father, 
entering  Jesus  College,  Oxford,  later, 
where  he  gained  degrees  of  Bachelor 
of  Arts  and  Master  of  Arts.  He  also 
stood  well  in  the  athletic  life  of  the 
university,  taking  part  in  many  of  the 
events.  Ffrangcon-Davies'  early  mu- 
sical studies  were  carried  on  under 
the  supervision  of  his  father,  a  dis- 
tinguished amateur  musician,  and  after 
leaving  Oxford  he  entered  the  Guild- 
hall School  of  Music  at  Manchester. 
He  also  studied  under  Richard  Latter 
and  afterwards  became  a  pupil  of 
Shakespeare  and  of  Randegger.  After 
leaving  college  Ffrangcon-Davies  was 
ordained  a  clergyman,  but  left  the 
church  not  long  afterwards,  and  from 
then  on  devoted  himself  exclusively 
to  music,  bringing  his  innate  musical 
and  histrionic  ability  and  his  broad 
education  to  bear  on  the  art.  His 
first  public  appearance  was  made  in 
Manchester  at  a  De  Jong  concert  in 
1890.  His  stage  debut  was  made  as 
the  Herald  in  Lohengrin  at  Drury 
Lane  with  the  Carl  Rosa  Company, 
and  in  the  same  year  he  sang  the  title 
role  of  Elijah  at  Hovingham,  York- 
shire. His  festival  debut  was  made  at 
Hanley  in  1893,  and  two  years  later 
he  sang  at  the  Cardiff  Festival.  In 
opera  he  has  sung  the  title  roles  of 
Faust  and  Lohengrin,  and  created  the 
part  of  Cedric  in  Sir  Arthur  Sulli- 
van's Ivanhoe.  Ffrangcon-Davies'  voice 
was  declared  by  Sims  Reeves  to  be 
the  purest  barytone  he  had  ever  heard. 
It  is  wonderfully  clear  and  rich,  and 
his  enunciation  is  perfect.  He  is  con- 
sidered one  of  the  best  concert  and 
oratorio  barytones  of  the  day  and  has 
been  heard  in  many  cities  in  Europe 
and  the  United  States.  His  American 
tour,  in  1896,  especially,  was  an  artistic 
and  financial  success.  Since  then  he 
has  toured  numerous  times  in  America 
and  has  sung  in  many  of  the  principal 
festivals  of  the  world.  Ffrangcon- 
Davies  resided  in  Berlin  from  1898 
until  1901  and  sang  in  many  German 
and  Swiss  cities.  His  greatest  suc- 
cess was  made  in  the  oratorio,  Elijah, 
whence  sang  at  Queen's  Hall,  Lon- 
don, in  1901.  He  participated  in  the 
first  performance  of  Elgar's  Dream  of 
Gerontius,  in  1903,  and  sang  The 
Apostles  by  the  same  composer,  at 
the  Birmingham  Festival,  and  the 
same  year  took  part  in  the  Richard 
Strauss  Festival.  He  also  participated 
in  the  first  performance  of  Elgar's 
Saga  of  King  Olaf  in  1896.     His  most 


BIOGRAPHIES 


171 


Davies 


recent  engagements  have  been  for  the 
Royal  Choral  Society  in  Coleridge- 
Taylor's  Hiawatha,  The  Richter  con- 
certs and  the  Elgar  Festival  at  Covent 
Garden  in  1904.  In  1903  he  received 
the  appointment  of  teacher  of  singing 
at  the  Royal  Academy  of  Music,  Lon- 
don, a  position  which  he  holds  at  the 
present  time.  He  is  the  author  of  a 
work  on  vocal  training,  entitled  The 
Singing  of  the  Future,  and  of  Per 
Aspera  ad  Astra. 

Davies,  Fanny.    1863- 

Noted  woman  pianist,  who  belongs 
to  a  musical  family,  her  grandfather, 
John  Woodhill  of  Birmingham,  hav- 
ing been  well-known  as  a  violoncello 
player,  and  her  mother  equally  re- 
nowned as  an  amateur  musician  of 
talent.  Miss  Davies  was  born  on  the 
Island  of  Guernsey,  one  of  the  Chan- 
nel islands.  Her  earliest  instruction 
in  music  was  received  from  Miss 
Welchman  and  Charles  Flavell  of 
Birrningham,  both  of  whom  instructed 
her  in  the  piano.  She  studied  coun- 
terpoint and  harmony,  in  Birmingham, 
with  Dr.  A.  R.  Gaul,  and  was  a  pupil 
of  Paul  in  piano  and  of  Jadassohn  and 
Reinecke  in  fugue  and  counterpoint, 
at  the  Leipsic  Conservatory,  from 
1882  to  1883.  From  1883  to  1885  Miss 
Davies  was  a  pupil  of  Mme.  Clara 
Schumann  at  the  Hoch  Conservatory 
at  Frankfort  and  studied  fugue  and 
counterpoint  with  Dr.  Scholz.  She 
made  her  debut  at  the  Crystal  Palace, 
London,  in  1885,  playing  the  solo  part 
in  Beethoven's  Concerto  in  G.  Later 
she  played  at  the  Philharmonic  con- 
certs and  at  the  Monday  Popular 
concerts,  and  made  successful  tours 
through  England,  Germany  and  Italy. 
She  has  appeared  with  the  late 
Joachim  and  with  Piatti  in  recital, 
and  has  played  before  most  of  the 
reigning  sovereigns.  As  an  inter- 
preter of  the  music  of  Schumann,  Miss 
Davies  is  highly  regarded  by  musi- 
cians. She  has  declared  her  indebt- 
edness to  Mme.  Schumann  for  her 
style  and  phrasing.  She  is  also  a 
splendid  interpreter  of  Brahms,  and 
has  brought  forward  many  new 
works,  rendering  them  with  skill  and 
understanding. 

*  Davies,  Henry  Walford.    1869- 

An  English  organist,  who  was  born 
at  Oswestry,  and  at  twelve  years  of 
age  became  a  chorister  in  St.  George's 
Chapel,  Windsor.     He  studied  under 


Davies 

Sir  Walter  Parratt,  and  was  organist 
of  the  Park  Chapel,  Windsor.  After 
holding  many  positions  as  organist  in 
various  churches  he  became,  in  1894, 
an  associate  of  the  Royal  College  of 
Music  for  composition,  and  the  next 
year  succeeded  Rockstro  as  professor 
of  counterpoint  there.  He  has  written 
a  piano  quintet  in  E  flat;  a  sym- 
phony in  D,  published  in  1895;  a  can- 
tat,  Herve  Riel  (after  Browning's 
poem),  performed  at  the  Royal  Col- 
lege in  1895,  when  it  attracted  much 
attention;  and  much  chamber-music, 
in  which  he  excelled.  In  1894  he  won 
the  Bristol  Orpheus  Society's  prize 
with  his  glee.  The  Sturdy  Rock.  He 
has  also  written  madrigals;  love 
songs;  and  a  cantata,  Everyman,  a 
setting  _  of  the  mystery  play  which 
was  written  for  the  Leeds  Festival  in 
1904;  a  cathedral  service;  anthems; 
and  sonatas,  besides   other  works. 

Davies,  Mary.     1855- 

A  well-known  soprano,  who  was 
born  in  London,  of  Welsh  parents. 
While  singing  at  the  Welsh  concerts 
in  London  she  attracted  the  attention 
of  Edith  Wynne,  the  singer,  and 
Brinley  Richards,  both  of  whom  in- 
structed her.  She  won  the  Welsh 
Choral  Union  Scholarship  in  1873  and 
studied  at  the  Royal  Academy  of 
Music,  winning  the  Parepa-Rosa  gold 
medal  in  1876,  and  the  Nilsson  prize 
in  1877.  She  appeared  with  success, 
in  1878,  at  the  Worcester  Festival, 
and  sang  at  the  Gloucester  Festival 
in  1883  and  also  at  the  Norwich  and 
Chester  Festivals.  She  sang  in  the 
first  complete  performance  of  Ber- 
lioz's Faust  in  England,  under  Halle, 
at  Manchester  in  1880  and  the  same 
year  repeated  the  performance  at  St. 
James  Hall.  She  also  sang  the  pait 
of  Elsie,  in  the  cantata.  The  Fisher 
Maidens,  and  the  part  of  Mary  in  the 
production  of  Berlioz's  Childhood  of 
Christ  at  the  Crystal  Palace  in  1886. 
She  has  been  heard  often  in  oratorio, 
of  which  she  appeared  to  be  especially 
fond.  She  sang  in  The  Messiah,  St. 
Paul,  and  the  Hymn  of  Praise  with 
striking  success,  at  Liverpool,  Man- 
chester, Glasgow  and  Birmmgham. 
She  was  heard  in  the  United  States, 
at  the  World's  Fair,  in  1893  She  is 
perhaps  best  known  as  a  ballad-singer 
and  has  been  heard  in  the  many  con- 
certs throughout  England.  Her  voice 
is  a  mezzo,  of  limited  power,  but 
intensely  sweet.     She  was  elected  first 


172 


BIOGRAPHIES 


Davies 

an  associate,  then  a  fellow  of  the 
Royal  Academy  of  Music.  In  1888 
she  married  W.  Cadwalader  Davies, 
and  in  1900  retired  from  the  concert 
stage. 

Davis,  Jessie  Bartlett.    1860-1905. 

Comic  opera  singer,  whose  name 
and  fame  are  linked  with  the  history 
of  the  Bostonians,  with  which  com- 
pany she  was  associated  for  ten  years. 
She  was  born  in  Morris,  Illinois,  but 
came  from  New  England  stock,  her 
parents  having  moved  to  the  middle 
west  from  Keene,  N.  H.  She  began  her 
musical  career  by  singing  in  the 
church  choir  of  the  village  when  a 
young  girl.  At  fifteen  she  joined  a 
concert  company  that  toured  the  small 
towns  of  the  state,  and  a  few  years 
later  secured  a  church  position  in 
Chicago.  While  thus  engaged  she 
studied  music  with  Frederick  Root  of 
that  city.  John  Haverley,  who  was 
making  a  tour  of  the  churches  for 
the  purpose  of  engaging  singers  for 
his  Pinafore  Company,  heard  her  sing 
and  engaged  her  for  the  part  of  Little 
Buttercup,  and  in  that  role  she  made 
her  debut.  She  married  her  manager, 
Will  J.  Davis,  of  Chicago.  Mr. 
Davis  took  her  to  New  York,  where 
she  was  instructed  by  Signor  Albites. 
Shortly  after  finishing  her  studies  with 
him  she  was  engaged  by  Mapleson  to 
sing  the  part  of  Siebel  in  Faust,  and 
sang  this  role  several  times  with 
success.  Soon  after  this  Mrs.  Davis 
went  to  Paris,  where  she  studied 
under  Mme.  La  Grange.  On  her 
return  she  sang  for  a  time  with  W.  T. 
Carleton's  Company,  and  the  next 
season  became  a  member  of  the 
American  Opera  Company,  with 
Theodore  Thomas  as  director.  Later 
she  joined  the  Bostonians  and  sang  in 
numerous  operas,  making  her  most 
striking  success  as  Alan-a-Dale  in 
Robin  Hood  in  1890. 

In  this  opera,  Dekoven's  song,  O 
Promise  Me,  was  an  interpolated 
number,  and  the  name  of  Jessie  Bart- 
lett Davis  has  been  identified  with  it 
ever  since.  For  ten  years  she  sang 
with  the  Bostonians,  retiring  from  its 
ranks  in  1899.  In  late  years  she  fre- 
quently appeared  in  vaudeville,  and  in 
1904  appeared  with  Francis  Wilson  in 
a  revival  of  his  old  comic  opera  suc- 
cess, Erminie,  singing  the  role  of 
Captain  Delaney.  Mrs.  Davis  died 
suddenly  in  1905,  after  a  brief 
illness. 


Davy 
Davison,  James  William.    1813-1885. 

Composer  and  writer,  who  was  born 
in  London.  He  studied  the  piano 
under  W.  H.  Holmes  and  composition 
with  Sir  G.  A.  Macfarren.  He  com- 
posed much  for  the  orchestra  and 
voice  and  his  settings  to  several  of 
the  poems  of  Keats  and  Shelley  have 
been  greatly  admired.  Davison  lived 
in  the  period  of  Mendelssohn  and 
belonged  to  a  little  group  of  musi- 
cians, the  others  being  Sterndale 
Bennett  and  G.  A.  Macfarren,  his  for- 
mer teacher,  who  were  the  most  en- 
thusiastic musicians  of  their  time, 
working  together  with  the  same  ambi- 
tions and  entertaining  the  same  great 
admiration  for  the  music  of  Men- 
delssohn, and  equally  hating  that  of 
Wagner.  Davison  was  musical  critic 
for  The  Times  and  The  Musical 
World,  and  also  contributed  to 
Grove's  Dictionary  of  Music.  Among 
his  most  important  literary  produc- 
tions was  an  essay  on  the  works  of 
Frederic  Chopin,  published  in  London 
in  1849.  He  wrote  several  songs  and 
some  piano  music,  including  a  sonata, 
a  tarantella  and  a  dramatic  overture 
to  the  fairy  tale  of  Fortunatus,  which 
was  a  duet  for  the  piano.  During  one 
of  his  visits  to  England  he  made  the 
acquaintance  of  Mendelssohn,  and 
was  ever  afterward  his  enthusiastic 
admirer  and  champion.  In  1842  he 
started  the  Musical  Examiner,  a 
weekly,  which  lasted  only  two  years. 
He  then  succeeded  G.  A.  Macfarren 
as  editor  of  the  Musical  World. 

Davy,  John.    1763-1824. 

Composer;  born  at  Upton-Helions, 
near  Exeter,  England,  and  resided 
there  for  many  years  as  a  teacher. 
He  became  violinist  in  the  orchestra 
at  Covent  Garden  and  composed  a 
great  many  pieces  of  music.  Among 
his  works  are  the  music  to  plays; 
ballets;  an  overture  to  Shakespeare's 
Tempest;  madrigals;  quartets;  songs; 
chants  and  anthems.  One  of  his 
songs.  Bay  of  Biscay,  attained  to 
great  popularity,  and  his  name  is 
remembered  in  the  present  generation 
chiefly  in  connection  with  it.  It  was 
fresh,  breezy  and  unrivaled  in  its 
way.  Among  his  dramatic  pieces 
were  Rob  Roy  Macgregor,  and  Span- 
ish Dollars.  He  also  collaborated 
with  many  composers  in  the  produc- 
tion of  operas.  With  the  exception  of 
the  Bay  of  Biscay  his  works  are  never 
heard. 


BIOGRAPHIES 


173 


Day 
Day,  Alfred.    1810-1849. 

Born  in  London.  Was  the  author 
of  an  important  theory  of  harmony 
in_  which  he  advocated  many  alter- 
ations. He  also  formulated  a  new 
sort  of  bass-figuring  to  supplant  the 
ordinary  thorough-bass,  making  many 
practical  suggestions,  which  have 
been  of  the  greates!"  value  to  musi- 
cians. He  studied  medicine,  in  ac- 
cordance with  his  father's  wishes,  in 
London  and  Paris,  and  after  taking  a 
degree  at  Heidelberg,  he  practiced  in 
London  as  a  homeopathist,  devoting 
his  spare  time  to  music.  His  work 
on  harmony  was  finished  and  pub- 
lished in  1845,  only  three  years  before 
his  death. 

Debussy  (du-biis-se),  Claude  Achille. 
1862- 

_  He  is  the  most  typical  of  the  mu- 
sical impressionists  of  the  present 
day,  the  most  gifted  representative  of 
the  new  French  School,  and  a  de- 
cidedly interesting  figure  in  the  musi- 
cal world.  Debussy  was  born  at  St. 
Germain-en-Laye,  France,  and  was 
educated  at  the  Paris  Conservatory, 
where  he  studied  harmony  with 
Lavignac,  piano  with  Marmontel,  and 
composition  with  Guiraud.  Edward 
Macdowell,  then  a  boy  of  fifteen,  was 
his  fellow-student.  He  took  prizes 
in  solfeggio  and  piano-playing  and, 
in  1884,  won  the  Grand  Prize  of 
Rome,  at  the  Institut,  with  his  can- 
tata, L'Enfant  Prodigue.  Four  years 
later  he  composed  La  Damoiselle 
filue,  a  setting  of  Rossetti's  Blessed 
Damosel,  for  solo,  female  choir  and 
orchestra.  This  was  first  performed 
in  Paris  by  Ysaye's  Quartet  the  same 
first  attracted  the  attention  of  the 
musical  world  to  Debussy's  work, 
then  came  an  orchestral  prelude;  two 
nocturnes  and  a  string  quartet,  which 
was  composed  in  1893  and  produced 
in  Paris  by  Ysaye's  quartet  the  same 
year.  His  Sirens,  for  orchestra  and 
women's  voices,  has  been  much 
praised,  and  his  Prelude  a  I'apres  Midi 
d'un  Faune,  which  is  a  setting  for  the 
orchestra  of  Mallarme's  elaborate  fan- 
tasy, The  Afternoon  of  a  Faun,  has 
been  perhaps  the  most  admired  and 
discussed  of  any  of  his  works.  It  was 
first  given  at  a  concert  at  the  Paris 
Conservatory,  in  1906,  and  since  then 
has  been  frequently  given  by  well- 
known  orchestras,  notably  by  the 
Chicago  Orchestra  under  Frederick 
Stock    in    1907.      Debussy's    greatest 


Debussy 

work  is  his  opera,  Pelleas  and  Melis- 
ande,  the  libretto  taken  from  Maeter- 
linck's drama  of  the  same  name, 
which  it  closely  follows.  It  was  first 
produced  at  the  Opera  Comique, 
Paris,  in  April,  1902,  under  the  direc- 
tion of  M.  Carre,  and  with  Mary 
Garden,  an  American  singer,  in  the 
role  of  Melisande.  The  opera  called 
forth  much  discussion  and  was  one 
of  the  most  important  of  the  musical 
events  in  Paris  of  recent  years.  It 
was  heard  in  New  York  the  season 
of  1907  at  Oscar  Hammerstein's  Man- 
hattan Opera  House,  with  Miss  Gar- 
den in  the  leading  role. 

The  opera  from  beginning  to  end  is 
in_  recitative,  yet  according  to  the 
critics,  is  unforced  and  spontaneous 
to  an  unusual  degree  and  contains 
some  marvelous  music.  Lawrence 
Gilrnan,  one  of  the  most  authoritative 
musical  critics  of  the  present  day, 
calls  it  Debussy's  undoubted  master- 
piece. 

Debussy  shares  with  Vincent  D'Indy 
the  place  of  honor  among  the  musical 
elect  of  Paris  and  he  is  fast  becoming 
almost  as  well-known  and  honored  in 
the  United  States.  The  first  of  his 
important  works  to  be  heard  in  New 
York  were  the  two  nocturnes,  Nuages 
and  Fetes,  which  the  New  York 
Symphony  Orchestra,  under  Walter 
Damrosch,  played  at  Carnegie  Hall 
in  January,  1905.  The  Kneisel  Quar- 
tet had  previously  played  the  G  Minor 
String  Quartet  and  a  few  of  his  songs. 
During  1905  the  Boston  Symphony 
Orchestra,  under  the  baton  of  Vincent 
D'Indy,  played  the  first  two  nocturnes 
and  the  New  York  Symphony  Or- 
chestra later  played  The  Afternoon  of 
a  Faun.  Debussy  has  written  a  great 
deal  of  music,  including  the  following 
compositions:  A  danse  Sacree;  a 
danse  Profane,  for  chromatic  harp  and 
orchestra;  and  three  sketches,  en- 
titled La  Mer,  all  belonging  to  the 
period  between  1889  and  1906.  Of 
his  numerous  piano  works,  the  fol- 
lowing are  worthy  of  note:  Suite 
Bergmasque,  composed  in  1890; 
Estampes  Masques;  L'Isle  Joyeuse; 
and  Images.  Among  the  best  of  his 
many  songs  are  six  ariettes  set  to 
words  by  Paul  Verlain;  Sagasse  and 
Fetes  galantes;  five  songs  to  the  words 
of  Baudelaire;  a  fantasy  for  piano  and 
orchestra;  and  a  transcription  of 
Schumann's  four-hand  piece,  At  the 
Fountain.  His  most  recent  work  is 
an    opera,    based    upon    the    Tristan 


174 


BIOGRAPHIES 


Debussy 
legend,  with  the  text  by  Gabriel 
Monray.  This  composition  has  not 
as  yet  been  produced.  Other  works 
beside  those  mentioned  are  his  sara- 
bande  and  toccata,  published  in  1901; 
March  of  the  Counts  of  Ross;  An 
Evening  in  Granada;  and  Gardens  in 
the  Rain,  all  for  piano.  A  new  or- 
chestral work.  The  Sea,  includes 
three  symphonic  sketches.  From 
Dawn  to  Noon  on  the  Sea;  Play  of 
the  Waves;  and  Dialogue  of  the 
Winds  and  the  Sea.  He  has  also  writ- 
ten many  songs  and  much  chamber- 
music.  Debussy's  music  has  been  de- 
scribed by  his  friend,  Alfred  Bruneau, 
as  "  mysterious,  vague,  fluid,  haunting 
and  impossible  to  grasp."  He  has 
been  compared  to  Whistler  and,  in  his 
eager  thirst  and  search  for  beauty,  to 
the  Irish  poet,  William  Butler  Yeats, 
a  "  great  harmonic  inventor  and  an 
unsurpassed  poet  in  mysticism." 
Debussy  is  a  leader  among  the  more 
progressive  French  composers,  a 
product,  as  he  is  a  leader  of  the  modern 
French  School.  He  is  one  of  the  few 
modern  composers,  who  disclaims  any 
influence  of  Wagner  upon  his  work. 
The  best  summing  up  of  the  char- 
acteristics and  beauties  of  this  com- 
poser's style  is  to  be  found  in  Law- 
rence Gilman's  recent  book.  The 
Music  of  Tomorrow.  A  chapter  is 
devoted,  by  the  writer  to  a  charac- 
terization of  Debussy,  whom  he  has 
described  as  poet  and  dreamer,  de- 
claring he  is  a  blend  of  Verlaine, 
Mallarme,  and  Rosetti. 

Dehn  (dan),  Siegfried  Wilhelm.    1799- 
1858. 

A  musical  writer  and  practical  mu- 
sician, who  was  born  at  Altona,  Ger- 
many. After  a  period  of  study,  under 
Bernard  Klein,  in  counterpoint  and 
harmony,  he  became  a  good  contra- 
puntist. He  was  also  a  good  violon- 
cellist and  teacher,  many  of  the 
leading  composers  having  been  at  one 
time  his  pupils.  Upon  the  recom- 
mendation of  Meyerbeer,  he  was  ap- 
pointed librarian  of  the  musical 
department  of  the  Royal  Library  at 
Berlin.  He  catalog^ued  the  library 
and  added  to  it  many  works  of  great 
value.  He  studied  at  the  Leipsic 
University,  but  had  to  leave  to  join 
the  army  against  the  French  in  1813. 
He  traveled  extensively  in  Germany 
and  Italy.  He  translated  Delmotte's 
work  on  Orlandus  Lassus  and  scored 
five  hundred  of  Lassus'  motets.     He 


De  Koven 

also  copied  a  large  number  of  the 
works  of  J.  S.  Bach  for  the  press.  He 
wrote  many  articles,  on  various  mu- 
sical subjects,  for  Marx's  Ber- 
liner Musikzeitung  and  in  other 
periodicals.  He  was  the  first  to  pub- 
lish Bach's  six  concertos  for  different 
instruments;  the  concertos  for  one, 
two  and  three  claviers  and  two  comic 
cantatas.  He  also  published  a  col- 
lection of  vocal  compositions  in  four, 
five,  six,  eight  and  ten  parts,  and  was 
the  author  of  many  theoretical  works. 
Among  his  pupils  were  Rubinstein, 
Kullak,  Heinrich  Hoffman  and  Glinka. 

De  Koven,  Reginald  (Henry  Louis). 
1859- 

One  of  the  best  known  and  most 
prolific  of  American  composers  of 
light  opera.  He  was  born  at  Middle- 
town,  Conn.,  of  distinguished  parents 
and  enjoyed  unusual  opportunities 
for  study,  going  abroad  at  an  early 
age.  He  is  the  son  of  the  Reverend 
Henry  De  Koven,  a  clergyman  of  the 
Protestant  Episcopal  Church,  who 
took  up  his  residence  abroad  in  1872 
and  there  prepared  the  boy,  Reginald, 
for  Oxford.  He  entered  St.  John's 
College,  Oxford,  and  was  graduated 
Avith  the  highest  honors  in  1879,  being 
the  youngest  Bachelor  of  Arts  of  the 
year.  His  musical  instruction  had 
been  begun  when  he  was  seven,  and 
after  his  graduation,  was  continued 
under  Speidel,  Lebert  and  Pruckner 
at  Stuttgart.  Later  he  studied  at 
Frankfort  with  Huff,  who  taught  him 
counterpoint,  and  he  studied  singing 
with  Vannucini  at  Florence.  De  Koven 
also  made  a  special  study  of  light 
opera  with  Von  Suppe  and  Richard 
Genee  of  Vienna,  both  distinguished 
composers  of  comic  opera.  De 
Koven's  first  opera,  The  Begum,  com- 
posed in  1887,  was  brought  out  by  the 
McCaull  Opera  Company  and  was  a 
success.  He  also  wrote  a  light  opera, 
entitled  Cupid,  Hymen  &  Co.,  which 
was  rehearsed  but  never  produced. 
While  in  Vienna  he  composed  Don 
Quixote,  which  was  produced  in  1889 
by  the  Bostonians,  and  which  gained 
him  immediate  recognition.  He  next 
wrote  Robin  Hood,  (1890),  which  won 
instant  success,  and  immediately  took 
rank  with  the  standard  light  operas, 
the  first  by  an  American  composer 
to  be  admitted  to  that  list.  It  had  a 
long  run  in  New  York  and  other 
cities  in  this  country  and  ran  for 
three  years  in  London  under  the  title. 


BIOGRAPHIES 


175 


De  Koven 

Maid  Marian,  afterwards  being  taken 
through  the  English  provinces,  to 
South  Africa  and  to  Australia.  After 
Robin  Hood  came  The  Knickerbock- 
ers, The  Fencing  Master  and  The 
Algerian,  which  were  all  successes. 
The  Tzigane,  written  for  and  sung 
by  Lillian  Russell,  was  distinguished 
by  much  local  color  and  great  melodic 
beauty. 

De  Koven  lived  in  Chicago  in  1882 
and,  two  years  later,  married  Miss 
Anna  Farwell,  the  oldest  daughter  of 
Ex-Senator  Farwell.  Mrs.  De  Koven 
has  written  a  number  of  successful 
books,  and  their  daughter,  Ethel  De 
Koven,  now  a  young  woman,  has  a 
number  of  poems  to  her  credit. 
Shortly  after  his  marriage  Mr.  De 
Koven  moved  to  New  York,  where  he 
became  musical  critic  for  the  New 
York  World.  He  has  never,  in  any  of 
his  productions,  carried  American 
operetta  beyond  the  mark  set  by  that 
most  successful  opera,  Robin  Hood, 
although  all  have  met  with  popular 
approval.  The  Highwayman  is  con- 
sidered by  some  his  best  work  and  it 
had  a  long  and  successful  run.  His 
latest  operatic  works  are  Happyland, 
written  for  De  Wolf  Hopper  and 
sung  by  him  and  his  company  con- 
tinuously since  1905;  The  Student 
King;  and  The  Snow  Man.  He  has 
written  besides,  many  ballads  and 
songs  of  unusual  merit,  his  settings 
of  Eugene  Field's  Little  Boy  Blue, 
of  Burns'  My  Love  Is  Like  a  Red, 
Red  Rose,  and  of  Marjorie  Daw  being 
of  unusual  beauty.  The  best  known 
of  his  songs  are  O  Promise  Me,  which 
was  made  famous  by  the  late  Jessie 
Bartlett  Davis;  The  Indian  Love  Song 
and  A  Winter  Lullaby.  In  all  he  has 
written  about  one  hundred  and  thirty- 
five  songs  and  incidental  pieces,  in- 
cluding an  orchestral  suite  and  a 
piano  sonata.  Other  operas  besides 
those  mentioned  are  Rob  Roy  and 
The  Mandarin,  The  Three  Dragoons, 
Papa's  Wife,  The  Paris  Doll,  Foxy 
Quiller,  The  Little  Duchess,  Red 
Feather,  and  Elysia,  later  re-named 
Happyland. 

Deldevez  (dul-du-ves),  fidouard  Marie 
Ernest.     1817-1897. 

Celebrated  violinist  and  leader  and 
also  composer,  who  for  several  years 
was^  the  chief  conductor  at  the  Paris 
Opera.  He  was  born  in  Paris  and 
became  a  pupil  of  Halevy,  Habeneck 
and   Berton  in   1825  at   the   Conserv- 


Delibes 

atory,  where  he  took  second  prize  for 
solfeggio  in  1829,  and  the  first  prize 
in  1831.  In  1837  he  won  second  prize 
for  fugue  and  in  1838  the  Grand  Prize 
of  Rome  for  a  cantata,  La  Vendetta, 
which  he  later  revised  and  printed. 
He  published,  in  1839,  a  collection  of 
songs  with  piano  accompaniment, 
and  the  following  year  appeared  at  a 
Conservatory  concert,  playing  his 
own  overture  to  Robert  Bruce  and 
his  prize  cantata.  He  was  appointed 
second  conductor  of  the  Opera  in 
1859  and  held  the  same  post  at  the 
concerts  of  the  Conservatory.  In 
1872  he  became  the  chief  conductor 
at  the  Opera,  succeeding  Hainl.  He 
etired  from  that  post  in  1877  and  from 
his  position  at  the  Conservatory  in 
1885.  Several  of  his  ballets  were  per- 
formed at  the  Opera,  among  them 
Lady  Henriette,  Eucharis,  Paquita  and 
Vertvert.  His  works  consist  mainly 
of  songs,  sacred  choruses,  two  trios, 
quartets,  a  quintet  and  symphonies.  A 
requiem  and  some  symphonies  remain 
still  unpublished.  He  also  published 
an  Anthology  of  Violinists  in  four  vol- 
umes with  a  selection  of  pieces  by 
various  composers  from  Corelli  to 
Viotti.  He  was  made  a  Chevalier  of 
the  Legion  of  Honor. 

Delibes    (du-leb),    Clement    Philibert 
Leo.     1836-1891. 

Was  born  at  St.  Germain  du  Val, 
Sarthe,  and  came  to  Paris  in  1848, 
being  admitted  into  the  solfege  class 
at  the  Conservatory,  where  Le  Coup- 
pey,  Bazin,  Adam  and  Benoist  were 
his  chief  teachers.  He  is  said  by 
Grove  to  have  been  one  of  the  most 
meritorious  composers  of  the  modern 
French  School.  In  1853  he  became  the 
accompanist  at  the  Theatre  Lyrique 
and  organist  at  the  Church  of  St.  Jean 
et  St.  Frangois.  His  first  stage  work 
was  a  one-act  operetta,  produced  in 
1855,  and  followed  by  twelve  more  of 
the  same  class,  up  to  1865,  when  he 
was  appointed  second  chorusmaster 
at  the  Grand  Opera.  -He  next  tried 
ballet-writing  with  great  success.  La 
Source,  a  ballet,  was  produced  at  the 
Opera  in  1866  and  another  at  the 
Grand  Opera  in  1870,  which  was  a 
veritable  triumph,  and  soon  placed  its 
composer  in  the  front  rank  as  a 
writer  of  light,  sparkling  music  of  the 
modern  French  School.  He  resigned 
his  post  as  accompanist  at  the 
Lyrique  to  accept  that  of  second 
chorusmaster  at  the  Opera,  where  he 


176 


BIOGRAPHIES 


Delibes 

gained  great  popularity  as  a  composer 
of  ballets.  After  assuming  this  posi- 
tion a  new  career  for  the  composer 
began.  He  had  showed  such  gifts  as 
a  ballet-composer  in  La  Source  that 
he  was  at  once  invited  to  write  a 
divertissement  for  the  ballet,  Le  Cor- 
saire,  by  his  old  master,  Adolphe 
Adam,  for  its  revival  in  1867.  Cop- 
pelia,  written  in  1870,  is  considered 
by  many  to  be  his  best  work.  In 
1880  he  became  professor  of  ad- 
vanced composition  at  the  Conserv- 
atory and  in  1884  was  made  a  member 
of  the  Institut,  succeeding  Masse. 
In  spite  of  his  success  with  ballet- 
music,  he  tried  his  hand  at  other  kinds 
and  wrote  a  series  of  dramatic  works, 
produced  at  the  Opera  Comique, 
among  them  Jean  de  Nirvelle,  pro- 
duced in  1880;  Lakme  (1883);  a  five- 
act  opera,  Kassya,  completed  after 
Delibes'  death  by  E.  Guiraud;  and 
other  dramatic  works  which  remain 
in  manuscript  form.  In  addition  he 
wrote  incidental  music  for  Le  Roi 
s'amuse  on  its  revival  at  the  Comedie 
Franqaise,  in  1882,  and  several  songs, 
among  them  Ruy  Bias  and  Barberine. 
He  also  wrote  a  collection  of  fifteen 
melodies  with  piano  accompaniment, 
which  were  in  the  style  of  the  Ger- 
man lieder;  a  ballet,  Sylvia;  also  a 
cantata,  Alger,  performed  in  1865. 
Delibes  was  made  a  Chevalier  of  the 
Legion  of  Honor  and  received  other 
testimonials  of  esteem.  A  memoir  of 
Delibes  was  published  by  E,  Guiraud 
in  1892. 

Delle    Sedie    (del-le-sad-ye),    Enrico. 
1826- 

Barytone  singer,  who  enjoyed  a 
high  reputation  for  many  years  and 
who  was  later  an  excellent  teacher  of 
singing.  He  was  born  at  Leghorn 
and  was  a  pupil  of  Galeffi,  Persanola 
and  Domeniconi  and  was  deeply  in- 
terested in  music,  but  revolutionary 
troubles  caused  him  to  give  it  up  for 
a  time.  He  was  imprisoned  because 
of  participation  in  some  political 
intrigue  in  1848  and  after  his  release 
took  up  again  his  vocal  studies,  mak- 
ing his  debut  as  a  singer  at  Florence 
in  1851  in  Verdi's  Nabucco.  Delle 
Sedie  appeared  in  all  the  chief  Italian 
cities  and  then  was  engaged  at  the 
Theatre  Italien,  at  Paris,  and  was 
later  appointed  a  teacher  at  the  Paris 
Conservatory.  He  published  a  num- 
ber of  works  on  the  art  of  singing, 
two  of  which,  Vocal  Art  and  A  Com- 


Dennee 

plete  Method  of  Singing,  were  trans- 
lated into  English  and  later  combined 
into  one  complete  Method  of  Singing. 

Demeur  (du-miir),  Anne  Arsene. 
1827-1892. 

A  celebrated  soprano,  who  appeared 
with  success  in  concert  and  opera. 
Her  maiden  name  was  Charton.  She 
was  born  in  France,  and  became  a 
pupil  of  Bizet  at  Bordeaux,  where  she 
made  her  debut  as  Lucia  in  1842.  She 
sang  at  Toulouse  and  Brussels  in  1846, 
then  in  London  in  a  French  comic 
opera,  and  in  1853  she  made  success- 
ful tours  through  Russia  and  North 
and  South  America.  In  1847  she 
married  M.  Demeur,  the  flutist,  and 
became  shortly  afterward  the  first 
female  singer  of  Mitchell's  French 
Company  at  the  St.  James  Theatre, 
London,  winning  success  in  many  of 
the  light  operatic  roles.  She  made  a 
deep  impression  in  French  comic 
opera,  and  after  singing  at  the  Opera 
Comique,  Paris,  from  1849  to  1853,  she 
adopted  the  Italian  stage.  Afterwards 
she  appeared  at  St.  Petersburg, 
Vienna,  and  notably  at  Paris  as  Des- 
demona,  in  1862.  Later  she  sang  at 
Madrid.  She  made  successful  appear- 
ances in  Berlioz's  Beatrice  and  Bene- 
dict, and  her  last  appearance  in  opera 
was  as  Cassandra,  in  1879,  in  Ber- 
lioz's Prise  de  Troie.  Mme.  Demeur 
lived  in  retirement  for  several  years, 
only  emerging  to  sing  at  a  few  con- 
certs and  at  the  Berlioz  Festival  at  the 
Paris  Opera  in  1870. 

De  Munck,  Ernest.    1840- 

He  is  a  brilliant  cellist,  the  son  of 
Francois  De  Munck,  cello  virtuoso, 
and  was  born  in  Brussels.  He  studied 
under  his  father  and  Servais,  and  at 
ten  years  of  age  was  a  talented  vio- 
linist. He  lived  for  some  time  in 
London,  where  he  married  Carlotta 
Patti,  in  1879.  He  traveled  through 
Great  Britain  with  Jullien's  band,  and 
in  1870  became  first  cellist  at  Weimar 
in  the  Court  Orchestra.  From  1879 
until  1893  he  resided  in  Paris.  In  the 
latter  year  he  was  appointed  professor 
of  cello-playing  at  the  Royal  Academy 
of  Music,  London.  He  is  also  pro- 
fessor of  music  at  the  Guildhall 
School  of  Music. 

*  Dennee  (den-na),  Charles.    1863- 

A  talented  and  successful  American 
composer;  a  concert  pianist  and 
teacher,    who    was   born   in    Oswego, 


BIOGRAPHIES 


177 


Dennee 

N.  Y.,  and  whose  skill  is  due  almost 
entirely  to  American  training.  He 
early  showed  exceptional  talent  at 
playing  and  composing,  and  studied 
chiefly  in  Boston,  his  teachers  being 
Stephen  A.  Emery,  who  taught  him 
harmony,  and  Alfred  D.  Turner,  with 
whom  he  studied  piano.  It  was  the 
latter's  guidance  and  friendship  that 
made  Dennee  a  musician.  He  was 
only  sixteen  when  he  went  to  Boston 
to  study  under  Turner  at  the  New 
England  Conservatory,  and  his  only 
instruction,  up  to  that  time,  had  been 
received  from  Frank  Schilling,  in  his 
native  town.  Dennee  also  studied  for 
a  time  under  Mme.  Schiller  and  en- 
joyed special  advantages  in  the  study 
of  Beethoven's  works,  during  the  last 
visit  of  Hans  von  Biilow  to  America. 
He  trained  himself  for  _  a  concert 
pianist  and  in  this  capacity  made  a 
number  of  highly  successful  appear- 
ances, playing  over  one  thousand 
times  in  various  cities  in  the  United 
States,  but  an  affection  of  the  wrist 
caused  him  to  give  up  concert  work 
and  he  began  to  compose  salon  pieces 
for  the  piano.  In  1885  he  wrote  a 
violin  sonata  which  created  a  marked 
impression  on  the  musical  world. 
Since  1887  he  has  dropped  his  concert 
tours  and  has  devoted  himself  ex- 
clusively to  composing  and  teaching, 
giving  only  occasional  recitals  and 
chamber  concerts  in  Boston.  At  the 
death  of  Turner,  Mr.  Dennee,  who 
was  his  favorite  pupil,  succeeded  him 
in  the  New  England  Conservatory  of 
Music,  and  has  ever  since  carried  out 
Turner's  ideas  and  kept  to  his  system. 
He  is  a  most  prolific  composer  and 
all  of  his  works  show  great  skill  and 
musicianly  feeling. 

He  has  composed  several  light 
operas,  among  them  The  Merry  Go- 
Round,  with  a  libretto  by  R.  A.  Bar- 
nett,  and  produced  at  the  Tremont 
Theatre,  Boston,  in  1896;  The  Royal 
Barber;  Captain  Nixie;  The  Fountain 
of  Youth;  and  The  Hindoo.  He  has 
composed  a  large  number  of  songs 
and  piano  works  of  all  grades;  a  suite 
moderne  of  much  beauty,  and  works 
of  lighter  order.  Among  Mr.  Dennee's 
most  popular  songs  is  the  familiar 
lullaby.  Sleep  Little  Baby  of  Mine, 
over  one  million  copies  of  which  have 
been  sold  in  the  last  four  years. 
Others  that  are  frequently  heard  are 
In  Dreamland;  Memories;  Ritour- 
nelle,  and  So  Fair  and  Pure.  His  other 
important    works    include    a    March 


Denza 

Mignonne;  Danse  Napolitaine;  ma- 
zurka; minuet;  valses  and  a  descrip- 
tive piece,  entitled  Mountain  Scenes. 
In  manuscript  is  a  violin  and  piano 
sonata  which  has  been  played  all  over 
the  country.  Beside  his  compositions 
Mr.  Dennee  has  written  a  Progressive 
Technique  and  Octave  Studies. 

Denza  (den'-tsa),  Luigi.     1846- 

Popular  composer  of  songs,  who 
was  born  at  Castellamare  di  Stabia, 
Italy.  He  entered  the  Naples  Con- 
servatory when  only  sixteen  years  of 
age  and  studied  under  Serrao,  Mer- 
cadente  and  Carlo  Costa,  a  brother 
of  Sir  Michael  Costa,  the  eminent 
conductor.  Denza  won  a  scholarship 
in  1862  and  shortly  afterward  was 
appointed  a  sub-professor  in  the  in- 
stitution. His  songs  soon  began  to 
attract  attention.  In  1876  he  wrote 
an  opera,  Wallenstein,  which  was 
brought  out  in  Naples  and  which  was 
successful;  but  it  was  with  his  songs 
that  he  won  his  greatest  successes. 
He  has  written  over  six  hundred^ 
many  with  a  world-wide  reputation. 
The  most  popular  is  Funiculi  Funi- 
culi, which  he  composed  in  1880,  and 
which  has  had  a  most  remarkable 
vogue.  Half  a  million  copies  of  this 
song,  in  various  languages,  are  scat- 
tered over  the  world.  When  Richard 
Strauss,  the  eminent  composer  was  pre- 
paring his  orchestra  suite,  Aus  Italien, 
he  inserted  Denza's  Funiculi  Funicula, 
believing  it  to  be  an  Italian  folk-song, 
and  was  much  surprised  when  he 
learned  it  was  the  composition  of  a 
modern  composer.  Denza,  although 
an  Italian  by  birth  and  training,  is 
fond  of  English  life  and  English 
people  and  has  resided  in  London  for 
many  years,  settling  there  in  1883. 
In  1898  he  was  appointed  a  professor 
of  singing  at  the  Royal  Academy  of 
Music,  a  position  which  he  still  holds. 
He  has  traveled  through  Italy,  Russia, 
France  and  England,  giving  recitals 
of  his  most  popular  song  successes. 
He  IS  a  Chevalier  de  I'Ordre  de  la 
Couronne,  Italy,  and  has  received 
many  other  honors.  Denza  has  writ- 
ten songs  to  English,  French  and 
Italian  texts,  and  many  of  the  best- 
liked  of  these  compositions  are  in  the 
Neopolitan  dialect.  Among  them 
may  be  mentioned  II  Telefono;  Guar- 
daine  sulo,  Fuggimi  and  Giulia. 

Among  his  English  songs  are  A 
May  Morning;  'Tis  June;  Sea  Days; 
Your  Voice;  Call  Me  Back,  and  many 


178 


BIOGRAPHIES 


Denza 


others.  He  has  also  written  many 
part-songs  and  choruses  for  women. 
His  Amorita;  Merrily  Row;  and  a  can- 
tata, The  Garden  of  Flowers,  being 
the  best  known.  To  the  latter,  the 
composer  added  a  string  accompani- 
ment. Signor  Denza's  latest  compo- 
sitions are  Sleepy  Eyes;  a  Sleighing 
Duet;  and  Vieni,  especially  composed 
for  the  famous  tenor,  Signor  Caruso. 

Deppe  (dep'-pe),  Ludwig.      1828-1890. 

A  distinguished  pianoforte  teacher, 
who  did  much  to  restore  a  pure  style 
of  playing  on  that  instrument.  He 
was  born  at  Alverdissen,  Lippe,  Ger- 
many, and  was  a  pupil  of  Marxsen's 
at  Hamburg  in  1849,  and  afterward 
studied  at  Leipsic  under  Lobe.  In 
1857  he  settled  in  Hamburg  and  there 
founded  a  musical  society  and  con- 
ducted its  concerts  until  1868.  While 
acting  in  that  capacity  he  produced 
many  compositions.  From  1874  until 
1886  he  lived  in  Berlin  as  court  chapel- 
master,  but  soon  resigned  this  post  to 
devote  himself  to  conducting  the  con- 
certs of  the  Court  Orchestra.  He  also 
conducted  the  Silesian  Musical  Fes- 
tivals established  by  Count  Hochberg 
in  1876.  A  description  of  Deppe's 
technique  is  given  by  his  pupil.  Amy 
Fay,  in  her  book,  Music  Study  In 
Germany.  She  designates  him  as  a 
profound  musical  savant  and  describes 
his  method,  which  was  so  widely  dif- 
ferent from  that  of  the  followers  of 
Liszt.  Another  pupil  of  his,  Elisabeth 
Caland,  in  a  book  published  in  1897, 
also  explained  his  method  of  playing. 
Emil  Sauer  and  Donald  F.  Tovey 
were  the  best  known  among  the 
advocates  of  Deppe  and  his  method. 
He  died  at  Pyrmont,  a  German  wa- 
tering place. 

Depres  or  Despres  (dupre'  or  da-pra), 
Josquin. 

He  was  a  Flemish  composer,  and 
one  of  the  great  masters  of  the 
Netherlands  School,  which  had  so 
great  an  influence  upon  the  develop- 
ment of  music.  He  was  born  at 
Conde,  near  St.  Quentin,  about  the 
middle  of  the  Fifteenth  Century,  and 
was  the  first  man  who  could  properly 
be  called  a  great  composer  in  the 
modern  acceptation  of  the  term.  He 
was  also  a  good  teacher.  He  was  a 
chorister  in  the  collegiate  church  of 
St.  Quentin  and  for  some  time  chapel- 
master  there.  About  1471  he  was  a 
pupil  of  Okeghem,  and  then  went  to 
the  papal  court  of  Sixtus  IV.,  where 


Depres 

he  was  held  in  the  highest  esteem 
as  a  musician.  In  1486  he  entered  the 
papal  choir  under  Innocent  VIII. 
Adami,  in  a  list  of  the  singers  of 
that  time,  mentions  Josquin  as  one 
of  the  greatest  supporters  and  cul- 
tivators of  church  music.  Several 
masses  in  manuscript  are  preserved 
in  the  library  of  the  Sistine  chapel  to 
show  what  he  accomplished  while  in 
Rome.  He  seems  to  have  enjoyed 
the  patronage  of  Lorenzo  of  Flor- 
ence, of  Louis  XII.  of  France,  and 
of  the  Emperor  Maximilian  I.,  and  it 
may  be  inferred  that  he  must  have 
gained  the  public  favor  either  by  his 
works  or  performances  before  he 
could  be  noticed  by  a  sovereign. 
Burney  calls  him  the  "  father  of  mod- 
ern harmony."  He  deserves  to  be 
classed  as  one  of  the  greatest  musi- 
cal geniuses  of  any  period.  He  was 
the  first  to  employ  counterpoint  as 
the  means  to  an  end,  and  to  blend 
popular  and  ecclesiastical  music.  He 
was  the  inventor  of  the  part-songs 
and  canzonets.  He  is  the  oldest  writer 
whose  works  are  preserved  to  us 
almost  entire.  While  provost  of  the 
Cathedral  chapel,  he  died  at  Conde  in 
the  year  1521.  His  compositions 
were  as  well-known  and  as  much 
practised  throughout  Europe  at  the 
beginning  of  the  Sixteenth  Century  as 
Handel's  were  in  England  a  few  years 
ago.  In  the  music-book  of  Prince 
Henry,  afterwards  Henry  VIII., 
which  is  preserved  in  Pepys'  College 
at  Cambridge,  there  are  several  of 
Depres'  compositions,  and  we  are 
told  that  Anne  Boleyn  during  her 
residence  in  France  had  collected  and 
learned  a  number  of  them.  His  fame 
was  chiefly  gained  by  his  masses  and 
motets,  a  large  collection  of  which, 
perhaps  the  most  valuable,  is  pre- 
served in  the  British  Museum.  His 
printed  works  include  nineteen 
masses,  fifty  secular  pieces  and  about 
one  hundred  and  fifty  motets.  Sev- 
eral of  the  masses  and  many  of  the 
motets  exist  in  manuscript  scores  at 
Brussels.  Among  his  secular  pieces 
is  a  dirge  written  on  the  death  of 
Okeghem.  Masses  in  manuscript  are 
at  Munich  and  Cambrai,  which  some 
historians  claim  was  his  birthplace. 
Fragments  of  his  works  are  to  be 
found  in  the  histories  of  Kiesewetter, 
Burney,  Busby  and  Hawkins.  His 
pupils  all  had  a  share  in  the  forma- 
tion of  the  great  schools  of  the 
Fifteenth  and  Sixteenth  Centuries. 


BIOGRAPHIES 


179 


De  Reszke 
De    Reszke    (du-resh'-ka),    Edouard. 
1855- 

Edouard,  the  younger  of  the  two 
De  Reszke  brothers,  has  become, 
since  his  debut  as  a  singer,  almost 
as  renowned  as  his  brother  Jean.  His 
repertory  of  operas  is  said  to  include 
sixty.  He  was  intended  by  his  par- 
ents for  an  agriculturist,  and  it  was 
due  to  his  brother  Jean  that  he  was 
able  to  prosecute  his  musical  studies 
in  Milan  for  four  years,  where  his 
teachers  were  Signori  Steller  and 
Alba  and  afterwards  Coletti  at  Naples. 
Later,  under  the  guidance  of  his 
brother,  and  after  a  period  of  study 
under  his  brother's  teacher,  Sbriglia, 
he  made  his  debut  in  Ai'da  at  the 
Italian  Opera,  Paris,  in  1876,  when 
Verdi  himself  directed  the  first  three 
performances.  Edouard  then  sang  in 
Le  Roi  de  Lahore,  by  Massenet,  at 
La  Scala,  Milan  and  soon  began  to 
be  heard  in  other  cities  of  Europe, 
where  the  fame  of  his  brother  and 
himself  had  spread.  For  six  years 
he  was  first  basso  of  the  Opera,  Paris, 
and  he  has  been  heard  frequently  in 
the  United  States.  His  career  has 
been  closely  identified  with  that  of 
his  brother's  from  the  beginning. 
Unlike  most  famous  singers,  the 
brothers  were  never  heard  at  private 
musicales  or  entertainments  and  no 
money  could  ever  tempt  them.  Once 
and  only  once  Edouard  broke  the 
rule  and  was  treated  as  a  paid  per- 
former, not  as  a  guest,  and  was  so 
chagrined  that  he  never  again  could 
be  induced  to  sing  outside  a  theatre. 
He  has  not  been  heard  in  America 
for  many  years.  Edouard  De  Reszke 
was  given  the  same  honor  that  his 
brother  had,  when  in  1890  he  was 
given  the  insignia  of  the  Royal 
Victoria  order  by  Her  Majesty, 
the  late  Queen  Victoria,  after  a  per- 
formance of   Faust  at  Windsor. 

De  Reszke,  Jean.    1852- 

The  De  Reszkes  are  two  eminent 
Polish  brothers,  belonging  to  a  musi- 
cal and  artistic  family,  who  have  at- 
tained high  honors  on  the  operatic 
stage.  They  were  born,  according  to 
some  authorities,  at  Varsovie,  Poland; 
according  to  others,  at  Warsaw.  The 
elder,  Jean,  became  the  greatest  tenor 
of  his  day,  the  younger,  Edouard,  the 
greatest  basso  perhaps  ever  heard. 
Jean  began  to  sing  when  very  young, 
and  at  thirteen  was  heard  in  the 
chapel   of   the  college   where   he  was 


De  Reszke 

a  student.  His  parents  intended  him 
to  become  a  lawyer,  but  his  love  for 
music  early  manifested  itself  and  he 
was  allowed  to  study  with  Ciaflfei. 
The  mother  of  the  De  Reszkes  was 
the  possessor  of  a  fine  soprano  voice, 
which  had  been  trained  by  Viardot 
and  Garcia  and  a  sister,  Josephine, 
who  died  in  1892,  had  a  soprano  voice 
of  great  beauty  and  wonderful  qual- 
ity. When  Jean  was  nineteen,  he 
went  to  Venice,  where  he  heard 
Cotogini  sing.  This  made  so  pro- 
found an  impression  upon  him  that 
he  followed  the  celebrated  barytone 
for  some  time.  It  was  upon  the  ad- 
vice of  this  singer  that  Jean  made 
his  debut  as  a  barytone  singer  in 
Donizetti's  La  Favorita,  singing  the 
role  of  the  King.  After  that,  he  sang 
many  of  the  barytone  roles  before  it 
was  discovered  by  his  teacher,  M. 
Sbriglia,  that  his  voice  was  a  tenor. 
He  pursued  his  vocal  studies  under 
Sbriglia  for  two  years  and,  at  the 
end  of  that  time,  appeared  at  the 
Real  de  Madrid  with  such  success 
that  ever  afterwards  the  doors  of 
every  European  opera  house  were 
open  to  him.  Jean  and  his  brother, 
Edouard,  appeared  in  the  revival  of 
Italian  Opera  in  London  at  Drury 
Lane,  and  shortly  afterward  Jean  was 
appointed  first  tenor  at  the  Oper?, 
Paris.  For  him,  Massenet  composed 
Le  Cid;  and  Gounod,  from  whom  he 
had  received  instruction,  revived  his 
Romeo  and  Juliette.  One  of  his 
finest  performance  was  Don  Jose  in 
Carmen,  critics  all  being  agreed  that 
it  had  never  been  sung  with  such  dra- 
matic power  and  intensity.  He 
studied  Tristan  und  Isolde  two  years 
before  he  essayed  his  memorable  first 
performance  of  the  part,  which  be- 
came one  of  his  best  roles.  Other 
roles  in  which  he  was  heard  with 
great  success  are  Le  Prophete;  the 
tenor  part  in  Les  Huguenots;  Otello, 
in  Verdi's  opera  of  that  name;  and 
the  duke  in  Rigoletto.  From  Paris, 
De  Reszke  came  to  the  United  States 
in  1889,  and  appeared  at  the  Metro- 
politan Opera  House,  New  York, 
making  a  marked  impression  upon 
the  critical  musical  audiences  in  many 
of  the  Wagnerian  roles,  including 
Lohengrin,  Tristan  and  Siegfried.  He 
also  appeared  frequently  at  Covent 
Garden,  London.  During  the  season 
at  the  latter  place,  in  1892,  a  serious 
throat  affection  interrupted  his  career 
and  he  was  compelled  to  retire  for  a 


180 


BIOGRAPHIES 


De  Reszke 

time  from  the  operatic  stage.  He 
reappeared  at  Covent  Garden,  in 
Faust,  shortly  afterward  and  broke 
down.  In  December,  1900,  however, 
he  returned  to  the  United  States  with 
his  voice  unimpaired.  For  several 
years  past  Jean  De  Reszke  has  re- 
mained away  from  the  operatic  stage, 
living  most  of  the  time  in  Paris, 
where  he  accepts  now  and  then  a 
pupil  who  shows  unusual  ability  as 
a  vocalist  and  who  is  willing  and 
able  to  pay  the  immense  fee  he  asks 
for  his  services.  At  his  home  in  the 
Rue  de  la  Faisanderie  he  has  built 
a  little  private  theatre  and  there  he 
receives  his  pupils  from  ten  in  the 
morning  until  six  in  the  evening.  In 
August  of  1907,  De  Reszke  was  ap- 
pointed director  of  singing  at  the 
Paris  Opera,  with  the  title  "  chef  de 
chant."  He  intimated,  upon  his  ac- 
ceptance of  the  post  that  he  would 
inaugurate  a  number  of  reforms,  and 
it  is  said  that  he  took  the  position 
more  to  assist  some  of  his  favorite 
pupils  than  for  any  other  reason.  De 
Reszke's  earnings  on  the  stage  have 
made  him  a  very  rich  man.  Some 
years  ago  he  acquired  an  immense 
estate  in  Poland,  where  he  built  a 
beautiful  home  and  where  he  main- 
tains a  racing  stable  well-known  on 
the  Russian  turf.  This  estate  is  at 
Borowno,  Poland,  and  the  land  sur- 
rounding it  is  said  to  be  twenty  times 
the  size  of  Central  Park,  in  New 
York.  His  nearest  neighbor  is  his 
brother,  Edouard,  who  also  has  a 
handsome  home,  surrounded  by  many 
acres  of  valuable  land.  Here  the 
brothers  pass  their  time  while  away 
from  Paris.  Jean  De  Reszke  was  the 
first  musician,  after  Sir  Arthur  Sulli- 
van and  Signor  Tosti,  to  be  honored 
with  the  insignia  of  the  Royal  Vic- 
toria order.  He  received  the  cross  of 
the  order  after  a  performance  of 
Lohengrin  at  Windsor  Castle,  on  the 
Queen's  eightieth  birthday.  May  24, 
1899.  This  was  the  last  time  Her 
Majesty,  Queen  Victoria,  ever  at- 
tended an  operatic  performance. 

De  Swert  (da-var),  Jules.  1843-1891. 
A  brilliant  Belgian  cellist  and  dra- 
matic composer,  who  was  born  in 
Louvain,  and  made  his  first  public 
appearance  when  only  nine  years  of 
age.  He  received  his  first  musical 
instruction  from  his  father,  the 
chapelmaster  at  the  Cathedral  of 
Louvain,  and  afterwards  was  a  pupil 


Devienne 


of  Servais  at  the  Brussels  Conserv- 
atory in  1856,  remaining  at  that  insti- 
tution for  two  years.  After  gaining 
the  first  violoncello  prize  at  the  Con- 
servatory he  went  to  Paris,  where  he 
made  the  acquaintance  of  Rossini. 
He  next  undertook  a  series  of  con- 
cert tours  through  Belgium,  Holland, 
Denmark,  Sweden,  Germany  and 
Switzerland,  and  afterward  held  vari- 
ous posts  of  importance.  He  became 
concertmaster  at  Diisseldorf  in  1865, 
and  three  years  later  was  first  cello 
at  Weimar  and  royal  concertmaster, 
solo  cellist  and  professor  of  the  high 
school,  Berlin,  in  1869;  resigning  from 
that  position  four  years  later.  In 
1881,  after  several  years  residence  in 
Weisbaden  and  Leipsic,  he  was  ap- 
pointed director  of  the  Ostend  Music 
School  and  professor  at  Ghent  and 
Bruges  Conservatory,  and  was  also 
a  solo  player  in  the  Theatre  de  la 
Monnaie  at  Brussels.  De  Swert  also 
appeared  at  the  Crystal  Palace,  Lon- 
don, in  1875.  His  works  consist  of 
two  operas,  Die  Albigenser,  produced 
at  Weisbaden  in  1878  with  success; 
and  Graf  Hammerstein,  produced  at 
Mayence  in  1884;  a  symphony;  three 
cello  concertos;  romances;  fantasies; 
duets  and  solo  pieces  for  cello,  with 
piano  and  orchestra.  He  also  wrote 
a  treatise  on  the  violoncello,  which 
was  published  in  Novello's  Music 
Primers  in  London,  in  1882.  He  com- 
piled also  numerous  works  for  his 
favorite  instrument,  and  is  regarded 
as  one  of  the  foremost  of  the  mod- 
ern violoncello  virtuosi.  His  two 
brothers,  Isadore  and  Jean,  are  both 
musicians. 

Devienne  (diiv-yen),  Frangois.     1759- 
1803. 

A  flutist,  bassoonist  and  composer  of 
considerable  renown,  who  was  born 
at  Joinville,  Haute-Marne,  France. 
He  occupied  various  positions  during 
his  hfetime.  Was  a  member  of  the 
Swiss  Guards  band,  a  professor  at  the 
Paris  Conservatory  and  also  bassoon- 
player  in  the  Theatre  de  Monsieur  in 
1788.  Among  his  works  are  about 
ten  operas;  many  concerto  pieces  for 
wind-instruments;  overtures  for  wind; 
concertos;  quartets;  trios;  and  sonatas 
for  flute,  piano  and  other  instruments. 
He  also  wrote  a  Methode  de  Flute, 
published  in  1795,  which  is  considered 
valuable  and  which  went  through 
many  editions.  Devienne  died  in  an 
insane    asylum   at    Charenton.     Says 


BIOGRAPHIES 


181 


Devienne 
Baker:  "He  was  an  extraordinarily 
prolific  composer  of  peculiar  impor- 
tance from  the  impulse  which  he  gave 
to  perfecting  the  technique  of  wind- 
instruments." 

D'Hardelot.     See  Hardelot. 
Dibdin,  Charles.     1745-1814. 

Composer  and  writer,  who  was 
born  at  Dibdin,  near  Southampton, 
England,  and  studied  music  at  Win- 
chester College,  under  Kent  and  Fus- 
sell.  He  appeared  at  Richmond  and 
Birmingham  as  an  actor  and  went  to 
London,  where  in  1765  he  was  em- 
ployed by  Bickerstaff  as  composer 
and  singer.  He  then  renounced  the 
stage  and  began  giving  medley  mono- 
dramas  in  London  in  1788.  Dibdin, 
according  to  his  son,  who  wrote  his 
biography,  was  the  composer  of  over 
1300  songs,  and  in  addition  wrote  the 
music  in  his  entertainments.  Of 
these  a  few  are  heard  now  and  then, 
including  The  Waterman,  popularized 
by  Sims  Reeves,  Poor  Jack,  and  Tom 
Bowling.  Among  his  most  popular 
works  are  the  music  dramas,  Shep- 
herd's Artifice;  Love  In  the  City; 
Damon  and  Phillida;  Padlock;  and 
numerous  others.  His  literary  works 
include  Music  Epitomized,  a  school- 
book  in  which  the  whole  science  of 
music  is  explained;  a  didactic  poem  in 
three  parts,  and  a  history  of  the  stage 
in  five  volumes.  Mr.  Dibdin  also 
wrote  a  history  of  his  professional 
life  in  four  volumes  with  the  words 
of  600  songs  selected  from  his  works. 
It  was  published  in  1803.  His  songs, 
in  chronological  order  with  notes  and 
memoirs,  were  arranged  by  George 
Hogarth,  in  1842,  in  two  volumes.  He 
was  most  successful  in  hitting  ofif  the 
lights  and  shadows  of  a  sea-faring 
life  and  his  songs  rank  with  the  best 
folk-music. 

*  Dickinson,  Edward.     1853- 

Born  in  West  Springfield,  Mass. 
Removed  to  Northampton,  Mass.,  in 
1867,  Fitted  for  college  in  the  North- 
ampton High  School.  Studied  music 
in  Boston,  1871  to  1872,  Entered  Am- 
herst College  in  1872,  and  was  gradu- 
ated in  1876.  Received  the  degree  of 
M.A.  from  Amherst  College.  During 
his  college  course  he  was  organist  in 
the  First  Congregational  Church  of 
Springfield,  Mass.  Took  up  the  study 
of  the  organ  with  Eugene  Thayer  in 
Boston,  1878  to  1879.  In  1879  he  be- 
came organist  at  the  Park  Church  in 


Dickinson 

Elmira,  N.  Y.,  and-  teacher  of  organ 
and  piano  in  the  city.  Was  director 
of  music  in  the  Elmira  College  1883 
to  1892.  Studied  in  Berlin,  Germany, 
1885  to  1886,  1888  to  1889,  and  1892  to 
1893,  giving  chief  attention  to  the 
history  of  music,  hearing  lectures  of 
Professor  Spitta  in  the  Berlin  Uni- 
versity and  taking  private  courses 
with  Doctor  Wilhelm  Langhans.  Was 
appointed  to  the  chair  of  the  History 
and  Criticism  of  Music  in  Oberlin 
College  and  Conservatory  in  1893. 
Author  of  Music  in  the  History  of 
the  Western  Church  and  The  Study 
of  the  History  of  Music.  These  books 
have  been  very  widely  and  fully  rec- 
ognized as  of  unique  value.  Con- 
cerning Music  in  the  History  of  the 
Western  Church  the  following  ap- 
peared in  The  Outlook  of  New  York: 
"  To  his  evidently  wide  knowledge  of 
the  causes  of  church  music  in  its  many 
stages,  and  acquaintance  with  its  his- 
torical environment,  Professor  Dick- 
inson brings  a  broad  and  intelligent 
human  sympathy.  He  shows  critical 
fairness  alike  in  his  treatment  of  the 
Roman  Catholic  mass  and  the  rise 
of  Lutheran  hymnody,  of  Anglican 
church  music  and  Puritan  psalmody 
in  England  and  America."  A  review  of 
The  Study  of  the  History  of  Music 
in  The  Nation  of  New  York  begins 
thus:  "His  book  is  certainly  almost 
unique  in  its  clearness  of  statement, 
and  general  usefulness;  it  is  a  marvel 
of  condensed  information."  Mr. 
Ernst  Newman,  known  as  one  of  the 
very  ablest  of  English  musical  critics, 
has  this  to  say:  "  Mr.  Dickinson  has 
had  the  excellent  idea  of  furnishing 
the  musical  student  with  a  guide  to 
the  best  literature  in  English  upon 
the  art.  For  Mr.  Dickinson's  general 
treatment  of  his  subject  one  can  have 
nothing  but  praise.  His  method  is 
to  take  each  stage  in  the  development 
of  music  separately,  characterize  it  in 
a  short  but  highly  concentrated  chap- 
ter, and  then  give  reference  to  the 
complete  English  literature  upon  the 
subject.  His  summaries  are  models 
of  sound  judgment  and  swift  state- 
ment; not  more  than  once  or  twice, 
perhaps,  could  one  find  fault  with 
either  their  completeness  in  every 
essential  point  of  their  cool  and 
catholic   impartiality." 

Mr.  Dickinson's  work  at  Oberlin 
has  been  of  the  highest  type  in  its 
full  mastery  of  the  subjects  taught 
and    in    its    successful    appeal    to    all 


182 


BIOGRAPHIES 


Dickinson 

classes  of  students.  Sound  musician- 
ship, a  wide  and  exact  learning  in 
fields  of  knowledge  other  than  music, 
sensitiveness  to  the  emotional  mes- 
sage of  music,  together  with  a  strong 
literary  talent,  and  a  genuine  teaching 
gift,  have  combined  to  advance  Mr. 
Dickinson  to  the  very  front  rank  of 
our  present  day  musical  scholars, 
critics  and  teachers. 

*  Dickinson,  Clarence.     1873- 

Contemporary  American  organist, 
conductor  and  composer.  He  was 
born  in  LaFayette,  Ind.,  and  belongs 
to  the  Massachusetts  Dickinson  fam- 
ily of  which  the  poets  Emily  Dickin- 
son and  Martha  Gilbert  Dickinson 
Bianchi  are  well-known  members. 
Mr.  Dickinson  entered  Northwestern 
University  at  Evanston,  111.,  in  1890, 
and  during  his  four  years'  course 
there  continued  his  work  in  piano, 
organ  and  composition  under  Wil 
Ham  Cutler,  Harrison  M.  Wild  and 
Adolph  Weidig  of  Chicago.  His  first 
important  composition,  a  light  opera. 
The  Medicine  Man,  was  performed, 
in  1895,  in  Chicago  and  later  in  Bos- 
ton. Mr.  Dickinson's  compositions 
are  principally  for  the  voice  and 
organ.  In  1898  he  went  abroad  for 
three  years'  study,  the  first  year  be- 
ing spent  in  Berlin,  working  in  theory 
with  Otto  Singer  and  in  organ  with 
Dr.  Heinrich  Reimann;  and  the  fol- 
lowing two  years  in  Paris,  studying 
with  Alexandre  Guilmant  in  organ, 
and  Moritz  Moskowski  and  Louis 
Vierne  in  composition.  While  abroad 
he  gave  numerous  recitals  in  France 
and  England.  Since  his  return  he 
has  played  many  recitals  in  the  United 
States  and  Canada,  including  recitals 
at  the  St.  Louis  Exposition  in  1904,  in 
which  year  he  played  also  in  the  lead- 
ing cities  of  Spain.  Mr.  Dickinson 
was  one  of  the  founders  of  the  Chi- 
cago Manuscript  Society  and  the 
American  Guild  of  Organists.  At 
present  he  is  organist  and  choirmas- 
ter of  St.  James  Episcopal  Church  and 
the  Kehilath  Anshe  Mayriv  Syna- 
gogue; director  of  the  Cosmopolitan 
School  of  Music  and  head  of  the 
Organ  and  Theory  Departments  of 
that  School;  conductor  of  the  Aurora, 
(Illinois)  Musical  Club;  the  Bach  So- 
ciety of  Dubuque,  Iowa,  and  conduc- 
tor of  the  Chicago  English  Opera 
Company.  Special  mention  should  be 
made  of  his  work  as  conductor  of  the 
Musical  Art  Society  of  Chicago,  con- 


Dietrich 

sisting  of  fifty  of  the  leading  profes- 
sional singers  of  the  city  organized 
for  the  purpose  of  presenting  those 
works  of  the  old  and  ultra-modern 
composers  which  are  of  so  difficult 
and  exacting  a  nature  as  to  require 
the  services  of  artists. 

Diemer  (d'ya-ma),  Louis.     1843- 

French  pianist,  who  was  born  in 
Paris  and  studied  at  the  Conservatory 
in  that  city,  under  Durand,  Bazin  and 
Ambroise  Thomas.  He  has  also  com- 
posed much  good  music  and  has  done 
a  great  deal  to  revive  interest  in 
ancient  music,  especially  the  works 
of  the  harpsichord  masters  of  olden 
times,  and  the  ancient  musical  in- 
struments. Diemer  became  proficient 
from  his  earliest  years  as  a  pianist. 
At  thirteen  he  took  the  first  piano 
prize  at  the  Conservatory,  three  years 
later,  first  prize  for  fugue,  and  later, 
first  prize  for  harmony,  second  prize 
for  organ  and  first  for  counterpoint. 
In  1887  he  was  appointed  first  piano 
professor  at  the  Conservatory,  suc- 
ceeding Marmontel.  Beside  partici- 
pating in  brilliant  concerts  of  mod- 
ern music,  he  has  organized  concerts 
of  ancient  music,  and  played  on  old- 
time  instruments.  He  has  appeared 
with  success  at  the  Alard,  Pasdeloup 
and  Conservatory  concerts,  and 
Widor,  Lalo  and  Saint-Saens  have  all 
written  pieces  for  him,  which  he  has 
given  at  the  Lamoreaux  and  Colonne 
concerts  in  Paris.  He  came  into 
prominent  notice  at  the  time  of  the 
Paris  Exposition  with  the  rendering 
of  the  compositions  of  harpsichord 
masters  of  olden  days  and  the  result 
of  his  revival  of  their  music  was  the 
establishment  of  the  Society  of 
Ancient  Instruments.  Under  his  di- 
rection this  society  gave  many  con- 
certs in  London.  His  works  include 
a  concertstiick;  songs;  characteristic 
pieces  for  piano  and  wind-instru- 
ments; and  a  collection  of  Clavecin- 
istes  frangais,  beside  chamber-music. 
He  has  also  edited  collections  of 
songs  and  other  music. 

Dietrich  (de'trikh),  Albert  Hermann. 
1829- 

A  talented  musician  and  able  com- 
poser, who  was  born  at  Golk,  near 
Meissen,  Germany,  and  received  his 
education  at  the  Gymnasium,  Dres- 
den, which  he  entered  in  1842.  He 
studied  under  Otto  Rietz,  Moscheles 
and   Hauptmann   at   Leipsic,  and  from 


BIOGRAPHIES 


183 


Dietrich 

1851  to  1854  was  a  pupil  of  Schumann 
at  Dusseldorf.  He  was  orchestral 
leader  at  Bonn,  and  later  at  Leipisc, 
and  was  choirmaster  at  Oldenburg  in 
1871.  Among  his  works  are  a  sym- 
phony in  D  minor;  overtures  for  or- 
chestra; concertos;  six  songs  for  the 
piano;  and  also  an  opera,  Robinhood, 
which^was  a  success.  Dietrich  retired 
in  1890  and  settled  at  BerHn.  His 
incidental  music  to  Cymbehne  was 
played  at  the  Lyceum  Theatre  revival 
in  1896.  He  published  in  1899,  in 
conjunction  with  J.  V.  Widmann,  an 
interesting  series  of  Recollections  of 
Brahms. 

D'Indy.     See  Indy  d'. 

Diruta  (de-roo'-ta),  Girolamo. 

Author  of  a  remarkable  treatise  on 
organ-playing,  far  in  advance  of  any 
publication  of  that  time,  who  was 
born  between  1554  and  1564  at 
Perugia,  Italy.  His  family  came 
originally  from  the  village  of  Diruta, 
near  Perugia,  hence  his  name.  He 
entered  the  Franciscan  monastery  at 
Correggio  in  1574  and  is  said  to  have 
received  his  first  instruction  from 
Batista  Capuani.  He  was  later  organ- 
ist at  Chioggia  Cathedral  and  studied 
under  Merulo.  His  work  was  the  first 
treatise  on  the  organ  and  clavier  ever 
published  and  was  issued  about  1600. 
In  the  year  1622  he  published  another 
work  in  which  he  gave  the  rules  of 
counterpoint  and  the  method  of  com- 
posing fantasias,  with  several  exam- 
ples. The  third  part  treated  of  the 
ecclesiastical  tones  and  the  method  of 
transposing  them. 

Dittersdorf,  Karl  Ditters  von.     1739- 
1799. 

Eminent  violinist  and  composer, 
whose  original  name  was  Ditters.  He 
was  born*  in  Vienna.  He  studied 
under  Konig  and  Ziegler,  and  when 
only  ten  years  of  age  attracted  the 
attention  of  Prince  Joseph  of  Hild- 
burghausen,  who  took  him  into  his 
private  orchestra  and  had  him  thor- 
oughly instructed  in  music,  his 
teachers  being  Trani  on  the  violin, 
and  Bonno  in  composition.  In  1759 
the  Prince  dismissed  his  band  but  pro- 
cured for  Ditters  a  position  at  the 
Court  Theatre  in  Vienna.  From  there 
he  went  with  Gluck  to  Italy  in  1761. 
In  1764  he  became  chapelmaster  to 
the  Bishop  of  Gross- Wardein,  Hun- 
gary, and  upon  the  dismissal  of  the 
bishop's  orchestra  in  1769  he  entered 


Dohnanyi 

the  service  of  Count  Schaflfgotsch, 
Prince  Bishop  of  Breslau,  at  Johannis- 
berg,  Silesia,  where  he  established  a 
little  theatre  and  won  much  praise 
for  his  orchestra.  He  received  in 
1770  the  papal  order  of  the  Golden 
Spur,  and  three  years  later  was 
ennobled  by  the  Emperor.  An  opera, 
Der  Doktor  und  Apotheker,  which 
was  produced  in  1786,  still  holds  the 
stage  in  Germany  and  his  string  quar- 
tets are  heard  too,  but  his  other  music 
has  long  since  been  forgotten.  His 
music  is  light  and  pretty  while  the 
instrumentation  and  melody  are  above 
the  ordinary.  He  wrote  about  twenty- 
five  operas;  twelve  orchestral  sym- 
phonies; several  oratorios;  cantatas; 
masses;  quartets;  nocturnes;  and, con- 
certos. 

Dohnanyi    (do-nan'-ye),    Ernst    von. 

1877- 

A  modern  European  composer, 
whose  works  show  decided  individu- 
ality and  give  promise  of  still  greater 
things  to  come.  He  is  also  a  pianist 
of  rare  ability,  ranking  with  the  finest 
performers  in  Europe.  Dohnanyi  is 
a  Hungarian  by  birth,  having  been 
born  at  Pressburg,  but  is  almost 
wholly  Teutonic  in  temperament.  His 
father,  who  was  professor  of  mathe- 
matics and  physics  at  the  Gymnasium 
of  his  native  town,  was  a  good  cello- 
player  and  an  all-around  musician, 
who  encouraged  his  son's  fondness  for 
music  in  every  way.  The  younger 
Dohnanyi  began  when  very  young  to 
compose,  his  first  composition  being 
written  when  he  was  only  seven  years 
of  age,  when  he  chose  for  a  Christmas 
gift  a  sheet  of  music  paper.  After  a 
period  of  study  under  Carl  Forstner, 
organist  of  the  cathedral  at  Press- 
burg, Dohnanyi  decided  to  adopt  a 
musical  career.  He  studied  composi- 
tion for  a  short  time  at  the  Royal 
Hungarian  Academy  of  Music  under 
Hans  Koessler  and  later  was  a  pupil 
of  Stephen  Thonian  in  piano.  He  com- 
pleted his  piano  study  imder  Eugen 
D'Albert.  Von  Dohnanyi  won  a 
royal  prize  with  the  overture,  Zrinyi, 
and  the  King's  prize  at  Budapest  in 
1894,  with  a  Symphony  in  F,  which 
is  a  work  of  great  value  and  which 
earned  for  him  the  respect  and  ad- 
miration of  the  entire  musical  world. 
In  1898  he  won  the  prize  offered  by 
Herr  Bosendorfer,  the  great  piano- 
maker,  in  memory  of  Hans  von  Biilow 
for  the  best  piano  concerto. 


184 


BIOGRAPHIES 


Dohndnyi 

Dohnanyi  visited  the  United  States 
in  1899,  and  in  a  season  when  Ham- 
bourg,  de  Pachmann  and  other  pian- 
ists noted  for  their  technique,  ap- 
peared here,  he  was  heard  several 
times  and  held  his  own  with  them. 
Of  recent  years  he  has  devoted  him- 
self almost  wholly  to  composition, 
and  as  one  writer  has  said,  "  Wants 
to  be  taken  as  a  composer  who  plays 
the  piano  and  not  as  a  pianist  who 
occasionally  writes  a  piece  of  music." 
He  has  played  the  Beethoven  G 
major  concerto  with  the  Vienna  Phil- 
harmonic Orchestra,  under  Hans 
Richter  and  at  one  of  Richter's  Phil- 
harmonic concerts  in  London  and  at 
numerous  recitals.  While  in  Boston, 
Dohnanyi  played  his  pianoforte  con- 
certo at  a  Boston  Symphony  Orches- 
tra concert,  and  it  was  declared  to  be 
remarkable  in  conception  as  well  as 
in  workmanship.  He  was,  in  the 
early  years  of  his  career,  a  strong 
admirer  of  Schumann,  but  at  the  pres- 
ent time,  is  said  to  be  a  still  more 
ardent  devotee  of  Brahms  and  his 
music.  Dohnanyi's  works  include, 
beside  those  already  mentioned,  four 
rhapsodies;  five  clavierstiick;  a  quin- 
tet; a  serenade;  piano  concerto;  varia- 
tions for  the  piano;  and  other  works. 
His  piano  concerto  and  symphony  in 
D  minor  have  been  especially  praised. 
Of  Dohnanyi's  playing,  one  writer 
says:  "It  is  vigorous  and  manly, 
although  at  times  also  tender,  where 
that  quality  is  required.  In  a  word, 
he  plays  the  piano  as  a  sound  and 
sane  musician,  with  much  dexterity 
and  beauty."  His  compositions  show 
great  originality  of  idea,  and  a  de- 
cided leaning  toward  classical  forms. 

Dotes     (do'-les),    Johann    Friedrich. 

1715-1797. 

Composer  .  and  director,  who  was 
born  at  Steinbach  in  Saxe-Meiningen, 
Germany,  and  was  educated  for  the 
most  part  at  the  Gymnasium  there, 
where  he  was  taught  to  play  on  the 
violin,  clavier  and  organ.  He  was 
later  a  pupil  of  J.  S.  Bach,  and  in  1744 
was  appointed  cantor  of  the  Thomas 
School  at  Leipsic,  remaining  thirty- 
three  years  in  that  position.  He  re- 
tired about  1789.  He  was  highly 
popular  in  Leipsic  and  wrote  chiefly 
cantatas;  motets;  psalms;  sacred 
odes;  songs;  chorales;  chorale-pre- 
ludes; a  German  magnificat;  and  some 
sonatas  for  the  clavicembalo.  Three 
settings  of  the  Passion  music  accord- 


Dolmetsch 

ing  to  St.  Matthew,  St.  Mark  and  St. 
John,  Te  Deums  and  other  sacred 
music  is  also  attributed  to  him.  Doles 
is  said  to  have  pleaded  for  the  banish- 
ment of  the  fugue  in  church  music, 
in  spite  of  his  association  with  that 
great  composer  of  fugues,  Johann 
Sebastian  Bach.  His  compositions, 
too,  seem  to  have  been  more  affected 
by  the  Italian  opera  than  by  Bach. 

*  Dolmetsch    (dal'-metch) ,   Arnold. 
1858- 

Conspicuous  archseologist  of  music, 
who  has  been  well-called  an  apostle 
of  old  music,  and  who  is  a  decidedly 
interesting  and  unique  personality, 
because  of  the  work  he  has  done  in 
restoring  old  instruments  and  manu- 
facturing new  ones  on  the  old  models, 
beside  reviving  an  interest  in  the  old 
tunes  of  the  time  of  Queen  Elizabeth. 
Mr.  Dolmetsch  was  born  at  Le  Mans, 
in  the  province  of  Maine,  France,  of 
a  German-Swiss  father  and  a  French 
mother.  His  grandfather,  Frederick 
Dolmetsch,  born  in  Stuttgart,  settled 
later  in  Zurich,  was  a  prominent 
musician  in  that  town  and  a  close 
associate  of  Nageli,  one  of  Beetho- 
ven's publishers.  While  a  boy,  Arn- 
old Dolmetsch  became  an  apprentice 
in  his  father's  piano  factory  at  Le 
Mans,  and  at  an  early  age  became 
familiar  with  every  detail  of  piano 
construction  and  manufacture.  This 
knowledge  in  later  years  proved  of 
inestimable  value  to  him.  He  was 
brought  up  on  the  works  of  Bach, 
Scarlatti  and  other  early  masters,  and 
was  extremely  fond  of  ^  the  violin, 
taking  up  the  study  of  it  seriously, 
although  playing  it  for  his  own 
amusement  only.  Finally  deciding 
that  his  talents  warranted  further 
study  he  went  to  Brussels  and  worked 
at  the  Conservatory  there  under 
Vieuxtemps.  A  few  years  later  he 
obtained  a  position  as  teacher  of  the 
violin  at  Dulwich  College,  in  England. 
He  remained  there  several  years 
teaching,  editing  violin  classics,  and 
filling  concert  engagements.  At  the 
annual  pupils'  concerts,  Dolmetsch 
made  up  the  programs  from  the  works 
of  the  early  masters,  and  upon  one 
occasion,  made  up  a  program  entirely 
from  the  works  of  Henry  Purcell,  and 
immediately  the  attention  of  musical 
London  was  drawn  to  him.  By 
chance  about  this  time,  he  took  up 
the  study  of  the  viola  d'amore,  an 
instrument,    which     was     rapidly   be- 


BIOGRAPHIES 


185 


Dolmetsch 
coming  a  rarity.  His  skill  as  a  per- 
former upon  it  soon  made  him  in 
great  demand,  to  illustrate  lectures  on 
musical  history.  From  this  instru- 
ment he  turned  to  others,  among 
them,  the  treble  and  tenor  viols  and 
the  viola  da  gamba,  and  in  pursuit 
of  more  music  for  these  instruments, 
unearthed  treasures  of  almost  un- 
known music  by  English  composers, 
among  others,  Simon  Ives,  Matthew 
Locke,  John  Jenkins,  John  Cooper, 
Christopher  Simpsong,  Giles  Farnaby 
and  others  and  also  discovered  some 
ingenious  and  fanciful  compositions 
of  Henry  VIII.,  who  appears  from 
these  specimens  to  have  been  a  com- 
poser of  some  skill.  To  properly  in- 
terpret this  old  music,  Dolmetsch 
soon  found,  would  require  consid- 
erable investigation  of  the  virginal, 
spinet,  harpsichord  and  clavichord, 
for  which  much  of  it  was  written, 
and  he  studied  them  as  he  had  the 
instruments  belonging  to  the  viol 
family.  He  decided  to  lecture  on  the 
subject  of  old  music  and  was  so  suc- 
cessful that  he  finally  gave  up  his 
teaching  to  devote  himself  to  his  new 
work.  He  organized  a  series  of  con- 
certs in  London,  playing  upon  the  an- 
cient instruments,  in  order  to  correctly 
interpret  the  music  of  their  time. 

In  this  venture  Dolmetsch  was 
aided  and  encouraged  by  Edward 
Burne-Jones,  George  Bernard  Shaw, 
George  Moore  and  others,  but  ulti- 
mately his  pre-eminence  in  the  unusual 
field  of  work  he  had  chosen  was 
acknowledged  everywhere.  Five  years 
ago  Mr.  Dolmetsch  came  to  America 
and  traveled  through  the  country,  giv- 
ing lectures  and  illustrated  concerts. 
Assisted  by  Mrs.  Dolmetsch  and  Miss 
Kathleen  Salmon,  he  made  a  unique 
experiment  at  the  time  of  the  Ben 
Greet  performances  of  Shakespearian 
plays  in  the  Elizabethan  manner. 
During  the  ent'  acts,  they  played  the 
original  music  of  the  time  on  old_  in- 
struments of  the  Elizabethan  period, 
giving  the  settings  of  the  songs, 
dances  and  incidental  music  written 
by  Byrd,  Giles  Farnaby,  and  other 
musicians.  Some  of  the  tunes  that 
were  played  were  Dr.  Bull's,  Gilliard, 
written  about  1595;  Dr.  Bull's  Myself; 
a  sigg.  written  by  Giles  Farnaby  about 
1600;  poynle  for  the  organ,  written 
about  1580,  by  John  Sheppard;  and  a 
lively  gigg  by  W.  Byrd.  Whenever 
Much  Ado  About  Nothing  was  per- 
formed, Mr.  Dolmetsch  and  his  assist- 


Dolmetsch 


ants  gave  the  song,  Light  Us  More, 
Laddies,  which  was  set  to  music  com- 
posed by  Mrs.  Dolmetsch,  the  original 
tune  having  been  lost.  In  "discours- 
ing the  sweet  sounds  of  other  days," 
Mr.  and  Mrs.  Dolmetsch  used  a  num- 
ber of  old  instruments,  among  them 
a  lute  made  in  Venice  in  1550;  a  vir- 
ginal made  in  North  Italy  about  1550; 
a  harpsichord  made  in  Antwerp  in 
1640;  a  viola  de  gamboys,  (old  Eng- 
lish); a  five-stringed  treble  viol  (old 
French),  and  a  seven-stringed  viol 
d'amore.  Mr.  Dolmetsch  was  so  suc- 
cessful that  he  was  engaged  by 
Chickering  &  Sons,  the  piano  manu- 
facturers of  Boston,  to  superintend 
the  manufacture  of  clavichords,  harp- 
sichords and  other  instruments,  such 
as  a  psaltery,  and  a  viola  da  gamba, 
and  to  restore  some  Sixteenth  Cen- 
tury instruments,  one  of  which  was 
a  virginal,  by  Hans  Riickers,  dated 
1620.  For  this  work  of  restoring  old 
instruments,  Mr.  Dolmetsch  is  un- 
usually well-fitted  because  of  his 
thorough  and  first-hand  knowledge  of 
the  old  keyboard  instruments  and  be- 
cause of  his  practical  apprenticeship 
in  the  past.  He  says  musical  instru- 
ments design  themselves,  and  that  he 
has  no  fixed  mechanical  rules  for  their 
construction.  Some  of  the  instru- 
ments which  have  been  restored  or 
manufactured  by  him  have  been 
elaborately   decorated    by    hand. 

Mr.  Dolmetsch  has  a  keen  and 
penetrating  knowledge  of  the  period 
with  which  he  deals  in  designing,  and 
is  not  only  painstaking  in  his  work, 
but  faithful  to  the  traditions  and  sen- 
timents of  the  epoch  which  he  repre 
sents.  Beside  being  a  well-inforrned 
and  delightful  lecturer  and  artist- 
artisan,  as  some  one  has  well  called 
him,  he  is  a  brilliant  performer  on 
the  clavichord  and  harpsichord.  Mr. 
Dolmetsch's  researches  have  led  him 
into  the  field  of  collecting  and  he  has 
in  his  home  many  rare  treasures,  in- 
cluding many  first  editions  and  manu- 
script copies  of  pieces  of  music  of 
ancient  times,  numerous  instruction 
books  dating  from  the  Fifteenth,  Six- 
teenth and  Seventeenth  Centuries,  as 
well  as  lutes  and  viols  of  diflferent 
sizes,  a  viola  da  gamba  and  a  Couchet 
harpsichord  dating  from  1640.  He 
also  owns  a  large  number  of  manu- 
script copies  of  music  made  from  the 
originals  and  nearly  four  thousand 
songs  printed  and  in  manuscripts  in 
different  languages. 


186 


BIOGRAPHIES 


Donati 
Donati  (do-na'-te),  Baldassare.    1548- 

1603. 

Italian  contrapuntist  of  the  Six- 
teenth Century,  who  was  connected 
with  the  Church  of  St.  Mark's  at 
Venice  all  of  his  life.  He  was  born 
in  Venice,  and  was  one  of  the  most 
distinguished  composers  of  madrigals 
and  motets  of  his  time.  Of  his  works, 
several  books  of  madrigals  and  a  book 
of  motets  have  been  preserved.  He 
was  a  good  organist  as  well  as  a 
singer  of  some  note.  Was  a  member 
of  the  New  Academy  of  Venice,  was 
choirmaster  of  the  so-called  "small 
choir"  of  St.  Mark's  from  1562  until 
1565,  when  it  disbanded,  when  he  be- 
came a  chorister.  In  1590  he  suc- 
ceeded Zarlino  as  master  there. 

Donati,  Ignatio.     1612-1638. 

A  composer  and  organist,  who  was 
born  at  Castelmaggiore,  near  Cre- 
mona, Italy,  and  who  belonged  to  the 
Lombard  School  of  Composition.  In 
1619  he  was  chapelmaster  of  the 
Academy  of  St.  Spirito,  Ferrara,  and 
from  1633,  master  of  the  Milan 
Cathedral.  He  published  ecclesiasti- 
cal concertos;  motets;  madrigals;  and 
two  volumes  of  masses. 

Donizetti  (do-ne-tset'-te),  1797-1848. 
One  of  the  brilliant  trio  of  Italian 
operatic  composers  who  flourished 
during  the  first  half  of  the  Nineteenth 
Century,  the  other  two  being  Rossini 
and  Bellini.  Donizetti  was  born  at 
Bergamo,  Italy,  and  studied  music  at 
the  Conservatory  of  Naples,  under 
Simon  Mayer,  going  later  to  Bologna 
for  a  course  of  study  under  Pilotti 
and  Mattei,  who  had  been  Rossini's 
teacher  in  counterpoint.  The  elder 
Donizetti  wished  his  son  to  study 
church  music,  but  he  early  disap- 
pointed his  father  by  declaring  his 
intention  of  studying  opera,  and  opera 
alone.  Young  Donizetti  finally  en- 
tered the  army  and  while  his  regiment 
was  at  Naples  he  wrote  his  first 
opera,  Enrico  di  Borgogna.  This  was 
in  1818,  and  shortly  afterward  11 
Falegn^me  made  its  appearance.  The 
success  of  this  was  so  great  that 
Donizetti  was  exempted  from  further 
military  service  to  devote  himself  ex- 
clusively to  composition.  He  first 
gained  the  notice  of  the  musical 
world  by  his  opera,  Anna  Bolena, 
written  for  Pasta  and  Rubini,  and 
produced  at  Milan  in  1830.  In  this 
opera,    which   for    several    years    was 


Donizetti 

looked  upon  as  Donizetti's  master- 
piece, Lablache,  the  great  singer, 
made  his  first  great  success  at  the 
King's  Theatre,  London,  in  1831.  It 
was  also  given  with  striking  success 
at  Paris.  Two  years  after  the  pro- 
duction of  Anna  Bolena,  L'Elisir 
d'Amore,  a  lively,  tuneful  piece  and  a 
good  example  of  genuine  Italian  opera 
bufla,  appeared,  its  first  performance 
occuring  at  Naples.  It  was  given  in 
London  in  1836.  It  has  always  been 
popular,  and  Donizetti  is  said  to  have 
written  it  in  fifteen  days. 

In  1835,  Lucia  di  Lammermoor  ap- 
peared and  was  hailed  with  enthus- 
iasm and  delight  by  the  music-loving 
public.  It  has  remained  ever  since 
the  most  popular  of  the  composer's 
operas.  In  it  is  some  of  the  most 
beautiful  music  ever  written,  and 
through  it  the  composer  secured  the 
post  of  professor  of  counterpoint  at 
the  Naples  Conservatory.  La  Fav- 
orita  was  first  produced  in  1841  at  the 
Grand  Opera,  Paris,  and  in  it  as  well 
as  in  Lucia,  Donizetti  adapted  him- 
self with  great  cleverness  to  French 
requirements.  In  La  Favorita,  which 
was  composed  in  Paris,  many  opera- 
tic singers  of  renown  have  appeared 
with  success.  At  first  it  failed  to 
please,  although  it  is  the  most  dra- 
matic of  all  of  Donizetti's  works.  It 
owed  its  success  in  England  to  the 
singers,  Mme.  Grisi  and  the  tenor, 
Mario,  who  sang  the  principal  parts 
in  it.  In  Paris  also,  Donizetti  wrote 
the  merry  little  opera  buffa,  Don 
Pasquale,  which  has  ever  been  popu- 
lar. In  Donizetti's  Daughter  of  the 
Regiment,  tuneful  and  full  of  un- 
affected gaiety,  Jenny  Lind,  Sontag, 
Patti  and  Albani  all  appeared  with 
success  and  in  more  recent  years 
Mme.  Marcella  Sembrich  has  been 
heard  in  it.  Like  La  Favorita  this 
opera  was  received  at  first  with  only 
moderate  approval. 

After  visiting  Rome,  Milan  and 
Venice,  the  composer  brought  out 
Linda  di  Chamouni,  and  wrote  a 
Miserere  and  an  Ave  Maria  for  the 
Court  chapel.  He  shortly  afterward 
received  the  title  of  Court  composer 
and  chapelmaster  at  Venice.  His  next 
opera  was  Lucrczia  Borgia,  which  by 
some  is  considered  his  best  work. 
Donizetti  took  it  from  Victor  Hugo's 
tragedy  of  the  same  name.  Lucrezia 
marks  the  distance  half  way  between 
the  style  of  Rossini,  imitated  by 
Donizetti   for  many  years,  and  that   of 


BIOGRAPHIES 


187 


Donizetti 

Verdi,  which  he  in  some  measure 
anticipated. 

In  fact,  Donizetti  took  Rossini  for 
his  model,  and  imitated  his  forms 
with  great  skill  and  success.  In  the 
course  of  twenty-six  busy  years  he 
wrote  sixty-two  operas  and  a  mass  of 
other  music.  His  last  work,  Catarina 
Cornaro,  was  produced  at  Naples  in 
1844,  but  was  a  failure.  In  1835, 
Donizetti's  wife  had  died,  after  only 
two  years  of  married  life  and  his 
loss  so  preyed  upon  him  that  during 
the  last  years  of  his  life  his  mind  was 
clouded  and  his  condition  was  very 
sad.  Melancholy,  dissipation  and  hard 
work  induced  madness  and  physical 
paralysis,  which  finally  ended  in 
death.  In  1847,  Donizetti  was  taken 
by  friends  to  his  native  town,  Ber- 
gamo, and  the  following  year  died 
there,  being  buried  in  the  cathedral, 
next  to  the  tomb  of  his  former  teacher, 
Simon  Mayer,  whom  he  had  survived 
only  two  years.  In  1855,  seven  years 
after  Donizetti's  death,  a  monument 
to  his  memory  was  erected  over  his 
grave  by  his  fellow  townsmen.  In 
his  life  he  received  many  honorary 
tributes  from  Pope  Gregory  XVI., 
and  from  the  Sultan  of  Turkey.  By 
his  critics  Donizetti  is  accused  of 
having  catered  too  much  to  the  frivol- 
ous spirit  of  the  time,  and  to  have 
written  only  "melodic  and  harmoni- 
ous untruths,"  as  one  musician  ex- 
pressed it.  But  his  music,  nevertheless, 
has  many  merits.  The  cosmopolitan 
nature  of  the  man  is  seen  in  the 
themes  which  he  chose,  and  it  no 
doubt  helped  in  his  being  generally 
appreciated.  It  was  for  a  gay,  pleas- 
ure-loving people  that  this  composer 
wrote,  and  he  became  their  idol  and 
one  of  the  brilliant  lights  of  the 
Italian  school  of  composition.  In  all 
his  work,  there  is  a  graphicness  and 
great  individuality,  and  he  did  some 
things  that  were  fine,  as  the  last  act 
of  Favorita.  In  composing,  Donizetti 
never  used  the  piano  and  never  made 
corrections.  The  melody  of  all  his 
operas  is  highly  Italian,  and  conse- 
quently pretty. 

Other  operas  beside  those  men- 
tioned are  Dom  Sebastien,  which  be- 
cause of  its  mournful  music  has  been 
called  "a  funeral  in  five  acts";  Olivo 
e  Pasquale;  II  Borjomastro  di  Saar- 
dam;  and  L'Esule  di  Roma,  which 
were  written  early  in  life  and  before 
his  great  successes  had  come  to  him. 
Donizetti  also  wrote  many  overtures; 


Doppler 

songs  in  various  languages;  ariettes; 
duets;  canzonets;  seven  masses;  can- 
tatas; string  quartets;  and  much  piano 
music.  Fetis,  the  great  French  writer, 
says  of  him:  "Donizetti  had  an  ex- 
tensive knowledge  of  the  art  of  sing- 
ing, was  a  great  reader  of  music  and 
a  pianist  of  abihty."  Of  all  his  operas 
only  three  are  now  heard  outside  of 
Italy.  These  are  Lucia,  Lucrezia 
Borgia  and  La  Favorita. 

Door,  Anton.     1833- 

He  was  born  in  Vienna  and  became 
a  celebrated  pianist  and  teacher.  He 
studied  piano  under  Czerny  and  com- 
position under  Sechter.  He  has  been 
heard  in  concerts  in  many  parts  of 
Europe  and  has  held  many  important 
posts.  He  gave  a  series  of  concerts 
in  Baden-Baden  and  Wiesbaden  in 
1850  and  later  with  L.  Strauss  in 
Italy,  made  a  Scandinavian  tour  in 
1856  and  was  appointed  Court  pianist 
at  Stockholm  and  a  member  of  the 
Royal  Academy.  In  1859  he  suc- 
ceeded N.  Rubinstein  as  teacher  at 
the  Imperial  Institute  at  Moscow,  and 
became  a  professor  at  the  Conserv- 
atory of  Moscow  in  1864.  He  traveled 
through  Eastern  Hungary  with  Sar- 
sate  in  1877,  and  also  played  in  Leip- 
sic,  Berlin  and  Amsterdam  with 
striking  success.  Since  1869  he  has 
held  the  post  of  professor  of  the 
highest  piano  class  in  the  Vienna  Con- 
servatory. Door  is  a  progressive 
musician  and  has  brought  out  many 
new  works  by  Raff,  Brahms  and  Saint- 
Saens.  He  has  also  edited  several 
important  works  and  was  the  instruc- 
tor of  a  number  of  well-known  musi- 
cians, among  them  Felix  Mottl,  the 
great  Wagnerian  conductor,  Sichel 
and  others. 

Doppler,   Albert  Franz.     1821-1883. 

The  elder  of  the  Doppler  brothers, 
who  became  proficient  as  flutists  and 
conductors.  Albert  Franz  was  born 
at  Lemberg  and  received  his  musical 
training  from  his  father,  who  was 
afterwards  oboist  at  a  Warsaw  thea- 
tre and  later  on  at  Vienna,  where 
Albert  made  his  debut  as  flutist.  He 
undertook  several  concert  tours  with 
his  brother  Karl,  afterward  being  ap- 
pointed principal  flutist  at  the  Pesth 
Theatre,  for  which  his  first  opera  was 
composed.  It  was  entitled  Benjowski 
and  was  produced  in  1847.  Ilka'  ap- 
peared in  1849  and  others  shortly 
after,  written  jointly  with  his  brother 


IBS 


BIOGRAPHIES 


Doppler 

and  Erkel.  In  1858  he  became  first 
flutist  and  second  ballet  conductor  at 
the  Court  Theatre,  Vienna,  and  from 
1865  was  teacher  of  the  flute  at  the 
Conservatory  of  Vienna.  He  wrote 
a  German  opera,  Judith,  for  Vienna, 
and  a  comic  opera,  entitled  Margot, 
was  produced  at  Berlin  in  1891.  Other 
works  consist  of  overtures,  ballet 
pieces  and  flute  concertos. 

Doppler,  Karl.     1826-1900. 

A  brother  of  Albert  Franz  Doppler. 
He  appeared  at  Paris,  London,  Brus- 
sels and  other  cities  with  Albert  in 
concert  with  much  success.  He  was 
born  in  Lemberg,  and  had  an  inter- 
esting musical  career.  He  was  the 
musical  director  at  the  Landes  Thea- 
tre, Pesth,  and  became  most  proficient 
as  a  flutist.  From  1865  until  1898  he 
was  the  Court  chapelmaster  at  Stutt- 
gart, and  also  won  considerable 
prominence  as  a  composer.  He  wrote 
several  pieces  for  the  flute,  also  sev- 
eral Hungarian  operas,  including  The 
Grenadier's  Camp  and  The  Son  of  the 
Desert. 

*  Doting    (da'-ring),    Carl    Heinrich. 
1834- 

A  distinguished  German  composer 
of  piano  works,  male  choruses  and  a 
large  number  of  studies  who  is  at 
present  a  teacher  in  the  Royal  Con- 
servatory of  Music  at  Dresden.  He 
has  been  active  as  a  worker  in  the 
field  of  music  for  fifty  years.  Doring 
was  born  in  Dresden  and  was  a  pupil 
at  the  Leipsic  Conservatory  from 
1852  to  1855,  studying  under  Haupt- 
mann.  Lobe,  Plaidy  and  Richter,  and 
also  Moscheles.  A  gradually  increas- 
ing lameness  of  his  fingers,  forced 
him  to  renounce  the  career  of  virtu- 
oso, which  he  had  planned  for  himself 
and  he  has  devoted  himself  almost 
exclusively  to  the  profession  of  teach- 
ing. Doring  taught  for  a  time  at 
Leipsic,  and  in  1858  the  board  of 
directors  of  the  Conservatory  of 
Dresden  appointed  him  an  instructor 
in  that  institution.  Through  the 
founding  of  a  seminary  for  music- 
teachers,  the  first  one  of  its  kind, 
Doring  rendered  a  great  service  to 
the  Dresden  Music  School,  to  its 
pupils  and  to  the  profession  at  large. 
He  occupies  a  high  place  among  Ger- 
many's musicians.  His  klavierstiicken 
(piano  pieces),  have  been  introduced 
into  all  the  prominent  music  schools 
of   the   worjd,   because   of  the   excel- 


Dom 

lence  of  their  technique,  which  is 
combined  with  melody  and  harmony. 
They  include  three  hundred  studies; 
sixty  sonatines  and  a  great  number  of 
technical  pieces.  He  is  also  noted  for 
his  male  choruses  and  ranks  high 
among  the  composers  of  this  kind  of 
music. 

Among  his  works  for  choir  are  A 
German  Ode;  Song  of  the  German 
Marines;  Prayer  on  the  Waters; 
Evening  Song;  In  May;  King:  of  the 
Forest;  and  others.  Among  his  piano 
pieces  the  following  may  be  men- 
tioned: Rose  Among  Thorns;  Glad 
Tidings;  When  Spring  is  Coming; 
May's  Greeting;  Forget-Me-Not;  Ga- 
votte; and  his  Pictures  for  the  Piano. 
He  has  also  composed  some  suites 
for  string  orchestra  and  several 
motets  that  have  been  highly  praised. 

Upon  the  occasion  of  Doring's 
fortieth  jubilee  as  a  teacher,  he  was 
made  Hofrath  (Court  Councilor),  and 
has  received  many  honors  from  those 
in  authority.  In  1864  Pope  Leo  XIII. 
conferred  upon  him,  in  appreciation 
of  a  great  mass  he  had  written,  the 
Cross  of  the  Knight  of  the  Golden 
Spurs.  The  Duke  Ernst  von  Sachsen- 
Coburg  sent  him  a  medal  for  science 
and  art  and  Duke  Alfred  presented 
him  with  a  cross  of  merit.  Doring, 
in  his  seventy-third  year,  is  still  an 
indefatigable  and  enthusiastic  worker 
in  his  chosen  field.  For  the  last 
twenty  years  he  has  devoted  a  great 
deal  of  his  time  to  his  male  chorus 
work,  composing  the  music  for  the 
choirs  under  his  direction  and  train- 
ing the  singers,  and  his  efforts  have 
met  with  much  success  in  all  parts 
of  Germany  and  Austria. 

Dorn,   Heinrich  Ludwig   Edmund. 

1804-1892. 

A  modern  musician  of  eminence, 
who  has  made  his  mark  as  composer, 
conductor  and  teacher.  He  was  born 
in  Konigsberg,  Prussia,  and  pursued 
his  studies  in  law  at  the  Konigsberg 
University.  After  visiting  Leipsic, 
Dresden,  Prague  and  Vienna  he  sec- 
tied  in  Berlin,  where  he  took  up  the 
study  of  music  under  Zelter,  Bergen 
and  Klein.  Here  he  produced  an 
opera,  but  it  was  not  a  s-uccess.  He 
became  conductor  of  a  theatre  at 
Konigsberg  and  also  occupied  a 
similar  position  at  Leipsic,  where  he 
taught  Schumann  counterpoint.  After 
a  brief  engagement  at  a  theatre  in 
Hamburg  he  went  to  Riga,   succeed- 


BIOGRAPHIES 


189 


Dom 

ing  Wagner  as  conductor  of  the 
theatre  there.  In  1845  he  founded  the 
Rheinische  Musikschule  in  Cologne, 
and  for  five  years  remained  at  its 
head,  directing  festivals,  in  addition 
to  teaching  and  composing.  He  next 
became  conductor  of  the  Berlin  Royal 
Opera,  succeeding  O.  Nicolai.  He 
retired  from  this  post  in  1869.  He 
was  shortly  afterward  given  the  title 
of  Koniglicher  Professor  and  con- 
tinued to  teach  and  compose  until 
his  death  in  1892.  Dorn  was  an  in- 
defatigable worker  and  gained  a  great 
reputation  in  Berlin  as  a  teacher  and 
writer.  He  was  a  bitter  opponent  of 
Wagner  and  his  ideas  and  wrote 
strongly  against  him.  He  has  pub- 
lished a  long  list  of  works,  including 
ten  operas;  many  cantatas;  a 
requiem;  symphonies  and  other  or- 
chestral compositions,  among  which 
the  most  important  is  Siegesfest- 
klange;  also  songs  and  piano-pieces. 
Of  his  operas,  the  most  successful  is 
Die  Nibelungen,  which  was  produced 
at  Weimar  in  1854.  Dorn  undoubtedly 
deserves  a  high  place  among  musi- 
cians. He  exerted  a  decided  influence 
for  good  in  the  musical  life  of  the 
various  towns  where  he  lived  and 
worked.  He  published  an  autobiog- 
raphy, entitled  Aus  Meinem  Leben  in 
two  volumes.  He  died  in  Berlin. 
Dotzauer    (dot'-tsow-er),    Justus    Jo- 

hann  Friedrich.     1783-1860. 

He  was  born  at  Hildburghausen, 
Germany,  and  was  an  accomplished 
player  and  teacher  of  the  violoncello. 
He  pursued  his  musical  studies  under 
Gleichmann,  Henschkel  and  Ruttinger 
and  at  Meiningen  under  Kriegck. 
From  1801  to  1805  he  was  a  member 
of  the  Court  band  there.  He  was 
engaged  for  Dresden's  Court  band, 
and,  in  1821,  became  first  cellist  of 
that  organization,  working  zealously 
there  till  1852.  He  received  a  pen- 
sion and  later  taught  a  number  of 
pupils,  who  afterwards  distinguished 
themselves,  among  them,  K._  Schu- 
berth,  K.  Drechsler  and  Ludwig  Dot- 
zauer, his  son.  He  composed  con- 
certos; variations;  and  duets  for  the 
cello;  also  symphonies;  overtures; 
masses;  an  opera,  Graziosa;  and  a 
violoncello  method  which  is  highly 
esteemed  by  teachers.  He  also  edited 
Bach's  six  sonatas  for  violoncello. 
Dowland,  John.    1562-1626. 

A    famous     lute-player,    who     was 
born    in    Westminster,    London,    and 


Draeseke 

who  composed  many  fascinating  com- 
positions for  his  instrument.  The 
poetry  and  music  in  his  works  are  of 
great  excellence  and  he  was  classed 
with  the  best  musicians  of  his  time. 
His  compositions  all  have  that  de- 
lightful, quaint  flavor  peculiar  to  the 
works  of  the  composers  who  lived 
during  the  Sixteenth  and  Seventeenth 
Centuries.  He  resided  on  the  Con- 
tinent from  1581  to  1584,  but  returning 
to  England  he  was  made  a  Bachelor 
of  Music  and  was  the  lutenist  to 
Charles  IV.  of  Denmark  about  1599. 
He  returned  to  England  in  1605,  and 
after  another  period  of  residence  in 
Denmark  settled  in  London  and  con- 
tinued to  maintain  his  home  there. 
He  became  lutenist  to  the  King  in 
1625.  He  compiled  three  books  of 
songs  and  airs  for  the  lute,  a  Pil- 
grim's Solace,  wherein  is  contained 
musical  harmony  of  three,  four  and 
five  parts  to  be  sung  and  played  with 
lute  and  viols,  which  was  published  in 
1612.  He  also  wrote  the  harmonies 
in  Estes'  Psalms. 

Draeseke    (dra'-ze-ke),   Felix   August 

Bernhard.     1835- 

Composer  and  writer  upon  musical 
subjects,  who  was  born  at  Coburg, 
where  his  father,  the  son  of  a  once 
famous  bishop  of  Magdeburg,  was 
Court  chaplain.  He  was  educated  in 
the  Gymnasium  of  his  native  town, 
and  from  1852  until  1855  he  studied 
at  the  Leipsic  Conservatory  under 
Richter,  Hauptmann  and  Rietz.  He 
became  a  devotee  of  Wagner  in  his 
early  youth.  He  made  the  acquain- 
tance of  Liszt  and  von  Biilow,  and, 
in  1857,  he  moved  to  Dresden,  where 
he  wrote  Konig  Sigurd,  in  which 
Liszt  had  so  much  faith  that  he  caused 
it  to  be  accepted  at  Weimar,  and  even 
rehearsed,  but  Liszt  resigned  his  post 
there  before  the  work  was  produced. 
Draeseke,  however,  had  by  this  time 
begun  to  attract  notice  by  his  com- 
positions and  his  musical  articles  in 
magazines.  In  1880  Draeseke  was 
appointed  teacher  of  theory  in  the 
Rollfus  Academy,  and  in  1884  he  suc- 
ceeded Wullner  as  teacher  of  com- 
position at  the  Dresden  Conservatory, 
a  post  which  he  still  holds.  A  sym- 
phony of  his  was  given  in  Dresden 
and  in  Berlin,  in  1888,_  under  von 
Biilow,  and  was  well  received.  Ainong 
his  works  are  two  symphonies;  a 
pianoforte  sonata;  the  operas,  Herrat, 
produced  in  1872,  and  Gudrun,  given 


190 


BIOGRAPHIES 


Draeseke 

at  Hanover  in  1884;  Columbus,  a 
cantata  for  chorus  and  orchestra;  two 
string  quartets;  and  other  music,  be- 
sides a  requiem,  which  was  first 
given  at  Leipsic  in  1883  with  marked 
success,  and  afterwards  by  the  best 
of  the  German  choral  societies.  His 
latest  work  is  a  mass  in  F  sharp 
minor  still  in  manuscript,  and  given 
at  Dresden  and  Leipsic  in  1892. 

Draghi  (dra'-ge),  Antonio.     1642-1700. 

Italian  composer,  brother  af  Bap- 
tista.  He  was  born  at  Ferrara,  and 
was  a  musician  in  the  service  of  the 
Court  of  Vienna,  having  been  invited 
there  as  Court  theatre  musician  to 
Emperor  Leopold  L  and  chapelmaster 
to  the  Empress  Eleanore.  He  wrote 
several  operas,  among  them,  Aron- 
isba;  Penelope;  Tanasio,  and  Amor 
per  virtu.  In  all  he  wrote  about 
eighty-three  operas,  some  of  which 
have  been  several  times  revived.  He 
also  composed  serenades;  hymns; 
cantatas,  and  about  thirty-seven  ora- 
torios. 

Draghi,  Giovanni  Baptista. 

A  composer  and  musician  of  the 
Seventeenth  Century,  who  was  born 
in  Italy,  but  adopted  the  English 
style  of  composition  so  entirely  that 
he  is  generally  regarded  as  an  Eng- 
lish composer.  He  is  believed  to  have 
been  a  brother  of  Antonio  Draghi 
and  was  musicmaster  to  Queen  Anne 
of  England  and  probably  to  her  sister. 
Queen  Mary.  He  settled  in  England 
about  the  middle  of  the  Seventeenth 
Century  and  was  appointed  organist 
to  the  Queen  in  1677.  He  composed 
the  music,  with  Locke,  to  Shadwell's 
Psyche;  D'Urfey's  Wonder  of  the 
Sun;  the  music  to  Dryden's  ode,  From 
Harmony;  and  songs  without  number, 
many  of  which  were  very  tuneful. 
Draghi  wrote  much  for  the  harpsi- 
chord and  lived  to  witness  the  intro- 
duction into  England  of  the  Italian 
Opera  at  the  beginning  of  the  follow- 
ing century. 

Dragonetti,  Domenico.     1763-1846. 

Renowned  player  of  the  double- 
bass,  who  was  born  in  Venice,  and 
who  has  been  sometimes  called  "  the 
Paganini  of  the  contra-basso."  He 
also  composed  and  taught  and  played 
in  the  opera  buffa  at  Venice  and  was 
choirmaster  of  St.  Mark's  for  eighteen 
years.  He  made  his  first  London 
appearance  in  1794,  and  played  with 
Lindley  at  the  Ancient  Concerts,  the 


Dresel 

Philharmonic  and  others.  He  led  the 
doublebasses  at  the  Beethoven  Fes- 
tival at  Bonn  in  1845.  Says  one 
writer:  "Dragonetti  is  to  the  aspir- 
ing bass-player  what  Paganini  is,  or 
used  to  be,  to  the  violinist."  His  tone 
and  execution  were  of  the  rarest  type 
and  placed  him  far  above  any  con- 
temporary performer.  Many  anec- 
dotes are  related  of  his  eccentricity 
and  penuriousness. 

Drechsler    (drekhs'-ler),  Josef.    1782- 
1873. 

A  composer  and  teacher  who  was 
born  at  Vlachove  Brezi  in  Bohemia, 
and  received  his  first  musical  instruc- 
tion from  his  father.  He  was  first 
chorusmaster  at  the  Court  Theatre, 
Vienna,  then  conductor  of  a  theatre 
at  Baden  and  at  Pressburg,  and  or- 
ganist of  the  Servite  Church  at 
Vienna,  and  occupied  many  positions 
of  a  similar  nature.  He  composed 
much  for  the  stage  and  also  wrote 
church  music.  In  addition  to  six 
operas  and  twenty-five  operettas; 
farces,  etc;  he  wrote  masses;  offer- 
tories; a  requiem;  sonatas;  quartets; 
airs;  songs  and  fugues.  He  is  also 
the  author  of  a  method  for  the  organ 
and  a  treatise  on  harmony.  He  pre- 
pared a  new  edition  of  Pleyl's  piano 
school  and  wrote  a  theoretico- 
practical  guide  to  the  art  of  preluding 
and  several  books  of  instruction  for 
organ,  harmony  and  thorough-bass. 

Dresel  (dra'-zel),  Otto.     1826-1890. 

The  friend  and  co-worker  of  Robert 
Franz,  who  has  been  called  "  the  high 
priest  of  the  Franz  cult  in  America," 
was  born  at  Andernack-on-the-Rhine, 
and  after  being  taught  the  rudiments 
of  music,  he  was  placed  under  the 
instruction  of  Ferdinand  Hiller  at 
Cologne  and  then  studied  under  Men- 
delssohn at  Leipsic.  He  did  much  to 
make  German  music,  particularly  the 
songs  of  Robert  Franz,  known  in  the 
United  States.  In  1852  he  came  to 
Boston,  where  he  resided  until  his 
death,  except  for  occasional  visits  to 
Germany.  He  was  for  many  years 
the  leading  pianist  of  Boston,  but 
withdrew  from  the  concert  room  in 
1868  and  gave  up  teaching  a  few  years 
later.  Dresel  exercised  a  great  in- 
fluence for  good  upon  the  musical 
taste  of  Boston  and  was  a  highly 
cultivated  musician  of  much  feeling. 
Only  shortly  before  his  death  did  he 
decide  to  publish  anything,  and  when 


BIOGRAPHIES 


191 


Dresel 

his  compositions  did  appear  it  was 
generally  regretted  that  he  kept  them 
from  the  public  so  long.  Even  when 
a  young  man  he  was  a  tireless  worker, 
exacting  to  the  smallest  detail  and 
severely  criticising  everything  he  did. 
He  kept  back  for  years  numerous 
songs  and  other  pieces,  waiting  until 
he  could  give  the  public  what  he  be- 
lieved to  be  worthy  and  of  value.  His 
friend,  Robert  Franz,  was  his  best 
critic  and  many  claim  to  find  in 
Dresel's  songs  music  that  is  remi- 
niscent of  Franz's  best  works.  Among 
Dresel's  compositions,  which  consist 
for  the  most  part  of  songs,  are  O, 
Listen  My  Darling;  Maud;  Moon- 
light; and  The  Flowers  All  are  Faded, 
all  of  which  says  one  musician,  "  Even 
Franz  himself  might  have  been  proud 
of."  Among  Dresel's  other  composi- 
tions are  In  Memoriam,  a  ballad  for 
.soprano  and  orchestra,  set  to  Long- 
fellow's verses;  an  army  hymn  to 
words  of  Oliver  Wendell  Holmes; 
trio  for  violin  and  violoncello;  piano 
trio;  quartets,  and  many  other  piano- 
pieces,  all  of  which  bear  the  impress 
of  a  finished  musician.  Among  his 
works  still  in  manuscript  that  have 
been  performed  in  Boston,  is  a  quartet 
for  piano  and  strmgs.  His  piano 
score  of  Handel's  Messiah,  arranged 
from  Franz's  completed  score,  is  in 
every  respect  a  model.  Dresel  died 
at  Beverley,  near  Boston. 

A  beautiful  tribute  to  Dresel  and 
his  life-long  friend,  Robert  Franz,  is 
given  by  W.  F.  Apthorp,  in  the 
chapter,  entitled  "  Two  Modern 
Classicists "  in  his  Musicians  and 
Music-Lovers,  in  which  he  says  among 
other  things:  "  Franz  and  Dresel 
were  the  last  prominent  figures  in 
that  goodly  company  of  musical 
purists  and  with  their  death  the  old 
fineness  of  musical  sense  became  vir- 
tually extinct  ...  In  both  of 
these  men  was  to  found,  in  the  high- 
est perfection  what  I  might  call  for 
lack  of  a  better  name,  the  sense  of 
musical  beauty,  the  keenest  sense  for 
beauty  of  expression,  beauty  of  form, 
proportion  and  color  .  .  .  They 
were  staunch,  life-long  friends,  their 
agreement  on  musical  subjects  was  as 
complete  as  their  friendship;  they 
both  worked  together  toward  the 
same  end,  though  they  lived  long 
apart,  neither  gave  anything  to  the 
world  without  the  ordeal  of  its  pass- 
ing through  the  other's  criticism;  they 
died  within  two  years  of  each  other. 


Drouet 

It  is  well  to  speak  of  them  together 
.  .  .  Their  best  work  was  to  ex- 
clude trash  and  let  what  was  genuine 
come  into  its  rights.  And  of  all  men 
of  their  day  they  were  the  best  fitted 
for  the  task  .  .  .  Franz  alone  was 
a  creator.  Dresel  composed  to  a  certain 
extent  and  what  he  wrote  was  often 
surpassingly  fine,  but  in  him  the 
spirit  of  self-criticism  was  stronger 
than  the  creative  impulse." 

Dreyschock     (dri'-shok),     Alexander. 

1818-1869. 

He  was  born  at  Zack,  in  Bohemia, 
studied  with  Tomaschek  at  Prague, 
and  became  a  pianist  of  great  attain- 
ments and  a  composer  of  much  beau- 
tiful salon  music.  Beginning  in  1838, 
he  traveled  through  Europe  for  twenty 
years,  giving  concerts.  In  1862  he  was 
appointed  professor  of  the  piano  at 
the  Conservatory  at  St.  Petersburg, 
and  at  the  same  time  was  chosen 
director  of  the  Imperial  School  of 
Theatrical  Music  and  appointed  Court 
pianist.  He  also  taught  in  Prague. 
Shortly  after  accepting  the  position  at 
St.  Petersburg  his  health  began  to 
fail  and  he  went  to  Venice,  where  he 
died  in  1869.  Dreyschock's  works 
consist  of  an  opera,  Florette;  a 
scherzo;  grand  sonata;  Saltarello; 
nocturne;  premiere  scene  chapetre; 
overture  for  orchestra;  rondo  for  or- 
chestra; string  quartet;  songs  without 
words,  and  other  music.  His  vari- 
ations on  God  Save  the  Queen  have 
won  much  praise.  "A  pianist  of  great 
executive  attainments,"  says  Grove  in 
describing  him,  "  and  a  well-trained 
musician  to  boot,  but  he  gave  every- 
thing in  a  manner  cold  and  essentially 
prosaic,  though  with  faultless  pre- 
cision." And  the  same  critic  says: 
"  Dreyschock's  salon  music  was  of  a 
correct  but  cold  and  sterile  sort." 

Drouet   (droo-a),   Louis   Frangois 
Philippe.     1792-1873. 

Eminent  flute-player,  who  was  born 
at  Amsterdam,  Holland,  and  is  one  of 
the  founders  of  modern  flute-playing. 
He  was,  from  1807  until  1810,  teacher 
to  King  Louis  of  Holland  and  is  sup- 
posed to  have  composed  Partant  pour 
la  Syrie,  the  French  national  song, 
commonly  attributed  to  Eugenie  de 
Beauharnais  (Queen  Hortense  of 
Holland),  and  long  since  superseded 
by  the  song  of  freedom.  La  Marseil- 
laise. Drouet  settled  in  London, 
where  he   established   a   flute  factory 


192 


BIOGRAPHIES 


Drouet 


and  appeared  as  a  soloist  at  the  Phil- 
harmonic concerts.  In  1811  he  was 
appointed  solo  flutist  to  Napoleon  I., 
retaining  this  position  until  after  the 
Restoration.  From  1836  until  1854  he 
was  Court  chapelmaster  at  Coburg, 
and  later  visited  America,  living  upon 
his  return  at  Gotha  and  Frankfort. 
Drouet  composed  a  number  of  works, 
among  them  three  waltzes  for  flute; 
three  trios  for  flute;  fantasia  for  piano 
and  flute;  concertos;  variations  and 
duets.  In  all,  his  compositions  for 
the  flute  number  one  hundred  and 
fifty. 

Drysdale,  F.  Learmont.    1866- 

He  was  born  in  Edinburgh  and  edu- 
cated for  the  profession  of  architect, 
but  his  taste  for  music  led  him  to 
enter  the  Royal  Academy  of  Music, 
London,  where  he  won  the  Lucas 
prize  for  composition  in  1890.  While 
a  student  he  also  wrote  a  ballad  for 
orchestra,  The  Spirit  of  the  Glen;  an 
orchestral  prelude,  Thomas  the 
Rhymer;  and  a  scena,  forming  part  of 
the  cantata.  The  Kelpie,  which  was 
afterwards  given  at  Edinburgh.  He 
received  a  prize  from  the  Glasgow 
Society  of  Musicians  in  1891  for  his 
overture,  Tam  O'Shanter,  and  it  was 
performed  with  great  success  at 
Crystal  Palace.  His  mystic  musical 
play,  The  Plague,  was  produced  at  the 
Lyceum  Theatre,  Edinburgh,  in  Oc- 
tober, 1896. 

Dubois    (du-bwa),   Clement   Frangois 
Theodore.    1837- 

He  was  born  in  Rosnay,  France, 
became  prominent  as  a  teacher  and 
composer  and  was,  until  1905,  when 
succeeded  by  Gabriel  Urbain  Faure, 
the  head  of  the  Paris  Conservatory. 
He  studied  music  at  the  Conservatory, 
gaining  prizes  for  harmony  and  fugue 
and  won  the  Prize  of  Rome,  in  1861, 
under  Ambroise  Thomas,  for  his  can- 
tata, Atala.  At  the  Conservatory  he 
studied  piano  under  Marmontel,  organ 
under  Benoist,  harmony  under  Bazin 
and  fugue  and  composition  under 
Ambroise  Thomas.  Returning  to 
Paris  from  Rome,  in  1866,  he  became 
leader  of  the  chapel  at  the  Church  of 
Ste.  Clotilde,  then  at  the  Madeleine, 
and  finally  organist  at  the  Madeleine, 
succeeding  Saint-Saens,  in  1877.  He 
became  professor  of  harmony  at  the 
Conservatory,  in  1871,  succeeding  Leo 
Delibes,  and  finally  in  1896  was  given 


Dufay 

the   directorship,   succeeding  his   for- 
mer teacher,  Ambroise  Thomas. 

Dubois'  rise  was  gradual,  and  he 
worked  hard  and  long  before  attaining 
his  present  position  in  the  musical 
world.  While  at  Ste.  Clotilde  he  pro- 
duced an  important  sacred  work,  en- 
titled Les  Sept  Paroles  du  Christ, 
which  was  performed  for  the  first 
time  on  a  Good  Friday,  and  was  given 
at  the  Conservatory  concerts.  He 
also  wrote  a  Messe  Solennelle,  which 
was  given  at  the  Madeleine,  and  while 
at  Ste.  Clotilde  he  wrote  a  piece, 
entitled  La  Guzla  de  I'fimir,  which 
was  given  at  the  Athenee  in  1873.  In 
1878  he  won  the  prize  at  the  Concours 
Musicale,  instituted  by  the  city  of 
Paris.  Dubois  is  the  author  of  a 
number  of  orchestral  works;  piano- 
music;  and  religious  compositions, 
which  denote  great  talent  and  have 
qualities  that  entitle  him  to  a  con- 
spicuous place  among  modern  com- 
posers. Of  his  oratorios.  Paradise 
Lost  is  best  known  in  America.  He 
has  also  produced  four  operas;  and 
the  ballet,  La  Farandole,  given  at  the 
Paris  Opera  in  1883.  Fritiof,  written 
in  1881,  ranks  with  his  operas  as  his 
best  work,  together  with  a  divertisse- 
ment; pieces  d'orchestre;  and  scenes 
symphoniques.  His  dramatic  works 
for  the  stage,  beside  those  mentioned 
are  Aben-Hamet,  a  grand  opera; 
Xaviere,  a  dramatic  idyll  in  three 
acts,  produced  at  the  Opera  Comique 
in  1895;  the  symphonic  poem,  Adonis; 
another  symphonic  poem,  Notre  Dame 
de  la  Mer,  produced  in  1897;  and  he 
has  set  to  music  a  Latin  ode  on  the 
baptism  of  King  Clovis  for  tenor  and 
barytone  solo,  choir  and  orchestra, 
which  was  performed  at  Rheims  in 
1899.  He  has  also  composed  many 
suites;  concertos;  single  songs;  piano- 
pieces;  and  other  chamber-music. 
Dubois  was  elected  to  the  Academy 
in  1894  in  place  of  Gounod  and  in 
1883  was  decorated  with  the  Legion  of 
Honor. 

Dufay     (dii-fe'),     Guillaume..  Born 
about  1400-1474. 

One  of  the  most  important  names 
in  the  history  of  music.  "  Until  the 
last  few  years,"  says  Grove's  Dic- 
tionary of  Music  and  Musicians,  "  the 
personal  identity  of  the  great  leader 
of  the  first  Flemish  school  was  sur- 
rounded by  doubts  and  the  statement 
of  Baini  that  Dufay  sang  in  the  Papal 


BIOGRAPHIES 


193 


Dufay 

choir   from    1380   to   1432   has  misled 
many  writers." 

The  facts,  according  to  Grove  and 
the  best  authorities  are,  that  he  was 
born  in  Hainault  and  was  a  chorister 
in  the  Cathedral  of  Cambrai,  and  was 
transferred  to  the  Papal  choir  at  Rome 
in  1428,  remaining  there  nine  years. 
In  1437  he  entered  the  service  of 
Philippe  le  bon,  Duke  of  Burgundy, 
as  music  tutor  to  his  son,  Charles. 
He  took  holy  orders  in  Paris  and 
lived  in  Savoy  for  seven  years.  Ac- 
cording to  Adam  of  Fulda,  Dufay 
made  many  changes  in  notation  and 
is  the  reputed  inventor  of  white  or 
open  notes.  One  writer,  Fr.  X. 
Haberl,  gives  a  list  of  one  hundred 
and  fifty  compositions  of  Dufay  found 
in  the  libraries  of  Rome,  Trieste  and 
Bologna,  including  masses,  (finished 
and  fragmentary),  motets,  a  magni- 
ficat, French  chansons  and  church 
music.  Haberl  also  identifies  sixty- 
two  manuscripts  in  the  library  at 
Bologna,  twenty-five  at  the  University 
at  Bologna,  and  thirty  more,  in  other 
collections,  among  them  the  libraries 
of  Brussels,  Paris,  Cambrai  and 
Munich.  Dufay  died  at  Cambrai. 
With  Dufay  the  influence  of  popular 
taste  upon  ecclesiastical  music  first 
took  definite  shape.  He  wrote  masses 
founded  upon  melodies  associated 
with  the  songs  of  the  people  and  gave 
to  church  music  a  definite  rhythm 
such  as  could  be  produced  only  by 
the  influence  of  the  popular  songs  of 
the  time. 

The  best  contribution  and  the  most 
recent  to  the  literature  of  Dufay  and 
his  time,  is  Dufay  and  His  Con- 
temporaries, by  Sir  John  Stainer, 
which  was  published  in  1898  and 
which  contains  a  summary  of  the 
events  of  his  life  and  nineteen  com- 
positions from  a  manuscript  in  the 
Bodleian  Library. 

Dugazon   (dii-ga-zoh),  Mme.  Rosalie. 
1753-1821. 

Vocalist,  whose  maiden  name  was 
Lefevre.  She  was  born  in  Berlin  and 
went  to  Paris  when  a  child  of  eight 
years.  She  was  not  a  trained  singer, 
but  had  great  charm  and  made  a  suc- 
cess with  her  impersonations  in  vari- 
ous comic  operas  and  operettas. 
Together  with  a  sister  she  began  her 
career  as  a  ballet-dancer  at  the 
Comedie  Italienne,  Paris,  and  her  first 
appearance  as  a  singer  was  made  at 
that  theatre  in  1774,  when  she  sang 


Dukas 

the  role  of  Pauline  in  Gretry's  Sylvain. 
Her  best  impersonation  was  Nina  in 
Dalayrac's  opera  of  that  name,  but 
she  was  obliged  to  retire  from  the 
stage  during  the  Revolution.  She  re- 
turned to  it  m  1795  and  played  con- 
tinuously and  with  success  until  1806. 
To  this  day  the  classes  of  roles  in 
which  she  was  seen  are  called  jeunes 
Dugazon  and  meres  Dugazon.  In 
1806  she  retired  from  the  stage.  A 
son,  Gustave,  was  a  pianist  and  com- 
poser who  wrote  several  successful 
operas  and  ballets. 

Duggan,  Joseph  Francis.    1817- 

He  was  born  in  Dublin,  and  early 
in  life  removed  to  the  United  States, 
and  became  accompanist  at  the  Italian 
Opera  in  New  York.  He  was  after- 
wards the  musical  conductor  of  an 
opera  company  under  John  Wilson 
and  of  a  German  opera  company.  He 
became  a  teacher  in  Philadelphia, 
Baltimore  and  Washington,  and  was 
principal  of  the'  Philadelphia  Musical 
Institute,  in  1841.  He  also  resided  in 
Paris,  as  pianist  and  teacher,  from 
1844  to  1845,  and  also  lived  in  Edin- 
burgh. Settling  in  London  a  few 
years  later  he  became  musical  director 
of  the  Marylebone  Theatre  (1854) 
and  later  professor  of  singing  at  the 
Guildhall  School  of  Music.  Among 
his  works  are  the  operas,  Pierre,  pro- 
duced in  London  in  1853,  and  Leonie, 
produced  the  next  year.  He  com- 
posed several  operas,  which  are  in 
manuscript,  and  also  wrote  a  number 
of  piano-pieces;  a  set  of  thirteen 
songs;  two  symphonies  in  C  and  E 
flat;  and  six  string  quartets.  He  is 
the  author  of  a  musical  text-book  and 
translated  Albrechtsberger's  Science 
of  Music  and  Fetis'  Counterpoint  and 
Fugue. 

Dukas,  Paul.    1865- 

Well-known  composer  of  the  mod- 
ern French  School,  who  was  born  in 
Paris  and  became  a  pupil  at  the  Con- 
servatory in  1882,  and  who  has  won 
much  praise  as  a  symphonist,  and 
more  recently  as  an  operatic  com- 
poser. He  completed  two  overtures, 
Lear  and  Goetz  von  Berlichingen, 
before  he  obtained  the  second  Prize 
of  Rome  with  his  cantata,  Velleda. 
He  has  written  beside  these  an  over- 
ture; Polyeucte,  a  symphony;  a  sym- 
phonic poem;  a  sonata  for  the  piano; 
and  variations  for  the  piano;  beside  a 
lyric    drama;    an    opera,    and    several 


194 


BIOGRAPHIES 


Dukas 

songs  and  choruses.  The  symphonic 
poem,  L'Apprenti  Sorcier,  was  given 
at  the  London  Musical  Festival  in 
1899,  and  through  it  Dukas  is  best 
known  to  Americans.  It  is  called  an 
orchestral  humoresque,  and  had  its  first 
American  performance,  January,  1899, 
in  Chicago,  under  the  baton  of  Theo- 
dore Thomas.  The  libretto  was  writ- 
ten by  the  well-known  writer,  Maurice 
Maeterlinck.  The  latest  work  of 
Dukas  is  Ariane  et  Barbe  Bleue,  with 
the  libretto  by  Maeterlinck,  and  deal- 
ing with  the  old  story  of  Bluebeard. 
It  was  sung  for  the  first  time  at  the 
Opera  Comique,  Paris,  in  1907,  and 
critics  declared  after  the  production 
that,  while  it  is  not  a  master  work,  it 
nevertheless  is  a  highly  interesting 
example  of  the  modern  French  School 
of  writing. 

Dulcken  (dool'-ken),  Luise.  1811-1850. 
A  talented  pianist,  a  sister  of  Ferdi- 
nand David,  the  violinist,  with  whom 
she  appeared  at  the  Gewandhaus, 
Leipsic.  While  a  concert-player  and 
teacher  she  numbered  among  her 
pupils  the  late  Queen  Victoria.  She 
was  born  at  Hamburg,  became  a  pupil 
of  Willy  Grund  and  made  her  first 
appearance  when  only  ten  years  of 
age  at  Hamburg.  After  her  marriage, 
in  1828,  she  moved  to  London,  where 
she  attracted  much  notice  as  a  pianist, 
appearing  first  at  one  of  Ella's  soirees. 
Mme.  Dulcken  was  not  only  a  brill- 
iant executant  on  the  piano,  but 
was  versed  in  the  literature  of  Eng- 
land, Germany,  France  and  Italy,  and 
was  a  linguist  as  well.  She  was  re- 
markably successful  as  a  teacher  and 
while  thus  engaged  overtaxed  her 
strength,  and  her  death  was  attributed 
to  hard  work.  She  left  a  son,  Ferdi- 
nand Quentin  Dulcken,  who  was  a 
pianist  and  a  professor  of  music  in 
the  Warsaw  Conservatory,  and  who 
composed  much  noteworthy  music. 

Dulcken,  Ferdinand  Quentin.    18  3  7- 

1902. 

A  son  of  Luise  David  Dulcken  the 
singer,  and  nephew  of  Ferdinand 
David.  He  was  born  in  London  and 
attained  a  considerable  renown  as  a 
pianist.  He  was  a  pupil  of  Mendels- 
sohn, Moscheles,  Gade,  Hauptmann, 
Richter,  Plaidy  and  Joachim  in  theory, 
of  Becker  on  the  organ  and  after- 
wards of  F,  Hiller  at  the  Leipsic  Con- 
servatory. He  was  professor  at  the 
Warsaw  Conservatory  for  five  years 
and   later   toured    Europe  in   concert 


Dunham 


with  Vieuxtemps  and  other  artists. 
He  toured  the  United  States,  in  1876, 
with  Remenyi  and  Joseffy,  and  lived 
for  some  time  in  New  York.  Dulcken 
wrote  an  opera,  Wieslav;  a  solemn 
mass;  cantatas;  songs  (about  two 
hundred  in  all),  and  many  pianoforte 
pieces.     He  died  in  Astoria,  N.  Y. 

Dulong    (doo'-longk),    Franz    Henri 

von.    1861- 

A  tenor  singer,  who  was  born  in 
Hamm,  in  Westphalia,  Germany,  and 
who  studied  under  Robert  Emmerich 
at  Stuttgart  and  with  Vannucini  in 
Florence.  He  passed  the  early  years 
of  life  directing  the  aflfairs  pertaining 
to  his  large  estates  in  Germany.  His 
debut  was  made  in  1895,  and  he  has 
toured  in  various  parts  of  Europe  as 
a  concert-singer,  having  participated 
with  his  wife,  Magda  von  Dulong,  at 
the  London  Popular  concerts  and 
the  Symphony  concerts.  He  appeared 
by  command  before  the  late  Queen 
Victoria  at  Windsor  and  the  Empress 
Frederick  of  Germany  and  her  son, 
the  present  Emperor. 

Dulong,  Magda  von.    1872- 

A  concert  contralto,  the  wife  of 
Franz  Henri  von  Dulong.  She  was 
born  at  Halle,  Germany.  She  was 
the  daughter  of  Prof.  Zahn,  a  teacher 
of  theology.  She  studied  under 
Hromada,  Frau  Joachim,  and  Madame 
Etelka  Gerster,  making  her  debut 
under  the  name  of  Magda  Lossen, 
Her  voice  is  a  rich  mezzo,  and  both  in 
England  and  on  the  Continent  she 
and  her  husband  are  greatly  esteemed. 

Dunham,  Henry  Morton.    1853- 

A  prominent  virtuoso  and  com- 
poser for  the  organ.  He  was  born  at 
Brockton,  Mass.,  studied  at  the  New 
England  Conservatory  of  Music, 
under  George  E,^  Whiting,  and  later 
was  instructed  in  counterpoint  by 
John  K.  Paine.  After  graduating 
from  that  institution  he  entered  the 
Boston  University  College  of  Music. 
He  gave  a  series  of  recitals  on  the 
great  organ  in  Boston,  and  has  been 
heard  in  many  of  the  Boston  churches 
and  also  in  other  New  England  cities. 
On  his  return  from  Europe,  in  1878, 
he  was  appointed  a  member  of  the 
faculty  of  the  New  England  Conserv- 
atory and  is  teacher  of  organ  there 
at  the  present  time.  He  was  also 
connected  with  the  Boston  University 
College  of  Music  for  a  time.  He  has 
published     many    compositions    and 


BIOGRAPHIES 


195 


Dunham 
written  many  text-books.  Among  the 
former  are  two  organ  sonatas  in  F 
minor  and  G  minor;  marches;  pre- 
hides;  a  capriccio  brillante  for  piano; 
a  Te  Deum  in  D;  and  hymn 
music  in  three  books.  He  is  also  the 
author  of  an  Organ  School^  in  four 
books;  a  system  of  technique  for 
the  piano;  exercises  in  pedal  play- 
ing; and  melodious  studies  for  the 
organ. 

Duni    (doo'-ne),    Egidio    Romoaldo. 

1709-1775. 

An  Italian  composer,  who  was  the 
real  founder  of  the  opera  comique  in 
France.  He  was  born  at  Matera,  near 
Naples,  and  was  musician  to  the  Duke 
of  Parma's  daughter  in  1755  and  set- 
tled in  Paris  two  years  later.  While 
at  Parma  he  composed  many  oper- 
ettas, all  of  which  were  well  received. 
For  a  time  he  occupied  the  position 
of  choirmaster  at  St.  Nicolo  di  Ban, 
at  Naples,  and  studied  at  the  Uni- 
versity of  Leyden,  Holland.  While 
returning  from  Holland  to  Naples  he 
was  attacked  by  brigands,  and  the 
injuries  he  sustained  at  their  hands 
made  him  a  permanent  invalid.  Says 
Grove:  "Duni  delighted  the  public 
with  eighteen  pieces,  full  of  gayety 
and  tunefulness.  These  are  his  only 
characteristics.  His  orchestration  is 
poor,  he  is  often  weak  in  dramatic 
expression,  but  always  charming  and 
melodious."  His  music  has  now  been 
completely  forgotten  and  is  never 
heard.  Among  his  ^  operas  were 
Nerone,  which  was  his  first,  and  a 
great  success,  and  which  he  wrote  in 
competition  with  Pergolesi;  Artaserse, 
written  for  San  Carlo  at  Naples; 
Bajazet;  Giro;  and  others.  His  other 
works  included  Myra,  a  cantata  for 
full  chorus  and  orchestra;  church 
services  and  anthems;  glees;  songs 
and  arias. 

*  Dunkley,  Ferdinand  Luis.    1869- 

Composer  and  organist,  Avho  was 
born  in  London  and  studied  first 
under  G.  A.  Higgs,  from  1885  to 
1886,  and  then  was  a  pupil  ^in  the 
practising  schools  of  St.  John's,  Bat- 
tersea,  under  Edward  Mills.  He 
studied  at  Trinity  College,  London, 
under  E.  H.  Turpin,  in  composition 
and  gained,  in  1886,  a  scholarship  for 
composition  in  the  Royal  College  of 
Music,  where,  for  four  years  he  was 
a  pupil  in  composition  of  Dr.  Hubert 
Parry,  and  studied  organ  under  George 


Dunstable 

Martin  and  piano  under  Barnett.  Mr. 
Dunkley's  first  position  was  that  of 
organist  at  St.  Jude's,  London,  from 
1885  to  1887.  From  1892  to  1893  he 
was  director  of  music  at  Battersea 
Grammar  School  and  was  made  a  fel- 
low of  the  Royal  College  of  Organists 
in  1886.  His  first  composition  was  a 
suite  for  orchestra,  which  gained  the 
prize  of  fifty  guineas,  offered  by  the 
directors  of  the  Promenade  concerts 
at  Her  Majesty's  Theatre,  in  1889. 
In  1893  Mr.  Dunkley  came  to 
America  and  was  appointed  Master  of 
Music  in  St.  Agnes'  School,  Albany, 
N.  Y.;  then  moved  to  Asheville,  N.  C, 
where  he  resided  two  years,  from 
1899  to  1901.  He  then  removed  to 
New  Orleans,  where  he  now  resides, 
as  organist  of  St.  Paul's  Episcopal 
Church  and  of  Touro  Synagogue. 
Since  1902  he  has  conducted  the  New 
Orleans  Choral-Symphony  Society. 
Mr.  Dunkley  gave  organ  recitals  at 
the  World's  Fair,  St.  Louis,  and  at 
the  Buffalo  Exposition.  His  compo- 
sitions include  The  Wreck  of  the 
Hesperus,  a  ballad  for  chorus  and  or- 
chestra, which  was  performed  with 
success  at  the  Crystal  Palace,  London, 
in  1894;  The  Elected  Knight,  for 
male  chorus  with  piano  accompani- 
ment; an  elegie  for  piano;  an  anthem, 
O  Come  All  Ye  Faithful;  numerous 
songs  and  smaller  pieces.  He  has 
also  written  several  works  for  the 
Jewish  Synagogue,  including  an  an- 
them. From  Sinai's  Crest;  a  Sabbath 
Eve  service  and  a  setting  of  the  Adon 
Olom,  which  has  been  pronounced  by 
some  authorities  as  the  finest  ever 
written. 

Dunstable,  John. 

Born  early  in  the  Fifteenth  Cen- 
tury, according  to  most  authorities. 
He  was  an  English  mathematician, 
astrologer  and  musician,  and  was 
born  at  Dunstable  in  Bedfordshire. 
Little  is  known  of  his  biography,  but 
it  is  believed  that  he  died  in  1453. 
He  was  erroneously  credited  by 
Tinctor  with  the  invention  of  coun- 
terpoint, but  is  generally  believed  to 
have  been  a  composer  of  great  ability 
and  a  musician  of  world-wide  in- 
fluence. He  wrote  many  noteworthy 
compositions,  which  have  almost  en- 
tirely disappeared.  Says  Grove:  "His 
fame  was  great,  although  short-lived." 
He  was  the  author  of  De  Mensurabilis 
Musica,  a  treatise  on  music.  Until 
recent  times  it  was  not  known  that 


196 


BIOGRAPHIES 


Dunstable 


there  existed  anything  but  fragments 
of  his  works.  A  three-part  song  was 
discovered,  in  manuscript,  in  the 
Vatican  in  1847  and  another  was 
found  in  a  volume  which  formerly 
belonged  to  Henry  VIII.  Although 
only  a  few  of  his  works  have  been 
deciphered  and  scored,  enough  has 
been  learned  to  show  him  to  have 
been  a  man  of  much  talent.  The  Brit- 
ish Museum  has  a  collection  of  his 
works;  and  the  most  valuable  collec- 
tions were  discovered  at  Trent,  by  Dr. 
Haberl,  and  are  now  the  property  of 
the  Ministry  for  ReHgion  and  Educa- 
tion at  Vienna,  the  Library  at  Mo- 
dena,  and  the  Liceo  Musicale  at 
Bologna. 

Duparc,  Henri.    1848- 

French  composer,  whose  songs  are 
declared  by  Grove's  Dictionary  to  be 
among  the  most  perfect  things  of 
their  kind  produced  by  the  modern 
French  School.  He  was  born  in  Paris 
and  was  educated  at  the  Jesuit  Col- 
lege of  Vaugirard,  studying  music 
under  Cesar  Franck  from  1872  to 
1875.  His  symphonic  poem,  Lenore, 
has  been  heard  in  America  and  was 
performed,  with  great  success,  at  the 
Concerts  Populaire.  It  is  considered 
a  most  important  work.  It  received 
its  first  production  in  1877  and  was 
arranged  for  two  pianos  and  for  four 
hands  on  one  piano  by  Saint-Saens 
and  Cesar  Franck.  Since  1889,  on 
account  of  illness,  Duparc  has  com- 
posed little. 

Dupont    (dii-pofi),    Auguste.    18  2  7- 
1890. 

A  Belgian  composer  and  pianist, 
who  was  born  at  Ensival,  near  Liege, 
and  studied  principally  at  the  Liege 
Conservatory.  He  was  appointed 
piano  professor  of  the  Brussels  Con- 
servatory in  1850.  He  has  written 
some  beautiful  piano-music,  showing 
a  thorough  knowledge  of  the  instru- 
ment; his  ballads,  barcarolles  and 
studies  being  graceful  and  poetical 
and  equaled  by  few  living  composers. 
Among  his  more  important  works  are 
La  Pensee,  an  etude;  serenade;  con- 
certo; a  set  of  songs,  entitled  Poeme 
d'amour;  Reminiscences  Pastorales; 
barcarolle.  Reverie;  ballads;  string 
quartets;  six  Morceaux  Caracteristi- 
ques,  and  a  concertstuck.  His  set  of 
songs  have  been  much  praised  and 
are  especially  melodious  and  original. 
Dupont  died  at  Brussels.    His  younger 


Duprez 

brother,  Joseph,  became  famous  as  an 
operatic  conductor,  holding  posts  at 
various  European  theatres,  and  died 
at  Brussels  a  year  before  Auguste's 
death  occurred. 

Duport   (dii-por),  Jean  Louis.    1749- 
1819. 

The  younger  of  the  two  eminent 
violoncellists,  the  brothers  Dupont, 
was  born  in  Paris.  He  appeared  first  in 
public  at  the  Concerts  Spirituels,  and 
was  musician  to  Charles  IV.,  the  ex- 
King  of  Spain,  at  Marseilles  in  1806. 
Returning  to  Paris,  in  1812,  he  was 
soon  regarded  as  the  foremost  French 
cellist  of  his  time.  He  joined  the 
Imperial  Orchestra  and  was  made  a 
professor  in  the  Conservatory.  He 
joined  his  brother,  Jean  Pierre,  at  the 
outbreak  of  the  Revolution,  and  played 
in  the  King's  band.  He  composed 
six  cello  concertos;  sonatas;  duos; 
airs;  nine  nocturnes  for  harp  and  cello 
and  wrote  an  essay  for  the  fingering 
of  the  violoncello  and  the  guidance  of 
the  bow,  with  a  suite  of  exercises  for 
the  student.  His  violoncello  was 
bought  by  Franchomme,  who  paid  the 
immense  sum  of  25,000  francs  for  it. 

Duport,  Jean  Pierre.    1741-1818. 

The  elder  of  the  brothers  Duport, 
famous  as  violoncellists,  was  born  at 
Paris  and  was  considered  Berthaut's 
best  pupil.  He  was  first  cello  of  the 
Court  Orchestra  at  Berlin  by  invita- 
tion of  Frederick  the  Great  in  1773, 
and  afterwards  from  1787  until  1806 
superintendent  of  the  Court  concerts. 
The  post  was  abolished  after  the 
battle  of  Jena,  but  he  lived  at  Berlin 
until  his  death.  In  1811,  seven  years 
before  his  death,  he  was  pensioned. 
His  compositions,  which  were  few 
and  unimportant,  consisted  of  three 
duos  for  two  cellos,  and  six  sonatas 
for  cello  and  bass. 

Duprez  (dii-pra),  Gilbert  Louis.   1806- 
1896. 

A  tenor  singer  and  composer, 
famous  as  the  instructor  of  many  re- 
nowned vocalists.  He  was  born  in 
Paris  and  was  the  thirteenth  in  a 
family  of  twenty-two  children.  He 
had  a  good  voice  as  a  young  boy  and 
Choron  became  so  much  interested 
in  him  that  he  enrolled  him  in  his 
musical  institute.  Here  he  studied 
theory  and  composition,  and  in  1825 
made  his  debut  at  the  Odeon  Theatre, 
Paris.     He  then  went  to  Italy,  where 


BIOGRAPHIES 


197 


Duprez 

he  was  engaged  by  Donizetti  to  create 
the  role  of  Edgardo  in  Lucia  di  Lam- 
mermoor,  produced  in  Naples  in  1835. 
His  success  in  the  part  immediately 
placed  him  at  the  head  of  the  drama- 
tic French  singers  of  his  time.  He 
then  became  the  leading  tenor  at  the 
Grand  Opera,  Paris,  making  his  first 
appearance  there  in  April,  1837,  in 
William  Tell.  He  remained  there 
eight  years,  singing  the  leading  parts 
in  La  Favorita,  Les  Martyrs;  Otello, 
Robert,  La  Juive  and  Les  Huguenots. 
In  1855,  having  retired  from  the 
operatic  stage,  Duprez  devoted  him- 
self to  composing  music  and  prepar- 
ing methods  of  instruction  for  the 
voice.  Among  his  more  important 
works  are  an  oratorio,  The  Last 
Judgment;  a  requiem;  a  mass;  and 
other  sacred  compositions;  eight 
operas;  romances;  and  numerous 
songs.  His  vocal  method,  known  in 
France  as  L'Art  du  chant  and  pub- 
lished in  1845,  has  been  translated 
into  English  as,  Treatise  on  Singing, 
with  rules,  examples  and  exercises 
for  every  species  of  voice.  He  also 
wrote  another  work  entitled  La 
Melodie.  Of  his  operas,  the  best  are 
Joianta;  La  lettre  au  bon  Dieu;  and 
Jeanne  d'Arc.  He  died  at  Passy. 
Duprez's  wife,  formerly  Mile.  Duper- 
ron,  was  a  celebrated  vocalist  in  her 
day,  and  their  daughter  Caroline  be- 
came under  her  father's  training  an 
excellent   singer  also. 

Durand    (dii-rah),   Auguste   Frederic. 

1770-1834. 

His  real  name  was  Duranowksy. 
He  was  born  at  Warsaw,  and  eventu- 
ally became  a  brilliant  executant  on 
the  violin.  He  first  studied  under  his 
father  who  was  Court  musician  at 
Warsaw  and  was  later  sent,  by  a 
nobleman  who  became  interested  in 
him  to  Paris,  where  he  was  placed 
under  Viotti's  instruction.  He  en- 
tered the  French  army  and  became 
an  adjutant  to  one  of  the  generals  but 
was  dismissed  for  some  misconduct 
and  then  took  up  the  study  of  the 
violin.  He  was  first  violin  at  the 
Brussels  Opera  and  traveled  through 
Italy  and  Germany  until  1814.  In  that 
year  he  settled  in  Strasburg  as  a 
conductor  and  teacher  and  lived  there 
till  his  death.  He  is  said  to  have 
more  or  less  influenced  Paganini,  and, 
according  to  Fetis,  Paganini_  de- 
clared that  many  of  his  most  brilliant 
effects  and   his  style  were  to  a  cer- 


Duschek 

tain  degree  derived  from  .  Durand, 
whom  he  heard  play  in  his  youth.  It 
is  related  of  him  that  frequently  he 
was  without  any  violin  of  his  own 
and  that  he  often  played  in  public 
upon  any  instrument  he  could  obtain. 
Says  Grove:  "There  can  be  no  doubt 
that  Durand's  skill  was  extraordinary 
and  his  treatment  of  the  violin  full 
of  originality."  He  composed  a  few 
concertos;  airs;  and  pieces  for  the 
violin  and  other  music,  all  of  indiffer- 
ent merit.  It  is  wholly  upon  his 
ability  as  a  violin  player  that  his 
fame  rests. 

Durante  (doo-ran'-tc),  Francesco. 
1684-1755. 

A  renowned  teacher  and  composer 
of  the  Neopolitan  School,  who  was 
born  at  Frattamaggiore,  near  Naples, 
Italy.  He  studied  under  Alessandro 
Scarlatti  at  the  Conservatory  of  San 
Onofrio,  Naples.  He  later  succeeded 
the  great  master,  his  teacher,  as  head 
of  the  Conservatory.  He  wrote  a 
number  of  beautiful  vocal  exercises 
and  duets  which  were  until  recent 
times  highly  prized  in  Italy.  None 
of  his  music  was  printed  in  his  life- 
time, however,  except  six  harpsichord 
sonatas.  Several  European  libraries 
contain  a  number  of  his  manuscripts, 
which  include  masses;  motets;  psalms 
and  other  church  music.  After  Scar- 
latti, he  ranks  as  one  of  the  founders 
and  chief  representatives  of  the  Neo- 
politan School  of  composers.  Besides 
his  sacred  music  Durante  also  wrote 
several  cantatas;  madrigals;  solfeggio; 
sonatas;  and  a  grand  magnificat,  the 
additional  accompaniments  to  which 
were  composed  in  modern  times  by 
Robert  Franz.  Durante  was  the 
teacher  of  Pergolesi,  Terradellas, 
Piccinni,  Traetta,  Jommelli  and 
others.  One  critic  has  this  to  say  of 
him:  "The  influence  of  Roman  com- 
posers is  to  be  traced  in  his  fond- 
ness for  sacred  composition,  and  he 
seems  to  have  combined  the  severe 
style  of  the  Roman  School  with  the 
melodic  instinct  of  the   Neopolitans."' 

Duschek    (doo'-shek),    Franz.      1736- 

1799. 

His  name  is  sometimes  spelled 
Dussek.  He  was  a  member  of  the 
same  family  as  the  great  pianist  and 
composer,  J.  L.  Duschek.  He  was 
born  at  Chotiebof,  in  Bohemia,  and 
studied  first  with  his  father,  and  later 
under  Habermann.     His  general  edu-. 


19S 


BIOGRAPHIES 


Duschek 

cation  was  carried  on  at  the  Jesuit 
Seminary  at  Koniggratz,  but  after  a 
fall,  from  the  effects  of  which  he 
became  a  cripple,  Duschek  turned  to 
music.  He  was  sent  to  Prague,  and 
later  to  Vienna,  and  he  became  a 
great  pianist,  composer  and  teacher. 
Mozart  highly  esteemed  and  loved 
him,  and  it  is  said  that  in  Duschek's 
villa,  near  Prague,  Mozart  put  the 
finishing  touches  to  his  opera,  Don 
Giovanni.  Very  seldom  is  any  of 
Duschek's  music  heard  nowadays,  al- 
though he  wrote  a  great  deal  of  more 
than  ordinary  merit.  Among  his 
works  are  piano  sonatas  for  four 
hands;  chamber-music;  symphonies; 
concertos;  quartets;  and  many  songs. 
Duschek,  Josepha.     1756- 

A  celebrated  singer,  the  wife  of 
Franz  Duschek.  Her  maiden  name 
was  Hambacher.  She  received  most 
of  her  vocal  instruction  from  her  hus- 
band, and  became  a  singer  of  some 
repute,  although  musicians  differed  as 
to  her  voice.  She  sang  with  success 
in  all  of  the  continental  cities,  and 
her  voice  was  rich  and  her  singing 
expressive.  Mozart,  the  friend  of  her 
husband,  wrote  for  her  at  Prague  the 
concert-aria,  Bella  mia  fiamma.  It 
is  generally  believed  that  Beethoven 
also  wrote  his  Ah!  Perfido  for  her,  as 
she  was  the  first  to  sing  it.  Mme, 
Duschek  died  at  an  advanced  age. 
Dussek,  Johann  Ladislaus  or  Ludwig. 

1761-1812. 

His  name  is  spelled  Duschek,  Dussik 
and  Dussek.  He  was  one  of  the 
greatest  pianists  and  composers  for 
the  piano  of  the  latter  part  of  the 
Eighteenth  Century.  He  was  born 
in  Czaslau,  in  Bohemia.  His  father 
was  a  musician  of  more  than  ordinary 
ability,  and  he  began  the  study  of 
the  piano  when  very  young,  while 
attending  the  Jesuit  College  at  Iglau. 
Later  he  was  a  student  at  a  college 
in  Kuttenberg  and  then  he  removed 
to  Prague,  where  he  took  a  course  in 
philosophy  and  received  the  degree  of 
master.  He  is  said  to  have  had  a 
desire  at  one  time  to  join  the  priest- 
hood, but  later  abandoned  the  idea. 
He  found  a  friend  and  patron  in  Count 
Manner,  of  the  Austrian  army,  who 
took  Dussek  to  Belgium,  where  he 
became  organist  of  the  Church  of  St. 
Rombaut  at  Mechlin.  He  next  went 
to  Holland,  and  in  Amsterdam  and 
The  Hague  he  won  success  as  a 
pianist    and    laid    the    foundation    of 


Dussek 

his  brilliant  reputation.  Here  he 
produced  three  concertos  and  twelve 
sonatas,  and  then  undertook  a  course 
of  study  with  Philipp  Emmanuel 
Bach,  a  son  of  the  great  Sebastian, 
and  we  later  hear  of  him  in  Berlin, 
in  Russia,  Italy  and  Paris  where 
Marie  Antoinette  took  an  interest  in 
him  and  showered  many  kindnesses 
upon  him.  He  next  went  to  Lon- 
don, where  he  met  Haydn  and  Sophie 
Corri,  a  well-known  singer,  who  after- 
ward became  his  wife,  and  with  whose 
father  Dussek  went  into  business  as 
a  music-seller.  He  remained  in  Lon- 
don twelve  years,  but  the  business  in 
which  he  had  embarked  failed,  and 
to  evade  his  creditors  he  left  Lon- 
don and  gave  concerts  at  Hamburg 
and  other  cities.  Prince  Louis  Fer- 
dinand of  Prussia,  a  nephew  of 
Frederick  the  Great  and  a  talented 
amateur  musician,  became  his  friend 
and  patron,  and  at  the  death  of  the 
Prince,  Dussek  composed  his  Elegie 
Harmonique,  one  of  his  best  works. 
He  next  found  a  patron  in  Talleyrand, 
Prince  of  Benevento,  and  during  his 
residence  with  him  he  reached  the 
height  of  his  fame.  Living  in  the 
days  of  Beethoven  and  Mozart,  he 
was  conspicuous  among  such  men  as 
Moscheles,  Meyerbeer  and  Cramer. 
He  is  noteworthy  as  the  first  com- 
poser to  write,  almost  wholly,  for  the 
piano  with  or  without  accompani- 
ment. Some  one  has  said  of  him: 
"  He  made  the  poetry  of  the  piano 
into  a  life  work."  Dussek's  music 
was  exceedingly  popular  at  the  be- 
ginning of  the  Eighteenth  Century, 
and  his  piano  music  belongs  to  the 
period  of  Mozart  rather  than  Bee- 
thoven, and  by  some  is  said  to  be  in 
advance  of  either  Haydn  or  Mozart. 
Mendelssohn  once  said  of  him: 
"  Dussek  is  a  prodigal,"  because  he 
wasted  his  talents,  and  might  have 
occupied  a  much  higher  place  than 
he  did,  had  he  only  striven  to  make 
the  most  of  them.  He  was  never  a 
hard  worker  and  liked  to  wander  from 
one  place  to  another.  As  a  man  he 
was  likable  and  jolly,  remarkably 
free  from  jealousy,  and  ever  ready  to 
help  another  musician  in  any  way 
possible.  His  last  great  composition 
was  L'Invocation,  and  probably  his 
most  famous  is  the  sonata  Retour  a 
Paris.  He  wrote  many  concertos; 
trios;  sonatas;  fugues;  variations  and 
waltzes.  His  concerted  chamber- 
music  possesses   much   merit. 


BIOGRAPHIES 


199 


Duvernoy 
Duvemoy    (dii-vern-wa),    Victor    Al- 

phonse.      1842-1907. 

A  noted  French  pianist  and  com- 
poser, who  was  born  in  Paris  and 
was  a  pupil  at  the  Conservatory, 
studying  under  Marmontel,  Bazin  and 
Barbereau.  He  took  the  first  prize 
for  piano,  and  in  1892  produced  at  the 
Theatre  Royal,  Liege,  his  first  opera, 
Sardanapale,  which  was  a  success. 
His  opera,  Helle,  was  given  for  the 
first  time  in  1896  at  the  Opera,  Paris, 
and  his  symphonic  poem,  La  Tempete, 
for  chorus,  orchestra  and  solos,  won 
the  City  of  Paris  prize  in  1900.  His 
other  works  are  a  lyric  scene, 
Cleopatra;  a  two-act  ballet,  Bacchus, 
produced  at  the  Paris  Opera  in  1902; 
symphonic  pieces;  an  overture,  Her- 
nani;  some  chamber-music,  which 
gained  for  him  the  Chartier  prize; 
and  many  piano  and  orchestra  pieces. 
Duvernoy  was  connected  with  the 
Paris  Conservatory  for  many  years  as 
teacher  of  the  piano  class. 

Dvorak  (dvor'-shak),  Antonin.     1841- 

1904. 

Born  at  Muhlhausen,  Bohemia,  and 
was  one  of  the  most  celebrated  of 
modern  musical  geniuses.  His  father 
was  a  butcher  and  intended  his  son  to 
follow  the  same  business,  but  his 
ambition  to  be  a  musician  had  been 
fired  by  the  bands  of  strolling  musi- 
cians who  visited  the  village,  so  he 
persuaded  the  school-master  to  in- 
struct him  in  the  rudiments  of  music. 
This  man,  Josef  Spitz,  instructed  him 
on  the  violin  and  also  taught  him 
singing.  When  he  was  twelve,  he 
was  sent  to  Zlonitz  to  an  uncle.  Here 
he  attended  school  and  had  wider 
opportunities  for  study.  When  he 
was  sixteen  he  went  to  Prague  and 
studied  there  at  the  organ  school  for 
three  years  as  a  pupil  of  Pitzsch.  His 
father's  allowance  to  him  stopped 
about  this  time  and  he  supported 
himself  by  playing  the  violin  in  vari- 
ous cafes.  He  was  also  composing, 
in  his  spare  time,  but  of  his  com- 
positions, of  this  period  of  his  life, 
few  exist.  He  had  no  money  to  buy 
scores  and  had  no  piano,  so  his  work 
along  this  line  was  done  with  diffi- 
culty. When  a  Bohemian  Theatre 
was  opened  in  Prague,  in  1862,  the 
band  with  which  Dvorak  played  was 
chosen  to  provide  the  music.  Later, 
when  the  institution  was  established 
on  a  firmer  basis  as  the  National 
Theatre,   he  with   others   was  chosen 


Dvorak 

to  play  in  the  orchestra.  Soon  he 
secured  the  state  aid  of  Austria  and 
gained  the  friendship  of  Herbeck, 
Hanslick  and  Brahms.  In  Karl 
Bendl,  a  native  of  Prague,  Dvorak 
found  a  warm  friend  and  instructor. 
Bendl  was  conductor  of  the  Choral 
Society,  and  through  him  Dvorak  had 
a  chance  to  become  acquainted  with 
the  musical  masterpieces.  In  1862  he 
wrote  a  quintet  for  strings  and  in 
1865  had  finished  two  symphonies, 
written  a  grand  opera  and  many 
songs.  In  1873  he  was  appointed 
organist  of  St.  Adelbert's  Church, 
Prague,  and  that  year  was  married. 
He  was  then  thirty-two.  Shortly 
afterward  he  attracted  the  attention 
of  the  public  as  a  composer  with  a 
patriotic  hymn  or  cantata.  He  was 
anxious  to  write  an  opera  for  the 
new  National  Theatre  and  produced 
Konig  und  Kohler  (The  King  and  the 
Collier).  It  was  not  a  success,  was 
withdrawn,  destroyed  and  entirely  re- 
written in  1875  and  in  this  form  was 
a  success.  The  following  year  rumors 
of  his  talents  and  of  his  small  re- 
sources had  reached  Vienna  and  he 
was  granted  a  pension  of  fifty  pounds 
per  year  from  the  Cultusministenum. 
This  was  increased  the  next  year,  and 
through  it  the  composer  met  Brahms, 
who  in  1877  was  appointed  on  a  com- 
mission, formed  for  the  examination 
of  the  compositions  of  the  recipients 
of  the  grant.  A  collection  of  duets 
came  under  Brahms'  notice  and  he 
immediately  perceived  the  talents  of 
young  Dvorak.  The  latter  received- 
shortly  after,  a  commission  to  write 
a  series  of  Slavic  dances  for 
the  piano,  and  they  had  almost  as 
great  a  success  as  the  _  Hungarian 
dances  of  Brahms  and  immediately 
became  popular  in  all  parts  of  Ger- 
many. Dvorak  was  recognized  from 
this  time  as  a  composer  to  be 
reckoned  with  and  he  became  prom- 
inent and  justly  celebrated.  Public 
attention  was  directed  to  his  work  in 
1883,  when  the  London  Musical  So- 
ciety gave  his  setting  of  the  Stabat 
Mater,  composed  in  1876  but  not  pub- 
lished until  1881.  It  was  so  well  re- 
ceived that  its  composer  was  invited 
to  conduct  a  performance  of  the  work 
at  Albert  Hall,  London,  in  1884.  This 
was  his  first  appearance  in  England. 
The  following  year  he  conducted  his 
Husitska  overture,  which  had  been 
written  for  an  opera  at  the  new 
Bohemian   Theatre   in    Prague.     The 


200 


BIOGRAPHIES 


Dvorak 

cantata,  The  Spectre's  Bride,  written 
for  the  Birmingham  Festival  of  1885, 
was  a  still  more  marked  success.  This 
and  an  overture,  on  the  subject  of  St. 
Ludmilla,  written  for  the  Leeds  Fes- 
tival in  1886,  were  conducted  by  the 
composer  himself.  The  latter  was 
not  the  success  he  had  hoped  for 
and  is  said  to  have  led  him  to  go  to 
New  York  in  1892  as  head  of  the 
National  Conservatory  of  Music.  In 
1891  he  again  visited  London  and  re- 
ceived the  honorary  degree  of  Doctor 
of  Music  from  Cambridge  University. 
During  his  sojourn  in  America, 
Dvorak  gave  further  evidences  of  his 
belief  in  nationalism  in  music.  In 
1893  his  symphony.  From  the  New 
World,  was  performed  for  the  first 
time.  It  is  still  very  popular.  He 
went  direct  to  the  music  of  the 
southern  plantations  and  drew  from 
them  themes  for  this  composition 
that  attracted  the  attention  of  the 
entire  musical  world.  Other  con- 
tributions to  our  national  music  are 
his  American  string  quartet  and  his 
American  Flag  cantata.  He  held  the 
post  in  New  York  until  1895,  when 
he  returned  to  Prague,  where  he  was 
shortly  afterward  appointed  head  of 
the  Conservatory.  After  his  return 
to  his  own  country  he  forsook  the 
field  of  symphony  and  cantata  and 
devoted  himself  almost  wholly  to 
opera.  Rusalka,  the  Water  Nixie,  was 
produced  at  the  National  Theatre  in 
1900,  and  won  instant  success,  also 
Der  Teufel  und  die  Kathe.  He  had 
planned  another  opera,  Armida,  when 
he  was  stricken  with  apoplexy  and 
died.  Of  the  eight  operas  he  wrote, 
only  Der  Bauer  ein  Schelm  (The 
Peasant  a  Rogue),  has  been  heard 
outside  of  Prague  and  that  only  at 
Dresden  and  Hamburg.  Dvorak  was 
influenced  to  a  greater  or  lesser  de- 
gree by  the  music  of  his  own  coun- 
try, which  he  deeply  loved.  The 
elegiac  Dumka  and  the  Furiant,  two 
Bohemian  forms,  he  used  in  sonata 
and  symphony,  thereby  greatly  en- 
riching the  music  of  his  time.  His 
lighter  mood  is  shown  in  his  operas 
and  songs,  especially  his  gipsy 
songs.  His  national  music  as  well 
as  his  operas  won  him  but  little  fame 
or  appreciation  outside  of  his  own 
country.  In  spite  of  the  fact  that 
his  ideals  were  national,  Dvorak's 
gifts  earned  for  him  the  regard  of 
the  entire  musical  world.  He  showed 
a  wonderful  mastery  of  the  orchestra. 


Dwight 

and  his  music  had  always  great  indi- 
viduality as  well  as  great  beauty. 

Of  the  other  works  of  Dvorak,  The 
Heirs  of  the  White  Mountains,  is  a 
cantata  or  hymn  written  to  the  words 
of  Halek,  which  brought  the  com- 
poser great  fame  because  of  its  beauty 
and  vigor,  and  especially  its  local 
color.  His  other  oneras,  beside  those 
mentioned,  are  Die  Dickschadel, 
comic  opera  written  in  1874  and  pro- 
duced in  1882;  Wanda,  a  great  tragic 
opera;  produced  in  1874,  and  Dim- 
trije,  produced  in  1882.  Beside  these 
he  wrote  a  vast  number  of  songs, 
choruses,  piano  and  violin  music, 
symphonies,  overtures,  a  Te  Deum, 
concertos,  and  cantatas.  The  over- 
tures Mein  Heim,  In  Der  Natur,  and 
the  Carneval;  his  symphonies  and  the 
Slavic  dances  and  rhapsodies;  orches- 
tral ballades  and  much  beautiful 
chamber  and  piano  music  had  made 
Dvorak's  name  famous  even  before 
he  came  to  New  York.  His  symphony. 
From  the  New  World,  which  was  first 
performed  in  1893,  possesses  great 
charm  and  beauty  and  in  it  the  com- 
poser tried  to  show  how  the  songs 
of  America  might  be  employed  in 
building  up  an  American  School  of 
Alusic.  For  this  reason  Dvorak  and 
his  music  hold  an  unusual  amount  of 
interest  for  Americans. 

Dwight,  John  Sullivan.     1813-1893. 

One  of  the  oldest  and  most  widely- 
known  writers  on  musical  subjects  in 
America.  He  was  born  in  Boston, 
and  having  completed  his  elementary 
education  in  the  public  schools  he 
was  sent  to  Harvard,  from  which  in- 
stitution he  graduated  in  1832.  While 
attending  the  university  he  joined  a 
musical  society  of  students  called  the 
Pierian  Sodality,  which  later  de- 
veloped ^  into  the  Harvard  Musical 
Association.  He  practised  at  this 
time  on  the  clarinet  and  flute  and 
familiarized  himself  with  the  works  of 
Beethoven  and  Mozart.  He  next  en- 
tered the  school  of  divinity  and 
studied  for  the  ministry,  and  was  or- 
dained as  pastor  of  the  Unitarian 
Church  at  Northampton,  Mass.  He 
left  this  field  after  a  few  years  to 
devote  himself  to  literature,  and 
shortly  after  became  widely  known 
as  a  writer  on  musical  subjects.  He 
was  one  of  the  founders  of  the  Brook 
Farm  Community,  teaching  German 
music  and  the  classics  there,  and  after 
the    failure    of    the    community    he 


BIOGRAPHIES 


201 


Dwight 

played  a  conspicuous  part  in  the 
formation  and  organization  of  the 
Harvard  Musical  Association  in  1837. 
He  founded  Dwight's  Journal  of 
Music,  which  aimed  to  advance  the 
art,  and  for  fifteen  years  he  was  its 
editor-in-chief.  It  was  one  of  the 
leading  musical  journals  of  America, 
and  in  1881  its  publication  was 
assumed  by  the  music  firm  of  Oliver 
Ditson  &  Co.  Mr.  Dwight  con- 
tributed to  the  Dial,  The  Christian 
Examiner  and  other  periodicals,  and 
beside  his  labors  in  the  field  of  music 
he  compiled  a  collection  of  excellent 
translations  of  the  minor  poems  of 
Goethe  and  Schiller  and  wrote  essays. 
A  memoir  of  him  was  published  by 
G.  W.  Cooke  in  1899,  who  also,  with 
G.  W.  Curtis,  edited  his  correspond- 
ence in  1898. 

Dyer,  Arthur  Edwin.     1843- 

An  English  composer  and  organist, 
who  was  born  at  Frome,  England. 
Was  trained  almost  entirely  by  pri- 
vate tutors,  and  received  the  degrees 
of  Bachelor  of  Music  and  Doctor  of 
Music  from  Oxford.  From  1865  to 
1875  he  was  the  organist  of  the  Parish 
Church  at  Weston-super-Mare,  and  in 
the  later  year  became  organist  and 
director  of  the  music  of  Cheltenham 
College.  He  was  also  the  conductor 
of  the  Musical  Society.  He  wrote  an 
opera.  The  Lady  of  Bayonne,  which 
was  produced  at  Cheltenham  in  1897, 
but  his  compositions  consist  mainly 
of  cantatas  and  anthems.  Among 
them  are  Salvator  Mundi,  a  sacred 
cantata  and  chorus  for  the  Gloucester 


Eames 
Festival  of  1883;  I  Wish  to  Tune  My 
Quivering  Lyre;  and  an  anthem  com- 
posed for  the  college  jubilee  in  1891. 
He  also  wrote  the  music  to  Sopho- 
cles' Electra,  produced  at  Cheltenham 
College,  June,  1888.  His  brother  Wil- 
liam Chinnock  Dyer,  organist  of  St. 
Peter's,  Norbiton,  England,  and  con- 
ductor of  the  Norbiton  Choral  So- 
ciety, invented  and  patented  an  at- 
tachment of  pedals  to  the  piano. 

Dykes,    Rev.    John    Bacchus.      1823- 

1876. 

Composer  of  several  beautiful 
hymns  and  anthems,  which  are  very 
well  known.  He  was  born  at  Kings- 
ton-upon-Hull,  England,  and  was  the 
son  of  a  bank  manager  at  Hull.  Was 
educated  at  Wakefield,  entering  St. 
Catherine's  Hall,  Cambridge,  in  1843. 
While  there  he  was  a  leading  member 
of  the  University  Musical  School. 
Prior  to  entering  college  he  studied 
music  under  Skelton,  the  organist  of 
St.  John's  Church,  Hull,  which  had 
been  built  by  his  grandfather.  Rev. 
Thomas  Dykes.  He  afterward  studied 
under  Dr.  Walmisley  and  in  1847 
graduated  from  Cambridge,  and  the 
same  year  was  appointed  curate  at 
Malton,  Yorkshire.  In  1849  he  be- 
came minor  canon  and  precentor  of 
Dunham  Cathedral.  He  is  best  known 
as  the  composer  of  church  hymns, 
which  are  beautiful  examples  of  mod- 
ern church  music.  His  services  and 
anthems  are  occasionally  used,  but  do 
not  rank  with  his  hymns.  A  son,  John 
St.  Oswald  Dykes,  is  a  composer  and 
pianist. 


E 


Eames  (amz),  Emma.    1867- 

One  of  the  most  illustrious  sopranos 
of  the  present  day.  The  daughter  of 
American  parents,  she  was  born  at 
Shanghai,  China,  but  was  brought  to 
this  country  when  five  years  old.  Her 
mother  was  a  vocalist  and  taught  at 
Portland,  Maine.  Emma  lived  with 
her  grand-parents  at  Bath,  Maine. 
She  began  lessons,  under  her  mother, 
at  the  age  of  fifteen;  and  no  doubt 
owed  much  of  her  after  success  to 
the  care  bestowed  on  her  voice  at 
this   period.     She   was    sent   to   Bos- 


ton m  1886,  where  for  two  years  she 
studied  singing  under  Miss  Munger. 
She  afterward  studied  in  Paris  under 
Mme.  Marchesi,  also  stage  deport- 
ment under  Plugue.  In  this  city  she 
was  expected  to  appear  in  La  Traviata 
at  the  Opera  Comique,  but  was  un- 
necessarily delayed  by  intrigue  on 
the  part  of  her  manager;  and  in  the 
meantime  secured  a  better  engage- 
ment, and  made  her  debut  at  the 
Grand  Opera  in  a  part  which  Patti 
had  created,  and  for  which  Marchesi 
has  presented  Eames  to  Gounod  who, 


202 


BIOGRAPHIES 


Eames 
on  hearing  her  sing,  was  delighted 
with  her  and  personally  supervised 
her  practice  of  this  role,  and  later 
that  of  Mireille,  Her  first  appearance, 
despite  the  inevitable  comparison 
with  Patti,  was  such  a  success  as  to 
be  called  the  musical  event  of  the  sea- 
son. She  was  engaged  at  the  Grand 
Opera  for  the  next  three  years,  creat- 
ing the  part  of  Colombe  in  Saint- 
Saens'  Ascanio,  and  of  Zaire  in  De 
La  Nux's  opera  of  that  name.  In 
1891  she  made  her  London  debut  at 
Covent  Garden  as  Marguerite  in 
Faust,  where  the  dignity  and  true 
artistic  refinement  of  her  singing 
immediately  won  favor  with  the  most 
cultured  of  her  audience.  The  same 
year  she  sang  Elsa  in  Lohengrin  after 
but  one  rehearsal;  also  appearing  as 
Desdemona  in  Verdi's  Otello.  In 
this  year  she  married  the  painter, 
Julian  Story,  well-known  in  artistic 
circles.  In  October  she  returned  to 
America,  and  was  engaged  by  Abbey 
and  Grau  for  a  season  of  opera  in  a 
company,  including  Jean  and  Edouard 
De  Reszke  and  other  celebrities.  They 
sang  in  Chicago  for  five  weeks,  and 
then  began  the  New  York  season  at 
the  Metropolitan  Opera  House,  where 
it  is  said  thousands  were  turned  away 
from  the  performances,  especially 
that  of  Faust.  In  Boston,  the  place 
of  her  early  study,  she  was  given  a 
reception  unsurpassed  by  that  of  any 
previous  artist.  Fames'  thorough 
musicianship  and  purity  and  dignity 
of  style  are  in  part  due  to  her  hav- 
ing illustrated,  while  a  pupil,  the 
soprano  parts  in  Prof.  Paine's  lectures 
on  old  church  music.  Mme.  Eames 
has  sung  almost  constantly  in  Lon- 
don and  New  York,  appearing  in 
many  different  characters  both  in 
Italian  and  German  Opera.  In  addi- 
tion to  these  languages  and  her  native 
tongue,  she  sings  in  French,  and  has 
created  the  principal  part  in  several 
operas,  including  L.  E.  Bach's  Lady 
of  Longford,  and  Hero  in  Mancinelli's 
Eroe  e  Leandro.  Other  parts  in  which 
she  has  sung  with  marked  success  are 
Michaela  in  Carmen,  the  Countess  in 
Figaro,  Valentine  in  The  Huguenots, 
and  Charlotte  in  Werther.  ^  Three 
Wagnerian  roles  to  which  she  is  espe- 
cially well  suited  are  Eva  in  Die 
Meistersinger,  Sieglinde  in  Die  Wal- 
kijre,  and  Elisabeth  in  Tannhauser, 
this  last  being  considered  by  some 
critics  her  best.  Among  her  mopt 
recent  appearances  are  Marguerite,  in 


Eberlin 

1906;  and  La  Tosca;  and  Aida  in 
Verdi's  operas  of  the  same  name,  in 
the  season  of  1907.  Her  success,  un- 
like that  of  many  other  operatic 
singers,  is  due  less  to  dramatic  ability 
than  to  the  quality  of  her  voice,  which 
is  flexible  and  remarkably  clear  and 
uniform  throughout  the  middle  as 
well  as  the  upper  register,  and  to  her 
thorough  artistic  training.  Subordin- 
ate only  to  the  charm  of  her  singing 
itself,  her  personal  beauty  and  fault- 
less taste  in  stage  attire  are  im- 
portant factors  in  her  success  as  an 
individual, 

Eberl    (a'-berl),  Anton.     1766-1807. 

Famous  Austrian  pianist  and  com- 
poser. Born  at  Vienna  and  lived  there 
all  of  his  life,  except  four  years,  from 
1796  to  1800,  when  he  was  Court 
conductor  at  St.  Petersburg.  He  be- 
came a  good  pianist  in  his  boyhood 
and  began  composing  at  the  age  of 
sixteen,  when  he  produced  the  opera, 
Die  Zigeuner,  and  a  little  later,  La 
Marchande  de  Modes.  These  operas 
attracted  the  attention  of  Gluck  and 
Mozart,  who  encouraged  the  young 
composer  and  became  his  staunch 
friends.  He  made  many  successful 
concert  tours  during  his  life,  and  for 
many  years  his  compositions  were 
popular,  being  several  times  pre- 
ferred even  to  Mozart's  and  Beetho- 
ven's. Beside  the  works  already 
mentioned,  Eberl  wrote  three  other 
operas.  Die  Konigin  der  Schwarzen 
Inselm,  Die  Hexe  Megara,  and  Graf 
Balduin  von  Flandern;  a  large  num- 
ber of  piano  works,  including  sym- 
phonies, sonatas  and  concertos;  also 
much  chamber-music  and  many  piano 
solos  and  songs. 

Eberlin    (a'-ber-len),    Johann    Ernst. 
1702-1762. 

German  organist  and  composer.  He 
was  Court  organist  to  the  Archbishop 
in  Salzburg,  but  nothing  is  known  of 
his  early  musical  training  or  advan- 
tages. His  numerous  compositions, 
however,  show  a  thorough  knowledge 
of  musical  theory  and  an  ease  in  con- 
trapuntal writing,  that  attracted  the 
attention  of  Mozart,  who  used  some 
of  Ebcrlin's  four-part  church  music 
as  a  guide  in  his  own  studies.  A  large 
number  of  his  works  were  lost,  and 
the  principal  ones  now  comprise  nine 
fugues  and  cantatas,  published  in 
1747;  two  motets;  two  sonatas;  and 
five  pieces  in  Mozart's  collection,  Der 


BIOGRAPHIES 


203 


Eberlin 
Morgen  und  der  Abend.  Many  of  his 
church  compositions  in  manuscript, 
masses,  offertories,  etc.,  are  in  the 
Hbraries  of  BerHn,  Vienna,  Munich, 
and  other  German  cities.  In  Proske's 
hbrary  are  thirteen  oratorios.  The 
most  noted  of  these,  the  Componi- 
mento  Sacro,  was  performed  in  Salz- 
burg in   1847. 

Eccard  (ek'kart),  Johann.     1553-1611. 

Composer,  chiefly  of  church  music, 
was  born  in  Miihlhausen,  Thuringia, 
and  when  about  eighteen  went  to 
Munich,  where  he  studied  under 
Orlando  Lasso.  He  returned  to  Miihl- 
hausen in  1574,  and  soon  afterward 
became  director  of  the  private  orches- 
tra of  Jacob  Fugger,  of  Augsburg. 
Several  years  later  he  went  to  Konigs- 
berg  with  Margrave  Georg  Friedrich, 
and  there,  was  first  assistant  musical 
director,  later  succeeding  to  the  chief 
place.  In  1608  he  was  called  to  a 
similar  post  in  Berlin,  at  the  Elector's 
Chapel  under  Joachim  Friedrich, 
which  he  held  until  his  death.  He  was 
distinguished  m  his  time  by  the  musi- 
cal value  of  his  church  compositions. 
The  most  noteworthy  of  these  are  the 
Geistliche  Lieder,  in  which  some 
familiar  chorales  were  introduced 
with  original  and  effective  skill; 
twenty  Odae  Sacrae;  twenty-four 
Neue  Deutsche  Lieder,  published  in 
1578;  fourteen  Neue  Deutsche  Lieder, 
published  1589;  and  the  Preussische 
Festleider,  1598;  with  other  songs, 
hymns,  chorals,  etc.  A  number  of  his 
best  works  have  been  reprinted  within 
the  last  fifty  years. 

Eck,  Johann  Friedrich.     1766-1809  or 

1810. 

Distinguished  violinist,  born  in 
Mannheim.  He  was  the  son  of  a 
horn-player  and  studied  the  violin 
under  Danner.  In  1778  he  became 
Court  musician,  in  1788  bandmaster 
and  afterwards  dramatic  director  of 
the  Court  and  National  Theatres.  In 
1801  he  married  a  wealthy  lady  of 
rank  and  removed  to  France,  where 
he  died  some  nine  or  ten  years  later. 
He  composed  six  violin  concertos 
and  a  concerto-symphony  for  two 
violins. 

Eck,  Franz.     1774-1804. 

Was  the  best  pupil  of  his  brother 
Johann.  He  made  a  tour  of  Germany 
in  1802.  Was  selected  as  a  teacher 
for  Spohr  by  the  Duke  of  Brunswick, 
patron  of  the  latter,  and  soon  after- 


Eddy 

ward  Spohr  accompanied  his  instruc- 
tor in  a  journey  to  Russia.  In  Spohr's 
autobiography  he  praises  highly  the 
playing  of  Franz  Eck.  Eck's  wild 
and  reckless  habits  prevented  the  suc- 
cess for  which  his  talents  brought 
him  opportunities,  causmg  him  to 
lose,  first  his  position  m  the  band  at 
Munich,  and  later  his  appointment  as 
soloist  at  Court  in  St.  Petersburg.  He 
died  m  a  lunatic  asylum  at  Strasburg. 

Eckert,    Carl    Anton    Florian.      1820- 
1879. 

Violinist,  pianist  and  conductor.  Was 
born  in  Potsdam  and  left  an  orphan 
when  very  young.  He  early  showed 
remarkable  talent,  and  was  a  protege 
of  the  poet  Forster,  of  Berlin,  who 
placed  him  under  the  best  instructors 
of  his  time:  Rechenberg  and  Greu- 
lich  in  piano;  Hubert  Ries  and 
Botticher  in  violin;  and  Rungenhagen 
in  composition.  He  composed  an 
opera  before  he  was  ten  and  an  ora- 
torio before  he  was  thirteen.  At 
nineteen  he  became,  in  Leipsic,  a  pupil 
of  Mendelssohn,  who  took  great  in- 
terest in  him.  For  the  next  twelve 
years  he  traveled,  studied  and  com- 
posed, in  1851  accepting  the  position 
of  accompanist  at  the  Italian  Theatre 
in  Paris.  The  next  year  he  accom- 
panied Sontag  on  her  American  tour, 
then  returned  to  Paris  to  conduct  the 
Italian  Opera.  In  1853  he  became 
conductor,  and  later  technical  director 
of  the  Court  Opera  at  Vienna.  In 
1860  he  resigned  this  place  to  suc- 
ceed Kucken  as  conductor  at  Stutt- 
gart. In  1867  he  retired  from  active 
professional  life  to  Baden-Baden, 
whence  he  was  called  two  years  later 
to  Berlin  as  first  Court  Director  of 
Music,  Taubert  and  Don  having  been 
pensioned  to  leave  the  post  open  for 
Eckert.  As  a  composer,  his  smaller 
works,  especially  several  songs,  have 
succeeded  best,  his  more  pretentious 
works  not  fulfilling  the  promise  of 
his  earlier  years.  His  operas  are 
Das  Fischer  Madchen,  composed 
1830;  and  Wilhelm  von  Oranien,  per- 
formed in  Berlin,  1846,  and  at  The 
Hague,  1848.  He  also  produced  a 
violoncello  concerto;  an  oratorio, 
Judith,  performed  at  the  Singakad- 
emie  in  Berlin,  1841;  a  symphony  and 
some  church  music. 

*Eddy,  Hiram   Clarence.     1851- 

Clarence  Eddy,  celebrated  Ameri- 
can organist,  was  born  at  Greenfield, 


204 


BIOGRAPHIES 


Eddy 

Mass.  He  early  showed  musical 
talent,  and  began  to  study  at  the  age 
of  eleven.  In  1857  he  became  a  pupil 
of  Dudley  Buck,  and  the  next  year 
organist  of  the  Bethany  Congrega- 
tional Church,  Montpelier,  Vermont. 
In  1871  he  went  to  Berlin,  where  he 
studied  organ  under  August  Haupt 
and  piano  under  Albert  Loeschhorn, 
After  a  European  concert  tour,  he 
returned  to  America,  and  was  at  once 
offered  the  post  of  organist  in  the 
First  Congregational  Church,  Chi- 
cago. Two  years  later,  in  1876,  he 
became  director  of  the  Hershey 
School  of  Music  in  that  city,  after- 
ward marrying  the  founder  of  the 
school,  Mrs.  Sara  Hershey.  Here  he 
gave  a  series  of  one  hundred  organ 
recitals,  including  about  five  hundred 
compositions,  without  repeating  a 
single  number,  and  covering  an  ex- 
tensive range  of  various  schools, 
composers  and  styles  of  organ  litera- 
ture. The  closing  recital  of  this  series 
consisted  largely  of  works  written  for 
the  occasion  by  some  of  the  most 
noted  organ  composers  of  that  day. 
In  1879  he  became  organist  and  choir- 
director  of  the  First  Presbyterian 
Church,  where  he  remained  till  about 
1896.  He  was  also  for  a  number  of 
years  conductor  of  the  Philharmonic 
Society.  Eddy  has  an  international 
reputation  such  as  no  other  Ameri- 
can-born organist  can  boast.  Beside 
his  numerous  concert  tours  through 
this  country  and  Europe,  where  his 
masterly  playing  has  elicited  the 
warmest  praise  from  critics  in  the 
largest  cities,  he  played  by  special 
invitation  at  the  Paris  Exposition  in 
1889  as  America's  foremost  organist. 
Previous  to  that  time  he  had  played 
at  the  Vienna  Exposition  in  1873,  and 
the  Philadelphia  Centennial  in  1876, 
and  within  the  last  two  decades  has 
played  at  all  the  large  expositions 
held  on  this  continent,  including  the 
Jamestown  Exposition  of  1907.  The 
great  Auditorium  organ,  Chicago,  is 
a  testimonial  to  his  knowledge  of 
what  the  instrument  should  be,  as 
he  examined  a  number  of  the  larger 
organs  in  Europe  before  his  advice 
was  given  as  to  this  one.  He  has 
also  won  European  tributes  for 
American  organ  works,  and  Haupt, 
Guilmant,  and  Sgambati  have  all  pro- 
nounced him  a  player  of  the  first 
rank. 

His   influence   in   this   country   has 
been  marked   in  elevating  the  stand- 


Edwards 


ard  of  organ-playing  and  in  widening 
the  range  of  repertory.  At  present, 
Mr.  Eddy  is  organist  and  choirmaster 
of  the  Tompkins  Avenue  Congrega- 
tional  Church,   Brooklyn,   N.   Y. 

Mr.  Eddy  is  also  well-known  as  a 
teacher,  and  has  composed  a  number 
of  classical  works  for  his  instrument, 
preludes,  fugues,  etc.,  although  his 
work  in  these  lines  has  ever  been 
second  to  his  concert  playing.  His 
published  works  are  a  translation  of 
Haupt's  Theory  of  Counterpoint  and 
Fugue,  in  1876,  and  four  collections 
of  organ  music  by  various  composers; 
The  Church  and  Concert  Organist,  in 
two  volumes;  The  Organ  in  Church; 
and  Concert  Pieces  for  the  Organ. 

♦Edwards,  Julian.     1855- 

Composer,  who  was  born  in  Man- 
chester, England.  Was  a  pupil  of  Sir 
Hubert  Oakeley  at  the  Edinburgh  Uni- 
versity and  of  Sir  George  Macfarren  in 
London.  After  some  preliminary  ex- 
perience in  the  Carl  Rosa  Opera  Com- 
pany, at  its  best  period,  he  became 
musical  director  of  the  Royal  Eng- 
lish Opera  Company,  a  position  he 
held  for  several  years,  leaving  it  in 
1888  to  assume  the  leadership  of  the 
J.  C.  Duff  Opera  Company  in  New 
York  City.  His  first  work  of  im- 
portance, Victorian,  a  grand  opera  in 
four  acts,  was  produced  in  Sheffield, 
and  by  the  Royal  English  Opera 
Company  in  Covent  Garden,  London, 
in  1883.  The  first  work  to  be  given 
in  America  was  a  comic  opera, 
Jupiter,  performed  in  1893,  with 
libretto  by  Harry  B.  Smith,  This 
was  followed  by  Friend  Fritz,  a  musi- 
cal comedy;  King  Rene's  Daughter, 
a  lyrical  drama,  in  1893;  Madeleine, 
or  the  Magic  Kiss,  a  romantic  comic 
opera,  in  Boston,  1894;  The  Goddess 
of  Truth;  and  Brian  Boru,  in  1896,  the 
latter  given  at  the  Broadway  Theatre, 
New  York.  The  Wedding  Day  was 
produced  in  1897,  and  was  very  popu- 
lar. Other  successes  in  light  opera 
were  The  Jolly  Musketeer,  1898;  The 
Princess  Chic,  1899;  Dolly  Varden, 
1901 ;  When  Johnny  Comes  Marching 
Home,  which  had  a  long  summer  run 
at  McVicker's  Theatre,  1902;  Love's 
Lottery,  in  which  Schumann-Heink 
sang  in  light  opera  for  the  first  time, 
1904;  and  His  Honor  the  Mayor, 
which  had  a  run  in  Chicago  in  1905, 
and  afterward  in  New  York.  The 
Girl  and  the  Governor  was  produced 
in   1907,  and  the  same  year  The   Re- 


BIOGRAPHIES 


205 


Edwards 


deemer,  a  sacred  cantata,  was  given 
at  Ocean  Grove  and  Chautauqua.  The 
Mermaid  was  produced  at  Carnegie 
Hall  in  April,  1907,  by  the  Musurgia 
Society.  He  also  wrote  the  incidental 
music  to  Quo  Vadis,  The  palace  of 
the  King,  and  Gringoire.  The  next 
light  opera  to  be  produced  is  The 
Motor  Girl,  while  two  grand  operas, 
Corinne  and  Elfinella,  are  in  negotia- 
tion. His  latest  work,  a  cantata,  en- 
titled Lazarus,  for  chorus,  solos  and 
orchestra,  was  given  at  Chautauqua, 
N.  Y.,  in  July,  1907,  and  was  very 
well  received,  not  only  by  the  large 
audience  m  general  but  by  the  pro- 
fessional musicians,  who  went  to 
Chautauqua  expressly  to  hear  the 
first  performance,  and  who  consider 
it  his  best  cantata  so  far. 

Eeden.     See  Van  den  Eeden. 

Ehlert  (a'lert),  Ludwig.     1825-1884. 

Born  at  Konigsberg.  Was  a  pianist 
and  composer,  but  his  reputation  rests 
more  on  his  work  as  a  critic  and 
writer.  He  was  a  pupil  of  Mendels- 
sohn and  Schumann  in  the  Leipsic 
Conservatory  in  1845,  afterward 
studying  in  Vienna  and  Berlin,  at 
which  latter  place  he  settled  as  a 
teacher  in  1850.  He  visited  Italy  at 
length,  and  was  there  director  of  the 
Societa  Cherubini  in  Florence;  taught 
in  Tausig's  School,  in  Berlin,  from 
1869  to  1871,  then  went  to  Meiningen 
to  teach  the  princes,  and  from  there 
to  Wiesbaden,  where  he  died  of 
apoplexy.  His  musical  works  are 
overtures  to  Hafiz  and  Winter's  Tale; 
a  Spring  Symphony,  performed  at 
Berlin  and  Leipsic;  a  Requiem  for  a 
Child;  and  songs  and  pieces  for  the 
piano.  His  literary  works  are  Briefe 
Aus  der  Tonwelt,  published  at  Berlin, 
and  translated  into  English  as  Letters 
from  the  Tone-World,  in  New  York; 
also  Briefe  uber  Musik  an  eine  Freun- 
din,  Berlin,  translated  and  published 
in  London  and  Boston,  as  Letters  on 
Music  to  a  Lady,  and  containing  in- 
teresting sketches  of  the  greater 
European  composers. 

Ehrlich    (ar'-likh),    Alfred    Heinrich. 

1822-1898. 

Hungarian  pianist  and  writer,  who 
was  born  in  Vienna.  He  studied  piano 
with  Henselt  and  Thalberg,  and  com- 
position with  Sechter.  Was  Court 
pianist  to  King  George  V.,  at  Han- 
over, for  several  years,  and  from 
1855  to  1857  lived  for  short  periods 


Eibenschutz 
at  Wiesbaden,  London  and  Frankfort. 
In  1862  he  went  to  Berlin,  and  two 
years  later  became  connected  with 
the  Stern  Conservatory,  where  he 
taught  piano  until  1872,  later  resum- 
ing the  work  from  1886  to  1898.  The 
well-known  composer  Dreyschock, 
was  one  of  his  pupils,  and  so  was 
Emil  Liebling,  well-known  in  this 
country.  Ehrlich  composed  a  few 
works  for  the  piano,  comprising  Con- 
certstiick  in  Ungarischer  Weise;  vari 
ations  on  an  Original  Theme;  and 
some  studies;  but  his  reputation  is 
greater  as  an  author  and  critic.  He 
was  a  man  of  versatile  talents,  and 
while  in  Hanover  was  political  cor- 
respondent to  the  Allgemeine  Zeitung 
and  later  musical  critic  for  several 
Berlin  periodicals.  He  wrote  musi- 
cal novels,  and  a  number  of  works 
on  musical  aesthetics. 

Eibenschutz   (i'-ben-shiits),  Albert. 

1857- 

German  pianist.  He  was  born  in 
Berlin  and  studied  pianoforte  under 
Reinecke  and  theory  under  Paul  in 
the  Leipsic  Conservatory,  winning  the 
Diploma  of  Honor.  He  taught  in  the 
Music  School  at  Charkoff,  Russia, 
from  1876  to  1880  and  then  returned 
to  the  Leipsic  Conservatory,  where 
he  taught  four  years.  In  1893  he  was 
appointed  to  the  directorship  of  a 
choral  society  for  male  voices  at 
Cologne,  and  in  1896  went  to  Berlin 
to  take  the  head  professorship  of 
piano-music.  He  has  written  some 
sonatas,  studies,  and  four-hand  pieces 
for  this  instrument. 

Eibenschutz,  Ilona.     1873- 

Cousin  of  the  foregoing  and  a  well- 
known  concert  pianist.  Was  born  in 
Budapest,  and  played  in  public  as 
a  child  prodigy,  traveling  through  a 
number  of  European  countries  before 
she  was  ten  years  old,  and  also  study- 
ing in  the  meantime  under  Hans 
Schmitt  at  the  Vienna  Conservatory. 
She  afterward  spent  four  years  under 
Clara  Schumann;  played  to  many 
noted  musicians  of  that  time,  and  in 
1890  appeared  in  a  concert  at  Cologne, 
in  the  Leipsic  Gewandhaus,  and  the 
Richter  concerts  in  Vienna.  In  1891 
she  scored  her  first  London  suc- 
cess, playing  Schumann's  Symphonic 
Studies  and  in  a  Beethoven  sonata 
for  piano  and  cello  with  Patti.  From 
this  time  until  her  marriage  in  1902, 
she   appeared   often   before   the   Lon- 


206 


BIOGRAPHIES 


Eibenschutz 
don  public  and  was  regarded  with 
high  favor.  During  the  last  six  years 
of  Brahms'  life,  she  was  a  close  friend 
of  this  great  composer,  thus  acquir- 
ing an  intimate  knowledge  of  his 
later  compositions  which,  with  her 
excellent  musicianship  and  artistic 
powers,  renders  her  especially  capable 
of  their  interpretation. 

Eichberg   (ikh'-berkh),  Julius.     1824- 
1893. 

German  violinist  and  composer, 
born  at  Dtisseldorf,  showed  musical 
talent  early  and  was  taught  the  violin 
by  his  father.  He  began  regular 
study  with  professors  at  the  age  of 
eight,  Rietz  being  his  teacher  in  har- 
mony. He  studied  in  the  Brussels 
Conservatory  from  1843  to  1845, 
graduating  with  high  honors  in  com- 
position and  violin-playing,  and  the 
next  year  was  appointed  professor  of 
these  two  subjects  in  the  Conserv- 
atory at  Geneva.  Eleven  years  after- 
ward, he  came  to  America,  going  first 
to  New  York;  but  in  1859  he  removed 
to  Boston,  where  he  became  director 
of  the  Museum  concerts,  and  founded 
later  the  Boston  Conservatory,  for 
which  he  at  once  set  the  high  stand- 
ard it  has  since  maintained.  As  a 
teacher  of  violin,  Eichberg  had  a 
national  reputation,  a  number  of  his 
pupils  being  successful  concert 
players.  His  influence  on  violin 
music  has  been  strong,  and  among 
his  compositions  an  American  na- 
tional hymn  attests  his  loyalty  to  the 
land  of  his  adoption.  He  also  pub- 
lished collections  of  studies  and 
works  on  teaching  which  embody  the 
principles  of  a  distinct  violin  school; 
and  also  prepared  exercises  and 
studies  for  the  voice,  in  connection 
w:ith  his  work  as  superintendent  of 
public  school  music  in  Boston.  He 
also  produced  several  operettas  in 
the  English  language;  The  Doctor  of 
Alcantara  being  the  one  best  known. 

Eisfeld    (is'-feldt),    Theodor.      1816- 
1882. 

German  conductor,  who  was  born 
at  Wolfenbiittel.  Was  a  pupil  of 
Karl  Muller  at  Brunswick,  in  violin, 
and  Reissiger  at  Dresden  in  composi- 
tion. He  became  director  of  the 
Theatre  at  Wiesbaden  from  1839  to 
1843,  and  in  the  latter  year,  of  the 
Concerts  Viviennes,  Paris.  In  this 
post  he  favored  a  high  musical  stand- 
ard,  and    studied    at    intervals   with 


Elgar 
Rossini  at  Bologna.  He  was  made  an 
honorary  member  of  the  Academy  of 
St.  Cecilia.  From  1848  to  1866  he 
lived  in  New  York  and  conducted  the 
concerts  of  the  Philharmonic  Socie- 
ties for  several  years,  and  also  those 
of  the  Harmonic  from  its  beginning. 
With  Noll,  Reyer,  and  Eichhorn  as 
colleagues,  he  carried  on  a  series  of 
evening  quartet  musicales  in  1851. 
In  1866,  en  route  to  visit  Germany, 
the  steamer  Austria  was  destroyed  by 
fire;  and  Eisfeld,  though  one  of  the 
few  surviving  passengers,  suffered 
hardships  and  exposure  that  resulted 
iri  a  nervous  disorder  which  ended 
his  musical  career.  He  died  at  Wies- 
baden. 

Elgar,  Edward  William.    1857- 

Perhaps  the  most  notable  figure  in 
the  English-speaking  musical  world 
of  today  is  Sir  Edward  Elgar.  Since 
Purcell,  England  has  produced  no 
other  composer  of  genius;  and 
whether  or  not  posterity  concedes  that 
rank  to  Elgar,  he  has  attained  at  least 
one  valid  claim  to  distinction  —  the 
disagreement  of  the  critics.  He  stands 
unique  among  English  musicians  of 
note  in  the  fact  that  his  musical  edu- 
cation, theoretical  as  well  as  practical, 
was  a  matter  of  varied  experience 
rather  than  instruction  received  of 
study  along  accepted  lines.  The  fact 
that  Elgar  came  of  a  Roman  Catholic 
family,  and  breathed  from  his  earliest 
years  the  atmosphere  of  that  excep- 
tional form  of  worship  in  which  music 
is  so  integral  a  part,  isolated  him 
from  the  musical  traditions  of  Prot- 
estant England,  and  his  early  musical 
training,  or  lack  of  training,  in  the 
usual  sense,  was  another  factor  in  the 
development  of  his  powers.  He  was 
born  at  Broadheath,  near  Worcester, 
June  2,  1857.  His  mother  was  well- 
read,  and  loved  the  best  literature; 
and,  in  spite  of  the  limited  means  and 
opportunities,  the  boy  was  brought 
up  in  an  intellectual  atmosphere;  but 
the  varied  musical  occupations  of  his 
father  decided  the  bent  of  his  mind. 
The  elder  Elgar  was  a  partner  in  a 
music-selling  firm,  was  the  organist 
of  St.  George's  Church  in  Worcester 
for  thirty-seven  years,  and  played  the 
violin  in  the  orchestra  of  the  Three 
Choir  Festivals.  The  young  Elgar 
also  played  in  this  orchestra,  and  be- 
fore the  age  of  fifteen  assisted  his 
father  occasionally  as  organist,  pick- 
ing up  his  knowledge  of  these  instru- 


BIOGRAPHIES 


207 


Elgar 

ments,  also  of  the  piano,  the  bassoon, 
and  other  instruments,  in  his  father's 
warehouse,  which  gave  him  oppor- 
tunity to  make  many  experiments 
along  this  line,  and  to  acquaint  hmi- 
self  with  a  great  variety  of  musical 
compositions.  After  leaving  school 
he  was  placed,  as  so  many  embryo 
musicians  have  been,  in  a  solicitor's 
office,  where  for  a  year  he  worked 
steadily  at  the  study  of  law,  and  then 
returned  home  to  become  his  father's 
assistant,  no  further  effort  being  made 
to  induce  him  to  follow  a  distasteful 
profession.  He  read  and  studied 
alone  numerous  works,  both  ancient 
and  modern,  on  harmony,  counterpoint 
and  other  branches  of  musical  theory. 
It  was  intended  that  he  should  study 
at  Leipsic,  but  this  proved  imprac- 
ticable. Meanwhile,  he  occupied  him- 
self with  composition;  among  his 
earliest  efforts  were  popular  airs  for 
minstrel  performances,  and  music  for 
a  little  family  orchestra,  in  which  his 
brothers  and  sisters  joined  in  playing 
different  instruments.  In  leading  the 
orchestra  at  the  instrumental  meet- 
ings of  the  Worcester  Glee  Club,  of 
which  he  was,  in  1879,  appointed 
pianist  and  conductor,  and  at  which 
his  early  compositions  received  per- 
formance and  encouragement,  he  be- 
came acquainted  with  the  master- 
pieces among  the  English  glees  and 
the  music  of  Corelli  and  Haydn.  Two 
years  before  this  he  had  gone  to  Lon- 
don, where  he  took  a  few  lessons 
from  PoUitzer  in  violin,  which  proved 
to  be  the  end  of  regular  instruction 
in  music  for  him,  although  for  some 
years  he  visited  this  teacher  at  inter- 
vals. In  1881  he  passed  with  honors 
an  examination  in  violin  of  the  Royal 
Academy  of  Music,  having  been  so- 
licited to  become  a  candidate  by 
Brinley  Richards,  the  examiner  for 
Worcester.  From  1879  to  1884  he  was 
leader  of  a  unique  band,  the  instru- 
ments being  a  first  and  second  violin, 
first  and  second  cornet,  a  flute,  a 
clarinet,  a  euphonium,  a  bombardon, 
a  doublebass,  and  a  piano,  played  by 
attendants  at  the  County  Lunatic 
Asylum.  For  this  combination,  which 
might  be  said  to  be  well  suited  to  the 
nature  of  the  institution,  he  wrote 
quadrilles  and  other  kindred  pieces, 
and  in  due  time  the  authorities  voted 
him  a  small  recompense  for  such 
work.  He  also  composed  continually 
for  the  church  service,  and  for  a 
quintet  in   which  he  played  the  bas- 


Elgar 

soon.  Thus  he  became  known  as  a 
soloist  and  orchestral  leader  in 
Worcester  and  its  vicinity,  and  these 
varied  experiences  were  valuable  in 
developing  his  sense  of  orchestral 
coloring.  He  was  for  a  time  a  mem- 
ber of  Stockley's  Orchestra  at  Bir- 
mingham, where  his  intermezzo  was 
successfully  presented  in  1883.  The 
year  previous  he  visited  Leipsic  for 
three  weeks,  and  was  appointed  con- 
ductor of  the  Worcester  Instrumental 
Society,  writing  analyses  for  its  pro- 
grams. In  1885  he  succeeded  his 
father  as  organist,  and  continued  to 
compose  much  music  for  the  Catholic 
Church  service. 

In  1889  he  married  a  Miss  Roberts, 
whose  knowledge  and  appreciation  of 
music  and  literature  became  a  most 
beneficial  stimulus  to  Elgar,  and  in 
the  same  year  they  removed  to  Lon- 
don. For  two  years  he  endeavored 
to  bring  his  work  before  the  public, 
but  with  no  success  or  encourage- 
ment. He  heard  much  good  music, 
however,  and  once  a  week  returned 
to  his  old  home  neighborhood  to  give 
lessons.  In  1891  he  retired  to  Mal- 
vern, where  he  spent  his  time  largely 
in  composing,  doing  whatever  teach- 
ing or  conducting  came  his  way.  His 
Froissart  Overture  had  been  produced 
the  preceding  year  at  the  Worcester 
Festival,  but  owing  to  unfavorable 
acoustic  conditions  it  made  no  par- 
ticular impression. 

In  1893  the  Worcester  Choral  So- 
ciety gave  The  Black  Knight,  and  in 

1896  Scenes  from  the  Bavarian  High- 
lands. The  Light  of  Life,  which  had 
been  first  called  Lux  Christi,  a  short 
oratorio,  was  given  at  the  Worcester 
Festival  in  1896;  and  during  the  North 
Staffordshire  Festival  of  the  same 
year,  the  performance  at  Hanley  of 
Scenes  from  the  Saga  of  King  Olaf, 
text  adapted  from  Longfellow,  met 
with  such  noteworthy  success  that 
Elgar  was  for  the  first  time  recog- 
nized as  a  candidate  for  the  laurel 
wreath.  This  work  and  The  Light 
of  Life  are  spoken  of  as  being  espe- 
cially full  of  promise,  strong  and 
melodious.  From  this  time  until  1900 
the  works  mentioned  were  repeated  at 
intervals,  and  other  compositions, 
fresh  from  his  pen,  won  the  approval 
of  musical  contemporaries  and  raised 
his  name  to  an  enviable  height  in 
English  musical  annals.  The  ,  Dia- 
mond   Jubilee    of    Queen    Victoria    in 

1897  impelled  him  to  write  an  Imperial 


208 


BIOGRAPHIES 


Elgar 
March,  and  The  Banner  of  St.  George, 
a  cantata.  In  1899  two  of  his  best 
compositions  were  performed  —  the 
song-cyle  for  contralto,  Sea  Pictures, 
sung  by  Miss  Clara  Butt  at  the  Nor- 
wich Festival;  and  the  Theme  and 
Variations  for  orchestra,  of  great 
originality  and  beauty,  at  a  Richter 
concert;  also  Caractacus,  written  for 
the  Leeds  Festival. 

In  1900  the  University  of  Cam- 
bridge conferred  on  him  the  honorary 
degree  of  Doctor  of  Music,  and 
during  that  same  year  he  was  re- 
quested to  compose  a  work  suffi- 
ciently long  for  a  whole  morning's 
performance  at  the  Birmingham 
Festival.  The  result  was.  The  Dream 
of  Gerontius,  based  on  Cardinal  New- 
man's poem  of  the  same  name,  which 
describes  the  death  of  a  man,  the 
passing  of  his  soul  into  the  presence 
of  God  and  then  into  purgatory.  This 
poem  had  especially  impressed  the 
Catholic  musician  some  years  before 
as  a  fit  subject  for  a  great  religious 
musical  work;  so  it  was  not  written 
in  haste,  merely  for  the  occasion,  but 
was  completed  from  partly  developed 
ideas.  Whether  or  not  too  much  was 
anticipated  from  its  production  and 
it  thus  fell  short  of  the  desired  effect, 
it  did  not  at  that  time  create  an  im- 
pression proportionately  greater  than 
that  of  his  former  best  works,  al- 
though given  high  praise  by  some 
critics. 

In  the  next  year,  1901,  for  the  cere- 
monies of  King  Edward's  coronation, 
Elgar  furnished  the  musical  setting 
of  Benson's  Coronation  Ode  for 
Covent  Garden  Theatre,  which  incor- 
porated the  two  military  marches, 
played  first  at  a  previous  Promenade 
concert,  and  known  by  the  title 
Pomp  and  Circumstance.  These  were 
so  popular  from  the  first,  owing  to 
the  irresistible  rhythm  of  the  air, 
which  forms  the  trio  of  the  second 
march,  that  they  were  objected  to  by 
some  of  the  more  pedantic  musicians; 
nevertheless,  they  were  used,  and 
Elgar's  music  stood  first  among  the 
offerings  for  the  occasion.  They  are 
probably  more  widely  performed  than 
any  other  work  of  this  composer,  and 
have  become  quite  popular  in  the 
United  States,  the  arrangement  for 
organ  bein^  frequently  played  as  well 
as  the  origmal  score.  Elgar  includes 
six  marches  altogether  under  this 
title,  though  the  remaining  four  of  the 
set  are  not  so  well  known. 


Elgar 
In  1902  interest  in  The  Dream  of 
Gerontius  was  suddenly  revived  by 
the  performance  of  a  German  transla- 
tion of  the  work  at  the  Lower  Rhine 
Musical  Festival  at  Diisseldorf,  where 
Richard  Strauss  delivered  a  speech,  in 
which  he  proclaimed  it  a  masterpiece, 
and  eulogized  Elgar  to  such  an  extent 
that  "  even  the  English  musical  public 
was  moved  by  such  an  unheard  of 
tribute  from  abroad,"  and  accordingly 
hastened  to  honor  the  prophet  in  his 
own  country  by  repeating  Gerontius 
at  both  the  Sheffield  and  Worcester 
Festivals  of  that  year,  drawing  im- 
mense audiences.  During  the  next 
two  years  it  was  performed  several 
times  in  London,  and  in  1903  at 
Westminster  Cathedral;  while  Covent 
Garden  was  devoted  for  three  entire 
days  in  March,  1904,  to  an  "  Elgar 
Festival,"  where  his  most  important 
compositions  were  given,  and  a  new 
overture  of  remarkable  beauty.  In 
the  South,  as  well  as  Gerontius  and 
The  Apostles.  The  latter,  a  still 
more  ambitious  work  than  those  pre- 
ceding, had  been  first  produced  in 
1903  at  the  Birmingham  Festival. 
According  to  the  prefatory  statement 
of  the  composer,  this  was  the  result 
of  a  long-cherished  plan  that  origin- 
ated in  a  remark  of  the  schoolmas- 
ter in  his  boyhood,  and  developed  into 
"  oratorio  embodying  The  Calling  of 
the  Apostles,  their  Teaching  and  their 
Mission,  culminating  in  the  establish- 
ment of  the  Church  among  the  Gen- 
tiles; "  The  Kingdom,  which  appeared 
later,  is  set  forth  as  a  continuation  of 
the  subject  matter  in  the  Apostles. 
The  text  of  The  Apostles  is  made  up 
of  different  scriptural  passages,  skil- 
fully interwoven  to  form  a  harmoni- 
ous whole.  It  is  said  to  be  more 
complex,  more  intricately  organized 
than  the  Dream  of  Gerontius,  and 
has  provoked  more  criticism.  Elgar 
presupposes  familiarity  with  the 
Scriptures  in  his  hearers,  bringing  out 
in  The  Apostles  only  such  points  as 
are  of  salient  interest  or  dramatic 
value;  and  this  lack  of  minor  details 
may  have  been  confusing  to  some  of 
his  critics.  The  second  performance 
of  this  work  was  in  the  United  States, 
in  1904,  by  the  Oratorio  Society  of 
New  York,  which  also  gave  The 
Dream  of  Gerontius  twice  in  1903, 
under  Mr.  Frank  Damrosch,  and  in 
1907  gave  The  Apostles  and  The 
Kingdom.  The  Apollo  Club  of  Chi- 
cago performed  The  Dream  of  Ger- 


BIOGRAPHIES 


209 


Elgar 


ontius  in  1903,  and  again  in  1906,  and 
The  Apostles  in  1906.  At  the  Cin- 
cinnati May  Festival  of  1906,  Elgar 
himself  conducted  The  Dream  of 
Gerontius  and  The  Apostles,  and  two 
orchestral  works,  the  overture.  In  the 
South,  and  an  introduction  and  alle- 
gro for  strings.  The  year  before  he 
had  come  to  America  for  the  first 
time  to  receive  the  degree  of  Doctor 
of  Music  from  Yale,  and  his  third 
visit  was  made  in  the  spring  of  1907, 
when  he  conducted  his  overture,  In 
the  South,  and  the  Enigma  Varia- 
tions for  orchestra  at  a  Thomas  con- 
cert in  Chicago,  and  was  received 
with  enthusiasm.  In  October,  1907, 
The  Dream  of  Gerontius  was  given 
at  the  Worcester  (Massachusetts) 
Music  Festival,  under  Mr.  Wallace 
Goodrich,  retiring  conductor.  Elgar's 
more  recent  oratorio,  The  Kingdom, 
was  performed  in  England,  in  Octo- 
ber, 1906,  at  the  Birmingham  Festival, 
which  has  brought  out  all  his  large 
choral  works  so  far.  This  was  fol- 
lowed by  performances  at  six  differ- 
ent towns  in  England  during  March, 
1907.  The  work  is  a  sequel  to  The 
Apostles,  and  resembles  it  in  the 
choice  of  musical  themes,  but  is 
naturally  more  meditative  in  char- 
acter, Pentecost  being  the  central 
point  of  interest  in  the  text.  In 
December,  1907,  The  Kingdom  was 
performed  twice  in  Germany,  at  May- 
ence  and  Aachen,  respectively,  and  in 
October,  The  Dream  of  Gerontius 
was  given  at  Melbourne.  Elgar's 
variations  for  orchestra  was  given  at 
Monte  Carlo  during  December,  1907, 
by  the  Lamoreux  Orchestra,  and  re- 
ceived very  favorable  comment  in 
French  journals.  The  work  most 
recently  brought  out  in  his  Orches- 
tral Suite  No.  1,  which  was  originally 
written  at  the  age  of  twelve  for  a 
small  family  orchestra,  as  music  to  a 
child's  play,  and  entitled  The  Wand 
of  Youth.  This  work  was  revised 
and  re-orchestrated  by  the  composer 
and  produced  at  a  Queen's  Hall  con- 
cert in  London.  It  comprises  seven 
movements;  an  Overture,  Serenade, 
Minuet,  Sun  Dance,  Fairy  Pipers, 
Slumber  Song,  Fairies  and  Giants. 
This  was  composed  for  the  entertain- 
ment of  the  family  circle,  Elgar's 
brothers  and  sisters  taking  the  vari- 
ous parts. 

It  has  been  the  lot  of  every  great 
composer  to  become  at  some  time  in 
his  life  the  target   for  a  fire  of  con- 


Elgar 
flicting  opinions;  and  this  point  has 
now  been  reached  by  Elgar,  who  in 
his  early  thirties  was  unable  to  pro- 
cure a  hearing  in  the  metropolis  of 
his  own  country.  Those  who  know 
him  best  describe  him  as  a  man  of 
conservative  nature,  yet  definite  and 
decided  opinions,  and  sincere  char- 
acter, free  from  the  thirst  for  publicity 
for  its  own  sake,  composing  because 
he  has  something  to  say  in  music, 
which  he  cannot  leave  unsaid.  His 
style  is  individual,  and  is  character- 
ized by  a  certain  noble  gravity  and 
dignity,  that  is  felt  even  in  his  lighter 
^vorks,  such  as  the  orchestral  varia- 
tions, and  the  marches,  Pomp  and 
Circumstance.  This  seriousness  is  a 
natural  outcome  of  the  mind  whose 
oratorio  scores  bear  the  dedicatory 
letters  A.  M.  D.  G.  (To  the  greater 
glory  of  God).  A  certain  writer,  in 
emphasizing  the  religious  inspiration 
of  the  oratorios,  calls  attention  to  the 
interesting  fact  that  Malvern  is  the 
place  where  The  Vision  of  Piers  the 
Plowman  was  written,  and  declares 
that  The  Dream  of  Gerontius  should 
stand  in  the  same  rank  as  Dante's 
Divine  Comedy,  and  Michelangelo's 
Last  Judgment.  Theodore  Thomas 
pronounced  it  the  most  important 
oratorio  of  recent  times.  Mr.  Joffe, 
in  the  International  Year  Book  for 
1902,  quotes  of  it:  "Scarcely  since 
Wagner's  death  has  there  been  any 
musical  work  so  sincere,  so  fine  or 
noble,  so  delicately  graduated,  so  ex- 
quisitely poetical,"  and  himself  says, 
"  it  is  a  work  full  of  striking  individu- 
ality, though  written  by  a  deep  stu- 
dent of  Wagner,  and  technically  even 
the  score  of  Die  Meistersinger  does 
not  overshadow  this  new  score." 
Robert  J.  Buckley,  in  his  excellent 
book,  Sir  Edward  Elgar,  says:  "What 
Wagner  did  for  opera,  from  the  point 
at  Avhich  it  was  left  by  Mozart  and 
Weber,  Elgar  is  doing  for  oratorios 
from  the  point  at  which  it  was  left  by 
Handel  and  Mendelssohn,  and  as  many 
believe,  with  equal  inspiration."  In  the 
orchestral  field,  Elgar  is  ranked  with 
the  best  of  the  modern  European 
composers.  Professor  Edward  Dick- 
inson, in  his  study  of  the  History  of 
Music,  says  that  Elgar's  compositions 
"  indicate  a  technical  knowledge  of 
the  highest  order  in  counterpoint  and 
orchestration,  as  well  as  a  prolific 
vein  of  melody."  As  Elgar  was 
almost  entirely  self-taught,  his  work 
exemplifies    what    may    be   called    the 


210 


BIOGRAPHIES 


Elgar 
inductive  method  in  musical  compo- 
sition, from  forty  years'  handling  of 
the  instruments.  The  power  to  apply 
this  method  in  music  has  been  seen 
in  some  few  of  the  German  com- 
posers, but  not  in  Elgar's  English 
predecessors. 

Personally,  Elgar  is  described  as  a 
vigorous,  active  and  enthusiastic  man, 
fond  of  books  and  outdoor  sports, 
modest  and  unassuming  in  manner; 
tall,  with  the  stoop  of  the  constant 
student  in  his  shoulders,  and  strong, 
clear  features,  with  an  unaffected  dig- 
nity that  would  become  "  a  barrister 
or  a  member  of  Parliament."  The  com- 
poser was  knighted  in  1904  and  received 
the  degree  of  Doctor  of  Music  from 
Dunelm,  and  of  LL.D.  from  Leeds 
the  same  year,  and  since  then  has  had 
conferred  upon  him  the  title.  Pro- 
fessor of  Music,  Birmingham  Univer- 
sity. Oxford  also  bestowed  upon  him 
the  degree  of  Doctor  of  Music  in  1905 
and  the  Western  University  of  Penn- 
sylvania, at  Pittsburg,  conferred  upon 
him  the  degree  of  LL.D.  in  1907.  Be- 
side the  works  already  mentioned, 
there  are  the  following:  Romance 
for  violin  and  orchestra;  for  violin 
and  piano,  an  allegretto,  a  sonata,  a 
serenade  lyrique,  and  a  gavotte;  nu- 
merous pieces  and  a  few  exercises  for 
violin  with  piano  accompaniment;  and 
etudes  characteristiques  for  violin; 
sursum  corda,  for  strings,  brass,  and 
organ;  sonata  and  twelve  voluntaries 
for  organ;  part-songs,  two  quartets 
for  strings;  and  a  quintet  for  wind-in- 
struments. For  small  orchestra, 
Dream  Children,  two  sketches;  a 
minuet;  and  salut  d'amour;  for  string 
orchestra,  a  serenade.  For  full  or- 
chestra, two  concert  overtures,  Cock- 
aigne, and  Falstaff;  Sevillana  and 
other  pieces;  also  incidental  music  to 
Grania  and  Diarmid,  and  a  Spanish 
serenade  for  chorus  and  orchestra. 
There  is  also  a  "pendant"  to  the 
Cockaigne  overture,  said  to  show  the 
"  reverse  of  the  joyous  picture"  of 
the  overture  proper.  Of  Elgar's  nu- 
merous songs,  it  will  be  sufficient  to 
name  the  following:  Weary  Wind  of 
the  West,  My  Love  Dwelt  in  a 
Northern  Land,  Like  to  a  Damask 
Rose,  A  Song  of  Flight,  The  Pipes 
of  Pan,  Queen  Mary's  Song,  and  In 
the   Dawn. 

Ella,  John.    1802-1888. 

English  violinist,  musical  director, 
critic   and   lecturer.     Studied  for  the 


Ellerton 
law;  became  violinist  in  the  King's 
Theatre  in  1822,  and  afterwards  in  the 
orchestras  of  the  Concerts  of  Ancient 
Music  and  of  the  Philharmonic  con- 
certs. Studied  under  Attwood  and 
Fetis  at  Paris,  1826  to  1829.  He 
established  the  Musical  Union  and 
Musical  Winter  Evenings,  two  series 
of  concerts;  was  lecturer  of  music  at 
London  Institution,  1855,  and  directed 
the  Musical  Union  from  1845  to  1880; 
he  also  contributed  musical  notices  to 
several  leading  periodicals  in  London. 
He  is  the  author  of  Lectures  on  Dra- 
matic Music;  Musical  Education 
Abroad  and  at  Home;  and  Musical 
Sketches  Abroad  and  at  Home.  From 
1845  to  1878  were  published  the 
Records  of  Musical  Union,  consisting 
of  analytical  program  notes,  biog- 
raphies, etc.  The  analytical  pro- 
grams were  made  up  of  remarks 
on  the  structure  of  works  performed 
and  the  periods  and  rank  of  the  com- 
posers, resembling  somewhat  those  of 
the  modern  musical  club. 

Ellerton,  John  Lodge.    1801-1873. 

Amateur  composer,  who  was  born 
in  Cheshire,  of  Irish  descent.  His 
father,  Adam  Lodge,  came  from 
Liverpool,  and  John  assumed  the 
name  of  Ellerton  in  middle  life.  He 
learned  by  his  own  efforts  to  play 
the  piano,  when  a  boy,  his  father 
being  opposed  to  Ellerton  acquiring  a 
musical  education,  for  which  he  early 
showed  a  strong  desire.  He  was  sent 
to  school  at  Rugby,  and  later  to  Ox- 
ford, where  he  graduated  with  the 
degree  of  M.  A.  in  1828.  While  in 
the  latter  place  he  studied  composi- 
tion, and  even  wrote  an  opera,  and  a 
song  which  was  favorably  reviewed. 
After  leaving  Oxford  he  studied  under 
Pietro  Terriani  at  Rome,  and  while 
there  he  is  said  to  have  composed 
seven  Italian  operas.  For  some  time 
he  lived  in  Germany,  where  his  sym- 
phonies were  composed,  and  in  Lon- 
don, where  he  held  quartet  meetings 
with  the  best  artists  of  his  time.  His 
works  comprise  an  oratorio.  Paradise 
Lost;  the  English  opera,  Domenica, 
produced  at  Drury  Lane  Theatre  in 
1838;  six  anthems;  six  masses;  seven- 
teen motets;  six  symphonies;  seven 
Italian  operas;  two  German  operas;  a 
number  of  glees,  solos,  and  duets; 
quintets,  quartets  and  trios  for 
strings;  eight  trios  _  and  thirteen 
sonatas  for  concerted  instruments. 


BIOGRAPHIES 


211 


EUicott 
♦Ellicott,  Rosalind  Frances.     1857- 

English  composer,  who  was  born  at 
Cambridge  and  lived  principally  at 
Gloucester,  where  her  father,  Charles 
John  Ellicott,  was  Bishop  from  1863 
to  1905.  From  her  mother,  an  accom- 
plished musician  and  vocalist,  she  in- 
herited her  musical  talent,  beginning 
to  compose  at  the  age  of  six.  Among 
her  early  works  were  settings  of 
Heine's  poems,  and  other  German 
songs,  which  she  composed  at  seven- 
teen, the  year  she  entered  the  Royal 
Academj^  of  Music.  She  remained  at 
the  Academy  for  two  years,  and  after- 
wards studied  under  Thomas  Wing- 
ham  for  about  seven  years.  She  was 
several  times  invited  to  compose 
works  for  the  Gloucester  Triennial 
Musical  Festivals,  and  her  first 
marked  success.  To  the  Immortals, 
was  sung  at  one  of  these  festivals,  in 
1883.  Her  dramatic  overture,  pro- 
duced in  1886,  is  spoken  of  as  "vigor- 
ous, spontaneous,  and  a  great  deal 
fresher  and  more  purposeful  than 
most  of  the  cantatas  of  her  time 
.  .  .  the  themes  are  striking  and 
well  developed  and  the  handling  of 
the  orchestra  remarkably  bold  and 
effective."  This  was  a  triumph  for 
Miss  Ellicott,  who  had  hitherto  been 
considered  an  amateur,  but  was  now 
ranked  with  professional  composers. 
It  is  said  of  her  industry  and  en- 
thusiasm, that  with  a  delicate  physique 
and  in  circumstances  where  there  was 
no  pressing  necessity  for  work,  she 
studied  and  worked  as  if  the  opposite 
had  been  true.  Three  other  overtures 
and  a  fantasia  for  orchestra  were  all 
given  at  different  English  festivals. 
Other  compositions  include  the  suc- 
cessful contatas.  The  Birth  of  Song, 
Elysium,  and  Henry  of  Navarre;  and 
part-songs,  chamber-music,  and  son- 
atas for  piano  and  strings,  which 
have  been  often  performed  in  Lon- 
don. She  has  appeared  in  concerts 
frequently,  both  as  pianist  and  vo- 
calist. In  1901  she  organized  a  series 
of  successful  chamber-concerts  _  in 
Gloucester  and  Cheltenham,  which 
continued  till  1905. 

Ellis,  Alexander  John.      1814-1890. 

English  writer  on  Phonetics  and 
Acoustics.  He  was  educated  at 
Shrewsbury,  Eton,  and  Trinity  Col- 
lege, and  was  graduated  from  Cam- 
bridge, as  B.  A.,  in  1837.  He  became 
a  fellow  of  the  Royal  Society  in  1864, 
tnd  was  president  of  the  Philological 


Elson 

Society,  1872  to  1874  and  1880  to  1882; 
and  was  also  a  member  of  several 
other  learned  societies.  He  made  a 
special  study  of  the  physical  basis  of 
musical  sound,  and  also  published 
some  works  on  pronunciation  in  sing- 
ing. He  contributed  to  the  Royal 
Society  a  number  of  papers  on  musi- 
cal theory  iri  relation  to  tones  and 
their  production,  and  was  awarded  a 
silver  medal  for  each  of  several  papers 
of  inquiry  in  regard  to  the  history  of 
Musical  Pitch,  into  which  subject  he 
made  both  theoretical  and  experi- 
mental research.  He  also  translated 
into  English,  with  notes  and  ap- 
pendix, Helnholtz's  work  under  the 
name  of  On  the  Sensations  of  Tone, 
as  a  Physiological  Basis  for  the 
Theory  of  Music. 

Eisner,  Joseph  Xaver.    1769-1854. 

He  was  a  director,  a  composer  and 
the  teacher  of  Chopin,  Was  born  in 
Grottkau,  Silesia;  was  the  son  of  a 
maker  of  musical  instruments,  and 
was  educated  for  the  medical  pro- 
fession; but  as  choir-boy  and  after- 
ward violinist  and  singer  at  the  Bre!^- 
lau  Theatre,  he  became  active  in 
music.  Forster,  the  director  at  Bres- 
lau,  gave  him  some  instruction,  and 
on  visiting  Vienna  he  became  intimate 
with  the  best  musicians  there.  In 
1791  he  became  first  violinist  in  the 
Briinn  Theatre,  in  1792  director  of  the 
theatre  in  Lemberg,  and  in  1799  went 
to  Warsaw  in  a  similar  capacrty. 
Here  he  founded  a  musical  society 
(according  to  some  authorities,  a 
school  for  organists),  which  in  1821 
expanded  into  the  Warsaw  Con- 
servatory, of  which  he  was  the  first 
director  and  professor  of  composition 
until  1830,  when  political  disturbances 
closed  the  Conservatory.  It  was  re- 
opened in  1834,  with  Soliva  as  direc- 
tor. Eisner  was  a  fluent  and  prolific, 
though  not  a  highly  inspired  com- 
poser, and  his  operas  were  popular  in 
Poland.  His  works  include  all  the 
various  forms  in  church  music;  can- 
tatas; songs;  concerts  and  chamber- 
music;  and  two  essays  on  the  adapt- 
ability of  the  Polish  language  to 
musical  composition. 

Elson,  Louis  C.    1848- 

Lecturer  and  writer  on  musical 
subjects,  and  a  successful  teacher. 
He  is  an  American  of  German 
descent,  and  was  born  in  Boston.  At 
six  years  of  age  he  began   the  study 


212 


BIOGRAPHIES 


Elson 
of  music,  and  was  a  piano  pupil  of 
August  Hamann,  while  his  teacher  in 
voice,  at  a  later  period,  was  August 
Kreissmann,  the  friend  of  Franz,  and 
a  superior  interpreter  of  his  songs. 
Elson's  especial  interest  in  songs, 
many  of  which  he  has  translated,  is 
due,  no  doubt,  to  his  association  with 
Kreissmann.  He  later  went  to  the 
Leipsic  Conservatory  for  theoretical 
study. 

On  his  return  to  this  country  he 
began  journalistic  work  on  the  Vox 
Humana,  a  paper  published  chiefly  in 
the  interests  of  organ  music.  When 
this  was  merged  in  the  Musical 
Herald,  in  1880,  he  became  the  editor, 
and  was  about  the  same  time  chosen 
musical  editor  of  the  Boston  Courier. 
When  in  Europe  he  contributed 
occasional  articles  to  several  promi- 
nent periodicals  in  New  York  and 
Boston,  and  in  1888  became  musical 
editor  of  the  Boston  Advertiser.  His 
connection  with  the  New  England 
Conservatory  of  Music  dates  from 
1880,  as  vocal  teacher,  and  lecturer  on 
orchestra  and  orchestral  instruments 
and  on  musical  history.  From  1881 
he  also  taught  musical  theory,  suc- 
ceeding to  the  headship  of  this  de- 
partment on  the  death  of  Stephen 
Emery.  He  has  acted  as  choral  di- 
rector on  various  occasions  in  Boston, 
notably  a  festival  in  1886,  the  pro- 
grams including  music  selected  all 
the  way  from  the  mediaeval  begin- 
nings of  the  art  up  to  the  present 
time.  As  a  composer,  his  work  is 
mostly  in  the  smaller  forms,  includ- 
ing several  piano-pieces;  three  oper- 
ettas; a  volume  of  songs  for  chil- 
dren; and  other  songs.  He  has  also 
made  translations  and  arrangements 
of  a  great  number  of  French,  English 
and  Italian  songs,  and  of  operas.  He 
is  much  in  demand  as  a  lecturer  on 
musical  subjects,  and  has^  lectured 
often  at  many  colleges  and  institutes, 
including  Vassar,  Cornell,  The  Uni- 
versity of  Pennsylvania,  and  other 
prominent  educational  institutions. 
As  a  vocalist,  he  has  been  connected 
with  several  of  the  leading  choirs  of 
Boston.  As  an  author,  his  reputation 
is  fully  as  wide,  and  his  works  in  this 
line  comprise  The  Curiosities  on 
Music;  History  of  German  Song; 
Syllabus  of  Musical  History;  The 
Realm  of  Music;  The  Theory  of 
Music;  Great  Composers  and  their 
Works;  Our  National  Music  and  its 
Sources;     European     Reminiscences; 


Elvey 

German  Song  and  Song- Writers; 
Shakespeare  in  Music;  A  History  of 
American  Music,  published  in  1904; 
and  a  Music  Dictionary,  in  1905;  be- 
sides contributed  articles  to  the  lead- 
ing music  journals  of  America.  Mr. 
Elson's  diction  is  concise,  often  hu- 
morous, and  reveals  in  every  line 
broad  and  genuine  culture  fused  with 
the  specialized  knowledge  of  the 
trained  and  experienced  musician. 
His  distinguished  contemporary,  W. 
S.  B.  Mathews,  speaks  of  it  as  a 
"  ripe  and  finished  literary  style, 
rarely  found  outside  the  ranks  of  pro- 
fessional authors." 

His  son,  Arthur,  is  a  well-known 
musical  critic  and  writer.  His  books. 
Woman's  Work  in  Music,  Orchestral 
Instruments  and  Their  Use,  A  Criti- 
cal History  of  Opera,  Modern  Com- 
posers of  Europe,  and  frequent  con- 
tributions to  musical  periodicals,  have 
added  to  the  lustre  of  the  family 
name.  The  two,  father  and  son,  de- 
serve especial  mention  as  represen- 
tative of  the  best  modern  thought 
concerning  the  future  of  the  woman 
musician.  They  are  truly  American 
in  their  fair-minded  recognition  of 
her  ability  to  do  more  than  she 
has  been  permitted  to  do  by  the 
foreigner. 

Elvey,  Sir  George  Job.    1816-1893. 

English  organist  and  composer. 
Was  chorister  of  Canterbury  Cathe- 
dral and  pupil  of  the  organist.  High- 
more  Skeats,  also  studying  under  his 
brother,  Stephen  Elvey,  and  later  at 
the  Royal  Academy  of  Music  under 
Cipriani  Potter  and  Dr.  Crotch.  In 
1835  he  succeeded  Highmore  Skeats, 
jr.,  as  organist  and  chorister  at  St. 
George's  Chapel,  Windsor,  continuing 
in  this  position  until  his  retirement  in 
1882.  He  was  graduated  from  Oxford 
as  Bachelor  of  Music  in  1838  and 
Doctor  of  Music  in  1840.  Was  con- 
ductor of  the  Glee  and  Madrigal  So- 
ciety, and  was  knighted  in  1871.  He 
composed  several  oratorios;  one.  The 
Resurrection  and  Ascension,  was  per- 
formed at  Exeter  Hall  by  the  Sacred 
Harmonic  Society  in  1840,  and  later 
given  in  Boston  and  Glasgow.  He 
also  composed  several  odes;  anthems; 
a  number  of  hymn-tunes  and  chants; 
glees  and  part-songs;  and  a  Festal 
March  for  orchestra,  composed  for 
the  wedding  of  the  Princess  Louise. 
The  majority  of  his  compositions  are 
sacred  music. 


BIOGRAPHIES 


213 


Elvyn 
Elvyn,  Myrtle.    1886- 

Talented  young  American  pianist, 
who  after  a  number  of  years  of  study 
in  Europe  and  several  successful  con- 
cert appearances  there,  returned  in 
1907  to  her  native  country,  making 
her  American  debut  with  the  Theo- 
dore Thomas  Orchestra  at  Orchestral 
Hall,  Chicago,  in  October.  Miss 
Elvyn  was  born  in  Sherman,  Texas, 
and  when  a  child  of  two  years  was 
brought  to  Chicago  by  her  parents 
and  continued  to  reside  there  for  sev- 
eral years. 

As  a  child  she  showed  unusual 
talent  and  was  brought  to  the  atten- 
tion of  the  late  Carl  Wolfsohn,  the 
teacher  of  Mme.  Bloomfield-Zeisler 
and  Augusta  Cottlow.  He  was  so 
much  impressed  by  the  young  girl's 
precocity  that  after  teaching  her  him- 
self for  a  number  of  years  he  sent 
her  to  study  in  Europe  with  Leopold 
Godowsky.  Under  that  famous  teach- 
er's instruction  she  made  a  fine  record. 
She  developed  great  power  as  a  per- 
former, gained  a  most  fluent  technique 
and  is  already,  at  the  age  of  twenty- 
two,  considered  an  artist.  Ten  years 
ago  Mr.  Wolfsohn  declared  that  Miss 
Elvyn  was  the  most  talented  person 
he  had  ever  met,  and  he  predicted 
great  triumphs  for  her  in  the  near 
future.  She  remained  a  pupil  of 
Godowsky  five  years  and  in  1904  made 
her  debut  as  a  pianist  in  Berlin.  Mu- 
sical critics  praised  her  in  the  highest 
terms,  declared  her  possessed  of  great 
musical  gifts  and  intelligence,  and  her 
first  recital  was  all  that  she  could 
wish.  She  then  studied  composition 
for  a  time  with  Hugo  Kaun  and  her 
talent  in  this  direction  was  such  that 
he  advised  her  to  give  up  piano-play- 
ing and  devote  herself  exclusively  to 
developing  her  gift  for  composing. 

Since  1904  Miss  Elvyn  has  made 
various  tours  through  Europe  and  has 
played  in  most  of  the  leading  cities 
with  many  famous  orchestras.  She 
has  been  heard  in  London  and  is  well 
liked  there,  and  in  Berlin  is  classed 
by  musicians  and  music-lovers  among 
the  great  pianists.  She  plays  the 
difficult  passages  in  the  most  pon- 
derous works  with  the  greatest  ease, 
has  a  soft  tone,  a  splendid  technique 
and  wonderful  understanding  and  in- 
telligence. 

In  a  set  of  eleven  variations  on  an 
original  theme  which  IMiss  Elvyn 
composed  and  gave  at  several  of  her 
concerts,    she    showed    herself    to    be 


Emerson 
the  possessor  of  a  good  deal  of  in- 
ventive power,  the  work  being  highlv 
original  and  characteristic.  Miss 
Elvyn  appeared  the  past  season  before 
the  Emperor  and  Empress  of  Ger- 
many and  the  royal  family,  and  so 
pleased  them  that  the  Emperor  pub- 
licly complimented  her  and  presented 
her  with  a  diamond  pendant.  She  has 
also  appeared  before  the  Grand  Duke 
and  Duchess  of  Mecklenburg  and  the 
Imperial  Crown  Prince  and  Princess 
of  Germany,  all  of  whom  were  lavish 
in  their  praise  of  the  young  artist. 

Miss  Elvyn  is  remarkably  beautiful, 
being  tall  and  graceful  in  appearance, 
with  a  lovely  face,  and  a  most  attrac- 
tive and  winning  personality. 

Elwart    (el'-vart),    Antoine    Aimable 

filie.     1808-1877. 

Was  born  in  Paris,  of  Polish 
parentage,  and  was  when  a  boy  of  ten, 
chorister  in  the  Church  of  St. 
Eustache.  Being  apprenticed  to  a 
mechanic  at  thirteen,  he  ran  away  and 
joined  the  orchestra  of  a  small  theatre. 
He  entered  the  Paris  Conservatory  in 
1852,  where  he  started  a  series  of 
competitive  concerts  among  the 
students,  which  continued  six  years, 
and  afforded  excellent  practice  for 
both  composition  and  solo  work.  In 
1831  he  received  first  prize  for  com- 
position, and  in  1834  the  Grand  Prize 
of  Rome.  From  1832  to  1834  he  was 
assistant  professor  of  composition, 
and  on  his  return  from  Rome  two 
years  later,  took  up  this  work  again, 
becoming  professor  of  harmony  in 
1840.  He  was  also  director  of  the  St. 
Cecilia  Society  concerts.  He  resigned 
his  post  in  the  Conservatory  in  1871 
and_  died  six  years  later.  His  com- 
positions include  the  oratorios,  Noah 
and  La  Naissance  d'Eve;  several 
operas,  Les  Catalans  being  the  only 
one  performed;  the  music  for  Eu- 
ripides' Alcestis;  also  some  overtures, 
symphonies,  chamber  -  music  and 
church-music.  But  his  reputation 
rests  principally  on  his  writings,  the- 
oretical and  literarv.  including  Theorie 
Musicale;  Traits  due  contrepoint  et 
de  la  fugue;  and  Le  Chanteur  ac- 
compagnateur;  and  Historic  de  la 
Societe  des  Concerts.  He  also  con- 
tributed musical  articles  to  Paris 
periodicals. 

*  Emerson,  Luther  Orlando.    1820- 

Was    born    in    Parsonsfield,    Mass., 
has  conducted  many  musical  conven- 


214 


BIOGRAPHIES 


Emerson 
tions  over  the  United  States,  and 
written  some  church  music.  He  has 
compiled  a  number  of  collections  of 
songs  for  Sunday-school  and  church 
use,  which  have  been  very  popular 
The  Romberg  Collection  was  first 
published  in  1853  and  was  followed  by 
The  Golden  Wreath,  The  Sabbath 
Harmony,  Jubilate,  and  others. 

Emery,  Stephen  Albert.    1841-1891. 

American  composer,  writer,  and 
pianist.  Was  born  in  Paris,  Maine, 
receiving  his  early  musical  education 
in  his  native  state,  and  later  going  to 
Leipsic,  where  he  studied  the  piano 
under  Plaidy  and  Papperitz,  and  har- 
mony and  counterpoint  with  Richter 
and  Hauptmann,  afterwards  studying 
the  piano  under  Spindler  in  Dres- 
den. Returning  to  America,  he  re- 
moved to  Boston  in  1866,  where  the 
following  year  he  was  engaged  to 
teach  in  the  New  England  Conserv- 
atory, just  opened.  When  the  Col- 
lege of  Music  of  Boston  University 
was  founded  he  was  appointed  pro- 
fessor of  harmony  and  counterpoint 
in  that  institution  also,  and  became 
assistant  editor  of  the  Musical  Her- 
ald. His  works  as  composer,  lec- 
turer and  writer  are  of  a  high  order, 
his  text-book  on  Elements  of  Har- 
mony being  the  best-known  and  most 
widely  used.  He  wrote  also  Founda- 
tion Studies  in  Piano  Playing,  string 
quartets,  songs  and  piano-pieces. 

Encke  (enk'-e),  Heinrich.  1811-1859. 
Heinrich  Encke,  born  in  Neustadt, 
Bavaria,  was  a  pianist,  the  pupil  of 
Hummel,  and  a  minor  composer  of 
etudes.  He  has  also  made  excellent 
arrangements  of  classical  composi- 
tions for  four  hands,  but  his  instruc- 
tive works  for  the  piano  are  con- 
sidered his  best.  He  was  highly 
regarded  as  a  teacher  of  piano  in  Jena 
and  Leipsic.  He  died  at  the  latter 
place. 

Engel,  Carl.     1818-1882. 

Writer  on  musical  subjects  and  au- 
thority on  musical  history  and  musical 
incidents.  He  was  a  pupil  of  Enck- 
hausen,  a  Hanover  organist,  and  of 
Hummel  in  piano;  and  was  musician 
for  some  time  in  the  family  of  Herr 
von  Schlabendorf,  a  Pomeranian  no- 
bleman. When  about  twenty-six 
years  old  he  went  to  England,  where 
he  began  piano  teaching  at  Man- 
chester, but  soon  moved  to  London, 
where    he    became    interested    in    rc- 


Enna 
search  work,  collecting  musical  in- 
struments and  books,  reading,  writing, 
and  familiarizing  himself  with  the 
scores  of  modern  composers,  and  in 
time  acquiring  collections  equaled  by 
few,  and  surpassed  only  by  some  of 
the  larger  public  libraries  and  mu- 
seums. His  earlier  works  include  a 
sonata  and  also  some  instructive 
works  for  the  piano,  and  Reflections 
on  Church  Music.  His  researches 
soon  enabled  him  to  produce  The 
Music  of  the  Most  Ancient  Nations, 
and  An  Introduction  to  the  Study  of 
National  Music.  After  these  publica- 
tions he  became  connected  with  the 
South  Kensington  Museum,  which 
profited  by  his  wide  knowledge.  A 
number  of  valuable  works  were  pub- 
lished during  the  rest  of  his  life, 
among  which  were  a  Descriptive 
Catalog  of  the  Musical  Institute  in 
South  Kensington  Museum,  Musical 
Myths  and  Facts,  and  Researches  into 
the  Early  History  of  the  Violin 
Family.  Two  works,  a  collection  of 
national  airs,  and  an  immense  work, 
designed  to  comprise  descriptions  of 
all  known  musical  instruments,  remain 
in  manuscript.  His  library  was  sold 
at  public  auction  in  1881,  after  which 
he  visited  Germany,  returning  to  Ken- 
sington the  following  year,  in  which 
he  died. 

Engel,  Gustav  Edward.     1823-1895. 

Born  at  Konigsberg,  he  is  known 
as  a  writer,  teacher  of  singing,  and 
critic  for  German  periodicals.  He 
first  appears  as  a  student  of  phil- 
osophy in  Berlin,  where  he  studied 
musical  science  and  singing,  and  was 
a  member  of  the  Cathedral  choir  and 
of  the  singing  society.  His  time  was 
divided  between  teaching  vocal  music 
and  writing  articles  on  the  scientific 
and  philosophical  aspects  of  ^  music. 
He  was  engaged  at  different  times  as 
critic  for  two  Berlin  periodicals; 
taught  in  Kullak's  Academy,  and  in 
the  Hochschule  in  Berlin. 

Enna,  August.     1860- 

Composer  and  violinist;  born  in 
Denmark.  He  was  of  mixed  parent- 
age, his  grandfather,  an  Italian  sol- 
dier in  Napoleon's  army,  having 
married  a  German  woman  and  settled 
in  Denmark.  When  he  was  ten  years 
old  the  family  moved  to  Copenhagen, 
where  the  boy,  August,  attended  the 
free  schools  and  learned  to  play  the 
piano  without  a  teacher.     At  seven- 


BIOGRAPHIES 


215 


Enna 
teen  he  received  a  few  lessons  from 
rnediocre  teachers  in  theory  and  vio- 
lin, but  persisted  in  soHtary  study  of 
harmony  and  instrumentation.  He 
desired  to  enter  the  Copenhagen  Or- 
chestra, but  not  being  competent  to 
play  in  this  joined  a  little  traveling 
orchestra  on  a  trip  to  Finland.  At  the 
end  of  a  six  months'  tour  he  returned 
to  Copenhagen,  and  composed  an 
operetta,  The  Village  Tale,  which  was 
given  in  several  small  theatres.  Dur- 
ing this  time  he  eked  out  his  living 
by  playing  for  dancing  lessons,  often 
improvising  his  own  music,  and  teach- 
ing piano  at  about  twelve  cents  a  les- 
son. In  1883  he  became  conductor 
for  a  small  troupe,  writing  the  music 
for  their  performances  and  composing 
several  overtures.  His  present  in- 
come enabled  him  to  publish  some 
songs  and  piano-music,  an  orchestral 
suite,  and  a  symphony.  This  latter 
attracted  the  attention  of  Gade,  who 
aided  Enna  in  securing  the  Ancker 
scholarship  for  composers,  enabling 
him  to  study  a  year  in  Germany. 
Shortly  after  he  wrote  an  opera. 
The  Witch,  which  was  produced  at 
the  Royal  Opera  House  in  Copen- 
hagen with  a  success  unprecedented 
among  Danish  composers.  His  next 
opera,  Cleopatra,  was  not  so  immedi- 
ately popular,  but  rose  into  high  favor 
the  succeeding  year.  Still  greater  was 
the  success  of  Aucassin  and  Nicolette, 
given  at  Copenhagen  in  1896  and  in 
Hamburg  in  1897.  Besides  these 
larger  works,  he  has  published  a  vio- 
lin concerto  in  D  major  and  other 
smaller  compositions.  Of  recent 
years  he  has  given  much  attention  to 
the  fairy  opera,  drawing  his  material 
for  librettos  from  the  tales  of  the 
well-known  Hans  Christian  Andersen. 
The  Little  Matchgirl,  one  of  these, 
has  been  successful  in  the  principal 
European  countries,  as  well  as  Den- 
mark, Enna  being  the  only  Danish 
operatic  composer  known  outside  of 
his  own  country.  Yet,  in  common 
with  a  number  of  greater  composers, 
his  life  was  for  years  a  series  of  all 
but  overwhelming  struggles  with 
poverty,  it  being  said  that  one  opera 
was  lost  through  his  having  been 
forced  to  use  the  manuscript  for  fuel. 

*  Epstein  (ep'-shtin),  Abraham  I. 

Contemporary  American  teacher  and 
organist,  one  of  the  two  directors  of 
the  Beethoven  Conservatory  of  Music 
at  St.  Louis,  Missouri.     He  was  born 


Erdmannsdorffer 
in  Mobile,  Alabama,  studied  in  Berlin 
under  Herman  Lavitzky,  and  studied 
harmony  and  composition  with  Pre- 
vost  in  Paris.  He  is  the  author  of 
pieces  for  the  piano  and  compositions 
for  the  organ,  and  has  met  with  suc- 
cess as  organist  and  teacher. 

*  Epstein,  Marcus  I. 

Brother  of  preceding,  contemporary 
American  teacher  and  pianist,  one  of 
the  directors  of  the  Beethoven  Con- 
servatory of  Music  at  St.  Louis.  He 
was  born  in  Mobile,  Alabama.  Was 
for  three  years  at  the  Leipsic  Con- 
servatory, studying  piano  with  Rein- 
ecke  and  Jadassohn,  and  harmony  and 
composition  under  Richter.  As  a 
teacher  and  pianist  he  has  met  with 
success,  and  has  written  a  number  of 
compositions  for  the  piano. 

Erben,  Henry.    1801-1884. 

American  organ-builder,  who  was 
the  grandson  of  an  early  German 
settler  in  Pennsylvania,  and  son  of 
Peter  Erben,  an  organist.  Born  in 
Philadelphia,  Peter  Erben,  about  the 
close  of  the  Eighteenth  Century, 
moved  to  New  York,  where  he  went 
into  the  business  of  organ-building, 
also  playing  in  Trinity  Parish  for  over 
thirty  years.  Henry  was  apprenticed, 
when  seventeen  years  old,  to  Thomas 
Hall,  an  organ-builder;  rose  into 
partnership  with  his  employer  in 
1822,  and  from  1835  carried  on  the 
business  alone.  Many  of  the  best 
church  organs  over  the  United  States 
bear  his  name. 

Erdmannsdorff er   (ert'-mans-derf-f er) , 

Max.     1848- 

Conductor  and  composer,  who  was 
born  in  Nuremberg.  He  studied  first 
with  his  father  and  August  Raab,  and 
in  1863  entered  the  Leipsic  Conserv- 
atory, where  for  four  years  he  studied 
piano  under  Moscheles  and  Reinecke, 
violin  under  David  and  Dreyschock, 
theory  under  Hauptmann,  Richter  and 
Reinecke,  and  later  was  a  pupil  of 
Rietz  at  Dresden.  From  1871  to  1880 
he  was  conductor  of  the  orchestra  of 
the  Prince  of  Schwarzburg,  Sonders- 
hausen,  where  he  caused  the  best 
modern  works  to  be  performed,  rais- 
ing the  already  high  standard  of  the 
orchestra.  After  resigning  this  posi- 
tion he  lived  in  Vienna,  Leipsic  and 
Nuremberg,  and  in  1882  he  was  ap- 
pointed director  of  the  Imperial  Mu- 
sical Society  and  professor  at  the  Con- 


216 


BIOGRAPHIES 


ErdmannsdorfiFer 
servatory  of  Moscow,  where  in  1885 
he  established  an  orchestral  society 
for  students.  He  later  conducted  the 
Bremen  Philharmonic  concerts  in 
Germany,  and  in  1895  the  Symphony 
concerts  at  St.  Petersburg.  The  fol- 
lowing year  he  was  appointed  director 
of  the  Court  Theatre  in  Munich.  He 
married,  in  1874,  Pauline  Fichtner, 
who  was  a  pupil  of  Liszt  and  Court 
pianist  at  Weimar  and  Darmstadt. 
His  works  are  as  follows:  Several 
compositions  for  solos,  chorus  and 
orchestra;  Prinzessin  Use;  a  Forest 
Legend;  Schneewittchen;  Traunkonig 
and  sein  Lieb;  and  Des  Kaiserheeres 
Romfahrt,  for  male  chorus  and  or- 
chestra; overture  to  Brachvogel's 
Narciss,  for  violin  and  piano;  a  son- 
ata; and  Album-leaves;  also  songs, 
male  choruses  and  compositions  for 
piano. 

Erk   (erk),   Ludwig   Christian.    1807- 

1883. 

Director  and  editor  of  collections, 
especially  German  folk-songs.  He 
was  the  son  and  pupil  of  Adam  Wil- 
helm  Erk,  cathedral  organist  at 
Wetzlar,  and  studied  also  with  Andre 
and  later  with  Spiess  at  Frankfort. 
In  1826  he  began  teaching  in  the 
Seminary  of  Meurs,  and  started  musi- 
cal festivals  in  the  surrounding  small 
towns,  cultivating  a  taste  among  the 
people  for  part-songs.  In  1836  he 
went  to  Berlin  as  professor  in  the 
Royal  Seminary  and  accepted  also  the 
leadership  of  the  Cathedral  choir,  but 
resigned  this  in  1838  for  lack  of  sup- 
port. In  1843  he  founded  a  men's 
chorus  for  the  study  and  singing  of 
folk-songs,  which  still  exists,  and  in 
1852  a  similar  choral  society  of  mixed 
voices.  In  1857  Erk  became  musical 
director  in  the  Royal  Seminary,  retir- 
ing from  this  institution  twenty  years 
later.  His  own  compositions  are  less 
important  than  his  editions  of  Ger- 
man songs,  which  number  over  forty. 
His  Deutscher  Liederhort  is  a  work 
considered  authoritative  on  German 
folk-songs.  He  left  a  valuable  library 
and  a  large  number  of  manuscripts, 
many  of  which  were  published  after 
his  death.  The  bulk  of  these  came 
into  possession  of  the  Konigliche 
fur  Musik  at  Berlin. 

Erkel  (er-kel),  Franz.    1810-1893. 

Composer  and  conductor,  called  the 
creator  of  Hungarian  national  opera. 
He  was  born  at  Gyula,  Hungary.    He 


Ernst 

early  showed  musical  talent,  and 
worked  at  the  piano  with  the  assist- 
ance of  his  father,  a  good  amateur 
musician.  At  the  age  of  twenty-four 
he  became  director  of  an  opera 
troupe  which  went  to  Budapest, 
where  several  «years  later  he  became 
conductor  of  the  National  Theatre, 
just  then  opened.  Here  he  produced 
his  operas,  which  scored  a  popular 
success  from  the  first,  due  as  much  to 
the  fact  that  they  embodied  the  na- 
tional airs  of  Hungary,  as  to  their 
real  musical  value.  He  also  founded 
and  conducted  the  Philharmonic  con- 
certs and  was  head  professor  of  piano 
and  orchestration  at  the  National  Mu- 
sical Academy.  Erkel's  musical  ac- 
tivities continued  nearly  to  his  eight- 
ieth year,  during  which  time  he  was 
most  highly  esteemed  by  the  entire 
nation.  Of  the  nine  or  ten  operas 
produced  by  him,  Hunyady  Laszlo  is 
the  most  popular  and  Bank-Ban  is 
considered  his  best  as  a  whole.  He 
also  left  a  number  of  songs,  which, 
as  well  as  his  operas,  are  expressive 
of  the  national  spirit. 

♦Erlanger    (er-lafi-sha),    Camille. 

1863- 

French  composer,  who  was  born  in 
Paris,  and  at  seventeen  entered  the 
Paris  Conservatory,  where  he  studied 
and  composed  under  Mathias,  Delibes, 
and  others.  He  won  the  Grand  Prize 
of  Rome  in  1888,  by  his  cantata, 
Velleda,  and  has  since  produced  a 
number  of  operas  given  in  different 
Paris  opera  houses.  Among  these  the 
first  notable  success  was  made  by 
Saint-Julien  I'Hospitalier,  at  the  Con- 
servatory in  1894;  later  were  produced 
Le  Juif  Polonais,  at  the  Opera 
Comique,  1900;  and  Le  Fils  de 
rfitoile,  at  the  Grand  Opera  in  1904. 
He  has  also  composed  songs;  some 
piano-pieces,  and  a  serenade  for  or- 
chestra. 

Ernst,  Heinrich  Wilhelm.    1814-1965. 

Celebrated  violinist.  Was  born  at 
Briinn,  Moravia.  Studied  violin  at  the 
Vienna  Conservatory  under  Bohm, 
composition  under  Seyfried,  and  later 
under  Mayseder,  making  his  first  con- 
cert tour  at  the  age  of  sixteen.  He 
greatly  admired  the  playing  of 
Paganini,  who  was  at  the  same  time 
givmg  concerts  through  Germany,  and 
is  said  to  have  followed  that  great 
virtuoso  from  place  to  place  in  order 
to  familiarize  himself  with  this  par- 


BIOGRAPHIES 


217 


Ernst 


ticular  style.  In  1832  he  went  to 
Paris,  where  he  studied  with  de 
Beriot,  after  which,  up  to  the  year  of 
1850,  he  traveled  over  the  greater  part 
of  Europe,  giving  concerts  with  most 
brilliant  success  and  receiving  praise 
from  Schumann  on  coming  to  Leipsic. 
He  finally  settled  in  London,  where 
he  played  in  the  Philharmonic  con- 
certs. His  health  gave  way  at  last, 
cutting  off  his  public  career,  and  he 
died  at  Nice,  aged  fifty-one.  His 
playing  was  characterized  by  brilliancy 
of  execution  and  beauty  of  tone,  with 
the  capacity  of  both  fire  and  delicacy 
in  expression.  He  wrote  a  number 
of  varied  and  effective  compositions, 
chiefly  for  violin,  but  also  for  or- 
chestra, string  quartets  and,  in  col- 
laboration with  Hellar,  violin  and  piano 
duets  Of  his  compositions,  The  Elegie, 
Carnaval  de  Venise  and  the  Concerto 
in  F  sharp  minor  for  solo,  violin  and 
orchestra,  are  examples,  the  latter 
being  considered  perhaps  his  best 
work  musically,  is  full  of  the  technical 
difficulties  which  are  found  in  most 
of  his  works. 

Eslava    (es-la'-va),    Miguel    Hilarion. 
1807-1878. 

This  most  eminent  modern  Spanish 
violinist  and  composer  was  born  near 
Pampeluna,  and  at  seventeen  was  a 
violinist  and  choir-singer  in  the  ca- 
thedral of  that  place.  In  1828  he  was 
appointed  chapelmaster  of  the  Cathe- 
dral at  Ossuna,  and  in  1832  of  the 
Metropolitan  Church  at  Seville,  tak- 
ing priest's  orders.  In  1844  he  be- 
came master  of  the  royal  chapel.  His 
works  include  three  operas  written  in 
Italian,  but  the  larger  number  are 
masses,  motets,  and  other  church 
music.  The  most  important  of  his 
works  are  two  collections,  Lira  sacro- 
hispana,  which  comprises  the  best 
Spanish  church  music  from  the  Six- 
teenth to  the  Nineteenth  Centuries, 
and  the  IVIuseo  organo  espahol,  which 
includes  some  of  his  own  organ  com- 
positions. He  also  edited  a  musical 
periodical  in  Madrid  from  1855  to 
1856. 

*  Esposito,  Michele.    1855- 

Italian  pianist  and  composer,  who 
was  born  at  Castellammare,  near 
Naples.  When  ten  years  old  he  ob- 
tained by  competition  a  free  scholar- 
ship in  the  Conservatory  at  Naples, 
where  he  studied  the  piano  under 
Cesi,   and   composition   under   Serrao 


Esser 
till  1875.  Three  years  later  he  went 
to  Paris,  and  remained  there  till  his 
appointment  as  professor  of  the  piano 
at  the  Royal  Academy  of  Music  in 
Dublin,  Ireland,  a  position  he  has 
occupied  since  1882.  Here,  in  addi- 
tion to  his  teaching,  he  has  given 
many  piano  recitals  and  chamber- 
music  concerts  under  the  auspices  of 
the  Royal  Dublin  Society,  and  has 
been  conductor  of  the  Dublin  Orches- 
tral Society  from  its  beginning  in 
1898,  the  success  of  this  organization 
being  ascribed  chiefly  to  his  ability. 
In  1905  he  inaugurated  a  series  of 
Sunday  afternoon  orchestral  con- 
certs, which  are  given  throughout 
every  winter. 

His  works  include  Deirdre,  a  prize 
cantata  for  solos,  chorus  and  orches- 
tra, first  produced  at  an  Irish  musi- 
cal festival,  and  later  in  London  and 
in  Chicago;  an  operetta,  The  Postbag, 
produced  in  London  in  1902;  a 
symphony,  known  as  the  "  Irish 
symphony,"  the  themes  of  which  are 
based  on  Irish  airs,  a  Poeme  for  or- 
chestra and  string  quartet.  In  1898 
his  sonata  for  cello  and  piano  won  the 
prize  offered  by  the  Incorporated  So- 
ciety of  Musicians  in  England,  and  in 
July,  1907,  another  sonata  for  violin, 
that  of  the  Societe  Musicale  of  Paris. 
In  1905  he  received  from  the  Uni- 
versity of  Dublin  the  honorary  degree 
of  Doctor  of  Music.  Other  compo- 
sitions are  a  second  sonata  for  violin 
and  piano,  and  a  number  of  songs  and 
piano-pieces.  He  has  edited  a  volume 
of  the  compositions  of  early  Italian 
harpsichord  writers. 

Esposito  is  said  to  be  a  pianist  of 
exceptional  power,  who  has  created  a 
school  of  piano-playing  in  Dublin 
which  compares  favorably  with  any 
in  England  or  abroad.  He  is  an  in- 
defatigable worker,  and  "  the  center 
of  a  circle  of  friends  and  musicians 
who  are  attracted  to  him  by  his  great 
talents  as  a  musician,  by  his  extraor- 
dinary enthusiasm,  and  by  the  many 
kindly  qualities  of  his  character." 

*  Esser,  Franz.     1868- 

Eminent  contemporary  German  vio- 
linist, who  now  resides  in  the  United 
States.  He  was  born  at  Crefeld,  Ger- 
many, studied  piano  and  violin  under 
Julius  Oertling  in  Crefeld  and  taught 
in  that  town.  Later  he  was  engaged 
in  teaching  in  Vienna.  Two  years 
were  spent  in  Switzerland,  where  he 
filled   engagements   as    solo-violonist 


218 


BIOGRAPHIES 


Esser 
He  then  went  to  Berlin  for  further 
study,  remaining  there  four  years, 
studying  in  the  Royal  Hochschule 
under  Joachim,  Heinrich  Jacobsen, 
Bargiel,  Spitta  and  Schulz.  After  a 
tour  in  Germany  as  member  of  a 
quartet  he  assumed  the  duties  of 
concertmaster  at  Basle,  Switzerland. 
At  the  request  of  Theodore  Thomas 
he  left  Basle  to  go  to  America,  and 
since  1902  has  been  a  member  of  the 
Theodore  Thomas  Orchestra.  He 
plays  principal  viola  in  this  famous 
organization. 

Esser,  Heinrich.    1818-1872. 

German  composer  and  conductor. 
He  was  a  pupil  of  Lachner  and 
Sechter  in  Vienna,  directed  the  band 
and  afterward  was  conductor  in  the 
Theatre  of  Mannheim,  his  native  city. 
From  1847  he  was  director  at  the 
Karntnerthor  Theatre,  Vienna,  and  ten 
years  later  of  the  Court  Opera,  also 
conducting  the  Philharmonic  concerts 
in  the  latter  city  for  some  years.  His 
health  failing,  he  was  liberally  pen- 
sioned, and  his  later  years  were  spent 
in  retirement  in  Salzburg.  His  com- 
positions include  the  operas,  Silas, 
The  Two  Princes,  and  Riquiqui;  or- 
chestral and  chamber  compositions; 
and  male  quartets  and  songs,  the  vocal 
numbers  surpassing  his  larger  works 
in  charm  and  popularity.  He  is  said 
to  have  been  a  most  refined  and  ad- 
mirable character,  and  an  industrious 
composer,  with  much  originality  and 
beauty  of  idea. 

Essipoff  (es-si-pd£'-a),  Annette.    1850- 

Russian  pianist,  daughter  of  a  Court 
councilor,  and  enthusiastic  amateur 
musician;  was  born  at  St.  Petersburg. 
Her  father  was  her  first  teacher,  and 
her  next,  Wielopolski.  At  fourteen 
she  entered  the  Conservatory  of  St. 
Petersburg,  where  she  became  Lc- 
schetitzky's  pupil.  She  was  wilful  as 
well  as  talented,  playing  much  "  by 
ear,"  but  was  subjected  by  the  great 
teacher  to  strict  discipline.  During 
this  period  she  was  urged  by  Rubin- 
stein to  devote  herself  to  vocal  study, 
but  Leschetitzky  won,  and  took  a 
most  unusual  interest  m  her.  In  1876 
to  1877  she  took  the  prizes  for  piano- 
playing  and  sight-reading  at  the  Con- 
servatory, but  previous  to  this  time, 
in  1874,  had  appeared  in  Vienna  and 
London  with  remarkable  success, 
playing  at  a  Philharmonic  concert  in 
the  latter  city,  and  later  at  one  of  the 


Esterhazy 
Paris     Concerts     Populaires.       After 
concert  tours  in  Europe  she  came  to 
America  about  1877. 

At  the  time  of  Essipoff's  marriage 
to  her  former  teacher,  Leschetitzky, 
in  1880,  her  reputation  as  a  concert 
pianist  was  very  great,  and  in  the 
opinion  of  a  number  of  critics  shii 
ranked  second  only  to  Liszt.  In  1885 
she  received  the  appointment  as  Court 
pianist  in  Prussia.  In  1893  she  was 
separated  from  Leschetitzky,  but  they 
seemed  to  have  continued  friends,  for 
that  same  year  she  became,  through 
his  influence,  the  successor  of  Stein 
as  professor  of  piano  at  the  St.  Peters- 
burg Conservatory,  from  which  posi- 
tion she  retired  in  1900. 

Madame  Essipoff's  teacher  and  hus- 
band took  such  an  unparalleled  inter- 
est in  her  that  he  gave  up  his  own  con- 
cert career  to  further  her  advance- 
ment, and  even  after  their  divorce  and 
his  remarriage,  used  his  influence  in 
her  behalf.  Madame  Essipoff's  play- 
ing was  characterized  by  great  tech- 
nical ability  and  strong  poetic  feeling. 
Tschaikowsky  wrote  a  concerto  for  her. 

Esterhazy    (esh'-ter-ha-ze),    Nicholas 

von.     1765-1833. 

This  patron  of  musical  art  and 
scion  of  a  noble  family  was  the  grand- 
son of  Nicholas  Joseph  von  Ester- 
hazy, who  before  him  was  a  patron 
of  letters  and  arts,  as  well  as  a  diplo- 
mat and  a  general,  and  who  founded 
at  Eisenstadt  the  private  orchestra 
of  which  Haydn  and  Plcyel  were  mem- 
bers, the  former  later  being  its  con- 
ductor for  thirty  years.  Nicholas  von 
Esterhazy  spent  much  of  his  youth 
traveling  through  Europe,  especially 
in  Italy,  France  and  England,  culti- 
vating his  taste  for  art.  With  prac- 
tically unlimited  wealth,  his  fame  rests 
on  his  wise  and  beneficient  use  of  it. 
He  maintained  a  private  chapel  at  his 
residence,  Eisenstadt.  Here  Haydn 
was  buried  with  ceremony  and  a 
marble  monument  was  erected  in  the 
composer's  honor  in  1820.  Esterhazy's 
musical  library  at  Eisenstadt  is  said 
to  be,  possibly,  the  richest  in  exist- 
ence, containing  complete  collections 
of  the  works  of  Haydn,  Mozart,  and 
others,  and  many  compositions  in 
manuscript.  Authorities  differ  as  to 
the  date  of  his  death,  some  giving  it 
as  1833,  others  naming  that  year  as 
the  date  of  his  retirement  from  public 
and  diplomatic  activities,  and  1849  as 
the  year  in  which  he  died. 


BIOGR. 

Evers 

.....^.c  (^o',v?r-^    Carl.    1819-1875. 

'  and  composer.  Was 
.1  i  i,ij..;^urg,  and  showed  early 
jniich  ability  as  a  player,  appearing  in 
public  at  twelve  and  making  concert 
tours  before  he  was  eighteen.  His 
teacher  at  Hamburg  was  Schmitt,  and 
he  later  studied  composition  with 
Karl  Kreb"?  Visiting  Leipsic  at 
t\s.  ■  ■-  .  ■  '  ;  '  ■  ■  ''  " 
le 

iic.\i   year   iic    wcui   to 


began  "f  =  ''   ,  '    •       Mid  not  dmA'. 
1792   he    bee  i me    cUoirmaster 
Carmelite     Church,    in     1794 
"  Schotten  "  monastery  in   Vw 
1804  vice  chapelmasti'-   \o  tl' 
in  1810  musicmaster 
children,  and  in  1824 
as  '-'■--'  —'  .^Ko....- 
he 


(.ujajj-jit-M  a  iiUiiiUcr  of  toaceft  works 
that   were   popular   in   his   time;    and 


FREDERt\^i:PKSAtoS°CHOPINrii0§"l849; 

Store   uFrederic  Francois  Chopin;  born  near  Warsaw,  the 

^'.^"^j'eHtesl  efpnius  on.  the 'pianp  that  ever  lived,  was  one 
his  ^ealh    lie*' lived    m    Vioniift.       i^.i       £^.,  _..  .^,.     ^  ....  . 

corrf^^^nBKjwirnkwable^  interestang  al^4.  TPRi'i^Ptrc  figures 


,t!ll 

ide 


^^^^4p  ^tlie'-■l^  N'i^' oth^f  :poet,-  for  Ghopin 

f'"  was-  as  much  a  'poet  as  he  was  'a  iiltisiciah,  has  like 
him  embodied  in  art  the  romance  of  the  land  and  the 
people  of  Poland. 

He  was  a  composer  for  the  piano  and  for  the 
piano  alone  and  his  style  is  suited  to  no  other  instru- 
ment. His  compositions  have  been  well  called  his 
memoirs  and  his  autobiography. 

The  sadness  of  the  composer's  life  and  his  melan- 
;'  chblV"'  disposition    ha.Y^[.\>^ep^   dwel1^lJ.^ipon  :  Ijij.ye.yeirj?-. 
ectW?@3Si4ih§r.;iiiHi6r>  life  ywadir^hrief   buti'foill   of  •  itorident, 
Art^ijiS.  1^^' T^eW^e^'io  ,'^H'6\d'/tKbf  mtisic'  cannot   be   too        --'^Wues! 

compositions    were"'  ^       ■  .  -        •     »"s        * 

nurfe€W56:^ii}-bat^d  '«ts;  a_ sonata  for 

the  composer's  >-  i  : 
to  complete   'he   KCfjutem,   ' 


h 
za 

reed 


ih  intro- 
es;    son-, 
gements 


to     Lucifer,     a 


Faccio  (fat'-cho),  Franco.    1840-1891 

Dramatic  composer  and  conductv)r, 
who  was  born  in  Verona,  Italy,  and 
was,  after  Mariani's  death,  the  best 
conductor  in  Italy.  His  first  teacher 
was  G.  Bernasconi  and  he  was  a  pupil 
of   the    Conservatory   of    Milan    from 

"'    to    1861     under     Ronchetti     and 

cato.     He  later  obtained  n  pub- 

^:  -V    from   the   government,   and   was 

able  to  travel.     Faccio  was  a  friend 


the  guv^ 
in  Paris  :r.  . 
1    entered 
1    under 


d'itdiia,  re: 

ment  priz» % 

also  in  Germ^uy.      » 

the    Italian    irmy   a 

Garibaldi     in     1866.      i- 

professor    of   harmony 

r.  - ■•     ^^'^^     — ^ 

(  ■'     was    made 

pi    .......    ^ ,     iit  a"d  fugue 

there,  was  ehap<imasi«r  at  La  Scala, 


jj^8i-Q()8i  !Xi;4bHD  ^pDidAHC^pii^aaaM 


oao  zLvr  ^bavil  -nva  Jjiili  oiiciq  c^n '  '   o)^  je^JB^ig 

esTu^fi  'jinrBrnoi  ImK  pjirtriotglni  /.. j>orrt  orlJ  lo 

niqorlO  loi  ,jooq  loiliu  o/.  .-^ig'Urn  1o  vioJairl  sriJ  nr 
9>fil  r-^firl  ,aBi-jic-.r;rfi  iz  ^.i://  ail  fes  Jooq  £  rfourn  ac  sew 
oiU  bnc  bnr[  sHj  1"  o'jr'Rrrtii-t  nrfj  jii^  rii  baiboorno  fniri 

.bnBlo4  lo  alqoaq 
■jr\i    tol    bns   onfiiq    -i^ih    lol    Tjaoqrno    b    zzii    sH 
-riijsfii 't'Sflto  on  uj  b'jJfrj?,  ;>j  stvic     'f'  '""t,-  onoiB  orifiiq 
eirl    h^ifnD    -Uay/    fi33i(   svBfl    anoij;  ^rll      Jn-^m 

Yilqijis^oioojijii  «ifl  biir.  ?:iiorn9ift 
-rij.  ,,..  r..,,  ».•,,.,  ...:.  ^,  ijaoqmoo  o  'i  Vo  .aa^n-bi;^  ^HT 
■((•rj  -  J    '^d    noqrj    iiyv/b    ffj'jff    o    ^rf    rforti?,oq>-if>    vIorlD 
<:tn9biortr  l;o    Tlui    ti;tj  lai-id   r.r,  ::n6 

ool   ad   JonriE'    ■^'--'••^'    <       --^  ,i,    bns 


BIOGRAPHIES 


219 


Evers 
Evers  (a'-vers),  Carl.    1819-1875. 

German  pianist  and  composer.  Was 
born  at  Hamburg,  and  showed  early 
much  ability  as  a  player,  appearing  in 
public  at  twelve  and  making  concert 
tours  before  he  was  eighteen.  His 
teacher  at  Hamburg  was  Schmitt,  and 
he  later  studied  composition  with 
Karl  Krebs.  Visiting  Leipsic  at 
twenty  years  of  age,  he  received  some 
lessons  from  Mendelssohn,  who  in- 
spired him  to  greater  efforts  in  com- 
position. The  next  year  he  went  to 
Paris,  and  was  well  received  by  Cho- 
pin and  Auber.  He  finally  settled 
in  Gratz,  where  he  established  a  music 
store  in  1858,  continuing  his  profes- 
sional activities  beside.  From  1872  to 
his  death  he  lived  in  Vienna.  His 
compositions  number  over  one  hun- 
dred works,  including  four  piano 
sonatas;  twelve  songs  without  words 
for  piano;  fugues;  fantasias;  and  vari- 
ous songs. 

Eybler  (i'-bler),  Joseph.     1765-1846. 

Was  born  at  Schwechat,  near  Vi- 
enna; studied  at  the  boys'  seminary  in 
Vienna  with  Albrechtsberger,  who  is 
said  to  have  ranked  him  next  to  Mo- 
zart. He  had  expected  to  follow  the 
law,  but  family  reverses  made  it  nec- 
essary for  him  to  put  into  practice 
his  musical  knowledge  instead.  Here 
his  friendship  with  Haydn  and  Mo- 
zart was  of  advantage  to  him,  they 
recommending  him  to  the  publisher 
Artaria.  Soon  after  this  some  of  his 
compositions  were  brought  out.  He 
nursed  Mozart  in  his  last  illness  and 
the  composer's  widow  requested  him 
to  complete  the   Requiem,  which   he 


Faccio 

began  to  do,  but  could  not  finish.  In 
1792  he  became  choirmaster  of  the 
Carmelite  Church,  in  1794  of  the 
"  Schotten  "  monastery  in  Vienna,  in 
1804  vice  chapelmaster  to  the  court, 
in  1810  musicmaster  of  the  Emperor's 
children,  and  in  1824  succeeded  Salieri 
as  chief  court  chapelmaster.  In  1834 
he  was  struck  with  paralysis  while 
conducting  the  Requiem  of  Mozart, 
and  the  year  afterward  received  from 
the  Emperor  a  title  of  nobility.  He 
composed  a  number  of  concert  works 
that  were  popular  in  his  time;  and 
many  of  church  compositions  are  still 
used  on  the  Continent.  They  include 
a  "  Requiem "  of  high  merit,  masses, 
Te  Deums,  and  offertories. 

Eyken    (i'-ken),  Johann   Albert   von. 

1822-1868. 

The  son  of  an  organist.  Johann 
Albert  von  Eyken  was  born  at  Amers- 
foort,  Holland;  studied  at  the  Leipsic 
Conservatory  and  afterward  with 
Schneider  m  Dresden,  and  gave  con- 
certs with  remarkable  success  in  his 
native  country.  He  was  for  six  years 
organist  in  Amsterdam,  and  also 
taught  at  the  Rotterdam  School  of 
Music.  From  1854  till  his  death  he 
was  organist  of  the  Reformed  Church 
of  Elberfeld.  His  numerous  and  well- 
known  organ  works  establish  his  rank 
as  a  composer.  They  include  one 
hundred  and  fifty  chorals  with  intro- 
ductions; twenty-five  preludes;  son- 
atas; transcriptions;  and  arrangements 
for  organ  of  Bach's  clavier  fugues; 
also  songs  and  quartets;  a  sonata  for 
violin;  and  music  to  Lucifer,  a 
tragedy. 


F 


Faccio  (fat'-cho),  Franco.     1840-1891. 

Dramatic  composer  and  conductor, 
who  was  born  in  Verona,  Italy,  and 
was,  after  Mariani's  death,  the  best 
conductor  in  Italy.  His  first  teacher 
was  G.  Bernasconi  and  he  was  a  pupil 
of  the  Conservatory  of  Milan  from 
1855  to  1861  under  Ronchetti  and 
Alazzucato.  He  later  obtained  a  sub- 
sidy from  the  government,  and  was 
able   to  travel.     Faccio  was  a  friend 


and  co-worker  with  Arrigo  Boito,  and 
together  they  wrote  Le  Sorelle 
d'ltalia,  receiving  for  it  the  govern- 
ment prize,  and  studying  in  Paris  and 
also  in  Germany.  They  later  entered 
the  Italian  army  and  served  under 
Garibaldi  in  1866.  Faccio  became 
professor  of  harmony  at  the  Milan 
Conservatory  in  1868,  succeeding 
Croff,  and  subsequently  was  made 
professor  of  counterpoint  and  fugue 
there,  was  chapelmaster  at  La  Scala, 


220 


BIOGRAPHIES 


Faccio 

Milan,  and  finally  succeeded  Terziani 
as  conductor  there,  which  position  he 
filled  with  distinction.  He  died  at 
Biffi,  near  Monza,  Italy.  His  works 
consist  of  an  opera,  I  profughi  Fiam- 
minghi,  with  the  text  by  Praga,  given 
at  La  Scala  in  1863  with  marked  suc- 
cess; the  opera,  Amleto,  with  the  text 
by  Boito,  given  at  Florence  in  1865 
and  at  Milan  six  years  later;  a  con- 
cert overture;  a  cantata  written  with 
Boito;  a  cantata  for  the  inauguration 
of  the  Turin  exhibition  in  1884;  a 
hymn;  music  for  Giacometti's  Maria 
Antoinette;  a  symphony  in  F;  string 
quartet;  and  a  vocal  album. 

Faelton   (fel'-ten),  Carl.     1846- 

Noted  pianist  and  teacher;  born  at 
Ilmenau,  Thuringia;  who  has  had  a 
long  and  honorable  career  in  his 
chosen  profession  and  is  the  founder 
of  the  Faelton  Piano  School  of  Bos- 
ton and  author  of  an  original  and 
widely  known  series  of  text-books. 
Faelton  was  educated  at  the  Latin 
School  at  Weimar,  and  pursued  his 
studies  in  music  at  Weimar  with 
Montag  and  with  Schoch  at  Frankfort 
till  his  nineteenth  year.  While  in  the 
latter  city,  he  became  a  friend  of 
Joachim  Raff,  whom  he  had  met  at 
Wiesbaden,  and  that  composer  had  a 
decided  influence  upon  his  career. 
Later  he  studied  further  at  Liibeck 
and  at  Arnstadt.  At  Liibeck  he  met 
and  married  Adele  Schloesser  in  1877. 
The  German  military  law  took  Fael- 
ton away  to  serve  during  the  Franco- 
Prussian  War,  and  when  he  returned 
his  fingers  were  so  stiff  that  he  had 
to  begin  his  piano  studies  all  over 
again.  From  1868  he  directed  an 
orchestra  at  Frankfort,  and  in  1877 
when  Raff  organized  his  conservatory 
at  Frankfort  he  chose  Faelton  as  one 
of  his  staff.  Faelton  had  charge  of 
the  training  of  teachers  and  gave  lec- 
tures on  the  theory  and  practice  of 
music.  He  also  appeared  throughout 
Europe  in  symphony  concerts  and  re- 
citals. After  Raff's  death  Faelton 
came  to  America,  settling  in  Balti- 
more in  1882,  and  becoming  a  member 
of  the  teaching  force  at  Peabody  In- 
stitute in  that  city.  From  1885  to 
1897  he  was  connected  with  the  New 
England  Conservatory  of  Music  at 
Boston,  and  later  succeeded  Dr.  Ebcn 
Tourjee  as  head  of  that  institution. 
He  resigned  in  1897  in  favor  of 
George  W.  Chadwick,  and  then 
founded  a  piano  school  of  his  own, 


Fairlamb 
of  which  he  has  ever  since  been  the 
director.  He  has  compiled  seventeen 
instruction  books,  including  The 
Fundamental  Training  Series  and  a 
course  for  pianists,  which  includes 
sixteen  numbers,  the  last  being  key- 
board harmony,  published  in  1898.  He 
also  has  written  a  Technische  t)bun- 
gen  for  piano.  As  a  teacher  Faelton 
is  highly  regarded. 

Fairlamb,  James  Remington.     1839- 

American  composerj  who  was  born 
in  Philadelphia  and  who  at  fourteen 
was  a  church  organist  and  at  sixteen 
composed  his  first  work.  He  received 
most  of  his  early  musical  instruction 
from  his  mother,  and  subsequently 
was  a  pupil  of  Charles  Boyer.  He 
pursued  his  studies  later  in  Italy  and 
Germany,  and  at  the  Paris  Conserv- 
atory, where  he  was  a  pupil  of  Prud- 
ent and  Marmontel  in  piano  and 
studied  vocal  music  with  Mme.  Beck- 
holtz-Falcon  and  M.  Masset.  Fair- 
lamb  was  appointed  Consul  at  Zurich 
by  President  Lincoln.  While  in  Stutt- 
gart he  was  decorated  by  the  King  of 
Wiirtemburg  with  a  gold  medal  for 
his  Te  Deum  for  double  chorus  and 
orchestra.  Returning  from  Germany 
to  the  United  States  in  1865,  he  lo- 
cated temporarily  at  Washington  and 
later  moved  to  Philadelphia,  where  he 
afterwards  held  various  church  posi- 
tions. He  was  for  a  time  identified 
with  the  direction  of  operatic  affairs, 
producing  with  his  own  local  com- 
pany in  Washington,  D.  C,  Faust  and 
11  Trovatore.  The  same  company 
brought  out  his  grand  opera  in  four 
acts,  Valerie.  Fairlamb  was  super- 
visor of  music  in  the  public  schools 
of  New  York  City  from  1898  to  1899, 
was  also  organist  in  that  city  from 
1884  at  the  Church  of  St.  Ignatius, 
and  organist  at  churches  in  Elizabeth, 
N.  J.,  and  at  Jersey  City.  Fairlamb 
was  identified  with  the  first  produc- 
tion in  America  of  Sullivan's  operas, 
Pinafore  and  The  Sorcerer.  After- 
ward he  succeeded  the  English  com- 
poser, Alfred  Collier  in  directing  the 
Conley-Barton  Company.  Beside  the 
opera  mentioned  above,  Fairlamb 
wrote  two  others,  Treasured  Tokens, 
and  Leonello.  Besides  he  published 
two  hundred  compositions,  including 
numerous  songs;  choral  works;  sev- 
eral piano  pieces,  and  a  mass  in  B 
flat.  His  sacred  songs  numbering 
nearly  one  hundred  include  his  con- 
tributions to  the   St.   Nicholas   Song 


BIOGRAPHIES 


221 


Fairlamb 
Book.  As  a  teacher  he  was  held  in 
high  esteem,  and  his  works  are  gen- 
erally of  a  high  order.  He  was 
elected  a  member  of  the  Manuscript 
Society  and  of  its  board  of  directors, 
and  was  one  of  the  founders  of  the 
American  Guild  of  Organists  and  a 
member  of  its  council. 

Faisst  (fist),  Immanuel  Gottleb  Fried- 
rich.     1823-1894. 

German  organist,  theorist  and  com- 
poser, who  was  born  at  Esslingen, 
Germany,  and  founded  in  1847  a 
school  for  organists  at  Stuttgart  and 
also  a  society  for  classical  church 
music.  In  1857  he  established  a  con- 
servatory of  music  there  and  two 
years  later  became  its  director.  Faisst 
composed  a  great  deal  of  organ  music 
and  is  the  author  of  a  number  of  use- 
ful theoretical  works.  As  an  organist 
and  educator  he  was  once  very  well- 
known  in  Germany,  and  highly, 
esteemed.  He  was  principally  self- 
taught  and  when,  after  a  period  of 
study  at  Tiibingen,  he  submitted  some 
compositions  to  Mendelssohn,  he  was 
encouraged  by  that  composer  to  con- 
tinue studying  without  a  teacher.  In 
1846  he  toured  Germany,  giving  con- 
certs in  several  towns.  He  became 
organist  at  the  Stiftskirche  at  Stutt- 
gart, was  made  a  Doctor  of  Philoso- 
phy by  Tiibingen  University  and  re- 
ceived the  title  of  professor  from  the 
King  of  Wiirtemberg.  Faisst's  com- 
positions consist  mainly  of  church 
music  and  choral  works  and  include 
cantatas;  motets;  choruses  for  male 
voices  and  mixed  chorus;  songs; 
organ  music;  a  double  fugue  for 
piano;  and  piano-pieces.  His  setting 
of  Schiller's  Macht  des  Gesanges  re- 
ceived much  praise.  He  also  under- 
took the  editing  of  the  great  edition 
of  Beethoven's  piano  sonatas,  with 
Lebert,  for  the  firm  of  Gotta,  for 
which  edition  von  Biilow  also  edited 
some  of  the  sonatas. 

Falcon     (fal-koh),     Marie     Cornelie. 
1812-1897. 

Famous  singer,  the  daughter  of  a 
storekeeper  in  Paris,  where  she  was 
born.  She  very  early  in  life  showed 
a  talent  for  music  and  was  placed  m 
the  Conservatory  under  Pellegrini 
and  Bordogni  for  a  period  of  study. 
She  succeeded  in  carrying  off  many 
prizes,  and  after  her  graduation  she 
sang  at  several  concerts,  but  not  till 
she  made  her  debut  at  the  Academic, 


Faltin 

did  she  make  any  impression  on  the 
musical  public.  Her  first  operatic 
appearance  was  made  in  Robert  le 
Diable  in  1832.  Mme.  Falcon's  voice 
was  full  and  resonant,  especially  in 
the  upper  and  middle  register,  and 
she  was  besides  a  most  graceful  and 
beautiful  woman.  She  had  a  long  and 
successful  career  as  a  vocalist.  She 
originated  the  role  of  the  Countess  in 
Auber's  Gustave,  and  was  most  suc- 
cessful in  Don  Giovanni.  She  had 
the  honor  of  being  chosen  by  Cheru- 
bini  for  the  part  of  Morgiana  in  Ali 
Baba,  but  her  greatest  triumph  was 
won  in  1835  when  she  sang  the  part 
of  Rachel  in  La  Juive.  Her  reputation 
rests  mainly  upon  her  performance  in 
Les  Huguenots,  of  the  role  of  Val- 
entine. While  appearing  in  Stradella, 
Falcon's  voice  suddenly  left  her,  but 
in  a  few  weeks  it  returned  apparently 
as  beautiful  as  ever,  except  that  it 
was  changed  from  a  soprano  to  con- 
tralto. In  1840,  having  returned  to 
Italy,  she  attempted  to  sing  at  her 
own  benefit,  but  again  her  voice  failed 
her,  and  heart-broken  she  left  the 
stage.  A  pension  was  granted  her 
the  same  year.  After  her  retirement 
she  married  M.  Malanqon,  and  sang, 
according  to  some  authorities,  as  late 
as  1891. 

♦Faltin  (fal'-ten),  Richard.     1835- 

The  recognized  successor  of  Pacius, 
called  "  the  father  of  Finnish  music," 
who  died  in  1891,  and  undoubtedly 
one  of  the  most  gifted  and  well- 
trained  of  the  musicians  of  Finland. 
Faltin  was  born  in  Danzig,  West 
Prussia,  of  Finnish  parents,  and 
studied  music  first  in  his  native  town 
with  F.  W.  Markus,  who  instructed 
him  in  piano,  in  theory  and  in  com- 
position. About  1852  he  became  a 
pupil  of  Markell  and  of  Frederick 
Schneider,  at  Dessau,  and  also  studied 
at  the  Leipsic  Conservatory  under 
such  noted  instructors  as  Moscheles, 
Plaidy,  Hermann,  Richter  and  Haupt- 
mann.  In  1856  he  accepted  a  position 
as  music-teacher  in  the  Bohm  Edu- 
cational Institute  at  Wiborg,  Finland, 
where  he  organized  a  singing  and  an 
orchestral  society,  and  so  successfully 
drilled  these  forces  that,  within  a  com- 
paratively short  time,  he  could  give 
a  number  of  symphony  concerts.  He 
was  called  to  Helsingfors  in  1869,  and 
has  even  since  resided  there,  taking 
a  prominent  part  in  the  musical  life 
of   that   town.     In   that   year    Faltin 


222 


BIOGRAPHIES 


Faltin 
became  conductor  of  the  Swedish 
Theatre  there,  and  also  of  a  standing 
orchestra,  in  1870  he  was  appointed 
organist  of  the  Nicolai  Church,  and 
in  1871,  director  of  music  at  the  Im- 
perial Alexander  University  and  con- 
ductor of  the  Finnish  Opera.  The 
same  year  he  organized  the  Helsing- 
fors  Singing  Society,  which,  under 
his  leadership,  has  since  distinguished 
itself  by  the  excellence  of  its  oratorio 
concerts.  In  1893,  when  Faltin  re- 
signed his  position  at  the  University 
of  Helsingfors,  the  title  of  professor 
was  conferred  upon  him.  For  fifty 
years  he  has  been  active  as  a  teacher, 
principally  for  piano,  but  also  for 
organ,  violin,  solo  and  choir-singing, 
and  theory  and  composition  as  well. 
Faltin  has  written  many  songs,  with 
piano  accompaniment;  choruses  and 
cantatas  which  show  many  beauties; 
organ  preludes  and  other  music.  His 
songs  and  choral  number  for  both 
men's  and  women's  voices  have  been 
especially  praised  by  critics  and  musi- 
cians. He  has  also  written  a  number 
of  Finnish  songs  and  a  Finnish  Song- 
Book,  issued  a  few  years  ago  is  rich 
in  contributions  from  his  pen.  In 
1904  his  Choral-Finales  with  preludes 
appeared. 

Faning,  Eaton.     1850- 

English  composer  and  conductor, 
the  son  of  a  professor  of  music;  born 
at  Helston,  Cornwall.  He  received 
his  earliest  instruction  from  his  par- 
ents, and  when  very  young  performed 
at  public  concerts.  In  1870  he  en- 
tered the  Royal  Academy  of  Music, 
studying  under  Sterndale  Bennett,  C. 
Steggall  and  others.  Two  years  later 
he  won  the  silver  medal  for  piano, 
and  in  1873  the  Mendelssohn  Scholar- 
ship. In  1874  he  gained  the  bronze 
xnedal  for  harmony,  and  the  Lucas 
medal  for  composition  in  1876.  Two 
years  later  he  became  a  professor  of 
the  Royal  Academy  of  Music,  and 
shortly  afterward  a  fellow  of  that  in- 
stitution. He  took  the  degree  of 
Bachelor  of  Music  from  Cambridge  in 
1894,  and  of  Doctor  of  Music  in  1900, 
and  held  various  positions  at  the  Na- 
tional Training  School,  Guildhall 
School  of  Music,  and  the  Royal  Col- 
lege of  Music  until  1885,  when  he 
accepted  the  directorship  of  music  at 
Harrow,  which  he  held  till  1901,  when 
he  retired.  He  has  composed  many 
charming  pieces  of  music,  notably  a 
Magnificat   and  a  Nunc   Dimittis  for 


Farinelli 
voices  and  orchestra,  performed  at 
St.  Paul's  Cathedral  in  1878;  anthems; 
part-songs;  a  choral  ballad.  The  Mil- 
ler's Wooing;  three  operettas;  a  dra- 
matic cantata;  a  symphony  in  C 
minor;  overture;  quartets;  piano 
pieces;  and  his  Song  of  the  Vikings 
for  four-part  chorus  with  piano  duet 
accompaniment,  which  has  attained  to 
great  popularity.  He  has  also  written 
a  dramatic  cantata,  Liberty;  and  an 
overture.  The  Holiday.  In  July,  1897, 
his  operetta,  The  Two  Majors,  was 
performed  at  the  Royal  Academy  of 
Music,  which  led  to  the  establishment 
of  the  operatic  class  at  that  institu- 
tion. A  comic  operetta  of  Faning's, 
Mock  Turtles,  was  produced  at  the 
Savoy  Theatre,  London,  in  1881.  From 
the  opening  of  the  Royal  College  of 
Music  till  July,  1885,  Mr.  Faning 
taught  piano  and  harmony,  and  until 
1887  conducted  the  Choral  class 
there. 

Farinelli,  Carlo  Broschi.     1705-1782. 

The  greatest  tenor  of  his  age,  per- 
haps the  greatest  that  ever  lived,  was 
born  in  Naples.  His  real  name  was 
Broschi  and  he  sprang  from  a  noble 
family  of  that  city.  He  studied  under 
Porpora,  and  while  very  young  made 
his  debut  in  Italy  under  the  name  of 
II  Ragazzo  (the  boy).  In  1722  he 
made  a  triumphant  success  of  Por- 
pora's  opera,  Eumene.  Five  years 
later  he  placed  himself  under  Ber- 
nacchi's  instruction  in  Bologna,  after 
Bernacchi  had  beaten  him  in  a  com- 
petition. He  sang  frequently  in 
Vienna,  and  in  1734  he  was  drawn  to 
London  upon  the  advice  of  Porpora 
and  Handel's  enemies,  and  his  great 
success  there  is  declared  by  Riemann 
to  have  caused  Handel's  retirement 
from  the  operatic  field  to  devote  him- 
self, from  then  on  to  oratorio.  There 
was  no  branch  of  his  art  that  Farinelli 
did  not  carry  to  the  highest  pitch  of 
perfection.  His  career  in  London  was 
a  continous  triumph  for  the  three 
years  he  was  there,  and  he  is  said 
to  have  made  $30,000  a  year,  an  im- 
mense sum  for  the  times  in  which  he 
lived.  His  singing  is  said  to  have 
restored  to  health  Philip  V.  of  Spain, 
was  was  subject  to  fits  of  melancholy, 
and  Farinelli's  influence  at  the  Span- 
ish court  was  considerable,  till 
Charles  III.  ascended  the  throne  in 
1759,  when  the  singer  was  driven  out 
of  Spain.  He  then  went  to  Bologna, 
and  lived  there  in  retirement. 


BIOGRAPHIES 


223 


Farmer 
Farmer,  John.     1836-1901. 

English  organist  and  composer, 
who  was  born  at  Nottingham,  a 
nephew  of  Henry  Farmer,  the  well- 
known  violinist  and  composer.  He 
was  a  student  of  the  Leipsic  Con- 
servatory, and  was  under  instruction 
from  Andreas  Spath  at  Coburg  for  a 
time.  He  lived  at  Zurich  for  several 
years  as  a  music-teacher,  and  in  1862 
was  appointed  musicmaster  at  Har- 
row School,  a  post  he  held  till  1885, 
when  he  became  organist  at  Balliol 
College,  Oxford.  Here  he  instituted 
a  series  of  Sunday  and  Monday  con- 
certs for  the  performance  of  glees 
and  part-songs,  which  were  most 
successful.  He  also  founded  a  musi- 
cal society  and  devoted  much  time 
to  concerts  of  an  educational  nature. 
He  composed  an  oratorio,  Christ  and 
His  Soldiers,  which  was  produced  at 
Harrow  in  1878;  a  requiem;  Cinde- 
rella, a  fairy  opera;  nursery  rhymes; 
quadrilles  for  chorus  and  orchestra; 
septets  in  C  and  D  for  piano,  string 
and  flute;  and  quintet  for  piano,  and 
strings.  He  also  edited  tlie  Harrow 
Glee  Book,  wrote  school  songs, 
marches  and  hymn  tunes  for  high 
schools.  For  some  years  prior  to  his 
death,  which  occurred  at  Oxford, 
Farmer  had  been  examiner  for  the 
Society  of  Arts.  Farmer  .deserves 
special  credit  for  his  efforts  to  popu- 
larize good  music  among  people  who 
were  more  or  less  unmusical,  and  he 
will  perhaps  be  best  remembered  for 
his  work  in  this  line  rather  than  as  a 
composer. 

Farnaby,  Giles.     1560- 

English  composer  and  player  on 
the  spinnet,  who  was  born  at  Truro 
Cornwall,  about  the  middle  of  the 
Sixteenth  Century,  about  1560,  ac- 
cording to  the  best  authorities.  The 
date  of  his  death  is  not  known. 
Farnaby  began  the  study  of  music 
when  quite  young.  Little  is  known 
of  his  life,  except  that  he  lived  in 
London,  and  that  he  received  the  de- 
gree of  Bachelor  of  Music  from  Ox- 
ford in  1592.  He  wrote  canzonets  for 
four  voices,  with  a  song  of  eight  parts 
which  was  published  in  London  in 
1598,  also  madrigals.  Some  of  his 
psalms  are  in  Ravenscroft's  collec- 
tion, published  in  London  about  1633, 
and  Farnaby  assisted  Raven.scroft  in 
putting  parts  to  some  of  the  psalm 
tunes.  There  are  twenty  lessons  in 
Queen   Elizabeth's   Virginal   Book   by 


Farrar 

Farnaby.  This  book  is  preserved  in 
the  Fitzwilliam  Museum  at  Cam- 
bridge. In  this  book  there  are  also 
four  pieces  by  Richard  Farnaby,  be- 
lieved to  have  been  a  son  of  Giles. 
A  madrigal  in  manuscript,  entitled 
Come  Charon,  Come,  is  preserved  in 
the  library  of  the  Royal  College  of 
Music,  London. 

Farrar,  Geraldine.     1883- 

Young  American  soprano  singer, 
who  scored  a  great  success  in  Berlin 
and  in  New  York  in  1906,  when  she 
was  heard  in  Tannhauser  and  in  the 
title  role  of  Puccini's  Madame  But- 
terfly. ]\Iiss  Farrar  is  the  daughter 
of  Sidney  Farrar,  once  a  Boston  base- 
ball star,  and  was  born  in  Boston.  As 
a  young  child  she  showed  a  decided 
fondness  for  singing,  and  when  she 
was  fifteen  was  taken  to  hear  Emma 
Thursby,  who  was  so  enthusiastic 
over  her  voice  that  she  accepted  her 
as  a  pupil,  and  with  her  Miss  Farrar 
remained  two  years.  She  studied  at 
the  same  time  dramatic  action  with 
Capoul,  once  a  famous  operatic 
singer,  and  French  and  German  with 
other  teachers.  Mrs.  Bertram  Webb, 
a  wealthy  woman  of  Salem,  Mass., 
supplied  the  funds  necessary  for  a 
course  of  study  in  Paris,  and  in  that 
city  Miss  Farrar  began  her  studies 
with  Trabadello.  She  later  went  to 
Germany  and  studied  with  Gratziani. 
In  was  in  Paris  that  she  gained  her 
first  hearing,  but  it  was  in  Germany 
that  she  was  and  is  most  popular, 
especially  in  Berlin.  Here  she  first 
met  Mme.  Lilli  Lehmann,  who  be- 
came her  teacher  and  coached  her  in 
the  role  of  Elizabeth  in  Tannhauser, 
which  she  has  since  sung  so  admira- 
bly. After  five  years  spent  in  Berlin, 
where  many  favors  and  honors  were 
showered  upon  her,  the  young  Ameri- 
can went  to  Monte  Carlo,  Munich  and 
other  cities  in  Europe,  where  she  was 
heard  with  great  success  in  many  im- 
portant roles.  Miss  Farrar  has  a  life 
engagement  at  the  Royal  Opera,  Ber- 
lin. She  came  back  to  her  native 
country  in  1906  on  a  leave  of  absence, 
singing  in  New  York,  Boston,  Chi- 
cago and  the  other  cities  where  the 
Metropolitan  Opera  Company  ap- 
peared in  the  roles  of  Elizabeth,  Cho- 
Cho  San  in  Madame  Butterfly  and 
Juliet  in  Romeo  and  Juliet.  Her 
repertory  includes  beside  Mimi  in  La 
Boheme,  Marguerite  in  Faust,  and 
Manon  in  Manon  Lescaut. 


224 


BIOGRAPHIES 


Farrenc 


Farrenc  (far-rank),  Jacques  Hippolyte 
Aristide.     1794-1865. 

French  flute-player  and  composer, 
who  was  born  in  Marseilles  and 
studied  at  the  Paris  Conservatory 
from  1806.  He  became  in  1815  sec- 
ond flute  at  the  Theatre  Italien,  Paris, 
and  later  established  a  music-shop, 
taught  and  composed.  He  first  be- 
came interested  in  music  by  the  writ- 
ings of  Fetis  and  for  years  collected 
material  with  a  view  to  improving  the 
then  existing  biographies,  intending 
to  turn  them  over  to  Fetis  for  use  in 
the  second  edition  of  the  latter's  great 
work.  He  wrote  the  biographical  no- 
tices in  the  Tresor  des  Pianistes  of 
Mme.  Farrenc,  his  wife,  who  wrote 
for  the  Review  of  Ancient  and  Mod- 
ern Music,  and  from  1854  he  con- 
tributed articles  to  La  France  Musi- 
cale  and  other  magazines.  His  musi- 
cal composition  consist  of  a  concerto; 
sonatas;  and  variations  for  the  flute, 
and  he  also  compiled  other  music  for 
that  instrument.  Some  of  Farrenc's 
valuable  notes  and  unpublished  arti- 
cles are  among  the  manuscripts  in  the 
library  of  the  Paris  Conservatory. 

Farrenc    (far-rank),    Jeanne    Louise. 

1804-1875. 

Her  maiden  name  was  Dumont  and 
she  became  the  wife  of  Jacques  H.  A. 
Farrenc.  She  was  born  in  Paris  and 
was  a  pupil  of  Reicha,  Moscheles  and 
Hummel,  and  began  composing  at  an 
early  age  both  for  the  orchestra  and 
violin.  She  was  married  in  1821  and 
made  several  tours  in  France  with 
her  husband.  In  1842  she  was  ap- 
pointed professor  of  the  piano  at  the 
Conservatory  of  Paris,  and  held  the 
position  until  1873,  when  she  retired 
on  a  pension.  In  1869  she  received 
the  prize  of  the  Academy  of  Fine 
Arts  for  chamber-music.  Several  of 
her  compositions  were  performed  at 
the  Conservatory  concerts,  and  she 
had  many  meritorious  compositions 
to  her  credit.  She  was  also  an  ex- 
cellent pianist.  Her  compositions  in- 
clude two  symphonies  for  orchestra; 
three  overtures  for  orchestra;  nonet; 
sextet;  quintet;  quartets  and  trios; 
sonatas  for  piano  and  violin  and  a 
number  of  piano  pieces.  Most  of  her 
works  have  been  published  and  are 
often  played  in  public.  She  received 
the  Chartier  prize  three  times.  Mme. 
Farrenc  will  be  chiefly  remembered 
for  her  Tresor  des  Pianistes,  an 
anthology    of    music,    containing    the 


Farwell 

masterpieces  of  all  the  classical 
writers  for  the  harpsichord  and  piano 
from  the  Sixteenth  Century  down  to 
Weber  and  Chopin,  together  with 
more  modern  works. 

*  Farwell,  Arthur.     1872- 

Young  American  composer  and  lec- 
turer, who  has  established  a  musical 
press  for  the  advancement  of  Ameri- 
can music,  and  who  has  done  much 
with  both  voice  and  pen  to  raise  the 
standard  of  musical  taste  in  this  coun- 
try. Mr.  Farwell  has  shown  marked 
individuality  in  all  that  he  has  done, 
and  has  worked  for  many  years  to  aid 
in  the  development  of  a  national 
American  music.  He  was  born  in  St. 
Paul,  Minn.,  and  graduated  in  1893 
from  the  Massachusetts  Institute  of 
Technology,  where  he  took  a  course 
in  electrical  engineering.  His  first 
teacher  in  music  was  Homer  A. 
Norris  of  Boston,  and  he  studied 
under  Engelbert  Humperdinck  in 
Germany,  in  1897.  The  next  year  he 
pursued  his  studies  in  violin  and  piano 
under  Hans  Pfitzner  of  Berlin,  and  in 
organ  with  Alexandre  Guilmant  of 
Paris,  in  1899.  Mr.  Farwell  was  lec- 
turer on  musical  history  at  Cornell, 
from  1899  until  1901.  He  is  at  present 
musical  director  of  the  American 
Music  Society  at  Boston  and  the 
president  and  organizer  of  the  Wa- 
Wan  Society  of  America.  He  estab- 
lished at  Newton  Centre,  Mass.,  in 
1901  the  Wa-Wan  Press  for  the  artis- 
tic publication  of  superior  composi- 
tions by  American  composers.  Mr. 
Farwell  has  done  some  ambitious  and 
noteworthy  work  as  a  composer.  He 
has  written  the  American  Indian 
melodies,  Dawn,  Navajo  War  Dance, 
and  Pawnee  Horses,  all  piano  com- 
positions based  on  Indian  melodies. 
He  also  wrote  Impressions  of  the 
Wa-Wan  Ceremony  and  his  other  In- 
dian music  includes  Bury  Me  Not 
on  the  Lone  Prairie  (cowboy  song); 
Hours  of  Grief;  and  The  Black-Face; 
all  Spanish-Californian  folk-songs; 
and  two  negro  spirituals,  De  Rocks 
a-renderin'  and  Moanin'  Dove.  All 
of  his  folk-songs  were  recorded  by 
the  composer  himself  among  the  In- 
dians. He  has  also  written  a  ballade 
for  piano  and  violin;  a  setting  of 
Shelley's  Indian  Serenade  and  four 
folk-songs  to  words  by  Johanna  Am- 
brosius,  "  the  peasant  genius  of  Ger- 
many." Other  compositions  Ijy  this 
composer    not     based     on     American 


BIOGRAPHIES 

Farwell 

a     symbolistic    study 


folk-music     are 

for  piano;  the  songs  The  Ruined  Gar 
den;  Requiescat;  Love's  Secret;  and 
a  strikingly  original  song,  Strew 
Poppy  Buds.  For  orchestra  he  has 
written  Dawn,  a  fantasy;  the  over- 
ture, Cornell;  and  a  Love  Song  from 
an  unfinished  suite.  Mr.  Farwell  has 
also  lectured.  Between  1901  and  1907 
he  made  four  tours  across  the  coun- 
try giving  lecture-recitals  on  Music 
and  Myth  of  the  American  Indians 
and  A  National  American  Music,  and 
he  has  recorded  Indian  folk-songs  in 
the  Southwest  for  the  American  In- 
stitute of  Archaeology. 

Fasch  (fash),   Carl  Friedrich  Christian. 

1736-1800. 

The  founder  of  the  Singakademie  at 
Berlin,  and  the  son  and  pupil  of 
Johann  Friedrich  Fasch  in  organ  and 
theory.  Studied  the  violin  under 
Hockh  and  Strelitz  and  the  other 
branches  under  Hertel.  He  became 
accompanist  in  1756  to  Frederick  the 
Great,  his  duties  being  to  play  alter- 
nately with  Emmauel  Bach,  the  harp- 
sichord to  the  King's  flute.  From 
1774  to  1776,  Fasch  directed  the  Court 
Opera,  and  in  1792,  out  of  the  choral 
reunions  which  had  been  begun  two 
years  before,  he  founded  the  famous 
Singakademie,  the  prototype  of  many 
such  institutions  all  over  Germany. 
He  was  its  first  director  and  was  suc- 
ceeded by  Zelter.  It  rapidly  developed 
to  a  state  of  great  prosperity  and  to- 
day enjoys  the  highest  fame,  exercis- 
ing a  great  influence  upon  the  musi- 
cal life  of  the  town.  Fasch,  frorn  his 
earliest  years  studied  composition 
zealously  and  became  a  skilful  con- 
trapuntist. He  was  a  conscientious 
worker,  and  would  send  nothing  forth 
that  he  believed  to  be  unworthy. 
Shortly  before  his  death  he  caused 
to  be  destroyed  many  of  his  composi- 
tions written  previous  to  his  famous 
mass  for  sixteen  voices,  which  he 
composed  in  1783  and  which  is  gen- 
erally regarded  as  his  masterpiece. 
He  accomplished  a  great  deal  as  com- 
poser, teacher  and  director,  with  but 
scant  instruction  in  the  musical  art. 
Only  a  few  of  his  compositions  sur- 
vive, including  the  mass  mentioned 
before,  the  others  being  an  opera, 
Vasco  da  Gama;  chorals;  psalms;  a 
requiem;  funeral  cantata;  canons; 
and  harpsichord  pieces.  Of  his  ora- 
torio, Giuseppe  riconsciuto,  performed 
in  1774,  one  terzetto  remains,  all  the 


225 

Faure 

rest  having  been  destroyed.  A  part 
of  his  mass-music  is  in  the  Berlin 
Royal  Library,  and  his  principal 
works  were  published  by  the  Singa- 
kademie in  1839.  Grove  says:  "As 
a  master  of  composition  in  many 
parts,  Fasch  is  the  last  representative 
of  the  great  school  of  sacred  com- 
posers which  lasted  so  long  in  Italy, 
and  his  works  are  worth  studying. 
They  combine  the  severity  of  the 
ancient  forms  with  modern  harmony 
and  a  fine  vein  of  melody,  and  consti- 
tute a  mine  which  would  repay  in- 
vestigation." Zelter,  who  succeeded 
Fasch  as  director  of  the  Singakademie, 
wrote  a  short  biography  of  the  com- 
poser in  1801. 

Faure  (fo-ra),  Gabriel  Urbain.     1845- 

A  notable  figure  in  the  history  of 
music,  who  is  at  the  present  time 
head  of  the  Paris  Conservatory,  hav- 
ing succeeded  Theodore  Dubois  in 
that  position  in  1905.  Faure  was  born 
at  Pamiers,  Ariege,  a  town  near  the 
Pyrenees  and  showed  such  musical 
aptitude  that  he  was  sent  to  Paris, 
where  he  studied  under  Niedermeyer, 
and  Dietsche  and  was  one  of  the  few 
pupils  of  Saint-Saens.  In  1885  Faure 
won  the  Chartier  prize  for  chamber- 
music,  and  again  attained  that  honor 
in  1893.  In  1866  he  was  appointed 
organist  at  Rennes,  and  after  five 
years  spent  in  that  position  he  settled 
permanently  in  Paris,  where  he  was 
organist  at  the  Church  of  St.  Sulpice 
and  St.  Honore,  and  chapelmaster  at 
the  Madeleine,  succeeding  Dubois  as 
organist  in  1896.  That  same  year 
Faure  was  appointed  professor  of 
counterpoint,  composition  and  fugue 
at  the  Conservatory,  succeeding  Mas- 
senet. For  several  years  he  has  been 
the  musical  critic  of  the  Paris  Figaro. 
Faure's  works  are  numerous  and  are 
of  great  beauty  and  high  musical 
value.  Unlike  most  Frenchmen  of 
note  he  has  not  gone  into  the  field 
of  operatic  or  symphony  writing  to 
any  great  extent.  By  some  critics 
he  has  been  compared  to  Saint-Saens, 
whose  favorite  pupil  he  was  and 
whose  intimate  and  devoted  friend  he 
is  today.  Faure's  works  include  a 
one-act  opera,  L'Organiste;  incidental 
music  to  Dumas'  Caligula  and  Haran- 
court's  Shylock;  a  requiem;  a  sym- 
phony in  D  minor;  violin  concerto; 
an  orchestral  suite;  two  piano  quar- 
tets; a  well-known  violin  sonata;  and 
many     charming    piano     and     violin 


226 


BIOGRAPHIES 


Faure 


Fay 


pieces.  His  most  remarkable  com- 
positions are  the  choral  work,  La 
Naissance  de  Venus,  and  the  music  to 
Maeterlinck's  Pelleas  and  Melisande. 
Among  the  best  of  his  later  lyrics  are 
Apres  un  reve;  En  Priere;  and  Les 
Roses  d'Ispahan.  Musicians  and 
critics  have  praised  especially  a  ber- 
ceuse and  romance  for  violin  and 
orchestra,  an  elegie  for  violoncello, 
and  his  impromptu.  Other  works  are 
nine  songs  to  the  words  of  Paul  Ver- 
laine  and  other  songs,  which  are  full 
of  sincere  feeling  and  great  beauty 
and  which  have  made  him  known  on 
both  sides  of  the  Atlantic;  the  sev- 
enth barcarolle,  a  harp  impromptu  and 
many  delicate  and  finished  piano 
pieces.  Faure's  life  has  been  one  of 
unceasing  activity  —  at  first  in  con- 
nection with  the  National  Society  of 
Music,  then  as  organist  at  the  Made- 
leine and  as  a  Conservatory  teacher. 
In  1892  he  succeeded  Guiraud  as  in- 
specteur  des  Beaux  arts,  and,  as 
already  noted,  Dubois,  as  head  of  the 
Paris  Conservatory  in  1905.  His  in- 
stallation as  director  of  the  Conserv- 
atory was  made  the  occasion  of  many 
deserved  tributes  to  the  composer, 
who  is  of  an  extremely  modest  dis- 
position. Faure,  it  is  said,  at  times 
displays  the  modern  tendency  of 
wandering  through  a  labyrinth  of  har- 
monies in  which,  however,  he  never 
loses  himself,  and  all  agree  that  his 
music  shows  many  rare  beauties. 

Faure  (for),  Jean  Baptiste.     1830- 

Dramatic  barytone  and  composer, 
the  son  of  a  singer  at  the  Church  of 
Moulins,  his  native  city.  Jean  entered 
the  solfeggio  class  at  the  Conserv- 
atory at  the  age  of  thirteen,  and  later 
studied  piano  and  doublebass,  becom- 
ing a  member  of  the  band  at  the 
Odeon  for  a  time.  He  was  also  choir- 
boy at  the  Church  of  St.  Nicholas  des 
Champs,  and  at  the  Madeleine,  where 
he  was  a  pupil  of  Trevaux.  He  next 
joined  the  chorus  at  the  Theatre 
Italien,  and  in  1850  again  entered  the 
Paris  Conservatory,  where  he  gained 
two  years  later  first  prizes  for  singing 
and  for  opera  comique.  His  first  ap- 
pearance as  a  vocalist  was  at  the 
Opera  Comique,  Paris.  He  received 
unstinted  praise  for  his  impersonation 
of  the  part  of  Mefistofeles  in  Gou- 
nod's Faust  and  his  successes  pre- 
viously at  the  Opera  Comique.  Faure 
created  the  role  of  Mefistofeles,  but 
he  won  his  greatest  triumphs  in  the 


roles  of  Hoel  in  Dinorah,  William 
Tell  in  the  opera  of  that  name, 
Nevers  in  Les  Huguenots,  as  Don 
Giovanni  and  as  Hamlet.  He  was 
also  successful  in  the  part  of  Neluske 
in  L'Africaine,  for  which  he  was 
chosen  by  Meyerbeer,  the  composer, 
himself,  and  won  honors  in  the  part 
of  the  Marquis  de  Posa  in  Verdi's 
Don  Carlos.  His  voice  was  of  great 
compass,  but  not  especially  brilliant 
in  quality.  He  was  a  good  all-around 
actor  and  natural  musician  and  owed 
much  to  his  natural  gifts  as  a  come- 
dian. 

Faure  was  heard  in  America,  Italy, 
Russia  and  England  as  well  as  in  his 
native  country,  meeting  with  success 
wherever  he  appeared.  He  retired 
from  the  operatic  field  in  1876  and 
appeared  after  that  chiefly  in  concert. 
In  1878  he  was  appointed  by  the  Em- 
peror of  Austria,  imperial  chamber- 
singer,  but  shortly  afterward  went 
into  retirement.  He  was  for  a  time 
a  professor  of  singing  at  the  Paris 
Conservatory.  He  has  published  some 
good  music,  including  two  books  of 
songs  that  are  said  to  be  very  beauti- 
ful. Among  his  works  are  twenty- 
five  melodies  for  the  voice,  also  piano, 
church  and  instrumental  music.  Faure 
also  wrote  a  text-book,  entitled  L'Art 
du  chant. 

Fay,  Amy.     1844- 

American  pianist  and  teacher.  She 
was  born  at  Bayou  Goula,  La.,  near 
New  OrleanSj  and  is  a  daughter  of 
Rev.  Charles  Fay.  The  families 
were  musical  on  both  sides.  Miss 
Fay's  mother  being  a  musical  genius, 
xyho  without  any  instruction  in  early 
life,  was  able  later  to  master  the  most 
difficult  music.  Amy  Fay  was  the 
third  of  a  family  of  seven,  all  of  whom 
have  been  gifted  musicians.  She 
began  to  play  by  ear  and  to  compose 
when  very  young,  and  after  receiving 
careful  instruction  from  her  mother 
and  father,  she  began  the  study  of 
music.  When  twelve  years  old,  her 
mother  having  died,  she  went  to  reside 
with  a  married  sister  at  Cambridge, 
Mass.;  and  here  she  began  to  study 
Bach  with  Prof.  J.  K.  Paine  and  to 
attend  the  piano  class  of  Otto  Dresel 
in  the  New  England  Conservatory  at 
Boston.  She  made  great  progress  in 
piano  under  a  Polish  teacher  named 
Pychowski.  When  Miss  Fay  was  about 
twenty-five  she  went  to  Europe  and 
spent  a  year  in  Berlin  as  a  pupil  of  Karl 


BIOGRAPHIES 


227 


Fay 


Feo 


Tausig  at  his  Conservatory.  She  then 
studied  with  Kullak  for  three  years, 
going  next  to  Weimar  for  a  course  of 
instruction  under  Liszt,  after  which, 
for  a  year  and  a  half,  Miss  Fay 
worked  dihgently  under  Deppe,  whose 
method  of  piano-playing  she  has  de- 
scribed in  her  book,  Music  Study  in 
Germany.  After  an  absence  of  six 
years  in  Europe  her  debut  in  the 
United  States  was  made  at  a  concert 
of  the  Mendelssohn  Glee  Club,  and 
she  afterward  appeared  as  pianist  in 
many  concerts  and  festivals  with  suc- 
cess. She  removed  to  Chicago  in  1878, 
where  she  has  resided  almost  con- 
tinuously ever  since,  teaching  and  giv- 
ing concerts  throughout  the  country. 
Miss  Fay's  book.  Music  Study  in 
Germany,  was  published  through  the 
influence  of  the  poet,  Henry  W. 
Longfellow,  who  revised  it  and  gave 
it  Its  name.  At  the  request  of  the 
author's  old  teacher,  Liszt,  it  was 
translated  into  German,  and  in  1886 
was  republished  in  London  by  request 
of  Sir  George  Grove.  It  has  been 
translated  into  many  other  languages 
and  is  most  popular  in  her  own  coun- 
try. Miss  Fay  is  a  charter  member 
of  the  American  College  of  Musicians 
and  other  societies.  Liszt  included 
her  in  the  roll  of  his  best  pupils  and 
had  a  high  opinion  of  her. 

Fay  die    (fi-yol),    Frangois    Joseph 

Marie.     1774-1852. 

A  French  writer  on  music,  who  was 
born  in  Paris,  and  is  known  by  his 
articles  in  connection  with  the  Biog- 
raphic Universelle,  having  furnished 
the  greater  portion  of  the  biographies, 
and  by  his  joint  authorship  of 
Choren's  Dictionary  of  Musicians,  to 
which  work  Fetis  was  much  indebted 
for  information.  Fayolle  entered  the 
corps  des  ponts  et  chaussees  in  1792 
and  became  chef  de  brigade  of  the 
Ecole  polytechnique  on  its  founda- 
tion in  1794.  There  he  studied  the 
higher  mathematics  and  with  the  as- 
sistance of  Fontanes  translated  a 
large  part  of  the  ^neid.  He  did 
much  for  musical  literature,  and  was 
well  grounded  in  the  rudiments,  hav- 
ing studied  harmony  under  Perne  and 
the  violoncello  under  Barni.  He  wrote 
much  music,  but  never  published  any 
of  Jt.  In  1805-1809  his  Les  quatre 
Saisons  du  Parnasse,  a  literary  col- 
lection in  sixteen  volumes,  for  which 
he  wrote  many  articles  on  music  and 
musicians,  appeared,  and  his  Paganini 


et  Beriot  was  published  in  Paris  in 
1830.  After  the  defeat  of  Napoleon, 
Fayolle  went  to  England,  where  he 
supported  himself  by  teaching  French 
and  writing  for  the  Harmonicon. 
Just  previous  to  the  Revolution 
(1830),  he  returned  to  Paris  and  re- 
sumed his  old  occupation  of  writing 
musical  criticisms.  He  died  at  Ste. 
Perrine,  a  house  of  refuge,  in  that  city. 
Fayolle  also  collected  materials  for  a 
history  of  the  violin,  of  which,  how- 
ever, only  fragments  appeared. 

Fayrfax,  Robert.    1470-1529  or  30. 

His  name  is  sometimes  spelled 
Fairfax.  He  was  an  English  com- 
poser who  was  born,  according  to 
most  authorities  in  the  latter  half  of 
the  Fifteenth  Century  at  Bayford, 
Hertfordshire,  and  very  little  is 
known  of  his  life. 

Fa3'rfax  was  a  Doctor  of  Music  at 
Cambridge  and  was  the  first  recorded 
Doctor  of  Music  at  Oxford.  Accord- 
ing to  Grove's  Dictionary,  he  enjoyed 
the  favor  of  Henry  VIII.,  and  after 
the  accession  of  the  later  was  granted 
an  annuity,  being  described  as  "  a 
gentleman  of  the  chapel."  About  1514 
he  was  appointed  one  of  the  Poor 
Knights  of  Windsor  with  twelve 
shillings  a  day.  Entries  in  the  state 
papers  between  the  years  1516  and 
1519  show  that  he  was  the  author  of 
a  book  of  anthems,  songs  and  other 
music  and  was  besides  an  illuminator 
and  writer  on  musical  subjects.  In 
1520,  Fayrfax,  with  other  members  of 
the  chapel,  accompanied  the  King  to 
the  Field  of  the  Cloth  of  Gold,  being 
at  the  head  of  the  singers.  Fayrfax 
appears  to  have  been  renowned  in 
his  day  and  was  evidently  the  chief 
representative  of  the  school  of  music 
which  prevailed  in  England  from  the 
time  of  Edward  IV.  and  ended  with 
Fayrfax  himself.  He  composed  both 
sacred  and  secular  works,  and  his 
compositions  include  masses;  motets; 
a  Magnificat;  a  Stabat  Mater  and  sev- 
eral songs.  Burney  prints  in  his  His- 
tory of  Music  one  of  the  songs  and 
also  extracts  from  some  of  the  masses. 
Some  of  the  songs  are  written  in  two, 
three  and  four  parts,  and  are  now- 
preserved  in  manuscript  in  the  British 
Museum. 

Feo  (fa'-6),  Francesco.    1699- 

An  Italian  composer;  born  in 
Naples  at  the  end  of  the  Seventeenth 
Century,     about     1699     according     to 


228 


BIOGRAPHIES 


Feo 


some  authorities,  in  1685  according  to 
others.  Feo  has  a  high  reputation  as 
a  composer  of  the  most  brilliant 
school  of  Italy,  that  of  Naples,  and  is 
generally  regarded  as  a  master.  He 
studied  in  his  native  city  with  Gizzi, 
whom  he  succeeded  in  1740  as  teacher 
at  the  Naples  Conservatory  della 
Pieta,  and  later  was  a  pupil  of  Pitorii 
at  the  Vatican.  From  1740  he  was  di- 
rector of  the  singing  school  at  Naples, 
where  he  educated  many  famous  pu- 
pils, among  them  the  great  Jommelli. 
To  this  school  many  singers  famous 
for  their  beautiful  voices  flocked  from 
all  parts  of  Europe,  and  it  spread  the 
reputation  of  its  founder  throughout 
the  Continent.  Feo  wrote  several 
operas,  among  them  Ipermes  tra 
Arianna;  and  Andromaque  and  Arsace, 
from  which  Gluck  is  said  to  have 
borrowed  a  motive  for  his  overture 
to  Iphigenia.  Feo  also  wrote  ora- 
torios and  much  church  music.  His 
first  opera,  L'Amer  tirranico,  ossia 
Zenobia,  was  given  in  Naples  in  1713 
and  was  followed  by  five  others,  all 
written  between  that  time  and  1731. 
Feo  also  wrote  three  intermezzos  and 
several  masses.  His  masses,  motets 
and  other  pieces  of  music  for  the 
church  are  still  highly  thought  of  by 
musicians.  The  date  of  Feo's  death 
is  unknown. 

Fenton,  Lavinia.    1708-1760. 

She  was  born  in  London,  her  real 
name  being  Beswick,  and  she  has  in- 
terest for  the  present  generation 
chiefly  because  of  her  connection  with 
the  ever-famous  Beggar's  Opera,  the 
first  light  opera  that  was  ever  given 
in  the  United  States.  Lavinia  Fen- 
ton first  appeared  at  the  Hay- 
market  Theatre,  London,  in  1726 
as  Monimia  in  Otway's  Orphan 
and  afterwards  at  Lincoln's  Inn 
Fields  Theatre  as  Lucilla  in  The 
Man's  the  Master.  She  had  learned 
to  sing  at  an  early  age  with  charm- 
ing expression  and  is  credited  with 
having  practically  made  the  success 
of  the  Beggar's  Opera,  which  was 
performed  for  the  first  time  in  the 
United  States  in  1750  by  a  company 
of  English  actors,  after  a  long  en- 
gagement in  London.  _  It  was  a  musi- 
cal hodge-podge,  which  achieved  a 
success  unparalleled  in  the  records  of 
the  operatic  stage,  and  is  said  to  have 
driven  even  the  great  Handel  from  the 
field  of  Italian  Opera,  revolutionizing 
the  popular  taste  of  England  and  hold- 


Ferrabosco 

ing  the  boards  for  more  than  a  cen- 
tury. In  it  Miss  Fenton  played  the  part 
of  Polly  Peachum,  the  prima  donna 
role,  and  immediately  became  the  rage. 
Her  pictures  were  for  sale  every- 
where, many  biographies  of  her  were 
written,  she  had  her  portrait  painted 
by  the  great  Hogarth,  letters  and 
verses  were  addressed  to  her  and  she 
was  the  toast  of  every  banquet.  She 
was  not  a  beauty  and  her  voice  was 
not  strong,  but  very  sweet  and  clear. 
She  had,  however,  cleverness,  wit  and 
amiability,  and  these  qualities  con- 
tributed to  her  popularity.  Gay,  the 
composer  of  the  Beggar's  Opera, 
wrote  to  Swift  that  he  was  in  doubt 
whether  her  fame  did  not  surpass  that 
of  the  opera.  Lavinia  Fenton  even- 
tually eloped  with  the  Duke  of  Bol- 
ton, whose  protegee  she  had  been. 
In  1751,  the  Duke's  wife  having  died, 
he  made  the  actress  his  wife,  and 
three  years  later  she  was  left  a  widow. 

Ferrabosco    (fer-ra-bos'-ko),   Alfonso 
(I).    About  1515-1588. 

Italian  composer  of  madrigals,  who 
settled  in  England  about  the  middle 
of  the  Sixteenth  Century,  and  was 
known  there  as  Master  Alfonso,  being 
in  the  service  of  the  Queen.  Fer- 
rabosco was  in  the  service  of  the 
Duke  of  Savoy  in  Italy  from  1578,  and 
when  he  left  England  his  children 
were  left  there  and  became  musicians 
of  more  or  less  note.  He  composed 
madrigals  for  five  voices,  published 
at  Venice  in  1587,  and  dedicated  to 
the  Duke  of  Savoy,  in  whose  service 
he  was,  and  a  second  set  published 
later  he  dedicated  to  the  Duchess  of 
Savoy.  He  also  wrote  motets  and 
music  for  the  virginals.  Ferrabosco 
was  considered  the  most  important 
of  the  Italian  musicians  who  lived  in 
England  in  the  Sixteenth  Century, 
and  his  songs  were  generally  praised 
and  very  popular.  A  large  number 
of  his  works  are  in  English  collec- 
tions, notably,  a  number  of  motets  in 
the  British  Museum  and  libraries  in 
various  parts  of  England,  and  two 
pieces  written  by  him  for  the  lute 
were  printed  by  Robert  Dowland  in 
his  Varietie  of  Lute  Lessons,  pub- 
lished in  1610. 

Ferrabosco,  Alfonso   (II).    1580-1652. 

Italian  composer,  a  son  of  Alfonso 
Ferrabosco,  the  elder.  He  was  born 
at  Greenwich,  England,  where  his 
father  had  settled,  and  was  trained  in 


BIOGRAPHIES 


229 


Ferrabosco 


music  at  the  expense  of  the  Queen, 
in  whose  service  his  father  had  been. 
After  the  accession  of  James  I.,  Fer- 
rabosco the  younger  became  one  of 
the  King's  musicians  for  the  violin. 
He  was  an  extremely  brilliant  com- 
poser and  was  among  the  first  to  set 
lessons  for  the  viol  in  imitation  of  the 
old  English  lute  and  bandora.  He 
composed  the  music  to  some  of  Ben 
Jonson's  masques  and  Jonson  wrote 
a  commendatory  verse  to  some  of 
Ferrabosco's  lessons  for  one,  two 
and  three  viols,  published  in  London 
in  1609.  A  close  friendship  existed 
between  the  musician  and  poet.  In 
1604  Ferrabosco  was  appointed  music- 
master  for  life  to  Henry,  Prince  of 
Wales,  and  a  year  later  composer  of 
the  King's  music.  To  the  Prince  he 
dedicated  in  1609  his  volumes  of 
"Ayres."  Besides  the  works  men- 
tioned he  wrote  Fancies  for  viols,  and 
contributed  to  Leighton's  "  Teares." 
He  died  at  Greenwich,  where  he  was 
born. 

Ferrari  (fer-ra'-re),  Benedetto.     1597- 

168L 

An  Italian  poet  and  composer,  who 
was  very  proficient  on  the  lute.  He 
was  born  at  Reggio  d'Emilia,  but 
passed  most  of  his  life  at  Venice, 
where  he  composed  the  music  and 
words  to  numerous  Italian  dramas, 
and  established  in  1638  the  first 
Venitian  opera  house,  II  Teatro  di 
San  Cassiane.  Ferrari  studied  music 
at  Rome  and  proceeded  from  there  to 
Venice.  His  poetical  works  were 
issued  in  1644.  He  wrote  the  opera 
Andromeda  in  conjunction  with  Man- 
elli,  and  which  he  produced  at  his  own 
expense  in  1637,  it  being  the  first 
opera  ever  publicly  performed  before 
a  mixed  audience.  Two  years  later 
L'Armida  and  II  Pastor  Reggio  were 
given,  and  these  were  followed  by 
Monteverde's  L'Adene.  La  Ninfa 
avaral  was  given  in  1641,  and  others 
followed.  In  these  operas  there  were 
no  airs,  the  diologue  being  carried  on 
in  recitative.  Ferrari  held  several 
important  positions,  among  them  that 
of  courtmaster  of  the  chapel  at 
Modena  from  1645  to  1651.  He  was 
in  the  service  of  the  Emperor  Fer- 
dinand at  Vienna  and  held  an  appoint- 
ment at  Ratisbon,  where  a  ballet 
by  him  was  performed  in  1653.  All 
that  now  remains  of  his  works 
are  the  six  opera-librettos,  produced 
from  1644  to  1651,  and  the  manuscript 


Ferrari 

of  the  orchestra  introduction  to  his 
ballet,  Dafne.  His  librettos  were  col- 
lected and  printed,  and  the  library  at 
Modena  contains  several  of  his  manu- 
scripts. No  opinion  of  his  music  can 
be  formed  as  there  are  so  few 
specimens  of  it  extant.  His  chief 
interest  to  the  present  generation  is 
the  part  he  played  in  popularizing  the 
Italian  music  dramas,  which  were  the 
forerunners  of  our  modern  opera. 
Ferrari  published  also  a  treatise  on 
music  in  1638,  entitled  Musiche  varie 
a  voce  sola. 

Ferrari,    Giacomo    Gotifredo.      1759- 
1842. 

Italian  composer  and  teacher,  who 
was  born  at  Roverdo,  and  received  his 
first  musical  instruction  at  Mariaberg, 
near  Chur.  Ferrari's  father  intended 
him  for  a  business  career  in  his  count- 
ing house,  and  thinking  to  discourage 
his  musical  tastes  sent  him  to  the 
monastery  to  study  the  languages. 
While  at  the  school  he  heard  the  best 
sacred  and  profane  music,  which  he 
was  encouraged  by  the  monks  to 
study,  and,  by  copying  a  great  deal  of 
it,  he  became  early  in  life  a  solid 
musician.  There  he  learned  to  play 
the  hautboy,  violin  and  doublebass. 
One  of  his  teachers  was  the  cele- 
brated fuguist.  Pater  Marianus 
Stecher,  who  taught  him  piano  and 
thorough-bass.  He  afterward  studied 
at  Naples,  under  Latilla,  and  also  at 
Verona.  He  became  not  long  after- 
ward the  traveling  companion  of 
Prince  Wencelas  Liechtenstein,  and 
through  the  influence  of  Campan, 
master  of  the  household  of  Marie 
Antoinette,  he  was  taken  to  Paris, 
where  he  was  appointed  accompanist 
to  the  Queen,  and  later  occupied  a 
similar  position  at  the  Theatre  Fey- 
deau,  Paris,  which  had  been  built 
for  the  Italian  Opera.  In  1793,  after 
the  company  had  disbanded,  Ferrari 
left  France  and  settled  in  London, 
where,  in  1804,  he  married  a  Miss 
Henry,  a  well-known  pianist.  From 
1809  to  1812  he  was  blind,  and  while 
in  this  condition  dictated  many  of 
his  compositions  to  his  friends.  He 
eventually  recovered  sufficiently  to 
give  lessons  and  to  write  out  his 
music  with  the  aid  of  a  magnifying 
glass.  In  1814  he  returned  to  Italy 
with  Broadwood,  the  piano-maker, 
visiting  Naples,  Venice  and  other 
cities,  and  shortly  after  publishing  a 
treatise  on  singing  in  two  volumes,  of 


230 


BIOGRAPHIES 


Ferrari 
which  a  French  translation  appeared 
in  1827.  Ferrari  wrote  a  great  deal 
of  music  and  it  was  well  received  and 
is  of  considerable  merit.  Among  his 
compositions  were  the  operas,  Les 
evenements  imprevus,  La  Villanella 
rapita,  and  I  due  Suizzeri;  sonatas; 
concertos  for  various  instruments; 
canzonets;  two  ballets;  and  songs  and 
divertimenti  for  the  harp  and  piano, 
which  are  considered  models.  In  the 
course  of  his  thirty-one  years'  resi- 
dence in  London  he  composed  much 
for  the  theatre  and  for  public  con- 
certs. Two  of  his  French  songs 
attained  a  wide  popularity  in  their 
day. 

Ferri  (fer're),  Baldassare.     1610-1680. 

An  Italian  male  sopranist  and  one 
of  the  most  extraordinary  singers  that 
ever  lived.  He  was  born  in  Perugia, 
and  at  the  age  of  eleven  was  a 
chorister  to  Cardinal  Crescenzo,  at 
Orvieto,  in  whose  service  he  remained 
until  1655,  when  the  Swedish  invasion 
broke  up  the  court.  Four  years  later 
the  Prince,  afterwards  Wladislaus  IV., 
of  Poland,  secured  Ferri's  services  for 
the  Court  of  Sigismund  III.,  at  War- 
saw. In  1655  the  singer  entered  the 
service  of  the  Emperor  at  Vienna.  He 
received  many  honors  from  royalty 
and  the  nobles  of  various  countries, 
and  was  one  of  the  most  renowned 
singers  of  his  time.  In  1654  he  jour- 
neyed to  Sweden  to  sing  by  request 
before  Queen  Christine,  his  voice 
even  then  being  famous  throughout 
Europe.  He  was  made  a  knight  of 
St.  Mark  of  Venice  in  1643,  sonnets 
were  written  in  his  honor,  and  he  was 
crowned  by  his  countrymen  with 
roses.  Five  years  before  his  death 
Ferri  returned  to  his  native  country. 
He  died  exceedingly  rich  and  left  a 
great  deal  of  money  to  charity.  His 
voice  was  a  wonderful  organ,  a  beau- 
tiful soprano,  with  a  limpid  quality 
that  rnusicians  of  the  time  declared 
was  "  indescribable."  His  intonation 
was  perfect  and  all  musicians  spoke 
of  his  length  of  breath  which  was 
almost  inexhaustible,  and  at  all  times 
his  singing  was  quiet  and  expres- 
sive. 

Fesca,  Alexander  Ernst.    1820-1849. 

German  composer  and  pianist,  the 
son  of  Friedrich  Ernst  Fesca.  He 
was  born  in  Carlsruhe,  and  had  his 
career  not  been  cut  short  at  the  age 
of  twenty-nine   years   he   might  have 


Fesca 

done  really  notewort'^y  things  in 
music.  As  it  was,  his  compositions 
are  all  meritorious,  and  his  songs, 
especially,  achieved  a  large  degree  of 
popularity  in  Germany.  Fesca  studied 
under  Wilhelm  Bach,  Schneider,  Run- 
genhagen  and  Taubert  in  Berlin,  and 
made  concert  tours  from  1839  to  1840 
through  Germany,  Austria  and  Hun- 
gary. He  was  appointed  chamber- 
musician  to  Prince  Fiirstenberg  in 
1841,  and  settled  the  next  year  in 
Brunswick,  where  he  died.  His  com- 
positions include  the  operas,  Marietta, 
Der  Troubador  and  Ulrich  von  Hiit- 
ten,  which  were  light  but  gave  much 
promise;  rondos  for  piano;  piano 
sextet;  variations  of  II  Puritani;  noc- 
turnes; grand  trio  for  piano,  violin 
and  cello  in  B  flat;  music  for  violon- 
cello; septet  in  C  minor  and  much 
piano  music,  beside  the  Fesca  Album 
of  forty-eight  songs. 

Fesca,   Friedrich  Ernst.     1789-1826. 

German  composer  and  violinist,  who 
was  born  at  Magdeburg  and  studied 
counterpoint  under  Pitterlin,  conduc- 
tor of  the  Magdeburg  Theatre,  and 
later  under  August  S.  Miiller.  He 
was  from  1806  a  member  of  the  Duke 
of  Oldenburg's  band  and  also  solo- 
violinist  at  Cassel  from  1806  to  1812. 
He  played  at  the  Gewandhaus  con- 
certs at  Leipsic  and  went  from  there 
to  Vienna.  Was  leader  to  the  Duke 
of  Baden  at  Carlsruhe  from  1815  to 
1826.  His  first  seven  quartets  and 
two  symphonies  were  written  in  that 
city.  He  wrote  an  opera,  Omar  et 
Leila,  which  was  given  at  Carlsruhe 
in  1823,  and  another  opera,  entitled 
Cantemira.  Fesca  also  wrote  numer- 
ous quartets;  quintets  for  strings; 
symphonies;  part-songs;  potpourris 
for  French  horn;  andante  and  rondo 
for  horn;  the  Ninth  Psalm  for  solo 
voices,  chorus  and  orchestra;  and  over- 
tures for  orchestra.  His  later  works 
are  among  his  best.  His  De  Pro- 
fundus, arranged  in  four  parts  by 
Strauss,  was  sung  at  the  composer's 
funeral.  There  has  been  considerable 
dispute  in  regard  to  Fesca's  rank  as 
a  composer  and  it  is  generally  agreed 
that_  he  was  at  his  best  in  sacred 
music.  In  it  he  displayed  unusual 
power,  and  was  an  earnest  student  of 
classic  models.  Says  one  writer: 
"  Fesca's  music  and  that  of  his  son 
is  most  agreeable,  never  rising  to 
grandeur,  or  sinking  to  frivolity,  and 
it  is  always  tuneful." 


BIOGRAPHIES 


231 


Festa 
Festa,  Costanzo.     1490-1545. 

Italian  composer,  who  was  born  in 
Rome  about  the  end  of  the  Fifteenth 
Century,  and  became  a  contrapuntist 
of  importance,  being  regarded  as  a 
forerunner  of  Palestrina.  He  was  a 
member  of  the  Pontifical  choir  at 
Rome  about  1517  and  chapelmaster  at 
the  Vatican  in  1545.  He  wrote  nu- 
merous madrigals,  motets  and  other 
music.  His  madrigal,  Down  In  a 
Flowery  Vale,  is  a  familiar  example 
of  the  madrigal,  and  is  one  of  the 
best  specimens  extant  of  the  early 
Italian  school  of  madrigal  writing.  ■  It 
dates  from  1554,  and  was  one  of  the 
most  popular  pieces  of  music  in  Eng- 
land at  one  time.  Among  Festa's 
compositions  are  several  motets; 
litanies  and  madrigals  for  from  three 
to  four  voices,  published  in  Venice 
about  1556;  and  others  which  are  still 
in  manuscript  and  preserved  in  the 
library  of  the  Pontifical  choir  at 
Rome.  He  also  wrote  a  Te  Deum, 
which  is  still  sung  by  the  Pontifical 
choir  at  the  election  of  a  new  pope, 
and  a  credo.  His  first  book  of  madri- 
gals was  published  in  1537,  a  four- 
part  Magnificat  in  1554  and  a  book 
of  litanies  as  late  as  1583.  Dr.  Bur- 
ney  scored  a  number  of  his  madrigals. 

Festing,     Michael     Christian.       1680- 
1752. 

German  composer  and  violinist,  the 
son  _  of  a  famous  flutist.  He  was 
originally  a  pupil  of  Richard  Jones, 
the  leader  of  the  Drury  Lane  band, 
and  completed  his  musical  studies 
under  Geminiani.  Attaching  himself 
through  his  agreeable  manners  and 
winning  personality  to  members  of 
the  nobility,  he  received  financial  sup- 
port to  pursue  his  studies,  and  made 
his  debut  in  London  as  a  violinist  in 
1724,  becoming  leader  of  the  King's 
band  in  1735.  He  played  the  first  vio- 
lin in  what  was  called  the  Philhar- 
monic Society,  consisting  of  noblemen 
who  met  at  the  Crown  and  Anchor 
Tavern  in  the  Strand.  As  a  per- 
foMner  on  the  violin  Festing  was  said 
to  have  been  inferior  to  many  musi- 
cians of  his  time  but  as  a  composer, 
particularly  of  solos  for  his  instru- 
ment, which  he  thoroughly  understood, 
he  has  had  but  few  equals.  Together 
with  Dr.  Greene,  of  London,  he  estab- 
lished the  Society  of  Musicians,  for 
the  support  of  indigent  musicians.  He 
was  also  musical  director  of  Ranelagh 
Gardens  in  1742,  and  five  years  before 


Fetis 

that  had  been  director  of  the  Italian 
Opera.  Festing  wrote  numerous  solos 
and  concertos  for  violin,  eighteen  son- 
atas for  two  violins  and  bass;  four 
symphonies  concertantes  for  two 
flutes;  symphonies  for  other  stringed 
instruments;  odes;  cantatas  and 
songs.  He  also  composed  a  setting 
for  Addison's  Ode  for  St.  Cecilia's 
Day;  Milton's  songs  on  May  Morning, 
and  other  poems. 

Fetis  (fa-tes),  Francois  Joseph.  1784- 

1871. 

Belgian  writer,  musical  theorist  and 
composer,  who  is  chiefly  known  for 
his  "  Biographie  des  Musiciens,"  a 
work,  which  has  many  faults  and 
shortcomings,  but  which,  in  spite  of 
these  is  one  of  the  greatest  monu- 
merits  to  the  achievements  of  inusical 
genius  ever  reared. 

Fetis  was  born  in  Mons,  Belgium, 
and  studied  at  the  Paris  Conserv- 
atory under  Boieldieu,  Pradher  and 
other  teachers,  and  gained  several 
prizes  from  1803  to  1807.  After  his 
graduation  from  that  institute,  he  was 
organist  at  Donai  and  later  professor 
of  counterpoint  at  the  Paris  Conserv- 
atory, librarian  of  the  same  institu- 
tion in  1827  and  director  of  the  Brus- 
sels Conservatory  and  musical  direc- 
tor to  the  King  of  the  Belgians  in 
1833.  His  father,  the  chapelmaster 
and  organist  of  the  Mons  Cathedral, 
was  his  first  teacher,  and  young  Fetis 
proved  an  exceptionally  brilliant  and 
apt  pupil.  At  seven  he  wrote  violin 
duets  and  when  only  nine  composed 
a  concerto  for  violin  and  acted  as 
organist.  Fetis'  first  theoretical  work 
was  a  study  of  the  system  and  his- 
tory of  notation  of  Guido  d'Arezzo. 
He  founded  his  journal.  La  Revue 
Musicale  in  1827  and  remained  its 
editor  until  1832.  He  also  conducted 
the  concerts  of  the  Academy  in  Paris. 
In  1806,  Fetis  began  to  collect  mate- 
rials for  his  great  biographical  work. 
He  is  not  always  reliable  and  was 
careless  in  compiling  and  editing  the 
biographies  of  British  composers,  but 
most  complete  and  accurate  regard- 
ing the  composers  of  his  own  coun- 
try, and  those  of  France  and  of  Ger- 
many. The  work  is,  however,  a  most 
valuable  and  monumental  work  of 
reference,  in  spite  of  its  errors,  is 
constantly  referred  to  and  contains 
information  impossible  to  obtain  from 
any  other  source.  Fetis  was  a  com- 
poser of  considerable  ability,  but  his 


232 


BIOGRAPHIES 


Fetis 


work  in  this  line  was  largely  over- 
shadowed by  his  biographical  work. 
He  composed  seven  operas,  among 
them  L'Amant  et  le  Mari;  Marie 
Stuart  en  ficosse;  and  Le  Vieille  and 
Le  Mannequin  de  Bergamo,  all  given 
at  the  Opera  Comique  with  a  fair 
degree  of  success,  but  all  antiquated 
and  not  at  all  brilliant.  He  also  wrote 
overtures;  sextets;  sonnets;  wind- 
octets;  caprices;  and  much  sacred 
music,  including  masses,  motets;  and 
a  requiem;  which  last  was  considered 
his  greatest  composition,  and  was 
composed  in  1850  for  the  funeral  of 
the  Queen  of  Belgium.  Fetis  was  a 
learned  student  of  counterpoint  and 
a  champion  of  the  old  Italian  style. 
He  was  noted  for  his  apparently  tire- 
less energy,  and  often  worked  sixteen 
and  eighteen  hours  a  day.  His  Revue 
Musicale,  which  he  founded  in  1827, 
was  the  foundation  of  the  musical 
press  of  France.  After  his  death  his 
great  library  was  purchased  by  the 
Belgian  government  and  is  now  in  the 
Brussels  Conservatory. 

The  didactic  and  historical  works 
of  Fetis  include  the  famous  Biog- 
raphic Universelle,  already  mentioned, 
which  was  originally  published  in 
eight  volumes  at  Brussels  in  1835  to 
!844.  A  second  edition  was  brought 
out  in  Paris  in  1862,  and  a  supple- 
ment in  two  volumes  was  published 
by  Pougin,  in  Paris,  in  1878  to  1880, 
several  years  after  the  death  of  Fetis. 
He  also  wrote  a  manual  for  com- 
posers; a  biography  of  Haydn;  an  ac- 
count of  the  career  of  Antoine  Stradi- 
vari, the  great  violin-maker,  with 
original  researches  on  bowed  instru- 
ments, and  a  biography  of  Beethoven. 
His  treatise  on  counterpoint  and 
fugue  is  undoubtedly  the  best  and 
most  exhaustive  text-book  on  these 
subjects  that  exists.  His  work,  Music 
Explained,  was  translated  into  English 
from  the  French  for  the  Boston 
Academy  of  Music.  He  left  many 
works  and  treatises  unfinished  and 
unpublished  and  edited  numerous 
methods..  Fetis  left  a  son,  Edouard 
Louis  Franqois,  professor  and  com- 
poser at  Brussels  and  art  critic  and 
editor  of  La  Revue  Musicale  from 
1833  to  1835,  who  has  helped  to  per- 
petuate his  father's  name.  He  wrote 
Les  Musiciens  Beiges  in  two  parts. 

Fevin  (fu-vah),  Antoine  de.     1490-1517. 

His  name  is  sometimes  spelled 
Feum,  and  he  is  generally  believed  to 


Febich 

be  a  native  of  Orleans,  although  some 
historians  claim  he  was  born  in  Spain. 
He  is  mentioned  by  Glareanus  as  a 
successful  emulator  of  Josquin  de 
Pres,  and  the  historian  declares  that 
Fevin's  modesty  and  diffidence 
matched  his  genius.  He  is  generally 
regarded  as  one  of  the  greatest  musi- 
cal geniuses  between  De  Pres  and 
Lasso.  Riemann  says  he  was  a  dis- 
tinguished (probably  a  Netherlander) 
contrapuntist,  although  nothing  is 
positively  known  of  his  life.  Of  his 
works  there  are  preserved  three 
masses,  printed  by  Petrucci  in  1515; 
others  in  manuscript  are  at  Munich 
and  Vienna,  and  numerous  motets  and 
French  chansons  are  in  the  collections 
of  1540  and  1545.  Three  of  the  masses 
mentioned  are  in  the  English  Museum, 
and  musicians  have  praised  especially 
his  Sancta  Trinitatus  in  this  collec- 
tion. 

Fibich  (fe'-bikh),  Zdenko.     1850-1900. 

A  name  famous  in  Bohemia,  and  in 
opera  this  composer  ranks  next  to 
Smetana  in  his  own  country,  and  in 
this  field  won  most  of  his  laurels.  He 
was  born  at  Vsebofics,  near  Czaslau, 
and  first  studied  music  in  Vienna  and 
Prague,  afterward  going  to  Leipsic  to 
study  at  the  Conservatory  under 
Moscheles,  Richter  and  Jadassohn. 
There  he  produced  a  G  minor  sym- 
phony as  well  as  other  compositions. 
He  was  attracted  to  Schumann's 
works  and  took  them  for  his  model, 
and  produced  a  dozen  compositions 
in  imitation  of  Manfred.  He  next 
went  to  Paris  to  pursue  his  studies 
further,  and  also  studied  at  Mannheim 
under  Vincent  Lachner.  Returning 
to  Prague,  he  was  appointed  assistant 
choirmaster  at  the  National  Theatre, 
and  in  1878  director  of  the  Russian 
Church  choir.  He  conducted  there  for 
several  years,  then  devoted  himself 
almost  wholly  to  composition.  His 
first  work  was  Bukovin  and  then 
came  Blanik  on  the  same  subject  as 
Smetana's.  Fibich  was,  whatever  his 
faults,  a  most  prolific  composer,  and 
his  works  number  about  seven  hun- 
dred, or  more.  Of  these,  the  most 
important  are  six  melodramas;  six 
operas;  Haidee,  after  Byron's  Don 
Juan;  seven  symphonic  poems;  a 
choral  ballad,  Die  Windsbrant;  a 
Spring  Romanza  for  choir  and  orches- 
tra; some  three  hundred  pieces  for 
the  piano;  many  songs;  duets;  and 
compositions  for  chorus  and  orches- 


BIOGRAPHIES 


233 


Febich 


tra,  as  well  as  symphonic  poems  and 
overtures.  While  writing  his  first 
opera,  Bukovin,  he  was  said  to  have 
been  influenced  to  some  extent  by 
Weber  and  Mozart,  and  has  also  been 
accused  of  imitating  Liszt,  especially 
in  Othello;  Der  Leuz;  Der  Sturm, 
(after  Shakespeare's  Tempest),  and 
others.  Says  Elson:  "His  overtures, 
the  Lustspiel  and  Komensky-Fest, 
with  his  chamber-music,  choral  works 
and  orchestral  suite  are  almost 
enough  to  establish  his  reputation  for 
a  hard  worker."  Fibich  also  wrote  a 
method  for  piano,  and  was  appointed 
dramaturgist  of  the  Bohemian  Na- 
tional Theatre,  at  Prague.  Of  him  one 
critic  has  this  to  say:  "  Fibich's 
fame  has  been  largely  overshadowed 
by  that  of  Smetana  and  Dvorak,  but 
in  some  of  his  piano  music,  especially 
there  is  much  that  is  full  of  charm,  if 
not  great  originality,  and  a  good  deal 
of  his  music  deserves  to  be  better 
known."  His  melodramatic  trilogy, 
Hippodamia,  which  is  an  ambitious 
effort,  has  been  specially  praised  by 
critics. 

Field,  John.     1782-1837. 

An  Irishman,  born  in  Dublin,  but 
better  known  as  Russian  Field,  or 
Field  of  St.  Petersburg,  because  of 
his  nineteen  years'  residence  in  the 
Russian  city.  He  was  the  inventor 
of  the  nocturne,  that  form  of  music 
which  Chopin  in  later  years  imitated 
and  improved  upon  and  virtually 
made  his  own.  Rupert  Hughes  has 
called  Field  "  a  great,  though  gentle 
revolutionist  of  music,  to  whom  much 
of  Chopin's  glory  belongs."  He  was 
one  of  the  greatest  of  piano  virtuosos, 
and  is  generally  regarded  by  musi- 
cians as  the  connecting  link  between 
Clementi  and  Chopin.  Field's  child- 
hood was  a  sad  one.  His  father  and 
grandfather  were  both  musicians,  and 
had  removed  to  London  when  John 
was  a  mere  youth.  They  were  both 
organists  and  violinists  of  great  talent, 
and  from  his  grandfather  John  Field 
learned  the  rudiments  of  the  musical 
art  which  he  was  destined,  in  later 
j'^ears  to  enrich.  They  were  such 
severe  teachers  that  the  boy  ran  away 
from  home  to  escape  them  and  the 
long  hard  hours  of  practice  that  he 
was  forced  to  undergo  at  their  hands. 
He  found  the  world  even  harder  on 
him  than  his  own  family  had  been  and 
was  forced  to  return  to  his  home  or 
face    starvation.      Field's   father,    who 


Field 

had  been  engaged  as  a  violinist  at 
Bath,  and  was  later  at  the  Haymar- 
ket  Theatre,  London,  apprenticed  the 
boy  to  Muzio  Clementi.  He  was  the 
last  of  the  famous  master's  pupils  and 
was  destined  to  be  the  greatest.  Up 
to  his  twenty-second  year  he  received 
regular  lessons  in  piano-playing  from 
Clementi,  in  exchange  for  his  ser- 
vices. After  a  few  years  he  accom- 
panied his  teacher  to  Paris,  where 
his  playing  of  Bach's  and  Handel's 
fugues  startled  the  musical  world. 
Later  he  visited  Germany  and  created 
a  veritable  furore  with  his  phenom- 
enal playing  on  the  piano.  He  made 
his  debut  in  London  in  1792,  playing 
at  public  concerts  the  concertos  of 
Dussek  and  Clementi,  and  again,  in 
1799,  he  composed  an  original  concerto 
which  he  played  in  public  to  the  great- 
est applause.  In  1804  Field  accom- 
panied Clementi  to  Russia,  and  both 
master  and  pupil  were  well  received 
in  St.  Petersburg,  Field  becoming  so 
popular  with  the  Russians  that  they 
have  claimed  his  compositions  as  their 
own.  Field  spent  most  of  his  re- 
maining years  in  Russia,  but  his  early 
days  there  with  Clementi  were  any 
thing  but  happy  ones.  His  teacher 
proved  to  be  a  severe  task-master, 
and  Field  paid  for  his  instruction 
with  much  self-sacrifice  and  severe 
self-denial.  Clementi  was  accused  of 
being  jealous  of  his  talented  pupil 
and  the  fame  he  had  so  rapidly 
acquired  and  did  all  in  his  power  to 
prevent  Field  from  excelling  him.  He 
forced  him  to  practice  the  utmost 
economy,  paid  him  only  a  pittance, 
and  the  youth  was  often  cold  and 
hungry.  Field  at  this  time  was  a 
pitiable  figure,  unkemp  in  appearance, 
awkward,  poorly-clad,  shy  and  nervous 
in  manner.  In  spite  of  his  plainness 
of  feature  and  the  ungainly  appear- 
ance he  presented,  all  this  was  for- 
gotten when  he  sat  down  to  play.  He 
had  a  "  singing  tone "  as  one  musi- 
cian expressed  it,  suave  and  graceful 
and  his  expression  was  delicately 
shaded,  according  to  the  musicians  of 
the  day.  Clementi  had  taught  him  the 
secret  of  the  most  beautiful  execution 
which  that  epoch  could  boast  of,  and 
this  caused  Field  to  be  immediately 
recognized  as  a  master.  When 
Clementi  returned  to  Europe,  Field 
remained  behind  and  shortly  after- 
ward established  himself  as  a  music- 
teacher  in  the  Russian  capital  and 
became  the  idol  of  the  nobility.  There 


234 


BIOGRAPHIES 


Field 

he  married  a  French  lady,  named 
Charpentier,  in  1813,  a  piano-player, 
and  of  this  union  one  son  was  born. 
Field's  intemperate  habits,  however, 
caused  her  to  seek  a  separation  a  few 
years  later.  In  1833  he  went  to  Brus- 
sels, and  from  there  extended  his 
concert  tour  to  the  principal  cities  of 
Switzerland,  southern  France  and  on 
into  Italy,  where  his  health  became 
much  worse.  In  Naples  he  was 
stricken  with  fistula  and  lay  in  a 
hospital  there  in  the  most  wretched 
distress  until  rescued  by  a  family 
named  Raemanow,  who  had  known 
him  in  his  happier  days.  They  cared 
for  him  tenderly  and  took  him  with 
them  to  Moscow.  Field  died  almost 
immediately  after  his  arrival  in  that 
city  and  was  buried  there.  He  sur- 
vived his  teacher  only  six  years. 
Among  the  best  known  of  Field's 
pupils  was  Glinka,  Charles  Mayer, 
Marie  Szymanowski  and  Charles 
Neate.  Field  wrote  some  extraordin- 
arily beautiful  music,  among  others 
twenty  nocturnes,  which  are  invested 
with  much  poetical  feeling  and  all  of 
great  beauty  and  melody.  They  were 
highly  praised  by  all  musicians  of  his 
time.  Schumann  wrote  of  them  in 
terms  of  the  highest  praise  and 
Chopin  imitated  Field  in  a  manner 
that  contributed  greatly  to  his  suc- 
cess. Field's  nocturnes  served  as 
models  for  Chopin's  compositions  of 
the  same  name  and  the  resemblance  of 
the  latter  to  the  older  musician  was 
so  apparent  that  many  believed  Chopin 
to  have  been  a  pupil  of  Field.  Field's 
nocturnes  were  the  forerunners  of  the 
songs  without  words,  ballades,  im- 
promptus, and  fantasies,  which  began 
about  1830  to  be  the  fashion.  Al- 
though he  is  said  to  have  written 
twenty  compositions  in  this  form,  he 
himself  only  described  twelve  of  them 
as  nocturnes.  Beside  these  he  com- 
posed seven  concertos,  and,  in  1831, 
when  he  visited  London  six  years  be- 
fore his  death,  he  played  his  E  flat 
concerto  at  a  Philharmonic  concert 
with  great  success.  His  concertos 
were  all  much  admired  in  their  day, 
three  of  them  being  dedicated  to  his 
famous  teacher,  Clementi.  Beside 
these  compositions  he  wrote  a 
romanza  and  cavatina  in  E;  four 
sonatas;  quintet  and  rondo  for  strings 
and  piano;  polonaises;  variations  on 
Russian  airs  for  four-hands;  grand 
valse;  capriccios;  rondos  and  diverti- 
menti.     His  fourth  concerto  in  E  flat 


Fielitz 

is  perhaps  the  most  popular,  and  his 
concertos  are  more  frequently  heard 
than  any  of  his  other  works.  His 
sonatas  and  minor  works  are  only 
occasionally  heard  and  the  famous 
nocturnes  gave  way  long  ago  to  the 
newer,  more  beautiful  compositions  in 
that  form  composed  by  Chopin. 

In  spite  of  the  fact  that  Field's 
works  are  all  of  great  merit  he  will 
perhaps  be  chiefly  remembered  as  the 
inventor  of  the  nocturne  and  as  one 
of  the  greatest  pianists  who  ever 
lived.  Field  was  one  of  the  most 
aggressive  and  successful  participants 
in  the  rivalry  that  long  existed  be- 
tween the  so-called  Vienna  or  Mozart 
School  and  the  Clementi  School  of 
piano-playing.  His  style  was  dis- 
tinguished by  exquisite  grace,  charm 
and  an  intimate  knowledge  of  the 
most  characteristic  resources  of  the 
instrument.  He  played  with  his 
fingers  only  and  there  was  no  unnec- 
essary movement  of  either  hand  or 
arm.  He  was  a  peculiar  genius  and 
was  displeased  and  disturbed  by 
applause  when  he  was  playing.  He 
was  often  known  to  stop  in  the  middle 
of  a  piece  and  wait  until  the  audience 
had  ceased  its  demonstration,  and 
then,  showing  his  displeasure  in  every 
movement  at  what  he  felt  was  only 
a  disturbance,  he  would  resume  his 
playing.  His  last  appearance  was  at 
Vienna  shortly  before  his  death  and 
on  his  return  journey  from  Italy.  He 
played  one  of  his  own  nocturnes  to 
the  wildest  applause,  although  then  in 
the  throes  of  his  last  illness.  Franz 
Liszt  wrote  an  essay  in  French  on 
Field  and  his  musical  ways. 

*  Fielitz  (fon-fe'-lits),  Alexander  von. 

1860- 

Well-known  composer  and  conduc- 
tor, who  was  born  in  Leipsic,  and  be- 
came a  pupil  of  J.  Schulhoff  in  piano, 
and  studied  composition  under  Kret- 
schmer  at  Dresden.  While  a  student 
in  Dresden  von  Fielitz  wrote  numer- 
ous sacred  compositions  and  an 
orchestral  work,  which  was  per- 
formed in  public  with  great  success. 
He  was  appointed  conductor  of  the 
opera  at  Zurich,  at  Leipsic  and  at 
Liibeck,  but  ill-health  forced  him  to 
give  up  his  work  in  Germany  and 
he  went  to  Italy,  remaining  there 
twelve  years  and  devoting  himself 
wholly  to  composition.  In  1900,  von 
Fielitz  returned  to  Berlin  from 
Italy,     and     there     conducted     grand 


BIOGRAPHIES 

Fielitz 
in    the    Theatre    des    Westens 


opera 

He  was  the  vice-president  of  the 
Stern  Conservatorium  in  that  city 
until  1905.  In  that  year  he  came  to 
America,  at  the  suggestion  of  Dr. 
Ziegfeld,  and  became  an  instructor 
in  the  Chicago  Musical  College.  In 
the  spring  of  1907,  von  Fielitz  made 
a  long  tour  through  the  western 
states  and  in  Canada  with  the  Chi- 
cago Symphony  Orchestra  as  conduc- 
tor. He  resides  in  Chicago,  teaching 
composition,  piano,  voice  and  the 
theory  of  music  and  conducting  the 
Germania  Maennerchor.  Von  Fielitz 
has  written  many  charming  songs; 
piano  pieces;  pieces  for  the  violin; 
two  operas  and  a  cantata  besides 
other  music.  His  opera,  Vendetta, 
was  produced  at  Liibeck,  Hanover,  in 
1889,  and  during  the  season  of  1907 
was  given  at  Philadelphia  in  concert 
form.  His  other  opera,  Das  Stille 
Dorf  (The  Silent  Village),  was 
brought  out  at  Hamburg  in  1900  and 
was  afterward  given  with  success  at 
Bremen,  Ulm  and  Liibeck.  Of  the 
composer's  song  cycles,  Eliland  and 
Schoen-Gretleim  (Fair  Jessie),  are  the 
best  known  in  the  United  States.  Von 
Fielitz's  latest  compositions  are  a 
cycle.  The  Lily  Maid;  ten  songs  and 
a  cantata,  The  God  and  the  Maid.  He 
has  also  composed  two  suites  for 
orchestra;  six  Tuscan  songs,  the  popu- 
lar song,  Heart-Forgetfulness,  and 
others.  Von  Fielitz  was  married  in 
1886  to  Fraulein  Maria  Leonard!  at 
Loschwitz,   near   Dresden. 

Filby,  William  Charles.     1836- 

English  organist  and  composer, 
born  at  Hammersmith,  and  studied  in 
France  and  afterward  held  several 
important  posts  as  organist  and  choir- 
master at  various  churches  in  London. 
He  was  organist  at  St.  Peter's  Church, 
Hammersmith,  in  1849;  organist  and 
choirmaster  of  the  Parish  Church, 
Bromlej',  in  1855;  and  also  conducted 
the  choral  societies  at  Greenwich, 
Chelsea  and  other  places  and  gave 
recitals  in  London,  lecturing  also  on 
church  music  and  the  opera.  Filby 
wrote  a  number  of  operettas,  fan- 
tasias, and  other  piano  pieces;  a  mass 
in  E  flat  for  voices  and  orchestra;  a 
setting  of  the  33d  Psalm;  a  hand- 
book of  psalmody;  motets;  sonata  in 
G  mmor  for  piano;  organ  pieces  and 
a  vast  amount  of  other  music.  He 
published  in  1882  The  Students'  Copy 
Book  or  How  to  Write   Music.     He 


235 

Fillunger 

contributed  hymn  tunes  to  Hymns, 
Ancient  and  Modern,  and  to  the 
Bristol  Tune  Book  and  was  revising 
editor  of  Lady  V.  Freke's  Tune  Book. 

Fillmore,  John  Comfort.     1843-1898. 

An  American  teacher  and  musical 
writer  and  lecturer,  born  in  Franklin, 
Conn.;  and  studied  at  Oberlin,  (Ohio) 
College  under  George  W.  Steele. 
Later,  at  Leipsic  Conservatory,  from 
1865  to  1867,  he  was  a  pupil  of  Richter 
and  Hauptmann.  He  held  many  posi- 
tions of  importance  and  was  highly 
esteemed  as  a  teacher  and  critic  and 
performed  important  services  to  the 
cause  of  musical  culture  in  the  west. 
Dr.  Fillmore  was  from  1868  to  1877 
professor  of  music  at  Ripon  College, 
Ripon,  Wis.;  and  from  1884  to  1895 
director  of  the  School  of  Music  of 
Milwaukee,  Wis.,  which  he  had 
founded.  He  then  became  musical 
director  of  Pomona  College,  Clare- 
mont,  Cal.,  and  was  also  director  of 
the  Conservatory  of  Music  at  Oberlin, 
Ohio.  In  1883  he  published  a  history 
of  piano-music.  In  1885  his  new  Les- 
sons in  Harmony  appeared  and,  two 
years  later,  Lessons  in  Musical  His- 
tory. The  last  two  are  extensively 
used  by  musical  instructors  through- 
out the  United  States.  Together  with 
Miss  Fletcher  and  F.  La  Flesche  he 
published  in  1893  "A  Study  of  Indian 
Music."  He  wrote  several  magazine 
articles  on  aboriginal  folk-music,  a 
subject  with  which  he  was  familiar, 
lectured  in  various  cities  and  read 
papers  at  important  gatherings.  Dr. 
Fillmore  translated  into  English  Rie- 
mann's  Klavierschule  and  Natur  der 
Harmonik. 

Fillunger,  Marie.     1850- 

German  vocalist,  who  was  born  in 
Vienna,  and  studied  under  Mme. 
Marchesi  at  the  Vienna  Conservatory 
from  1869  to  1873.  Following  Brahm's 
advice  she  entered  the  Hochschule  at 
Berlin  in  1874  and  remained  there  five 
years,  when  she  went  to  Frankfort. 
Before  finishing  her  studies  in  Berlin, 
Fraul  Fillunger  sang  in  North  Ger- 
many, Holland  and  Switzerland, 
mostly  in  oratorio.  She  made  her  first 
London  appearance  in  1889  at  a  popu- 
lar concert,  where  her  rendering  of 
Schubert's  songs  won  much  praise. 
Shortly  afterward  she  sang  at  a 
Crystal  Palace  concert.  She  has  sung 
with  success  in  Australia  and  South 
Africa.     In  1904  she  became  a  teacher 


236 


BIOGRAPHIES 


Fillunger 
in  the  Royal  College  of  Music  at  Man- 
chester, England.  She  resided  for  a 
number  of  years  in  London,  where 
her  services  were  in  constant  demand 
at  all  of  the  most  important  concerts. 
Says  Grove:  "  Her  success  both  in 
oratorio  and  in  songs  was  so  marked 
that  she  soon  became  recognized  as 
one  of  the  most  highly  accomplished 
singers  of  the  best  music,  and  it  is 
characteristic  of  her  that  she  never 
sang  anything  unworthy  of  the  high 
artistic  position  she  has  won  for  her- 
self, and  her  name  will  always  be 
identified  with  music  of  the  noblest 
class."  Fraul  Fillunger's  greatest 
successes  have  been  made  in  the 
works  of  Schubert,  Brahms  and  Bach. 

Finck  (fink),  Heinrich.     1482-1519. 

One  of  the  most  important  of  the 
German  contrapuntists  of  the  Six- 
teenth Century.  The  dates  of  his 
birth  and  death  are  not  definitely 
known,  although  Grove's  Dictionary 
gives  the  above  dates.  He  received 
a  large  part  of  his  musical  training 
at  Cracow,  Poland,  and  went  later  to 
the  court  of  Poland,  under  John  I. 
(about  1492),  as  a  chorister  in  the 
Court  chapel,  then  under  Alexander 
and  under  Sigismund.  He  retired 
later  to  Wittenberg.  Heinrich  Finck 
wrote  motets,  and  much  other  sacred 
music;  also  secular  songs.  One  of  his 
best  compositions  was  Christ  ist 
erstanden,  for  five  voices.  A  collec- 
lection  of  the  composer's  songs, 
hymns  and  motets  appeared  in  a  musi- 
cal work  published  by  Breitkopf  and 
Hartel.  Two  manuscript  copies  of  a 
four-part  Missa  doninicalis  signed  H. 
F.  is  credited  to  him  and  is  preserved 
in  the  Munich  Library. 

Finck,  Henry  Theophilus.    1854- 

Musical  writer  and  critic  and  the 
author  of  numerous  books  of  value 
on  musical  subjects.  He  was  born  at 
Bethel,  Shelby  County,  Missouri,  and 
was  the  son  of  Henry  C.  Finck,  a 
physician,  also  an  enthusiast  on  all 
musical  matters,  a  man  who  played 
all  the  orchestral  instruments,  the 
harp  in  a  talented  manner,  and  who 
composed  numerous  songs  and  fre- 
quently organized  bands  and  mixed 
choruses.  Henry  T.  Finck  began  to 
play  on  the  cello  when  he  was  only 
seven  years  of  age. 

In  1862,  when  he  was  eight  years 
of  age,  his  family  moved  to  Oregon, 
where  he  passed  his  early  years.     He 


Finck 

was  sent  to  Harvard,  when  he  was 
eighteen,  to  study  medicine,  but  be- 
came interested  in  philosophy  instead. 
While  at  Harvard  he  studied  har- 
mony, counterpoint  and  musical  his- 
tory under  Prof.  J.  K.  Paine,  and  after 
his  graduation  in  1876,  having  obtained 
a  traveling  fellowship,  he  went  to 
Bayreuth  to  attend  the  first  Wag- 
nerian Festival,  accounts  of  which  he 
contributed  to  the  New  York  World 
and  Atlantic  Monthly.  He  passed  a 
year  in  Munich  in  order  to  hear  the 
remainder  of  Wagner's  works,  writing 
accounts  of  these  productions  for  The 
National  and  other  periodicals.  He 
next  visited  Berlin  and  Vienna.  His 
interests  up  to  this  time  had  been 
along  entirely  different  lines,  as  he 
was  a  student  of  psychology  and 
anthropology  and  had  intended  to 
apply  for  a  professorship  in  one  of 
the  American  colleges.  His  musical 
taste,  fostered  by  his  studies  and 
observations  abroad,  led  him  to  study 
Wagner  and  his  musical  dramas,  and 
he  began  his  biography  of  the  great 
composer  after  the  first  music  festival 
in  1876.  He  met  Wagner,  and  worked 
until  1893  on  the  work  before  it  was 
produced.  It  is  one  of  the  best  books 
on  the  subject.  Mr.  Finck  did  con- 
siderable editorial  work  on  The 
Nation  and  The  Evening  Post  with 
which  it  was  consolidated.  He  has 
been  on  its  staff  since  1881;  was  a 
professor  of  musical  history  at  the 
National  Conservatory  of  Music  of 
America,  and  under  its  auspices  de- 
livered a  series  of  lectures  at  Chick- 
ering  Hall  during  the  season  of  1887- 
1888  on  Chopin  and  other  musicians. 
These  lectures  were  published  in  1889 
by  the  Scribners  under  the  title, 
Chopin,  and  Other  Musical  Essays. 
Finck's  first  work  was  the  Wagner 
Hand  Book,  written  for  the  Wagner 
concerts  given  by  Theodore  Thomas 
in  1884,  in  which  he  discussed  the 
composer's  work  and  especially  his 
music-dramas.  Wagner  and  His 
Work  appeared  in  1893  in  two  vol- 
umes and  was  translated  into  German 
at  Breslau.  He  wrote  Songs  and 
Song  Writers,  a  most  valuable  and 
helpful  work,  which  traces  the  de- 
velopment of  song  from  the  earliest 
folk-music  down  to  the  present  time, 
giving  the  history  of  the  German  lied, 
an  account  of  the  work  of  the  Ger- 
man song-writers  before  Schubert,  the 
writers  who  came  after  his  time,  and 
a    history    of    the    songs    and    song- 


BIOGRAPHIES 


237 


Finck 

writers  of  Italy,  England,  America, 
Scandinavia,  France,  and  the  Hun- 
garian and  Slavic  song-writers.  He 
has  also  written  biographies  of  Anton 
Seidl,  Eduard  Grieg,  the  Norwegian 
composer;  Chopin,  a  book  on  Pader- 
ewski  and  his  art,  and  has  written 
numerous  articles  in  appreciation  of 
the  work  of  Robert  Franz,  and  other 
musicians.  His  most  recent  work  is 
a  complete  American  edition  of  the 
four  operas  of  the  Nibelungen  Ring, 
published  at  Cincinnati  in  1903,  which 
is  considered  a  remarkable  and  val- 
uable contribution  to  Wagnerian  lit- 
erature. Mr.  Finck  has  published 
numerous  musical  essays,  has  edited 
fifty  master-songs,  thirty  songs  for 
high  schools,  and  in  the  field  of 
musical  biography  and  criticism  is  a 
power. 

He  is  a  staunch  admirer  and  advo- 
cate of  the  new  schools  including  Liszt, 
Grieg,  Wagner,  Chopin  and  Franz, 
and  the  older  schools  of  Bach,  Gluck, 
Weber,  Schubert  and  Schumann.  Mr. 
Fink  has  written  beside  his  musical 
works  a  number  of  books  of  travel 
and  other  works  of  more  than  ordin- 
ary merit. 

Finck,  Hermann.    1527-1558. 

He  was  the  grand-nephew  of  Hein- 
rich  Finck,  the  noted  German  con- 
trapuntist. He  studied  at  the  Uni- 
versity of  Wittenberg  in  1545  and 
became  organist  there  in  1557.  He 
was  born  at  Pirna,  Saxony.  The  few 
works  that  Finck  left  show  him  to 
have  been  an  able  and  talented  musi- 
cian, considerably  in  advance  of  his 
time.  He  published  a  book  on  the 
theory  of  music,  entitled  Practica 
Musica,  which  is  considered  a  valuable 
work.  It  is  in  five  books  and  was 
published  in  1556  and  is  now  in  the 
British  Museum.  One  of  Finck's 
chorals,  O  Let  Thy  Grace  Remain,  is 
still  sung  in  many  of  the  German 
Protestant  churches. 

Fink,  Gottfried  Wilhelm.    1783-1846. 

German  composer  and  poet,  who 
was  born  at  Sulz,  Thuringia,  and 
studied  theology  at  Leipsic  and  acted 
as  assistant  pastor  of  a  church  in  that 
town.  From  1812  to  1827  he  was  at 
the  head  of  a  training  institution 
which  he  had  founded.  In  1842  Fink 
was  made  musical  director  of  the 
University,  gave  lectures  and  received 
the  title  of  Doctor  of  Philosophy.  He 
was  editor   of   the   Allgemeine   Musi- 


Fioravanti 
kalisches  Zeitung  from  1827.  He 
wrote  a  large  number  of  works,  in- 
cluding about  one  thousand  songs, 
published  at  Leipsic  in  1862  under 
the  title  Musikal  Hausschatz  der 
Deutschen.  He  also  wrote  many 
pieces  for  piano  and  violin;  terzetsi 
quartets  for  male  voices;  and  ballads. 

Fiorillo  (fe-o-ril'-lo),  Federigo.    1753- 
1812. 

An  Italian  composer  and  violinist, 
the  son  of  Ignazio  Fiorillo.  He  was 
born  in  Brunswick,  Germany,  where 
his  father  conducted  the  opera,  and 
from  him  the  son  learned  the  rudi- 
ments of  music.  He  appeared  as  a 
conductor  in  Poland  about  1780  and 
conducted  the  orchestra  of  a  theatre 
at  Riga  from  1783  until  1785,  and 
played  also  in  Paris,  the  latter  year, 
with  success  at  the  Concert  Spirituel. 
He  made  his  first  London  appearance 
in  1788  and  remained  there  until  1794. 
Fiorillo  died  in  Amsterdam.  He 
wrote  symphonies;  valses;  sonatas; 
concertos;  violin-music  and  thirty-six 
caprices  for  the  violin,  which  are 
highly  valued  by  musicians  and 
executants  on  the  violin,  and  rank 
with  the  classical  studies  of  Kreutzer 
and  Rode.  He  also  wrote  a  method 
for  the  violin  which  is  a  work  of  high 
authority  on  violin-playing.  Fiorillo's 
compositions,  while  popular  in  their 
day,  are  not  known  now,  although 
they  show  him  to  have  been  an 
earnest  and  talented  musician.  They 
were  most  recently  edited  by  Ferdi- 
nand David. 

Fioravanti  (fe-6r-a-van'-te),  Valentino. 

1764-1837. 

Italian  dramatic  composer,  born  in 
Rome,  who  became  a  composer  of 
many  popular  light  operas.  His 
teachers  were  Jannaconi  at  Rome  and 
Sala,  Fenaroli,  Tritta  and  Monopoli 
at  Naples.  Fioravanti  resided  most  of 
his  life  at  Florence,  but  began  his 
career  at  Turin,  setting  many  operas 
for  the  Italian  theatres  from  1787  to 
1810.  His  first  opera,  I  Viaggiatori 
Ridicoli,  was  produced  at  Rome  in 
1785.  Fioravanti  then  went  to  Lisbon, 
where  he  conducted  the  opera  and 
wrote  ten  operas  during  the  five  years 
he  remained  in  that  city.  In  1807  he 
went  to  Paris,  where  he  wrote  and 
produced  I  Virtuosi  Ambulanti,  an 
opera  which  was  highly  esteemed  by 
musicians  and  which  became  popular. 
La    Cantatrice    Villane,    and    Camilla 


238 


BIOGRAPHIES 


Fioravanti 

were  also  well  received  and  the  former 
was  extremely  popular  and  well-liked 
in  Germany  as  well  as  in  Italy,  and  by 
some  is  considered  the  composer's 
best  work.  All  of  his  operatic  pieces 
are  remarkable  for  their  native  wit, 
vivacity  and  spirit,  but  like  other  com- 
posers in  the  same  field,  the  genius  of 
Fioravanti  was  obscured  by  that  of 
Rossini  and  the  so-called  "florid"  or 
showy  school  of  operatic  writing.  Fi- 
oravanti succeeded  his  former  teacher, 
Jannaconi,  as  choirmaster  at  St. 
Peter's  and  devoted  himself  almost 
entirely  to  church  music.  His  com- 
positions include,  beside  the  operas 
mentioned,  a  Stabet  Mater  and  a 
Miserere,  which  are  the  best  of  his 
sacred  compositions;  songs-  and  other 
works.  It  was  in  comic  opera  that  he 
excelled,  although  his  church  music 
has  more  than  ordinary  merit.  He 
wrote  in  all  about  fifty  operas. 

Fischer,  Johann.     1650-1720. 

Violin  virtuoso  and  composer,  who 
is  believed  to  have  been  a  pupil  of 
Capricornus,  at  Stuttgart,  and  who 
was  born  in  Suabia.  He  went  early 
in  life  to  Paris,  where  he  became 
copyist  to  the  famous  Lully,  whose 
music  he  is  said  to  have  introduced  in 
Germany.  He  was  chapelmaster  at 
Schwerin  in  1751  and  then  entered  the 
service  of  the  Margrave  of  Pomerania. 
Was  later  violinist  in  several  of  the 
principal  cities,  and  at  length  settled 
at  Schwedt  in  Brandenburg,  where  he 
died  at  an  advanced  age.  Fischer 
wrote  chiefly  vocal  and  instrumental 
music  and  was  fondest  of  the  instru- 
ment known  as  the  viola,  and  wrote 
much  music  for  it.  His  compositions 
include  overtures;  dances,  madrigals; 
solos  and  variations  for  the  violin  and 
viola.  They  were  published  at  Augs- 
burg, Berlin  and  Hamburg  and  bear 
dates  from  1681  to  1708. 

Fischer,    Johann    Caspar    Ferdinand. 

1672-1738. 

One  of  the  best  known  pianists  of 
his  day,  chapelmaster  to  the  Margrave 
Ludwig  of  Baden  in  1720.  He  wrote 
numerous  works  of  considerable 
merit,  including  airs  and  ballets  for 
five  parts  and  trumpets;  preludes; 
fugues;  anthems  and  psalms.  Little 
is  known  of  his  life.  Grove  calls 
Fischer  "  an  almost  totally  forgotten 
predecessor  and  immediate  forerunner 
of  Handel  and  Bach  in  clavier  and 
organ   music,"  and  gives  the  date  of 


Fischer 

his  birth  as  between  1660  and  1670 
and  the  date  of  death  as  1738. 
Fischer's  first  work  appeared  about 
1695  at  Augsberg  and  the  next  year, 
Les  Pieces  de  Clavessin,  consisting  of 
eight  short  suites  for  clavier,  each 
introduced  by  a  prelude,  made  its 
appearance.  Two  works  of  his,  en- 
titled Musicalischer  Parnassus,  con- 
sisting of  nine  suites  for  clavier, 
named  after  the  nine  muses,  appeared 
later  without  a  date.  The  clavier  and 
organ  compositions  of  this  composer 
were  republished  in  one  volume  by 
Ernst  von  Werra. 

Fischer,  Johann  Christian.    1733-1800. 

He  was  born  in  Freiburg,  Germany, 
and  was  long  known  and  celebrated  in 
England  for  his  admirable  perform- 
ance on  the  hautboy,  for  which  he 
showed  a  predilection  early  in  life. 
His  first  public  appearance  as  a  mu- 
sician was  as  a  member  of  the  King 
of  Poland's  band  at  Dresden.  He 
afterwards  went  to  Berlin,  where  he 
accompanied  the  musician  King,  Fred- 
erick of  Prussia,  alone  for  four  hours 
a  day.  He  next  went  to  Mannheim 
and  from  there  to  Paris,  where  he 
performed  at  the  Concert  Spirituel.  He 
was  also  extremely  popular  in  Lon- 
don, where  he  was  heard  at  Vauxhall 
Gardens.  When  the  Queen's  band 
was  formed  Fischer  was  appointed 
one  of  Her  Majesty's  chamber-musi- 
cians, and  upon  the  establishment  of 
a  weekly  concert  by  Bach  and  Abel 
in  Hanover  Square  he  was  engaged  as 
a  performer  and  also  composer  for 
them.  In  this  connection  he  wrote 
several  hautboy  concertos,  which  he 
played  to  the  delight  of  the  auditors. 
The  compositions  were  original,  fanci- 
ful and  interesting,  according  to  the 
musicians  of  the  day.  J.  C.  Bach 
wrote  for  him  a  quartet  for  two  oboes, 
viola  and  violoncello,  which  he  often 
played.  Fischer  left  England  in  1786, 
but  returned  to  London  the  next  year 
and  passed  the  remainder  of  his  life 
there.  He  married  Mary,  a  daughter 
of  Gainsborough,  the  famous  painter, 
but  the  marriage  proved  unhappy,  and 
Fischer's  life  became  much  embit- 
tered. He  died  of  apoplexy  during  a 
performance  at  Her  Majesty's  concert 
in  1803.  Fischer's  compositions  con- 
sist principally  of  solos;  duets;  con- 
certos, and  quartets.  Mozart  wrote 
variations  _  for  Fischer's  Minuet  in 
1773,  and  it  was  most  popular  at  the 
time  and  so  continued  for  many  years. 


BIOGRAPHIES 


239 


Fischer 


I 


Fischer,  John  Abraham.    1744-1806. 

A  composer  and  violinist,  born  at 
Dunstable  or  London,  and  studied 
under  Pinto,  appearing  at  the  King's 
Theatre,  London,  about  1763,  as  a  vio- 
linist. The  following  year  he  became 
a  member  of  the  Royal  Society  of 
Musicians,  and  in  1777  received  the 
degrees  of  Bachelor  and  Doctor  of 
Music  from  Oxford.  He  w^as  twice 
married,  first  to  Miss  Powell,  daugh- 
ter of  the  actor,  in  1770,  and  after 
her  death  to  Anne  Selina  Storace,  in 
1784.  She  divorced  him  because  of 
his  ill-treatment  of  her.  Following 
his  divorce  he  traveled  through  RuS' 
sia  and  Germany,  finally  settling  in 
Dublin,  where  he  lived  many  years  as 
a  teacher.  He  wrote  principally  for 
the  theatre,  and  his  works  include 
music  to  The  Sylphs,  Macbeth, 
Prometheus,  The  Norwood  Gypsies 
and  the  oratorio,  Providence,  which 
was  given  in  1778  and  again  in  1780. 
Fischer  also  wrote  for  the  orchestra 
four  concertos  for  hautboy,  which 
were  published  by  Clementi;  also 
concertos  for  piano;  violin  and  flute 
music;  canzonets  and  a  collection  of 
airs  and  glees  of  England,  France  and 
Italy,  published  in   London. 

Fischer,  Karl  August.     1829-1892. 

German  organist  and  composer,  who 
was  born  at  Ebersdorf,  near  Chemnitz, 
Saxony,  and  was  a  pupil  of  Anacker  in 
Freiburg,  and  also  studied  privately. 
Fischer  was  a  celebrated  organ-player 
and  was  organist  in  various  churches 
in  Dresden.  He  composed  four  sym- 
phonies for  organ  and  orchestra;  three 
concertos;  a  grand  festival  mass; 
pieces  for  violin  and  organ  and  cello 
and  organ,  beside  an  opera,  Lorely, 
with  the  libretto  written  by  Geibol; 
and  three  organ  sonatas;  fugues;  three 
orchestral  suites  and  several  songs. 
Fischer  died  at  Dresden. 

*  Fisher,  William  Arms.     1861- 

An  American  composer;  born  in  San 
Francisco;  derived  his  name  from  the 
two  composers,  Joshua  Fisher  and 
William  Arms,  who  settled  in  Mass- 
achusetts in  the  Seventeenth  Century. 
He  studied  harmony  and  piano  with 
John  P.  Morgan,  and  after  several 
years  devoted  to  business  he  decided 
to  give  his  best  talents  to  music,  and 
in  1890  came  to  New  York  to  study 
singing.  He  went  next  to  London, 
continuing  his  studies  there  under 
William   Shakespeare.     Returning   to 


Florence 

New  York  he  placed  himself  under  the 
instruction  of  Horatio  W.  Parker, 
studying  counterpoint  and  fugue  with 
this  teacher  and  composition  and  in- 
strumentation with  Dvorak.  He  was 
a  teacher  of  harmony  for  many  years, 
and  is  at  present  a  resident  of  Boston, 
where  he  is  engaged  in  teaching  sing- 
ing and  composition,  and  where,  since 
1897,  he  has  been  editor  for  Oliver 
Ditson  &  Co.  Fisher's  work  has  been 
almost  wholly  the  composition  of 
songs.  Among  them  are  settings  of 
three  of  Shelley's  poems.  Songs  With- 
out Tears,  all  for  bass  voice,  and  gen- 
erally considered  the  best  of  his  lyrics; 
a  setting  of  Edmund  Clarence  Sted- 
man  Falstaff's  song;  Joy,  and  an 
elegie  for  violin  and  piano,  beside 
considerable  church  music.  Fisher  has 
also  written  numerous  part-songs; 
anthems;  and  a  volume  of  fifteen 
songs  for  children's  voices. 

Florence,  Evangeline.    1873- 

Christian  names  of  Miss  E.  F, 
Houghton,  who  dropped  her  surname 
to  prevent  confusion  with  another 
singer  of  the  same  name  in  London. 
She  was  born  in  Cambridge,  Mass.; 
and  first  studied  singing  in  Boston 
with  the  late  Mme.  Edna  Hall,  well- 
known  as  a  concert  singer  in  London 
in  the  early  70s.  Miss  Florence's 
debut  was  made  in  Flotow's  Martha 
when  she  was  eighteen,  and  she 
created  a  sensation  by  her  singing  of 
The  Last  Rose  of  Summer  an  octave 
higher  than  originally  written.  Her 
voice  is  of  phenomenal  compass. 
Later  she  studied  in  London  with 
Henschel,  Blume,  Randegger  and  the 
late  Mrs.  Rudolph  Lehmann.  Her 
London  debut  was  made  at  St.  James 
Hall  in  1892  at  a  concert.  The  same 
year  she  sang  Elsa's  Dream  at 
Henschel's  Symphony  concerts;  the 
next  year  appeared  in  the  first  pro- 
duction of  Parry's  Job,  given  by  the 
Highbury  Society  and  at  the  Popular 
concerts,  the  London  Ballad  concerts 
and  the  Crystal  Palace  concerts.  In 
1894  Miss  Florence  sang  at  the  Here- 
ford Festival;  in  1897  and  1900  at  the 
Birmingham  Festival  and  has  ap- 
peared since  then  frequently  with  the 
Philharmonic  and  Royal  Choral  So- 
ciety. For  many  years  she  has  been 
principal  soprano  at  Messrs.  Beesey's 
Ballad  concerts.  She  has  made  tours 
through  Australia  and  the  Continent. 
She  was  married  to  Alexander  Crerar 
in  Boston  in  1894. 


240 


BIOGRAPHIES 


Florio 
Florio,  Caryl   (Pen-name  of  William 
James  Robjohn). 

An  Englishman,  who  has  resided  in 
America  a  number  of  years  and  who 
has  been  successful  as  actor,  critic, 
player  and  accompanist,  and  who  was 
almost  wholly  self-taught.  He  was 
born  in  Tavistock,  Devon,  and  went 
to  New  York  in  1857,  and  from  1858 
to  1860  was  the  first  boy  soprano 
singer  at  Trinity  Church  in  that  city. 
Since  then  he  has  appeared  on  the 
stage  and  has  acted  as  organist  and 
choirmaster  in  various  churches  in 
New  York,  Baltimore  and  Asheville, 
N.  C,  and  has  conducted  operatic  per- 
formances at  the  Academy  of  Music, 
New  York,  and  at  Havana.  Florio 
was  musical  director  at  Wells  Col- 
lege, at  the  Baptist  Female  Institute 
at  Indianapolis,  and  conducted  the  old 
vocal  society,  Amicitia  Orchestra  and 
Palestrina  choir  of  New  York,  and 
from  1899  was  director  of  the  Choral 
Society  at  Asheville,  N.  C,  and  choir- 
master of  All  Souls'  Church  at  Bilt- 
more,  N.  C.  His  works  have  nearly 
all  appeared  under  his  pen-name, 
Caryl  Florio,  and  consist  of  three 
operettas,  entitled  Inferno;  Les  tours 
de  Mercure;  and  Suzanne;  two  operas, 
Gulda,  and  Uncle  Tom;  cantatas,  sym- 
phonies; overtures;  piano  concertos; 
four  sonatas;  madrigals;  part-songs 
and  songs;  church  services  and 
anthems;  Fairy  Pictures,  four  piano 
duets. 

Flotow  (fl5'-t6),  Friedrich  von.    1812- 
1883. 

An  operatic  composer  best  remem- 
bered as  the  author  of  Martha.  He 
was  the  son  of  a  noble  German  who 
resided  in  Paris.  When  Flotow  was 
fifteen  he  went  to  Paris  to  study 
under  Reicha.  His  first  operatic  ven- 
ture was  -Peter  and  Catherine,  which 
was  brought  out  at  Hotel  Castellan 
about  1831.  He  next  composed  La 
Duchesse  de  Guise,  which  was  founded 
on  a  Polish  story,  and  produced  for 
the  benefit  of  the  Polish  exiles. 
Stradella  was  his  first  great  success 
and  was  produced  in  1837  at  the  Palais 
Royale.  It  is  a  melodious  work,  based 
upon  the  famoiis  though  mythical 
scene  between  the  musical  Stradella 
and  the  assassins  who  were  paid  to 
put  him  to  death,  but  who  were  so 
charmed  by  his  voice  that  they  fled, 
leaving  him  to  escape. 

George  P.  Upton  says  of  Stradella: 
"  The  opera  is  one  of  the  most  charm- 


Fodor-Mainvielle 

ing  of  Flotow's  works,  for  its  apt 
union  of  very  melodious  music  with 
dramatic  interest."  It  contains  a 
beautiful  serenade,  a  brilliant  noc- 
turne, and  carnival  chorus,  and  Stra- 
della's  lovely  prayer  to  the  Virgin  in 
the  last  act  is  strikingly  melodious. 
Stradella  was  succeeded  by  L'Aine  en 
Peine,  written  for  the  Grand  Opera  at 
Paris  and  there  performed  with  great 
success.  Both  L'Aine  and  Stradella 
were  translated  into  English,  and  the 
last-named  work  has  been  translated 
also  into  Italian.  In  Martha  the  com- 
poser produced  a  thoroughly  inter- 
national work,  and  its  history  is  in- 
teresting. In  1843  Flotow  joined  two 
French  composers,  Burgmiiller  and 
Delderes,  in  writing  the  music  of  a 
ballet,  which  after  being  successfully 
produced  at  the  Paris  Grand  Opera  was 
given  in  London.  Flotow  caused  a 
libretto  to  be  written  on  the  same 
theme,  and  this,  after  setting  it  to 
music,  was  named  Martha.  It  appeared 
at  Vienna  in  1847,  was  next  produced 
at  London  in  1858  and  was  later  heard 
all  over  the  world.  It  has  enjoyed  a 
wide  popularity.  It  is  light  though 
tuneful  and  belongs  more  to  comic 
than  to  grand  opera.  It  is  still  suc- 
cessful despite  Fetis'  gloomy  prophecy 
that  it  would  be  only  too  soon  for- 
gotten. In  it  are  fragments  of  very 
good  music,  and  the  composer  further 
adorned  it  by  interpolating  the  beau- 
tiful song,  The  Last  Rose  of  Summer. 
Mme.  Christine  Nilsson  made  a  great 
success  in  it,  as  did  Mme.  Patti. 
"  The  charm  of  this  opera,"  says 
Upton,  "is  its  tunefulness  in  music 
and  its  liveliness  in  action.  Though 
not  a  grand  opera,  from  the  musical 
point  of  view,  it  is  one  of  the  most 
popular  in  the  modern  repertory  and 
it  has  always  retained  its  popularity, 
and  its  melodies,  sung  in  every  coun- 
try of  the  civilized  world  by  amateurs 
and  professional  artists,  have  not  lost 
their  charm."  Beside  the  operas  al- 
ready mentioned,  Flotow  wrote  other 
operas,  including  L'Ombre,  II  Flor 
d'Harlem,  Enchantress,  Indra  and 
eleven  others.  With  the  exception  of 
his  operatic  works  his  compositions 
are  little  known,  although  he  com- 
posed some  incidental  music  to  The 
Winter's  Tale,  several  overtures, 
songs  and  chamber-music. 

Fodor-Mainvielle,  Josephine.    1793- 

A  celebrated  singer;  born  in  Paris; 
the  daughter  of  a  composer  and  vio- 


BIOGRAPHIES 


241 


Fodor-Mainvielle 
linist,  Joseph  Fodor.  She  early 
showed  a  taste  for  music,  playing  the 
piano  and  harp  when  only  eleven. 
She  made  her  debut  at  the  Imperial 
Theatre,  St.  Petersburg,  in  1810,  and 
when  nineteen  years  old  was  married 
to  M.  Mainvielle,  an  actor  at  the 
Theatre  Frangais.  Shortly  afterward 
she  made  her  appearance  as  a  singer 
a  Stockholm  and  at  Copenhagen.  In 
1814  she  sang  in  Paris  at  the  Opera 
Comique,  and  afterwards  succeeded 
Catalan!  in  Italian  Opera.  She  was 
introduced  to  the  London  public  in 
1816  at  the  King's  Theatre,  and  the 
engagement  was  a  successful  one, 
Mme.  Fodor-Mainvielle  making  her 
bow  as  Griselda  in  an  opera  of  the 
same  name.  She  appeared  for  three 
seasons  at  that  theatre  as  prima 
donna,  singing  to  great  applause  in 
The  Marriage  of  Figaro,  as  Zerlina  in 
Don  Giovanni,  and  as  Rosina  in  The 
Barber  of  Seville.  She  sang  with 
great  success  in  Venice  also,  was 
crowned  and  complimented  by  having 
a  gold  medal  struck  in  her  honor. 
Her  greatest  successes,  however,  were 
made  in  Italian  Opera  at  Paris,  where 
she  achieved  a  series  of  triumphs 
lasting  several  years.  Her  voice  was 
then  of  exceeding  sweetness  and 
faultless  intonation  and  flexibility.  It 
suddenly  left  her  in  Paris,  while  she 
was  singing  in  Semiramide.  After  a 
sojourn  in  Italy  for  her  health  it  re- 
turned, but  was  never  again  as  beau- 
tiful and  its  charm  was  gone.  Finally, 
Mme.  Fodor-Mainvielle  retired  to 
Fontainbleau  to  pass  her  remaining 
years.  Her  last  appearance  was  made 
at  Bordeaux  in  1833.  In  1857  she  pub- 
lished a  work  entitled  Reflections  on 
the  Art  of  Singing.  Her  style  is  said 
to  have  served  as  a  model  for  Sontag, 
and  was  held  in  the  highest  esteem 
by  musicians  of  her  time,  Mendelssohn 
having  a  great  admiration  for  her. 

*  Foerster  (fer-ster),  Adolphe  Martin. 
1854- 

American  composer  of  note,  who 
was  born  in  Pittsburg  and  has  lived 
there  most  of  his  life.  In  Mr.  Foer- 
ster's  case  talent  and  opportunity 
came  together  at  birth.  His  father 
was  a  gifted  portrait  painter,  who  had 
studied  in  the  art  centers  of  Germany, 
find  who  recognized  and  cultivated  his 
son's  talent  along  musical  lines. 
Young  Foerster  was  given  every  ad- 
vantage. His  earliest  instruction  he 
received  from  his  mother,  an  amateur 


Foerster 

musician  of  much  ability,  and  later  he 
studied  with  Jean  Manns  of  Pittsburg. 
He  was  next  sent  to  Leipsic,  and  spent 
the  years  from  1872  to  1875  at  the 
Conservatory  there,  studying  piano 
under  Coccius  and  Wenzel,  singing 
under  Grill  and  Adolph  Schimon,  and 
theory  under  E.  F.  Richter  and  Rob- 
ert Papperitz.  After  he  had  finished 
his  studies  under  these  masters  Mr, 
Foerster  returned  to  the  United 
States  in  1875  and  spent  the  next  year 
in  teaching  at  the  Conservatory  of 
Music  at  Fort  Wayne,  Ind.,  later  re- 
turning to  his  native  city,  where  he 
was  conductor  of  the  Symphonic  So- 
ciety, and,  in  1883,  director  of  the 
Alusical  Union  and  the  Choral  So- 
ciety, which  are  no  longer  in  exist- 
ence. He  has  remained  in  that  city 
ever  since  as  teacher  and  composer 
and  has  been  the  instructor  of  many 
musicians,  who  have  spread  his  repu- 
tation and  influence  throughout  the 
country.  He  has  also  done  an  impor- 
tant work  in  the  series  of  recitals  he 
has  given,  bringmg  out  many  compo- 
sitions of  the  highest  grade.  As  a 
composer  Mr.  Foerster  takes  high 
rank,  his  works  including  orchestral 
and  chamber-music,  as  well  as  works 
for  solo  instruments  and  voice. 
Among  his  more  important  works  are 
the  orchestral  compositions,  March- 
Fantasie,  which  was  first  given  in 
Pittsburg  under  the  composer's  di- 
rection in  1879,  and  at  Chicago  under 
Fritz  Scheel;  Thusnelda,  a  symphonic 
poem  for  orchestra;  The  Falconer,  a 
suite;  a  prelude  to  Goethe's  Faust;  a 
prize  composition  of  the  Art  Society 
of  Pittsburg  in  1898;  three  dramatic 
arias,  love  song.  Hero  and  Leander, 
and  VerzweiflunsT.  for  soprano  and 
orchestra;  a  symphonic  poem,  Sigrid; 
and  the  Dedication  March,  written  for 
the  inauguration  of  Carnegie  Music 
Hall  in  1895,  in  which  the  theme 
begins  with  the  founder's  initials, 
A.  C,  as  a  tribute  to  the  great  phil- 
anthropist. Mr.  Foerster's  orchestral 
works  have  been  frequently  played  in 
public  by  noted  orchestras  under 
Theodore  Thomas,  Anton  Seidl,  Wal- 
ter Damrosch,  Frederick  Stock,  Ar- 
thur Claassen  and  Asgar  Hamerick. 
His  Thusnelda  was  given  by  the  or- 
chestras of  Theodore  Thomas  and  of 
Carl  Schroeder  in  Germany  and  under 
the  composer's  direction  in  Boston  in 
1886.  The  Festival  March  was  given 
at  the  May  Festival  in  1891,  and  in 
New  York  under  Seidl.     His  quartet 


242 


BIOGRAPHIES 


Foerster 


(op.  21)  and  trio  (op.  29)  have  been 
frequently  performed  in  Europe  and 
the  United  States.  Other  chamber 
works  are  still  in  manuscript.  Foer- 
ster has  published  many  other  com- 
positions for  piano,  voice,  violin  and 
cello,  and  also  part-songs.  There  is 
a  marked  preponderance  of  songs 
that  proclaim  an  exalted  standard. 
L.  C.  Elson  has  said  that  they  are 
the  best  short  songs  that  have  yet 
been  written  by  an  American.  The 
influence  of  Robert  Franz,  the  re- 
nowned German  composer,  is  trace- 
able in  his  early  songs,  but  better 
still  he  influenced  Foerster's  art-life. 
The  correspondence  of  nearly  two 
decades  was  bound  to  be  felt  and  re- 
sulted in  an  earnestness  of  purpose 
that  bore  good  fruit.  As  a  tribute  of 
regard,  Foerster  inscribed  the  Set 
(op.  6)  to  Franz.  Probably  the  loft- 
iest ideals  will  be  found  in  the  sets 
Among  Flowers;  Greek  Love  Song; 
Album  of  Lyrics;  Garland  of  Songs; 
and  Six  Songs.  In  single  songs  are 
Tristan  and  Iseult;  Hero  and  Lean- 
der;  Fair  Rosalind;  Love's  Philoso- 
phy; Evening  in  Greece;  the  Daisy; 
Shepherd's  Lament;  and  Little  Wild 
Rose.  Among  his  piano  compositions 
are  Valse  Caprice;  Eros;  Lamentation 
and  Exultation;  and  Homage  to  Ru- 
binstein. He  has  also  written  the 
sacred  song.  The  Messiah;  Lord  is 
King;  and  an  Ave  Maria.  For  the 
organ  his  In  Memoriam,  written  in 
commemoration  of  his  mother,  is  an 
important  contribution. 

Foerster   (fer'-ster),   Emanuel   Aloys. 

1748-1823. 

His  name  is  sometimes  spelled 
Forster.  He  was  born  at  Neurath,  in 
Austrian  Silesia.  He  was  a  German 
composer  and  writer,  who  composed 
much  chamber-music,  also  works  for 
the  piano  and  voice,  some  of  which 
have  retained  their  popularity  until 
the  present  day.  He  is  also  the  author 
of  Anleitung  zum  General-Bass,  pub- 
lished at  Leipsic.  He  was  chiefly 
self-taught  and  became  an  exceedingly 
good  teacher  of  theory  from  1776  in 
Vienna,  in  which  city  his  death  oc- 
curred. Among  Foerster's  works  are 
fort3--eight  violin  quartets;  quartets 
for  strings  alone  and  for  piano  and 
strings;  piano  sextets;  and  variations 
and  sonatas  for  the  piano.  He  first 
worked  under  his  father  as  an  ac- 
countant, and  then  served  in  the  Prus- 
sian army  before  taking  up  music  as 


Folville 

a  profession.  He  composed  the  vari- 
ations in  A  on  an  air  from  Sarti's 
opera,  I  finti  Eredi,  which  were  long 
attributed  to  Mozart  and  were  ex 
tremely  popular.  Foerster  was  highly 
esteemed  by  Beethoven  and  other 
musicians. 

Foli,    Signer    (Allan    James    Foley). 
1835-1899. 

An  Irish  singer,  whose  real  name 
was  as  above,  who  was  born  at  Cahir, 
Tipperary,  and  who  for  many  years 
was  associated  with  Italian  Opera  and 
oratorio  throughout  Europe.  He 
studied  with  Bisaccia,  the  elder,  at 
Naples,  and  from  1862  to  1864  sang  in 
opera  at  Turin,  Milan,  Modena  and 
Paris  with  striking  success.  He  ap- 
peared first  in  London  in  1865,  sing- 
ing the  role  of  St.  Bris  in  Les  Hugue- 
nots, was  later  popular  at  Covent 
Garden,  Drury  Lane  and  in  other 
theatres,  and  was  often  heard  in  con- 
cert and  oratorio,  as  well  as  in  opera. 
Foli  made  his  debut  at  Catania  as 
Elmiro  in  Otello.  He  made  his  great- 
est successes  in  the  roles  of  Mefisto 
in  Faust,  Oroe  in  Semiramide,  Ro- 
dolpho  in  Sonnambula,  and  Bide  the 
Bent  in  Lucia  di  Lammermoor.  h\ 
oratorio  he  was  heard  in  many  of  the 
more  important  festivals,  and  sang 
Jacob  in  Macfarren's  production  of 
Joseph  at  the  Leeds  Festival  in  1877, 
and  Herod  in  Berlioz's  L'Enfance  dn 
Christ,  under  Halle  at  Manchester  in 
1880.  Foli  was  heard  in  all  the  prin- 
cipal American  cities  in  1878,  in  Ma- 
pleson's  Company,  with  Arditi  as  con- 
ductor. He  also  appeared  with  suc- 
cess in  Vienna,  Moscow  and  St. 
Petersburg. 

Folville  (f61-ve'-3ru),  Juliette  (Eugenie 
fimilie).     1870- 

A  famous  woman  violinist  and 
pianist,  who  was  born  at  Liege,  Bel- 
gium. She  has  had  a  most  successful 
and  brilliant  career  on  the  concert 
stage,  and  is  besides  a  talented  com- 
poser, teacher  and  conductor.  Her 
father,  a  lawyer  and  brilliant  amateur 
musician,  was  her  instructor  from 
1874,  when  she  was  four  years  old,  in 
piano  and  solfeggio.  She  received  her 
first  lessons  on  the  violin  from  Mal- 
herbes  in  Liege,  and  also  studied 
under  O.  Musin  and  Cesar  Thompson, 
making  her  debut  at  Liege  as  a  con- 
cert violinist  in  1879.  The  next  year 
she  began  her  career  as  a  composer. 
She     has     given     many     concerts     In 


BIOGRAPHIES 


243 


Folville 

France  and  Belgium  and  frequently 
directs  her  own  orchestral  works. 
She  has  conducted  every  year  for 
several  years  at  a  concert  of  ancient 
music  at  the  Liege  Conservatory  and 
has  given  clavecin  recitals  as  well. 
In  January,  1898,  Mile.  Folville  was 
appointed  professor  of  the  piano  at 
the  Liege  Conservatory.  She  has 
composed  an  opera,  Atala,  which  was 
produced  with  success  at  Rouen  in 
1893;  a  march,  parts  of  a  symphony;  a 
violin  sonata;  two  sonatas  for  piano; 
three  orchestral  suites;  a  violin  con- 
certo; berceuse  for  violin;  Suite 
Poetique  for  violin;  Eva,  a  dramatic 
scene  for  soprano  choir  with  piano; 
numerous  pieces  for  the  organ;  much 
piano-music  and  many  songs. 

*  Foote,  Arthur  William.     1853- 

Eminent  American  composer,  born 
at  Salem,  Massachusetts,  of  English 
descent.  He  received  some  lessons  in 
piano  when  a  boy,  and  was  in  his 
early  teens  a  student  of  harmony  at 
the  New  England  Conservatory  of 
Music  under  Stephen  A.  Emery.  At 
fourteen  he  composed  a  new  setting 
for  the  first  chorus  of  Mendelssohn's 
Elijah,  a  work  he  greatly  admired. 
During  a  course  at  Harvard  Uni- 
versity, from  which  he  was  graduated 
in  1874,  his  musical  study  was  sus- 
pended, although  he  was  active  there  as 
leader  of  the  Glee  Club  and  as  musical 
chorister  on  Class  Day.  After  grad- 
uation he  renewed  his  music  with 
more  serious  purpose,  working  at 
counterpoint,  canon,  fugue  and  com- 
position under  John  K.  Paine,  then 
connected  with  the  University,  al- 
though there  was  no  musical  pro- 
fessorship in  Harvard  at  that  time. 
In  1875  Foote  received  his  degree  of 
A.  M.  for  this  special  work.  His 
translation  of  Richter's  treatise  on 
fugue,  published  at  that  time,  was 
used  for  a  text-book  at  Harvard.  He 
also  studied  organ  and  piano  under 
the  well-known  instructor,  B.  J.Lang, 
and  began  teaching  the  latter  instru- 
ment in  Boston  the  following  year. 
In  1878  he  became  organist  of  the 
First  Unitarian  Church  in  Boston,  in 
which  position  he  still  remains,  having 
played  there  nearly  thirty  years. 
Between  1880  and  1895  he  gave  many 
chamber  concerts  and  recitals  in  Bos- 
ton, and  has  also  given  a  number  of 
organ  recitals.  He  is  president  of 
the  Cecilia  Society,  a  mixed  chorus  in 
Boston,  and  a  member  of  the  Amer- 


Foote 


ican  Guild  of  Organists;  for  a  number 
of  years  he  represented  the  musical 
department  on  the  visiting  committee 
of  Harvard,  and  since  1880  has  been  a 
member  and  officer  of  the  Harvard 
Musical  Association.  In  that  year  he 
was  married  to  Kate  G.  Knowlton, 
and  has  resided  at  Dedham,  Mass.,  for 
the  last  ten  years. 

Although  Foote's  musical  education 
was  obtained  entirely  in  this  country, 
his  compositions  follow  classical  out- 
lines, and  he  stands  in  the  front  rank 
of  American  composers.  The  in- 
fluence of  his  two  years'  leadership 
of  the  Harvard  Glee  Club  is  seen  in 
the  ease  with  which  he  handles  male 
choruses,  the  prevalence  of  these 
among  his  choral  works,  and  his  ten- 
dency to  confine  his  compositions  to 
the  circumscribed  compass  and  close 
harmonies  suited  to  vocal  music. 
Naturally  enough,  he  has  written  nu- 
merous songs,  and  a  large  proportion 
of  these  are  settings  of  verses  from 
Shakespeare  and  other  old  English 
poets  —  Suckling,  Sidney,Herrick,  etc. 
Instances  of  these  are  When  Icicles 
Hang  by  the  Wall;  and  It  Was  a 
Lover  and  His  Lass,  the  light,  gay 
words  combined  with  a  quaint  minor 
tune  which  begins  somberly.  Other 
examples  of  delicately  humorous 
song-settings  are  The  Road  to  Kew; 
Ho!  Pretty  Page;  and  When  You 
Become  a  Nun,  Dear.  The  Irish 
Folk-Song,  and  I'm  Wearing  Awa', 
have  become  popular  through  the 
appeal  of  their  pathos.  Still  others 
that  are  well  known  are  The  Eden 
Rose;  A  Song  of  Four  Seasons;  In 
Picarore;  and  JBisesa's  Song.  The 
solos  number  about  sixty  in  all,  be- 
side vocal  duets  and  quartets.  Two 
suites,  one  in  D  minor  and  one  in  C 
minor,  stand  at  the  head  of  his  piano 
compositions;  the  former,  especially, 
has  been  highly  praised,  and  com- 
prises a  prelude,  fugue,  romance  and 
capriccio.  Foote  himself  considers 
the  five  poems  after  Omar  Khayyam 
next  in  importance.  Beside  these 
there  are  a  number  of  smaller  works 
for  piano,  making  thirty  in  all,  and 
including  studies  for  piano  pedal;  an 
Etude  Album;  Additions  to  Butts- 
hardt's  Method  of  Pianoforte  Tech- 
nique; transcriptions  of  a  sarabandc 
and  courante  of  J.  S.  Bach;  and  a 
dozen  pieces,  largely  in  the  old  classi- 
cal forms.  Hughes  speaks  of  two 
gavottes  as  "the  best  since  Bach  — 
academic    without    being    dry         .     . 


244 


BIOGRAPHIES 


Foote 

I  know  of  no  modern  composer  who 
has  come  nearer  relighting  the  fires 
that  beam  in  the  old  gavottes  and 
fugues  and  preludes."  Foote's  cham- 
ber-music includes  a  quintet  for  piano 
and  strings,  with  an  intermezzo 
strongly  suggestive  of  Scotch  folk- 
song, which,  as  well  as  one  of  the  two 
quartets  for  strings  alone,  has  been 
given  by  the  Kneisel  Quartet  and 
other  organizations  of  stringed  in- 
struments with  much  success.  For 
piano  and  strings  there  are  also  a 
quartet  and  two  trios;  foi  violin  and 
piano  a  sonata  which  has  won  favor 
m  England;  and  also  three  charac- 
teristic pieces.  Morning  Song,  Men- 
uetto  Serioso,  and  Romanza. 

The  list  of  his  orchestral  works 
contains  an  overture,  In  the  Moun- 
tains, which  has  been  played  fre- 
quently by  the  Boston  Symphony 
Orchestra,  and  also  by  other  orches- 
tras; the  suite  in  D  minor  for  full 
orchestra  is  another  favorite  of  the 
Boston  Symphony  Orchestra,  and  is 
considered  one  of  the  best  of  its  kind; 
two  smaller  suites  and  a  serenade  are 
for  string  orchestra,  and  the  sym- 
phonic poem,  Francesca  da  Rimini,  in 
the  form  of  a  prologue  to  Dante's 
story,  is  considered  by  some  judges 
the  greatest  of  all  his  works.  These 
have  been  performed  repeatedly  by 
the  orchestras  of  New  York  and  Chi- 
cago, as  well  as  of  Boston,  which  has 
given  Foote's  works  an  equal  showing 
with  those  of  MacDowell,  and  second 
only  to  those  of  Chadwick  and  Paine. 
For  the  organ  there  is  a  suite  in  D 
and  a  number  of  shorter  pieces.  His 
sacred  music  includes  a  Te  Deum  in 
B  flat  and  a  Te  Deum  and  Jubilate  in 
E  flat.  Foote's  secular  choral  works 
comprise  Wreck  of  the  Hesperus,  for 
mixed  voices,  solos  and  orchestra; 
The  Farewell  of  Hiawatha,  for  male 
chorus,  barytone  solo  and  orchestra; 
If  Doughty  Deeds  my  Lady  Please; 
Into  the  Silent  Land,  for  either  male  or 
female  voices ;The  Skeleton  in  Armor; 
Lygeia,  a  cantata  for  women's  voices; 
z  motet  for  mixed  chorus.  Mortal 
Life  is  Full  of  Battle,  which  has  been 
sung  by  the  foremost  choral  societies 
in  this  country,  and  is  classed  by 
Elson  among  Foote's  larger  works  of 
special  power.  The  same  appreciative 
critic  estimates  him  as  a  "  conserv- 
ative and  classical  composer,  who 
never  has  written  anything  trivial  or 
unworthy."  W.  S.  B.  Mathews  has 
paid  Foote  a  high  compliment,  reach- 


Ford 

ing  beyond  and  above  his  musical 
ability  alone,  in  the  words,  "  He  fills 
in  every  way  an  honorable  position  in 
art  and  life.  He  is  one  of  the  men 
who  lend  distinction  to  the  musical 
profession." 

Ford,  Ernest  A.  C.    1858- 

English  conductor  and  composer, 
born  at  Warminster,  Wilts,  according 
to  Grove,  and  in  London  according  to 
other  authorities.  He  is  of  Celtic 
descent.  Ford  became  a  chorister  in 
Salisbury  Cathedral  when  very  young, 
singing  there  from  1868  until  1873. 
He  studied  at  the  Royal  Academy  of 
Music,  being  a  pupil  of  Sir  Arthur 
Sullivan  in  composition,  of  Harold 
Thomas  in  piano,  and  of  Dr.  Steggall  in 
organ.  In  1875  Ford  won  the  Sir 
John  Goss  Scholarship  at  the  Royal 
Academy.  Ford  was  conductor  of  the 
Trafalgar,  now  the  Duke  of  York's 
Theatre,  and  the  comic  opera,  The 
Wedding  Eve,  was  revised  and  the 
two  acts  entirely  re-written  by  him 
when  produced  under  his  direction  at 
that  playhouse.  In  1897  the  Royal 
Amateur  Orchestral  Society  of  Lon- 
don elected  him  conductor,  a  post  he 
still  holds.  Ford  was  chosen  by  Sir 
Arthur  Sullivan  to  conduct  Ivanhoe 
on  its  first  production  in  1891;  he  was 
also  director  of  the  opera  class  at  the 
Guildhall  School  of  Music,  and  for  a 
good  many  years  his  services  have 
been  in  demand  at  nearly  all  the 
prominent  London  churches,  among 
them  Westminster  Abbey  and  St. 
Paul's  Cathedral.  He  has  acted  as 
accompanist  at  the  Saturday  Popular 
concerts  in  London,  and  in  1887  he 
visited  the  United  States.  His  works 
consist  of  the  operas,  Daniel 
O'Rourkc,  and  Jean;  the  comic  opera, 
Jane  Annie,  with  the  book  by  J.  M. 
Barrie  and  Dr.  Conan  Doyle,  pro- 
duced at  the  Savoy  Theatre,  London, 
with  moderate  success  in  1893;  a  can- 
tata for  female  voices,  The  Eve  of  the 
Festa;  a  motet,  Domine  Deus,  with 
English  words,  performed  at  the  two 
hundred  and  fiftieth  anniversary  of 
Harvard  University;  the  ballets,  La 
Frolique,  Brighton  Pier,  Faust,  and  La 
Danse,  written  for  the  Empire 
Theatre,  London,  of  which  Mr.  Ford 
is  the  present  conductor.  He  has  also 
composed  musical  settings  for  a  num- 
ber of  Shelley's  poems;  has  written 
numerous  songs  and  duets;  the  music 
to  the  ballets  produced  at  the  Empire 
Theatre;  and  much  sacred  musiq.   His 


BIOGRAPHIES 


245 


Ford 

orchestra  works  are  numerous,  and 
he  has  composed  a  Scene  Bacchanale 
produced  by  Robert  Newman  at  the 
Queen's  Hall  in  1897.  Mr.  Ford  was 
elected  a  fellow  of  the  Royal  Acad- 
emy of  Music  in  1899. 

Forkel,  Johann  Nikolaus.    1749-1818- 

German  writer  and  theorist,  and  also 
a  skilful  organist  and  harpist,  who 
was  born  near  Coburg  and  pursued 
his  musical  studies  at  Gottingen  Uni- 
versity. He  was  organist  at  the 
University  church  and  later  a  doctor 
of  philosophy  and  director  of  music 
there  for  many  years,  having  been 
appointed  to  the  post  in  1778.  While 
acting  in  that  capacity,  from  1779  to 
1815,  he  conducted  the  weekly  con- 
certs of  the  Akademie.  Forkel's  the- 
oretical works  are  of  great  value  and 
his  knowledge  of  musical  literature 
was  extensive.  He  was  likewise  an 
excellent  pianist  of  the  school  of  Bach, 
and  composed  numerous  pieces  of 
vocal  and  instrumental  music.  His 
transcriptions  in  modern  notation  of 
a  number  of  ancient  masterpieces,  in- 
cluding masses  of  Okeghem,  Josquin 
de  Pres  and  others,  were  engraved 
and  a  proof  taken,  but  the  French  in- 
vaders melted  down  the  plates  for 
cannon  balls  in  1806.  The  corrected 
proof  sheets  are  now  in  the  Berlin 
Library,  and  that  institution  likewise 
contains  in  manuscript  Forkel's  ora- 
torio, Hiskias;  two  cantatas;  sym- 
phonies; choruses;  clavier  concertos 
and  variations  for  the  harpsichord. 
Forkel  wrote  a  work  on  the  History 
of  the  Literature  of  Music,  which  is 
highly  valuable  to  the  student  of 
music.  It  was  published  at  Leipsic  in 
1792  and  contains  a  valuable  bibli- 
ography of  musical  writmgs  up  to 
about  the  end  of  the  Seventeenth 
Century.  He  also  wrote  the  first  life 
of  Bach,  with  a  critical  view  of  his 
compositions.  This  was  published  in 
1820.  Forkel's  General  History  of 
Music  in  two  volumes,  published  at 
Leipsic,  1788-1801,  is  his  most  cele- 
brated work  and  contains  a  history  of 
ancient  as  well  as  modern  music.  He 
wrote  also  a  history  of  Italian  Opera, 
with  notes,  which  was  published  at 
Leipsic  in  1789. 

Formes,  Karl  Johann.    1816-1889. 

One  of  the  most  renowned  bassos 
of  his  time;  was  the  son  of  a  sexton 
at  Miihlheim-on-the-Rhine.  He  gained 
the  greater  part  of  his   musical  edu- 


Forster 

cation  by  singing  in  the  church  choir 
of  his  native  town.  The  attention  of 
the  musical  public  was  first  directed 
to  the  young  singer  when  he  appeared 
for  the  benefit  of  the  Cathedral  fund 
at  Cologne  in  1841.  The  next  year 
he  made  his  debut  in  opera,  his  suc- 
cess leading  to  an  engagement  for 
three  years.  He  sang  in  Vienna,  and 
in  1849  appeared  in  London  with  a 
German  company,  assuming  the  part 
of  Sarastro  in  The  Magic  Flute  at  the 
Drury  Lane  Theatre.  The  following 
year  Formes  appeared  with  the  Ital- 
ian Opera  at  Covent  Garden,  as  Cas- 
par in  Der  Freischiitz,  and  sang  there 
every  season  for  fifteen  years.  He 
was  also  heard  in  Berlin  and  at  the 
Philharmonic  concerts  in  London. 
Formes'  voice  was  one  of  the  most 
beautiful  ever  heard,  of  wide  compass, 
and  wonderful  quality  and  depth,  and 
added  to  these  attractions  he  had  an 
exceptionally  fine  stage  presence,  an 
attractive  personality  and  marked 
ability  as  an  actor.  He  passed  a 
goodly  portion  of  his  life  in  Russia 
and  Spain,  and  in  1857  visited  the 
United  States,  singing  in  most  of  the 
large  cities.  He  led  a  wandering  life, 
and  seldom  stayed  long  in  one  place. 
He  was  a  very  old  man  when  he 
married,  nearly  seventy-two,  and  he 
took  for  his  wife  one  of  his  pupils. 
They  settled  in  San  Francisco,  where 
Formes  sang  in  concert  and  taught 
music.  He  remained  strong  and  active 
to  the  day  of  his  death.  He  com- 
posed several  pieces  for  the  piano 
and  organ,  among  others  The  Mill 
Wheel,  a  version  of  an  old  German 
folk-song,  which  is  perhaps  the  best 
known  of  his  compositions. 

Forster  (for-shter),  Georg.    1514-1568. 

He  was  born  m  Amberg,  Germany, 
and  was  a  physician  by  profession, 
but  became  interested  in  music  and 
attained  to  a  high  place  as  a  musician 
and  editor  of  a  large  and  valuable  col- 
lection of  German  folk-songs.  In 
1534  he  entered  the  University  of 
Wittenberg,  where  he  graduated  as  a 
physician,  going  to  Amberg  to  prac- 
tice, then  to  Wiirzburg  and  later,  hav- 
ing been  appointed  to  the  post  by  the 
Duke  of  Bavaria,  to  Heidelberg,  as 
physician  and  surgeon.  He  also  went 
through  the  French  campaigns.  About 
1544  Dr.  Forster  settled  in  Nurem- 
berg, where  he  died.  He  rendered  a 
distinct  service  to  music  by  his  col- 
lections   of    songs,    which    were    ar- 


246 


BIOGRAPHIES 


Forster 


ranged  for  four  voices  and  which 
appeared  in  five  parts  at  Nuremberg 
from  1539  to  1556.  In  these  were 
represented  the  most  important  com- 
posers of  the  day,  and  of  the  three 
hundred  and  eighty  songs  contained 
in  it  Forster  contributed  thirty-seven. 
The  second  part  which  contained 
psalms  included  Josquin  de  Pres'  "  Qui 
Habitat "  for  twenty-four  voices  and 
a  Deo  Gratias,  generally  attributed  to 
Okeghem.  The  work  was  reprinted 
in  score  by  Eitner  in  1904.  Forster 
also  edited  two  volumes  of  sacred 
works  in  1540  and  1542. 

Forster,  William  sr.    1739-1808. 

Eminent  English  vioHn-maker,  who 
was  born  at  Brampton,  Cumberland, 
and  went  to  London  when  twenty 
years  of  age,  being  then  a  cattle 
drover  and  undergoing  many  hard- 
ships and  privations.  He  was  finally 
hired  by  a  music-seller  named  Beck, 
of  Tower  Hill,  London,  and  in  a  few 
years  went  into  business  for  himself 
(about  1781).  He  gained  a  great 
reputation  for  his  instruments,  which 
were  of  superior  make.  He  is  said  to 
have  copied  Stainer  and  Amati,  and 
attained  high  excellence.  His  double- 
basses,  of  which  he  made  only  a  few, 
are  very  valuable  and  his  cellos  are 
ranked  among  the  best.  He  later 
added  to  his  business  that  of  music 
publisher  and  in  1781  published  in 
agreement  with  Joseph  Haydn  a  num- 
ber of  that  composer's  works.  Later 
he  moved  to  the  Strand,  where  his 
business  grew  and  he  became  ulti- 
mately wealthy.  He  died  in  London 
at  the  house  of  his  son,  who  followed 
in  his  father's  steps  as  a  maker  of 
famous  instruments. 

Forster,  William  jr.    1764-1824. 

He  was  a  son  of  William  Forster, 
sr.,  and  is  usually  known  as  Royal 
Forster  because  of  the  fact  that  his 
title  was  "  Music-seller  to  the  Prince 
of  Wales  and  the  Duke  of  Cumber- 
land." He  followed  his  father  as  a 
maker  of  violins,  and  some  of  his 
instruments  are  of  a  high  order  of 
merit.  The  Forsters  both  obtained  in 
their  instruments  a  stronger  and  more 
penetrating  tone  than  that  possessed 
by  others  and  they  were  highly  fa- 
vored by  Robert  Lindley,  the  famous 
violinist,  and  his  school.  William 
Forster,  jr.  died  in  London.  He  left 
two  sons,  one  of  whom,  Simon,  car- 
ried on  the  business  founded  by  his 


Foster 

grandfather,   and  wrote   a  history  of 
the  violin,  jointly  with  W.  Sandys. 

Foster,  Muriel.     1877- 

Prominent  English  vocalist,  a  niece 
of  the  late  Birket  Foster,  the  artist, 
and  a  cousin  of  Myles  Birket  Foster, 
the  composer  and  organist.  She  was 
born  in  Sunderland,  and  pursued  her 
musical  studies  under.  Anna  Williams 
at  the  Royal  College  of  Music,  Lon- 
don, gaining  a  scholarship  in  1897. 
Her  debut  was  made  in  oratorio,  at 
Bradford,  in  King  Saul,  since  when 
she  has  sung  at  most  of  the  English 
and  Welsh  Festivals,  has  been  heard 
in  concert  in  London,  in  Russia,  Hol- 
land, Germany  and  in  America,  being 
received  everywhere  with  enthusiasm. 
In  1900,  Miss  Foster  was  made  an 
Associate  of  the  Royal  College  of 
Music  and  the  same  year  sang  by 
special  command  before  the  late 
Queen  Victoria.  The  following  year 
she  made  a  tour  of  Canada  with  Mme. 
Albani,  sang  at  the  Lower  Rhine  Fes- 
tival in  1902,  at  the  Worcester  Festi- 
val the  same  year,  and  before  King 
Edward  VII.  and  Queen  Alexandra. 
Probably  Miss  Foster's  most  success- 
ful appearance  was  at  the  production 
of  Elgar's  Gerontius  at  the  Roman 
Catholic  Cathedral  of  Westminster. 
In  London  she  is  extremely  popular 
in  concert  and  has  been  heard  in  the 
Bach  Choir,  the  Royal  Choral  Society, 
London  Symphony  and  Ballad  con- 
certs and  the  Popular  concerts.  She 
appeared  in  the  United  States  in  1905 
and  sang  in  Chicago  with  the  Theo- 
dore Thomas  Orchestra.  She  has  a 
magnificent  voice,  which  is  a  rich, 
deep,  perfectly-schooled  contralto, 
used  with  finished  art.  She  is  besides 
strikingly  beautiful  in  face  and  figure. 

Foster,  Myles  Birket.     1851- 

English  organist  and  composer, 
born  in  London,  the  eldest  son  of 
Birket  Foster,  the  noted  artist,  and 
a  cousin  of  Muriel  Foster,  the  vocal- 
ist. His  family,  being  Quaker,  dis- 
couraged his  interest  in  music,  and 
placed  him  in  the  office  of  a  stock- 
broker, but  he  left  it  in  1871  and 
studied  for  his  favorite  profession, 
first  under  Hamilton  Clarke,  and  later 
in  composition  under  Sullivan  and 
Prout  and  the  piano  under  Westlake. 
He  held  the  position  of  organist  of 
the  Foundling  Hospital  from  1880  to 
1892,  and  up  to  1900  was  musical 
editor   to   Messrs.     Boosey,     London. 


BIOGRAPHIES 


247 


Foster 

He  was  elected  an  associate  of  the 
Philharmonic  Society  in  1880,  asso- 
ciate of  the  Royal  Academy  of  Music 
in  1895,  and  later  a  fellow  of  the 
same  institution.  As  traveling  ex- 
aminer for  Trinity  College  he  visited 
Australia  and  New  Zealand  in  1895. 
He  was  also  organist  at  His  Majesty's 
Theatre.  He  has  written  a  number 
of  musical  works  of  merit,  many  of 
them  being  in  manuscript.  Among 
them  are  cantatas  for  children,  in- 
cluding Cinderella  and  Beauty  and 
the  Beast;  an  evening  service  for 
male  voices;  a  communion  service; 
six  two-part  songs;  a  symphony  in  F 
sharp  minor,  entitled  Isle  of  Arran; 
overtures;  string  quartets;  and  about 
forty  anthems.  He  has  contributed 
articles  on  musical  subjects  to  several 
magazines  and  is  the  author  of 
Anthems  and  Anthem  Composers, 
issued  in  1901. 

Foster,  Stephen  Collins.    1826-1864. 

One  of  America's  most  noted  song- 
writers, chiefly  remembered  as  the 
author  of  Old  Folks  at  Hom.e,  better 
known  as  The  Suwanee  River,  and 
My  Old  Kentucky  Home.  Foster 
was  born  at  Lawrenceville,  now  a  part 
of  Pittsburg,  Pa.,  and  was  the  son  of 
one  of  the  oldest  settlers  of  western 
Pennsylvania,  a  prosperous  merchant 
and  one  time  mayor  of  Pittsburg. 
Young  Foster  began  his  education  at 
an  academy  in  Allegheny,  and  also 
studied  at  Jefferson  College,  Canons- 
burg,  and  after  finishing  school  be- 
came a  bookkeeper  for  a  brother  in 
Cincinnati,  spending  all  of  his  leisure 
moments  in  studying  French,  Ger- 
man, drawing  and  painting.  He  early 
in  life  showed  a  talent  for  music, 
playing  the  flageolet,  flute  and  piano, 
while  very  young.  He  had  a  good 
singing  voice,  although  not  an  espe- 
cially strong  one.  He  was  urged  to 
study  music  seriously,  but  hesitated 
on  the  ground  that  it  would  destroy 
his  originality.  Later  in  life  he  came 
to  regret  this  and  then  spent  much 
time  studying  the  great  masters.  Fos- 
ter's first  composition,  a  waltz, 
arranged  for  four  flutes,  was  written 
while  he  was  at  school,  and  was  so 
well-received  that  it  spurred  him  to 
greater  efforts.  He  shortly  after- 
wards began  to  write  songs,  most  of 
them  being  submitted  to  Henry 
Kleber,  a  musician  of  his  native  city, 
for  criticism.  His  first  published 
song,    Open    Thy    Lattice,    Love^    ap- 


Foster 


peared  in  1842,  and  was  one  of  the 
few  whose  words  were  not  his  own. 
Later  he  submitted  his  song,  O 
Susanna,  to  a  minstrel  troupe  which 
visited  Pittsburg;  it  was  accepted  and 
sung  with  success  and  immediately 
became  the  vogue.  Foster  married  in 
1854,  but  six  years  later  left  his  wife, 
and  went  to  live  in  New  York  City, 
where  he  kept  a  small  grocery,  and 
where  the  best  years  of  his  life  were 
dissipated  in  drink  and  folly.  Some 
of  his  songs,  written  amid  the  most 
uncongenial  surroundings,  yet  beauti- 
ful and  full  of  melody,  he  was  obliged 
to  sell  for  the  merest  pittance.  The 
publishers,  knowing  his  need  gave 
him  little  or  nothing  for  them.  He 
was  preyed  upon  by  so-called  friends, 
who  knew  his  frank,  generous,  unre- 
sisting nature,  and  used  it  to  further 
their  own  aims.  He  died  at  Bellevue 
Hospital, New  York,  in  abject  poverty, 
the  victim  of  his  dissolute  habits. 
Foster's  place  among  American  song- 
writers is  a  unique  one  and  his  lyrics 
are  unlike  anything  produced  before 
or  since  his  time.  They  have  a  charm 
and  an  appeal  that  has  made  them 
more  enduring  than  many  that  have 
more  real  musical  merit.  He  occupies 
a  niche  of  his  own  as  a  composer; 
his  compositions  appealing  directly 
to  the  heart.  No  songs  have  become 
so  widely  known.  His  Old  Folks  at 
Home  has  sold  to  the  extent  of  hun- 
dreds of  thousands  of  copies.  Its 
history  is  interesting.  It  was  written 
at  Foster's  Allegheny  home  in  1851, 
after  his  return  from  a  prolonged 
visit,  and  was  first  published  under 
the  name  of  Edwin  P.  Christy,  of 
Christy's  Minstrels,  who  had  bought 
the  song  on  condition  that  he  be  al- 
lowed to  claim  the  authorship  of  it. 
Like  most  of  his  other  songs,  the 
sum  that  Foster  received  for  it  was 
very  small.  For  many  years  its  real 
author  was  not  known,  and  it  is  only 
in  recent  years  that  Foster's  name 
has  appeared  in  connection  with  it. 
For  many  of  his  songs,  which  had 
an  enormous  success,  previous  to, 
during  and  after  the  Civil  War,  he 
wrote  the  words  as  well  as  the  music. 
Among  his  most  popular  lyrics  were 
Marsa's  in  the  Cold, Cold  Ground;  Old 
Dog  Tray;  Come  Where  My  Love 
Lies  Dreaming,  a  song  for  four  voices; 
Ellen  Bayne,  which  by  some  is  said 
to  have  provided  the  theme  for  John 
Brown's  Body;  and  many  others. 
Says  L.  C.  Elson:     "Foster  was  like 


248 


BIOGRAPHIES 


Foster 
Robert  Burns,  a  man  who  sang  the 
purest  poetry  of  humble  life."  He 
received  the  inspiration  for  many  of 
his  negro  songs  in  the  humble  cabins 
of  the  darkies,  and  wove  into  his 
music  many  of  the  melodies  which 
he  heard  in  such  places.  Some  one 
hundred  and  seventy-five  songs  are 
credited  to  him.  His  life  was  strangely 
like  that  of  the  Scotch  poet,  in  that 
he  was  of  an  irresponsible,  pleasure- 
loving  nature,  too  fond  of  drink,  yet 
of  a  lovable  disposition,  and  unusually 
gifted.  And  like  the  American  poet, 
Poe,  Foster's  career  was  unfortunate 
and  his  talents  unappreciated  until 
long  after  his  death. 

Franc,  Guillaume.     1520-1570. 

A  French  composer,  whose  name 
is  sometimes  spelled  Le  Franc.  Was 
born  at  Rouen,  and  was  a  musician 
at  Geneva.  His  name  is  scarcely 
known  among  musicians  of  the  pres- 
ent day,  except  as  one  of  the  original 
composers  of  the  tunes  of  the  French 
version  of  psalms  by  Marot,  fifty  in 
number  and  first  printed  at  Strasburg 
in  1545,  and  afterwards  set  in  parts, 
with  several  others  by  Bourgeois  and 
Goudimel.  It  is  known  that  he  was 
a  noted  composer  of  church  music 
and  the  reputed  author  of  the  French 
psalm  tune,  but  these  seems  to  be 
some  doubt  as  to  his  connection  with 
the  psalter. 

Guillaume  Franc  was  a  son  of 
Pierre  Franc  of  Rouen,  and  is  be- 
lieved to  have  been  one  of  the  French 
Protestants  who  fled  to  Geneva  as  a 
refuge  from  persecution  at  the  time 
of  the  Reformation.  He  established 
in  that  city  a  school  of  music  and  in 
1542  became  master  of  the  children, 
and  a  singer  at  St.  Peter's.  ^  He  is 
believed  to  have  left  Geneva  in  1545 
and  to  have  joined  the  choir  of  the 
cathedral  at  Lausanne,  remaining 
there  until  his  death.  For  a  long 
time  Franc's  name  was  chiefly  known 
in  connection  with  the  psalter  pub- 
lished at  Geneva  by  Calvin  for  the 
use  of  the  reformed  churches,  the 
first  edition  of  which  appeared  in 
1542.  He  was  generally  believed  to 
have  been  the  musical  editor,  but 
recent  researches  show  this  claim  to 
have  been  without  foundation.  Franc 
did  compile  a  psalter,  for  he  obtained 
a  license  in  Geneva  in  1552  to  print 
one.  No  copy  of  this  book  exists,  if 
it  was  ever  printed,  but  the  license 
shows  that  it  consisted  of  the  psalms 


Franchetti 

of  Marot,  with  their  original  melodies 
and  the  thirty-four  psalms  translated 
by  Beza  in  1551,  to  which  Franc  had 
adapted  melodies  of  his  own.  His 
work,  by  some  authorities,  is  said  to 
have  been  printed  at  Lausanne,  three 
years  after  the  completion  of  the 
Genevan  psalter  (1565)  and  in  its 
preface  Franc  is  said  to  have  de- 
clared that  he  had  not  attempted  to 
compete  with  the  "  very  commendable 
work  brought  out  at  Geneva,"  but 
that  his  object  was  merely  to  fit  each 
psalm  with  its  proper  tune  and  avoid 
confusion.  He  supplied  new  tunes  to 
some  of  the  psalms  and  adapted  or 
composed  twenty-seven  melodies  of 
his  own  to  the  psalms  left  without 
music  in  the  Geneva  psalter  of  1562. 
This  psalter  was,  not  long  afterwards, 
entirely  supplanted  by  that  of  Bour- 
geois. 

Franchetti    (fran-ket'-te),   Alberto. 
1860- 

He  is  generally  admitted  to  be  the 
most  talented  as  well  as  the  most 
thoroughly  trained  musician  of  the 
modern  Italian  composers.  He  was 
born  in  Turin  of  wealthy  parents.  In 
1880  young  Franchetti  entered  the 
Munich  Conservatory,  and  for  three 
years  studied  composition  and  coun- 
terpoint there  with  Rheinberger. 
Later  at  Venice,  where  his  family 
moved,  he  was  a  pupil  of  M  Coccon 
and  of  Magi  He  also  studied  at  the 
Royal  Conservatory  at  Dresden  with 
Draeseke.  In  1884  he  received  his 
diploma  in  composition  for  a  sym- 
phony in  E  minor,  which  was  later 
heard  in  several  of  the  leading  cities 
of  Germany.  After  finishing  his 
studies,  Franchetti  devoted  himself 
exclusively  to  composition.  His  works 
are  all  highly  spoken  of  by  musicians, 
some  critics  having  called  him  the 
Meyerbeer  of  Italy,  claiming  to  have 
found  many  points  of  resemblance 
between  him  and  the  composer  of 
Les  Huguenots.  Attention  was  first 
called  to  the  work  of  Franchetti  by 
the  production  of  his  dramatic  legend^ 
Asrael,  which  aroused  the  keenest  in- 
terest in  him  as  a  composer.  It  was 
first  produced  at  Reggio  d'Emilia, 
Italy,  in  1888,  also  at  Hamburg,  and 
elsewhere  in  Germany  the  same  year. 
Then  came  Zoroaster  and  other 
operas,  all  of  which  had  more  than 
an  ordinary  success.  Among  them  is 
Cristoforo  Colombo,  written  for  the 
city  of  Genoa  on  the  occasion  of  the 


BIOGRAPHIES 


249 


Franchetti 

fourth  centenary  of  the  discovery  of 
the  new  world  celebrated  in  that  city, 
October,  1892.  This  opera  has  en- 
joyed a  wide  popularity,  particularly 
in  Genoa,  and  has  been  heard  in  most 
of  the  large  cities  of  Italy.  By  some 
it  is  considered  Franchetti's  master- 
piece. It  has  been  under  considera- 
tion by  Heinrich  Conried  for  pro- 
duction at  the  Metropolitan  Opera 
House,  New  York.  Among  the  com- 
poser's other  operas,  Fior  d'Alpe  was 
given  at  Milan  in  1894,  and  in  1897 
his  comic  opera,  II  signor  di  Pour- 
ceaugnac,  was  produced  in  the  same 
city.  His  opera,  Germania,  was  first 
produced  at  La  Scala,  Milan,  in  1902 
and  met  with  instant  success,  being 
given  afterwards  at  Florence,  Venice 
and  Rome.  The  libretto  was  written 
by  the  well-known  poet,  Luigi  Illica, 
and  the  theme  as  the  name  suggests 
is  essentially  Teutonic.  The  music 
is  modern  in  character  and  the  orches- 
tration rich.  After  its  production, 
Franchetti  wrote  an  opera  based  on 
the  Greek  tragedy  of  CEdipus,  entitled 
The  Legend  of  King  CEdipus,  but  it 
was  laid  aside  while  he  devoted  him- 
self to  his  musical  setting  of 
D'Annunzio's  La  Figlia  di  Jorio, 
which  has  been  given  in  all  parts  of 
Italy  and  in  1905  at  the  open-air 
theatre  at  Bologna.  His  other  com- 
positions include  choruses  for  four 
voices;  chamber-music;  hymn  for 
voices-  and  orchestra;  setting  of  a 
poem  written  on  the  occasion  of  the 
eighth  centenary  of  study  in  Bologna, 
and  a  symphonic  poem,  Lorelei.  His 
symphony  in  A  minor  has  been  highly 
praised,  but  it  is  Franchetti's  operas 
which  have  made  him  known  to  the 
musical  world.  He  has  the  advantage 
of  great  wealth,  which  has  enabled 
him  to  produce  his  works  at  no  mat- 
ter what  cost.  He  is  an  eccentric 
man,  having  no  regular  place  of 
abode,  but  preferring  to  travel  from 
place  to  place  as  his  fancy  dictates. 
He  is  careless  to  the  degree  of  un- 
tidiness about  his  dress  and  exceed- 
ingly absent-minded.  He  is  an 
indefatigable  worker  and  apparently 
lives  for  his  art  alone.  His  music 
is  not  profoundly  emotional,  but  his 
workmanship  is  sound  and  scholarly 
and  he  is  generally  regarded  as  a 
musician  from  whom  much  may  be 
expected  in  the  future.  Franchetti  is 
one  of  the  few  modern  musicians  who 
owe  little  or  nothing  to  the  influence 
of  Wagner. 


Franck 


Franchomme     (frah-shiim),    Auguste 

Joseph.     1808-1884. 

Distinguished  cellist  and  a  com- 
poser of  considerable  ability  for  his 
instrument,  who  was  born  at  Lille, 
France,  and  studied  first  under  a 
player  named  Mas.  In  1825  Fran- 
chomme became  a  pupil  of  Levasseur 
and  Norblin  at  the  Paris  Conserv- 
atory, and  received  in  1826  the  first 
prize  of  the  cello  class.  A  year  later 
he  appeared  as  a  cellist  in  the  orches- 
tra of  the  Ambigu  Comique,  at  the 
Theatre  Italien  and  at  the  Opera  the 
same  year.  With  D.  Alard  and 
Charles  Halle,  he  established  cham- 
ber-music soirees  in  Paris.  Fran- 
chomme was  an  intimate  friend  of 
Chopin  and  was  with  him  when  he 
died.  He  published,  with  the  great 
Polish  composer,  a  duo  on  airs  from 
Robert  le  Diable,  another  with  Bertini 
and  a  third  with  Osborne.  In  1846  he 
received  the  appointment  of  violon- 
cello teacher  at  the  Conservatory. 
After  Duport's  death  Franchomme 
bought  his  Stradivarius  cello,  said  to 
be  the  finest  in  the  world,  and  pur- 
chased for  the  sum  of  25,000  francs. 
He  traveled  very  little,  the  only  jour- 
ney he  ever  took  out  of  his  own 
country  being  to  England  in  1856, 
when  he  played  at  the  Musical  Union, 
London.  Franchomme's  prinicpal 
works  consist  of  potpourris;  a  con- 
certo; variations;  and  adagios,  which 
are  highly  praised  by  all  musicians. 

Franck  (frank),  Cesar  Auguste.    1822- 

1890. 

Eminent  Belgian  composer  and 
organist,  who  has  been  spoken  of  as 
"  the  saint  of  French  music."  Cesar 
Franck  was  born  at  Liege,  but  though 
born  in  Belgium  is  reckoned  among 
the  composers  of  France,  where  he 
lived  and  worked  so  long.  His  first 
musical  mstruction  was  received  at 
the  Liege  Conservatory,  and  he  con- 
tinued his  studies  at  the  Paris  Con- 
servatory, then  under  the  direction  of 
Cherubini.  While  there  he  won  prizes 
in  counterpoint  and  fugue  in  Le- 
borne's  class,  and  also  studied  piano, 
winning  first  prize  for  piano  in  1838 
and  second  prize  for  composition  the 
next  year.  Zimmermann  was  his  piano 
teacher  and  Benoist  was  his  organ  in- 
structor. He  succeeded  the  last  named, 
in  1872,  as  professor  of  the  organ  class 
at  the  Conservatory  and  organist  at 
the  Church  of  Ste.  Clotilde.  For 
thirty-two  years,  from   1858  until  his 


250 


BIOGRAPHIES 


Franck 


Franck 


death  in  1890,  Franck  was  organist  at 
this  church,  where  his  playing  in- 
spired all  who  heard  him,  yet  so 
modest  and  retiring  was  he,  that  he 
remained  personally  very  inconspicu- 
ous, and  was  practically  ignored  dur- 
ing his  lifetime,  living  in  the  city,  but 
not  of  it.  He  early  became  a  teacher 
and  held  to  that  profession  through 
out  his  life.  He  had  many  famous 
pupils,  some  of  whom  are  now  the 
leaders  of  the  younger  French  School. 
By  his  deeply  religious  life,  his  lofty 
purpose  and  high  ideals,  combined 
with  a  rare  intellect,  he  turned  the 
thoughts  of  the  men  whom  he  in- 
structed into  serious  channels.  His 
most  famous  pupils  are  Vincent 
D'Indy,  the  late  Ernest  Chausson, 
Emanuel  Chabrier,  Guy  de  Ropartz 
and  Pierre  de  Breville.  He  also  in- 
fluenced other  musicians  to  a  large 
degree,  including  Gabriel  U.  Faure, 
the  present  head  of  the  Paris  Con- 
servatory, Paul  Dukas,  and  Alexandre 
Guilmant,  the  celebrated  organist. 
Franck's  career  was  not  a  brilliant 
one,  but  he  was  an  indefatigable 
worker,  who  at  fifteen  years  of  age 
had  practically  finished  his  studies  and 
who  from  then  on  practically  devoted 
his  life  to  his  art,  caring  for  nothing 
outside  of  it,  and  living  in  a  little 
world  of  his  own.  His  life  through- 
out was  regular  and  tranquil.  As  a 
teacher  he  was  painstaking,  giving 
all  his  life,  from  eight  to  ten  lessons 
a  day.  At  six  in  the  morning  he 
began  composing,  which  was  to  him 
a  recreation,  and  after  a  light  meal 
would  go  out  to  give  lessons,  work- 
ine  hard  all  day.  He  would  then 
spend  his  evenings  giving  corre- 
spondence lessons  to  his  pupils  in  the 
provinces  and  perhaps  playing  some 
of  his  choral  compositions  for  his 
evening  students.  After  a  short  stay 
in  Belgium  Franck  went  to  Paris,  re- 
maining there,  until  his  death,  as  a 
teacher  and  organist.  To  throw  light 
upon  his  music  it  is  necessary  to  dwell 
upon  his  habits  and  character,  because 
his  life  was  full  of  religious  fervor 
and  emotion  and  the  deep  mysticism, 
which  has  caused  him  to  be  com- 
pared to  his  countryman,  Maurice 
Maeterlinck,  the  poet  and  dramatist. 
By  his  pupils  he  was  called  "  Pater 
Seraphicus,"  and  "  Pere  Franck,"  and 
they  all  adored  him.  Says  Vincent 
D'Indy,  his  pupil,  writing  of  him: 
"  The  foundation  of  his  character  was 
goodness,  calm  and  serene  goodness. 


He  had  high  ideals  and  lived  up  to 
them."  He  never  sought  honors  or 
distinctions,  but  worked  hard  and  long 
to  give  of  the  best  that  was  in  him. 
Franck's  genius  as  a  composer  ma- 
tured late,  for  early  in  life  he  did  little 
beyond  writing  a  mass  and  some 
trios  His  first  great  work  was  Ruth, 
which  is  described  as  a  biblical 
eclogue  and  which  won  its  composer 
much  fame.  Ruth  was  composed  and 
performed  at  the  Conservatory  about 
1846,  and  was  not  given  again  for 
twenty  years.  Ferme,  an  opera,  was 
written  in  1848,  but  was  a  failure,  and 
from  that  time  Franck  devoted  him- 
self to  music  of  a  sacred  nature  and 
largely  for  the  organ.  In  1872  he 
wrote  the  oratorio.  The  Redemption, 
and  in  1881  Rebekah,  a  biblical  idyl. 
Les  fiolides,  his  earliest  composition 
for  the  organ,  was  brought  out  in 
1877,  when  he  was  fifty-five.  Les 
Beatitudes,  begun  in  1870,  by  many 
considered  to  be  his  masterpiece,  was 
not  finished  until  1880.  In  1889  as  a 
splendid  climax  came  his  great  D 
minor  symphony,  and  in.  the  last 
twenty-five  years  of  his  life  were  writ- 
ten the  prelude,  choral  and  fugue; 
aria;  three  chorals  for  organ;  violin 
sonata;  quartet  and  quintet  and  a  set 
of  symphonic  variations  for  orchestra. 
Les  Beatitudes,  a  musical  paraphrase 
of  the  Sermon  on  the  Mount,  has 
been  called  by  musicians  a  work 
"  where  the  severity  of  the  oratorio 
form  is  tempered  by  the  tenderest  in- 
spiration." Its  keynote  is  the  eternal 
conflict  between  good  and  evil.  It 
was  not  brought  out  until  1893,  three 
years  after  the  composer's  death,  and 
was  then  given  at  the  Concerts  du 
Chatelet  under  Colonne.  Franck 
worked  upon  this  composition  for  ten 
years,  and  musicians  throughout  the 
world  have  deplored  the  fact  that  he 
should  have  died  without  hearing  a 
performance  of  the  great  work.  In 
his  symphonic  poems  Franck  wrote 
several  highly  interesting  examples  of 
descriptive  or  program  music,  among 
the  finest  modern  works  of  their  kind. 
His  Redemption  in  two  parts  and 
an  intermezzo  is  a  veritable  musical 
poem.  His  organ  chorals,  written  in 
the  form  created  by  Bach,  are  by 
most  musicians^  considered  his  best 
works.  Of  his  many  symphonic 
poems  there  are  worthy  of  mention 
Psyche;  Les  fiolides,  which  was  per- 
formed at  the  Concerts  du  Chatelet 
in    1890;    Les    Djinns   and    Le    Chas- 


BIOGRAPHIES 


251 


Franck 

seur  Maudit.  Franck  wrote  one  great 
opera,  Hulda,  which  deals  with  a 
Viking  story.  Another  opera,  Ghi- 
selle,  or  Ghisele,  was  not  finished  by 
the  composer,  but  was  completed 
after  his  death  by  his  pupils.  Both 
this  opera  and  Hulda  have  been  per- 
formed at  Monte  Carlo  since  his 
death.  Franck  was  a  wonderful  exec- 
utant on  the  organ,  was  greatly  at- 
tached to  the  instrument  and  his 
interpretations  were  in  the  true 
ecclesiastical  spirit.  He  was  seldom 
heard  in  public  recitals,  but  at  the 
Paris  Exposition  in  1878  he  appeared 
with  other  organists  in  an  exhibition 
on  the  grand  organ  at  the  Trocadero. 
For  the  organ  he  wrote  fifty-nine 
pieces,  which  were  published  posthu- 
mously in  1892,  under  the  title 
L'Organiste.  In  the  realm  of  sacred 
music  Franck  composed  masses,  mo- 
tets, offertories  and  pieces  for  the 
harmonium.  He  also  wrote  consid- 
erable chamber-music,  most  of  it 
strikingly  effective,  and  that  he  could 
unbend  and  write  other  than  sacred 
compositions  is  shown  in  his  Le 
Mariage  des  Roses,  a  dainty  little 
love-song,  as  well  as  in  his  beautiful 
part-songs  for  female  voices.  His 
music  was,  however,  for  the  most  part 
too  high  class  to  ever  attain  to  any 
degree  of  popularity.  All  are  agreed 
that  he  will  never  be  a  popular  com- 
poser because  he  was  too  thoughtful, 
too  subtle  and  not  sufficiently  dra- 
matic. Saint-Saens,  his  distinguished 
contemporary,  once  described  his 
music  as  "  cathedralesque  "  and  "  in 
listening  to  it  one  can  almost  see  the 
pillars  and  arches,  the  candle  light 
and  the  bowed  devotees  at  prayer." 
Although  fame  was  so  lonr^  denied 
him,  Franck  now  ranks  among  the 
great  composers  of  his  time,  and  has 
received  at  last  a  portion  of  the  recog- 
nition that  should  have  been  his  dur- 
ing his  life-time.  He  is  held  in  high 
honor  by  the  younger  French  School, 
of  which  he  may  be  justly  called  the 
founder.  Its  members  are  promul- 
gating his  theories  and  striving  to 
follow  where  he  led,  into  paths  of 
true  art.  In  personal  appearance 
Franck  was  plain.  His  face  was 
rugged  and  he  wore  ugly  gray  whisk- 
ers, yet  many  saw  in  his  expression  a 
resemblance  to  Beethoven,  especially 
about  his  forehead  and  his  finely  de- 
veloped brow,  kindly  contemplative 
expression  and  full,  well-cut  mouth. 
Cesar   Franck  died  at   Paris,  in   1890, 


Franco 

in  the  fulness  of  his  powers.  His 
obsequies  were  simple,  only  his  loved 
pupils  and  a  few  friends  following 
his  body  to  its  last  restmg  place  in  a 
Paris  cemetery. 

Franck  (frank),  Melchior.     1580-1639. 

Prolific  church  composer,  who  was 
born  in  Zittau,  lived  in  Nuremberg 
about  1600  and  became  chapelmaster 
to  the  Duke  of  Coburg  in  1603.  Forty- 
four  works  are  credited  to  him  by 
Gerber.  His  compositions  were  em- 
bellished in  the  Italian  style  and  he 
was  one  of  the  first  composers  to 
make  the  instrumental  accompani- 
ment more  independent,  a  point  which 
was  generally  neglected  by  the  com- 
posers of  his  day.  Some  of  Franck's 
chorals  are  still  heard.  He  wrote  a 
vast  amount  of  sacred  music,  chietiy 
psalms,  the  words  to  which  were 
mostly  in  Latin.  They  appeared  in 
various  German  cities  between  the 
years  1600  and  1636.  A  dissertation 
on  the  composer  by  Aloys  Obrist  was 
published  in  1892. 

Franco  of  Cologjne. 

Belgian  theorist,  who  flourished 
during  the  Eleventh  Century,  and 
who  is  usually  credited  with  having 
been  the  first  to  collect  and  systema- 
tize the  laws  of  measure.  Although 
a  great  uncertainty  prevails  as  to  the 
time  Franco  lived,  the  place  of  his 
birth  and  his  position  in  the  musical 
world,  his  writings  are  the  earliest 
known,  in  which  the  subject  of  nota- 
tion is  treated.  Naumann  in  his 
History  of  Music,  says:  "We  are 
indebted  for  the  oldest  and  most 
trustworthy  information  extant  on  the 
subject  of  notation  and  descant  to 
Franco  of  Cologne.  The  exact  period 
at  which  this  learned  master  lived  is 
not  known,  but  most  probably  it  was 
during  the  Twelfth  and  the  early 
part  of  the  Thirteenth  Century.  It  is 
curious  that  even  up  to  a  very  recent 
date  the  personality  of  Franco  was 
surrounded  with  much  mystery.  It 
is  owing  to  the  researches  of  the  dis- 
tinguished Belgian  musical  historian, 
Coussemaker,  that  we  are  in  posses- 
sion of  more  positive  information  re- 
garding him."  It  was  Coussemaker 
who  proved  the  existence  of  another 
Franco,  Franco  of  Paris,  who  had 
been  confounded  with  Franco  of 
Cologne  down  to  present  times.  The 
researches  of  Coussemaker  set  at  rest 
any  doubt  that  existed  regarding  the 


252 


BIOGRAPHIES 


Franco 

personality  of  Franco  of  Cologne. 
Franco  according  to  this  authority 
advocated  the  adoption  of  the  men- 
sural song,  which  he  improved 
greatly.  He  also  originated  the  uneven 
tempo  or  triple  time,  and  his  labors  in 
the  diffusion  of  a  knowledge  of  musi- 
cal harmony  were  of  the  greatest 
value.  He  gave  the  name  to  the  new 
notation  which  is  spoken  of  as  the 
Franconian  system.  Franco  is  be- 
lieved to  have  pursued  his  studies 
under  Adelman  at  Liege.  Riemann 
agrees  with  Coussemaker  that  there 
were  two  Francos,  and  that  Franco  of 
Paris  was  older  than  Franco  of 
Cologne  with  whom  he  is  so  often 
confounded.  Both  acted  as  chapel- 
master  at  Notre  Dame,  Paris.  Moore's 
Encyclopedia  of  Music  is  authority 
for  the  statement  that  Franco  of 
Cologne  was  a  monk  of  the  Eleventh 
Century  and  that  he  was  the  next 
after  Guido  to  improve  descant,  and 
the  first  to  write  descants  to  secular 
airs,  called  roundelays.  He  wrote 
Ars  cantus  mensurabilis  and  Compen- 
dium de  Discantu. 

Frank,  Ernst.     1847-1889. 

Dramatic  and  vocal  composer  and 
excellent  conductor,  who  was  born  in 
Munich  and  became  a  pupil  of  Mor- 
tier  de  Fontaine  in  piano  and  of 
Franz  Lachner  in  composition  at  the 
Munich  Conservatory.  He  became 
Court  organist  and  chapelmaster  at 
the  Royal  Opera  and,  in  1858,  chapel- 
master at  Wurzburg.  Later  he  held 
many  important  posts  in  various 
European  cities,  was  made  chorus- 
master  at  the  opera,  Vienna  and  after- 
ward conducted  the  singing  society 
there.  He  was  Court  chapelmaster  at 
Mannheim  from  1872  to  1877,  then 
was  appointed  first  chapelmaster  at 
the  theatre  at  Frankfort  and  in  1879 
was  called  to  Hanover  as  von 
Billow's  successor.  Frank  became  in- 
sane in  1887  and  was  sent  to  an 
asylum,  where  he  died  two  years 
later.  While  at  Mannheim,  as  chapel- 
master, Frank  befriended  Hermann 
Goetz,  then  an  unknown  composer, 
who  timidly  brought  Frank  his  opera, 
based  on  Shakespeare's  Taming  of  the 
Shrew,  for  criticism.  Frank  had  it 
produced  under  his  direction  in  1874 
and  thereby  earned  the  gratitude  of 
the  musical  world.  Goetz's  second 
work,  Francesca  di  Rimini,  was  fin- 
ished by  Frank  and  produced  at 
Mannheim,  in  1877,  after  the  death  of 


Franz 

Goetz.  Frank  wrote  several  operas 
of  more  than  usual  merit,  among 
them  Adam  de  la  Halle;  Hero;  and 
Der  Sturm,  in  three  acts  after  Shake- 
speare's Tempest.  He  translated  into 
German,  the  two  operas,  Veiled 
Prophet  and  Savonarola,  and  also 
wrote  songs  and  choruses.  His  songs 
are  especially  charming.  Frank 
worked  all  his  life  unceasingly,  pro- 
duced and  revived  many  operas  of 
note,  but  as  a  composer  failed  to 
reach  a  very  great  height. 

Franz   (frants),  Robert.     1815-1892. 

One  of  tlie  great  triumvirate  of 
song  composers,  the  other  two  being 
Robert  Schumann  and  Franz  Schu- 
bert. Franz  was  born  in  Halle,  Ger- 
many, his  real  name  being  Robert 
Franz  Knauth,  but  he  dropped  his 
surname,  using  his  middle  name  in- 
stead because  it  was  more  euphonious. 
By  a  strange  coincidence  he  thus  bore 
the  first  names  of  the  other  two  great 
song-writers,  Robert  Schumann  and 
Franz  Schubert.  Franz's  father,  a 
burgher  of  Halle,  delighted  in  music 
of  a  sacred  nature  and  used  to  sing 
chorales  every  evening  to  the  boy's 
great  delight.  As  a  youth  he  was 
devoted  to  music,  studying  the  great 
masters  and  learning  the  mysteries 
of  harmony  and  counterpoint,  but  his 
father  opposed  his  taking  up  a  musi- 
cal career.  His  mother  encouraged 
him  in  his  resolve,  however,  and  at 
twenty  he  went  to  Dessau,  where  he 
studied  the  organ,  piano,  theory  and 
counterpoint  under  Frederick  Schnei- 
der. While  a  student  in  Dessau  young 
Franz  familiarized  himself  with  the 
works  of  Bach,  Handel  and  Schubert, 
being  especially  fond  of  the  compo- 
sitions of  the  latter.  On  his  return  to 
his  native  town  in  1837,  Franz  devoted 
all  his  spare  time  to  composition,  but 
none  of  his  work  satisfied  him  and  he 
destroyed  much  of  it,  and  declined 
to  publish  others  until  he  had  gone 
over  them  again  and  again,  polishing 
and  improving  them.  For  six  years 
he  plodded  along,  writing  and  de- 
stroying and  working  indefatigably  at 
the  compositions  of  the  Italian  and 
German  composers.  In  1843  he  pub- 
lished twelve  songs  from  his  manu- 
script, having  first  sent  them  for 
criticism  to  Schumann.  Through  the 
influence  of  the  latter  they  were  pub- 
lished and  received  instant  recognition, 
and  were  praised  by  Liszt  and  other 
musicians.     This  was  his  first  work. 


BIOGRAPHIES 


253 


Franz 

In  the  set  were  The  Lotus  Flower 
(Lotusblume);  O  Wert  Thou  in  the 
Cauld  Blast;  and  a  charming  slumber 
song.  Schumann,  discerning  genius, 
not  only  encouraged  the  young  musi- 
cian, but  at  once  wrote  to  various 
periodicals,  praising  Franz.  His  be- 
lief in  Franz's  talent  was  shared  by 
Mendelssohn,  Liszt  and  Gade,  the 
Norwegian  composer.  Franz  was 
shortly  afterward  made  director  of 
the  Singing  Academy  at  Halle  and 
appointed  organist  and  musical  direc- 
tor of  the  University,  receiving  the 
title  of  koniglicher  musikdirektor. 
Here  he  lived  in  retirement  almost  all 
his  life.  He  was  of  a  modest  nature, 
and  his  life  throughout  was  one  of 
unselfish  devotion  to  his  ideals.  His 
reputation  was  not  of  rapid  growth, 
and  he  lived  so  quietly  that  strangers 
coming  to  Halle  had  difficulty  in  find- 
ing his  residence. 

Franz  married  Marie  Hinrichs,  a 
musician  who  had  written  several 
creditable  compositions,  and  their 
life  together  was  a  happy  and  placid 
one.  Shortly  after  his  marriage,  about 
1868,  while  standing  in  the  railway 
station,  the  shriek  of  a  locomotive 
caused  him  to  lose  his  hearing,  and 
he  was  thereby  deprived  of  his  direc- 
torship at  the  University,  and  became 
very  poor.  He  was  deaf  for  twenty- 
five  years  and  besides  suffered  the 
partial  paralysis  of  both  hands,  be- 
ing unable  to  write  or  play.  He  was 
almost  completely  ignored  by  his 
countrymen,  whose  music  he  had 
done  so  much  to  enrich.  He  declared 
once  to  an  American  who  had  sought 
him  out,  that  his  best  praise  and  en- 
couragement had  come  from  America 
and  added:  "Germany  ignores  her 
composers  till  they  are  dead,  then 
erects  statues  to  their  memory."  He 
was  not,  however,  to  endure  the 
pangs  of  poverty  long,  for,  when  his 
deafness  became  permanent,  a  num- 
ber of  his  friends  rallied  to  his  aid. 
Liszt,  assisted  by  Joachim  and  others, 
organized  the  Franz  concerts  in  1872, 
and  through  the  proceeds  (about 
$25,000),  and  similar  sums  raised  by 
Otto  Dresel,  Franz's  friend  and  co- 
worker in  Boston,  the  musician  was 
enabled  to  pass  his  last  days  in  com- 
parative comfort.  In  1867  he  had 
received  a  small  pension  for  his 
editing  of  the  works  of  Bach,  and  this 
with  the  proceeds  of  the  concerts 
kept  him  till  his  death.  He  died  in 
the  city  where  he  was  born  and  where 


Franz 
he  lived  his  quiet,  serene  and  beauti- 
ful life.  A  monument  to  the  memory 
of  Robert  Franz  was  erected  by  the 
people  of  Halle  in  1903,  in  a  public 
square,  where  a  monument  to  Handel 
also  stands. 

Franz  was  an  artist  in  detail  and 
he  slighted  nothmg  but  worked  pains- 
takingly and  earnestly,  satisfied  with 
nothing  but  the  best.  In  the  words 
of  another  musician,  "  He  remained  a 
musical  Meissonier  to  his  death." 
One  of  the  tasks  which  he  set  him- 
self was  to  fill  out  the  skeleton  scores 
of  the  old  masters*  works  with  addi- 
tional accompaniments.  These  were 
incomplete  and  in  places  little  more 
than  sketches.  His  work  in  this  field 
alone  would  entitle  him  to  the  lasting 
gratitude  of  the  world,  for  the  great 
oratorios  and  cantatas  of  Handel  and 
Bach  were  left  by  those  composers 
in  an  almost  skeleton  state,  as  they 
trusted  to  the  time  when  they  should 
be  produced  to  fill  them  out  and 
amplify  them.  Franz,  with  a  reverent 
spirit,  modest,  unassuming  and  studi- 
ous, and  filled  with  a  love  and  knowl- 
edge of  music,  gave  the  true 
touches  of  color  to  Handel  and  Bach. 
He,  however,  received  much  severe 
condemnation  from  some  quarters  for 
the  way  in  which  he  restored  these 
ancient  masterpieces,  though  all  were 
agreed  that  it  was  an  unselfish  and 
painstaking  work  that  he  had  under- 
taken. 

The  most  important  of  his  arrange- 
ments of  the  older  composers'  works 
were  Handel's  Messiah;  Jubilate; 
I'Allegro;  II  Penseroso;  II  Moderato; 
twenty-four  operatic  arias;  ten  can- 
tatas; twelve  duets;  Bach's  Passion 
according  to  St.  Matthew;  the  Christ- 
mas oratorio;  Tragic  Ode;  cantatas 
and  arias;  Astorgas;  Stabat  Mater; 
Mendelssohn's  Hebrew  Melody  for 
piano  and  violin;  six  two-and  four- 
part  songs;  quintets  in  C  minor  and 
major,  and  Schubert's  quartet  in  D 
minor;  Durante's  Magnificat,  and  old 
German  chorales  and  songs.  Of  his 
work  in  amplifying  The  Messiah,  one 
musician  remarks:  "To  Franz  be- 
longs the  honor  of  having  made  Han- 
del accessible  to  larger  audiences  in 
renditions  so  faithful  that  we  discern 
no  trace  of  the  restorer's  personality 
in  his  work.  We  never  find  a  change 
in  the  thought  or  even  the  coloring 
of  the  original." 

Franz's  artistic  career  has  been 
compared   to   that   of    Chopin,   as   he 


254 


BIOGRAPHIES 


Franz 
achieved  all  of  his  fame  in  one  field 
of  composition.  He  was,  as  Louis 
C.  Elson  expresses  it,  "  the  legitimate 
successor  of  Schubert  and  Schumann 
in  the  field  of  German  song."  Like 
Schubert  he  is  said  to  have  been  in- 
spired by  love  to  write  his  songs,  and 
next  to  Schubert  in  the  opinion  of 
most  critics  and  musicians  he  is  the 
most  original  of  the  Gerrnan  song- 
writers. He  was  a  specialist  in  the 
field  of  art-song.  He  wrote  nothing 
that  was  not  of  permanent  value. 
Every  love  song  was  as  dignified,  as 
stately  and  as  beautiful  as  the 
Protestant  chorals  of  the  time  of 
Luther  or  of  Bach.  W.  F.  Apthorp 
said  of  him  in  his  Musicians  and 
Music  Lovers:  "Franz  stood  en- 
tirely and  utterly  alone  and  com- 
panionless,  and  to  find  a  parallel  to 
the  spirit  that  breathes  through  his 
songs,  one  must  go  back  to  the  old 
Elizabethan  love-poetry  —  nothing 
else  in  our  own  day  has  their  pecul- 
iar aroma."  He  wrote  two  hundred 
and  fifty-seven  songs  for  single  voice, 
with  piano  accompaniment,  each  a 
gem  in  its  way.  Of  these  songs  fifty 
rank  as  masterpieces.  Musicians  have 
deplored  his  never  having  entered  the 
field  of  oratorio,  believing  his  knowl- 
edge, taste  and  deep  religious  feel- 
ing would  have  combined  to  make 
him  the  proper  one  to  uphold  a 
school  of  composition  that,  until  the 
advent  in  recent  years  of  Sir  Edward 
Elgar,  had  almost  passed  away. 
Franz,  himself,  once  explained  his 
sending  forth  only  songs  and  small 
works  by  saying,  that  there  was  no 
room  for  the  large  forms  after  Bee- 
thoven. Many  of  his  compositions 
are  set  to  the  poems  of  Robert  Burns. 
Heine,  the  German  poet,  also  fur- 
nished him  the  theme  for  some  of  his 
best  lyrics.  Some  of  his  songs  were 
copied  two,  three  and  even  four  times 
before  they  satisfied  him.  Many  are 
in  sets  of  six  and  twelve,  some  with 
piano  accompaniments  and  some 
without.  All  of  the  former  are  noted 
for  their  intricate  and  difficult  accom- 
paniment. 

In  his  book  on  German  Song  and 
German  Song  Writers,  Mr.  Elson 
has  selected  for  special  description 
several  songs,  among  them  My  Love 
is  Here;  Abends;  an  Ave  Maria, 
which  he  describes  as  a  "  tone-pic- 
ture of  religious  exaltation,"  the 
folk-songs.  The  Thorn-Bush;  My 
Mother    Loves    Me    Not;    Rosemary; 


Franz 

In  Autumn;  The  Lotusblume  and  the 
May  Song.  Of  these  he  wrote: 
"  Franz  has  sung  of  love,  of  spring, 
of  bright  green  woods,  of  dreamy  or 
tempestuous  seas,  of  night,  of  grief, 
of  death  and  to  these  subjects  his 
work  has  given  a  subtle  charm  .  .  . 
In  almost  all  of  his  songs  he  has 
held  to  the  simplicity  of  the  older 
school.  .  .  .  And  it  is  to  be  re- 
gretted that  no  symphony  has  ever 
sprung  from  his  pen.  .  .  .  All  his 
songs  have  something  of  the  divine 
spark  and  the  larger  number  of  them 
are   master  works." 

Franz's  works  include  besides  his 
songs,  much  piano-music;  the  117th 
Psalm;  a  kyrie  for  choir  (liturgy); 
six  chorales;  four  part-songs  for 
mixed  voices;  ten  cantatas;  besides 
his  additional  accompaniments  to  the 
works  of  the  old  masters.  The  com- 
plete and  revised  version  of  Handel's 
Messiah  with  its  added  accompani- 
ments by  Franz  was  given  for  the 
first  time  by  the  Handel  and  Haydn 
Society  of  Boston  and  was  also  used 
at   the   Birmingham   Festival   of   1885. 

Franz  was  a  man  of  strong  feel- 
ings and  liked  or  disliked  musicians 
vehemently.  For  instance,  he  had  a 
strong  antipathy  to  Wagner's  music, 
but  he  was  most  just,  and  always 
open  to  reasoning.  Inspired  by  en- 
thusiasm, after  witnessing  one  of 
Wagner's  music-dramas,  he  dedicated 
a  book  of  songs  to  the  composer  of 
Tristan.  Wagner  himself  once  said 
that  he  would  never  forget  that  Franz 
was,  after  Liszt,  the  first  musician 
who  had  done  him  justice. 

Franz  is  of  particular  interest  to 
Americans,  for  it  was  here  that  his 
genius  was  first  recognized  and  his 
songs  most  frequently  heard,  due  pri- 
marily to  the  missionary  spirit  of  Otto 
Dresel,  of  Boston,  who  was  his  most 
devoted  friend,  his  best  critic  and  his 
staunchest  and  most  ardent  admirer 
and  advocate.  Franz  was  always 
deeply  grateful  to  America  and  Ameri- 
cans for  the  help  extended  to  him  from 
his  admirers  in  this  country  during 
his  time  of  need,  and  he  never  tired 
of  expressing  his  appreciation  and 
gratitude,  and  his  indebtedness.  His 
works  are  perhaps  too  scholarly  and 
stately  for  general  appreciation.  He 
gravitated  too  much  toward  the  times 
of  Bach,  the  mediaeval  choral  and  the 
folk-song  to  win  the  appreciation  of 
the  general  public,  but  nevertheless 
his  songs  are  most  melodious. 


BIOGRAPHIES 


255 


Franzl 
Franzl     (frents'l),    Ferdinand.      1770- 

1833. 

German  violinist  and  composer,  the 
son  of  Ignaz,  Court  chapelmaster  at 
Mannheim.  He  was  born  at  Schwet- 
zingen,  and  was  a  pupil  of  his  father, 
whom  he  greatly  surpassed  in  later 
years.  He  entered  the  Court  Orches- 
tra in  1782,  when  only  twelve  years 
of  age.  Later  he  studied  with  Pleyel 
and  Richter  at  Strasburg,  and  with 
Father  Mattel  at  Bologna.  Franzl 
accompanied  his  father  on  tours 
throughout  Europe,  visiting  cities  in 
Russia,  Poland  and  other  countries. 
He  was  concertmaster  at  Frankfort- 
on-the-Main,  and  a  few  years  later 
director  of  a  private  orchestra  at 
Offenbach.  In  1806  he  was  appointed 
Court  chapelmaster  at  Munich  and  di- 
rector of  the  opera  there,  succeeding 
Cannabich.  He  retired  on  a  pension  in 
1827,  going  to  Geneva,  then  to  Mann- 
heim, where  his  death  occurred. 
Franzl  composed  concertos;  fantasias; 
variations  for  violin  and  orchestra, 
also  string  quartets  and  several 
operas,  which  are  unimportant.  His 
violin  music,  including  eight  con- 
certos, double  concerto  for  two  vio- 
lins and  four  concertinos,  is  spoken  of 
highly  by  musicians.  He  also  wrote 
symphonies,   overtures   and    songs. 

Fremstad,  Olive.     1872- 

Dramatic  soprano,  at  present  and 
for  several  seasons  past,  a  popular 
member  of  the  Metropolitan  Opera 
Company.  Was  born  in  Stockholm, 
Sweden.  She  made  her  debut  at 
Christiania,  Norway,  as  a  pianist  at 
the  age  of  six,  and  came  with  her 
parents  when  she  was  twelve  years 
of  age  to  America.  The  family  first 
settled  in  St.  Peter,  Minnesota,  later 
removing  to  Minneapolis,  and  here 
for  several  years  Olive  Fremstad 
taught  music-lessons  and  studied  the 
violin.  She  next  went  to  Chicago, 
continuing  her  work  and  her  studies, 
and  by  dint  of  hard  work  and  much 
economy  made  enough  money  to  go  to 
New  York  in  1893.  For  a  time  she 
sang  in  St.  Patrick's  Cathedral,  and 
in  concert.  Entirely  unaided  and 
through  her  own  efforts,  Miss  Frem- 
stad earned  enough  in  a  few  years  to 
go  to  Europe  to  cultivate  her  voice, 
which  had  been  pronounced  a  phe- 
nomenally beautiful  one.  She  went 
direct  to  Berlin  where  she  studied 
with  Mme.  Lilli  Lehmann  for  a  year 
and   a  half,  and   made  her   debut  at 


Frescobaldi 


the  end  of  that  time  in  Vienna  singing 
the  role  of  Brangaene  to  Mme.  Leh- 
mann's  Isolde  in  Tristan  and  Isolde. 
The  year  1896  found  the  young  singer 
in  Cologne  singing  the  role  of 
Azucena  in  II  Trovatore  and  other 
roles  equally  as  difficult.  From 
Cologne,  Miss  Fremstad  went  to  the 
Royal  Opera  at  Munich  and  remained 
there  for  three  years.  While  in  that 
city  she  was  appointed  kammersinger 
to  the  Prince  Regent  of  Bavaria  and 
sang  thirty-five  different  roles  there, 
including  Brangaene,  Fides,  Carmen 
and  Haensel.  Miss  Fremstad  sang  ai 
Bayreuth,  one  of  her  greatest  ad- 
mirers being  Frau  Cosima  Wagner, 
under  whose  direction  she  studied 
many  of  the  Wagnerian  roles.  She 
appeared  as  Fricka  in  Das  Rheingold, 
as  Brunhilde  in  Siegfried,  as  one  of 
the  flower  girls  in  Parsifal  and  later 
as  Kundry  and  as  Sieglinde.  Miss 
Fremstad  made  her  first  appearance 
at  the  Metropolitan  Opera  House, 
New  York,  in  1904,  singing  the  role  of 
Venus  in  Tannhauser,  Kundry  in 
Parsifal  and  many  of  the  other  Wag- 
nerian parts  in  the  series  of  Wagner- 
ian operatic  revivals,  instituted  by 
Heinrich  Conried.  Two  years  later 
she  sang  the  part  of  Brunhilde  in  the 
season's  first  performance  of  Sieg- 
fried. Miss  Fremstad  created  a  veri- 
table furore  in  Germany  with  her 
impersonation  of  Carmen,  rivaling 
Mme.  Calve's  success  in  the  role.  Her 
Carmen  was  first  presented  to  an 
American  audience  the  season  of 
1905,  and  she  achieved  a  triumph  in 
it.  Since  then  she  has  sung  the  part 
many  times.  Miss  Fremstad  has  been 
successful  in  the  role  of  Santuzza  in 
Cavalleria  Rusticana,  and  has  ap- 
peared in  L'Africaine.  Her  most 
recent  appearance  was  made  as 
Salome  in  the  much  talked  of  opera 
by  Richard  Strauss.  Miss  Fremstad 
was  married  in  April,  1906,  to  E.  W. 
Sutphen,  a  gold  miner,  from  Alaska. 
She  has  received  many  honors,  having 
been  decorated  by  the  French  govern- 
ment as  an  officer  of  the  Academy, 
and  in  1907  as  an  Officier  d'instruction 
Publique. 

Frescobaldi     (fres-kS-bal'-de),     Giro- 
lamo.     1583-1644. 

Italian  composer,  the  greatest  or- 
ganist of  his  time,  who  was  born  at 
Ferrara,  and  pursued  his  early  studies 
under  the  cathedral  organist,  Luz- 
zasco     Luzzaschi.      He    also    studied 


256 


BIOGRAPHIES 


Frescobaldi 

with  Francjois  Milleville,  and  as  a 
youth  was  the  possessor  of  a  beauti- 
ful voice  and  sang  as  well  as  played. 
Frescobaldi  was  organist  at  St.  Peter's 
in  1614,  and  his  first  performance 
there  is  said  by  Baini  to  have  at- 
tracted an  audience  of  thirty  thou- 
sand persons.  He  resided  at  Antwerp 
in  1608,  but  that  same  year  returned 
to  Italy,  where  he  was  invited  by 
Ferdinand  II.  to  come  to  Florence  as 
Court  organist.  He  left  the  Italian 
city  in  1633  and  was  reappointed  to 
his  old  post  at  St.  Peter's,  which  he 
held  until  1643.  Frescobaldi  displayed 
a  rich  imagination  as  a  composer  of 
canzoni  and  is  generally  regarded  as 
the  father  of  that  style  of  music 
which  the  English  call  voluntaries 
and  which  is  known  to  the  Italians  as 
toccatas.  His  works  for  the  most 
part  consists  of  madrigals,  and  his 
first  composition  was  a  book  of  five- 
voice  madrigals,  published  in  1608  at 
Antwerp.  A  canzona  for  the  organ 
is  to  be  found  in  Hawkins'  History. 
Twelve  toccatas  were  published  in 
Pauer's  Alta  Meister.  _  Frescobaldi, 
according  to  most  authorities,  was  the 
first  of  the  Italians  to  compose  for 
the  organ  in  fugue.  After  leaving 
Antwerp,  the  composer  visited  Milan, 
and  seven  years  later  succeeded 
Ercole  Pasquini  as  organist  at  St. 
Peter's,  Rome. 

Champlin  &  Apthorp's  Dictionary 
of  Music  says  of  him:  "Frescobaldi 
may  be  called  the  father  of  the  great 
school  of  organ-playing  and  organ 
music.  Not  only  was  he  the  first  very 
imposing  figure  we  meet  in  the  his- 
tory of  organ-writing  but  no  genius 
so  great  as  his  is  to  be  found  in  this 
department  of  composition  until  we 
come  to  Johann  Sebastian  Bach."  He 
was  probably  the  first  to  use  the 
tonal  instead  of  the  real  response  in 
the  fugue,  and  was  no  less  celebrated 
for  his  compositions  for  the  organ 
than  for  his  great  powers  of  execu- 
tion on  that  instrument.  In  fugue, 
that  species  of  composition  invented 
by  the  Germans,  he  was  without  a 
rival.  Froberger  was  the  most  famous 
of  all  Frescobaldi's  pupils,  and  his 
efforts  to  carry  on  the  traditions  of 
Frescobaldi  and  his  system  cul- 
minated in  the  grandeur  of  Bach 
many  years  later 
Freudenberg     (froi-den-berkh),    Wil- 

helm.    1838- 

German    dramatic    composer,    who 
was  born  near  Neuwied,  Prussia,  and 


Frickenhaus 


studied  at  the  Leipsic  Conservatory 
from  1858  to  1861,  afterwards  serving 
as  chapelmaster  at  various  theatres  in 
German  cities.  He  went  to  Wies- 
baden in  1S6S  as  conductor  of  two 
singing  societies  there,  and  in  1870 
founded  in  that  city  a  school  of 
music  which  still  flourishes.  He  was 
also  conductor  of  the  Singing  Acad- 
emy in  that  city  until  1886,  when  he 
went  to  Berlin  and  opened  a  school 
of  music  there  with  K.  Mengewein. 
Later  he  conducted  the  opera  at 
Augsburg  and  at  Ratisbon.  Freuden- 
berg wrote  several  operas  and  also 
several  comic  operas.  Belonging  to 
the  former  class  are  Kleopatra,  pro- 
duced in  1882  at  Magdeburg;  Marino 
Faliero,  given  at  Ratisbon  in  1889, 
and  Die  Johannisnacht,  produced  in 
Vienna  in  1896.  He  also  wrote  a 
symphonic  poem,  entitled  A  Day  in 
Sorrento;  incidental  music  to  Romeo 
and  Juliet;  an  overture;  piano  pieces 
and  songs. 

Friberth    (fri-bert),   Karl.     1736-1816. 

German  singer  and  composer,  born 
at  Wullersdorf,  Austria,  where  his 
father  was  a  school-teacher,  from 
whom  he  received  his  first  musical 
instruction.  He  later  studied  at 
Vienna  under  the  Court  composers, 
Bonno  and  Gassmann,  and  in  1759 
joined  the  chapel  of  Prince  Ester- 
hazy  at  Eisenstadt  as  a  tenor  singer. 
He  was  heard  frequently  at  various 
Italian  courts  and  at  concerts.  In 
1768  he  married  Maria  Magdalena 
Spangler,  a  well-known  singer.  Tn 
1776  he  became  the  chapelmaster  of 
the  Jesuits  and  Minorites  Church  at 
Vienna,  and  died  in  that  city  at  an  ad- 
vanced age.  Friberth  wrote  nine 
masses;  five  motets;  a  Stabat  Mater; 
a  requiem;  and  offertories.  While  in 
the  service  of  Prmce  Esterhazy,  he 
formed  the  acquamtance  of  Joseph 
Haydn,  became  his  intimate  friend 
and  sang  in  many  of  that  composer's 
operas.  For  his  services  to  music, 
Friberth  was  made  a  knight  of  the 
Golden  Spur  by  Pope  Pius  VI.  To 
this  order  both  Mozart  and  Gluck 
belonged  Friberth  wrote  chiefly 
church-music  and  also  some  opera 
librettos. 

Frickenhaus     (frik-en-hows),    Fanny. 
1849- 

English  pianist,  whose  maiden  name 
was  Evans,  and  who  was  born  in  Chel- 
tenham. She  studied  under  George 
Mount,  and  later  at  the  Brussels  Con- 


BIOGRAPHIES 


257 


Frickenhaus 

servatory  under  Auguste  Dupont  and 
William  Bohrer,  and  first  came  prom- 
inently before  the  public  in  1879  at 
one  of  the  Saturday  Evening  con- 
certs at  St.  James'  Hall.  She  was 
engaged  for  the  remainder  of  the 
season,  appearing  shortly  afterward 
at  the  Crystal  Palace  and  at  Cowen's 
Saturday  concerts.  She  made  her 
first  appearance  at  the  Popular  con- 
certs in  1883,  when  she  played  the 
piano  concerto  of  Goetz  for  the  first 
time  in  London,  and  at  the  Philhar- 
monic two  years  later.  From  1884, 
together  with  Joseph  Ludwig,  she 
gave  successful  chamber  concerts  at 
the  Prince's  Hall,  introducing  several 
important  novelties,  among  them 
Dvorak's  Bagatellen  for  piano  and 
strings.  Since  then  she  has  intro- 
duced at  her  annual  recitals  many 
modern  works  of  note,  among  them 
the  compositions  of  Smetana,  Dvorak, 
Sinding,  Richard  Strauss  and  Cesar 
Franck.  She  ranks  among  the  lead- 
ing pianists  of  England.  One  critic 
says:  "The  most  remarkable  char- 
acteristics of  her  playing  are  her 
extraordinary  perfection  and  ease  of 
technique,  combined  with  great  in- 
telligence." 

Friedheim  (fret'-him),  Arthur.     1859- 

Pianist  of  world-wide  reputation, 
known  as  the  "  Liszt  player,"  because 
of  his  long  association  with  the  musi- 
cian and  because  he  has  so  often 
played  the  compositions  of  Liszt.  He 
was  born  at  St.  Petersburg,  of  Ger- 
man parents,  who  died  while  he  was 
very  young.  Wealthy  relatives  at 
first  assisted  him  to  obtain  an  educa- 
tion, and  while  under  their  protection 
he  studied  for  a  year  with  Rubinstein. 
Financial  reverses  caused  them  to 
withdraw  their  support  and  from  then 
on  the  ambitions  young  musical  stu- 
dent struggled  on  alone  and  against 
heavy  odds.  His  first  public  appear- 
ance was  made  when  he  was  nine  years 
of  age,  when  he  played  Field's  concerto 
in  A  fiat.  A  few  years  later  he  went  on 
a  concert  tour,  and  played  before  Liszt, 
who  criticized  him  severely.  It  was 
only  after  three  tours  and  after  much 
study  that  he  succeeded  in  pleasing 
Liszt.  His  appearance  at  the  Bliithner 
Saal,  at  Leipsic,  when  he  was  heard 
by  Liszt  for  the  third  time  was  a 
triumph.  Later  he  lived  for  some 
time  with  the  master,  became  one  of 
his  pupils,  studying  with  him  at  Wei- 
mar, Rome  and  Budapest,  and  became 


Friedlander 


a  great  interpreter  of  his  works. 
Friedheim  became  conductor  of  a 
small  opera  company,  and  acted  as 
conductor  and  director  of  various 
small  theatre  orchestras  for  several 
years  before  taking  up  his  residence 
with  Liszt.  He  played  in  London  and 
Paris  without  attracting  any  particu- 
lar attention.  It  was  in  Germany  that 
his  genius  was  first  appreciated. 
Friedheim  came  to  the  United  States 
in  1891,  and  was  heard  in  many  cities. 
He  visited  America  again  in  1894  with 
de  Pachmann,  and  was  offered  the 
post  left  vacant  by  Anton  Seidl  as 
leader  of  the  German  Opera  at  New 
York,  but  was  unable  to  accept  it. 
Friedheim  was  engaged  by  the  Chi- 
cago College  of  Music  to  become  a 
member  of  the  staflf  in  1898.  ^  He  was 
appointed  professor  of  music  in  the 
Royal  College  of  Music  at  Man- 
chester, England,  and  held  the  post 
till  1904,  when  he  resigned.  In  Ber- 
lin and  Leipsic  he  established  a  repu- 
tation for  being  one  of  the  greatest 
performers  of  the  present  age,  and  at 
the  latter  place  he  conducted  a  series 
of  concerts  in  the  Crystal  Palace 
with  the  Weimar  Orchestra.  Mr. 
Friedheim  has  toured  Russia,  Austria, 
Germany,  Italy,  Scandinavia,  Egypt 
and  England.  For  several  years  he 
has  resided  in  New  York  City.  His 
works  comprise  two  operas.  The  Last 
Days  of  Pompeii  and  Die  Tanzerin, 
and  a  concerto  for  piano  and  or- 
chestra. 

Friedlander  (fret'-lent-er),  Max.  1852- 
Distinguished  concert  singer  and 
writer  on  musical  subjects;  born  at 
Brieg,  Silesia;  was  a  pupil  of  Manuel 
Garcia  of  London  and  of  J.  Stock- 
hausen  of  Frankfort.  Friedlander 
made  his  debut  in  1880  at  the  London 
Monday  Popular  concerts,  was  again 
heard  in  London  at  the  Crystal  Pal- 
ace concerts  in  1884  and  rapidly  rose 
to  great  fame  as  a  barytone  singer. 
He  resided  at  Frankfort  from  1881 
until  1883  and  since  then  at  Berlin, 
where  he  has  been  a  professor  of 
music  since  1894.  In  1882  the  Uni- 
versity of  Breslau  conferred  on  him 
the  degree  of  Doctor  of  Philosophy. 
He  has  edited  a  new  and  complete 
edition  of  the  songs  of  Schubert  with 
a  supplement  of  variants  and  wrote 
also  a  biography  of  the  great  song 
composer,  proving  himself  an  ex- 
ceptionally clever  investigator  on 
musical  subjects.     He  has  written  a 


258 


BIOGRAPHIES 


Friedlander 
series  of  songs  and  has  published 
various  readings  of  the  words  to 
Schubert's  songs,  and  those  of  Schu- 
mann and  Mendelssohn,  and  one  hun- 
dred songs  of  other  German  song 
composers. 

Friedlander,  Thekla. 

Famous  soprano,  whose  fame  has- 
been  principally  established  in  Lon- 
don. She  was  a  pupil  of  Ferdinand 
Hiller  and  of  Schneider,  of  Cologne, 
and  made  her  first  appearance  in  1875 
in  the  soprano  part  on  the  production 
of  Bruch's  Odysseus  at  the  Gewand- 
haus,  Leipsic.  The  next  year  she 
sang  with  Fraulein  Redeker  in  duets 
of  Rubinstein  at  the  New  Philhar- 
monic. She  also  sang  with  success 
at  the  Richter  and  Henschel  concerts 
and  in  the  Bach  Choir  in  the  third 
part  of  Schumann's  Faust.  She 
returned  to  Germany  to  make  it  her 
permanent  home.  Her  voice  is  a 
beautiful  soprano  and  she  excelled  in 
the  old  Italian  airs  and  the  songs  of 
her  own  country,  notably  those  of 
Schubert,  Schumann  and  Brahms. 

Froberger    (fr5-berkh-er),    Johann 

Jacob.    1606-1667. 

German  organist  and  oboist  of  the 
Seventeenth  Century,  the  most  fa- 
mous of  Frescobaldi's  pupils,  who 
was  born  at  Halle,  and  studied  under 
the  great  Italian  composer  from  1637 
to  1641.  From  January  to  September, 
1637,  he  was  Court  organist  at  Vienna 
and  afterward  made  long  concert 
tours.  He  was  organist  to  Emperor 
Ferdinand  III.  from  1650  to  1657.  He 
appeared  in  London  in  1662  and  played 
at  Westminster  Abbey.  He  was  an 
excellent  performer  on  the  organ  and 
harpsichord  and  his  compositions  for 
those  instruments  have  been  greatly 
applauded.  None  of  his  works  was 
published  during  his  lifetime.  Fro- 
berger^ wrote  toccatas;  fantasias; 
canzoni;  fugues,  and  other  music  for 
the  voice,  organ  and  harpsichord,  and 
the  studies  of  both  Froberger  and  his 
master,  Frescobaldi,  had  much  to  do 
with  bringing  the  harpsichord  into 
general  use.  He  was  a  most  admir- 
able performer  on  the  instrument  as 
well  as  a  composer  for  it.  Some  of 
his  works  are  in  the  Berlin  Library, 
and  bear  the  dates  1649  and  1656.  The 
Imperial  Library  at  Vienna  also  con- 
tains a  manuscript  of  two  hundred 
and  twenty-two  sheets  of  toccatas, 
caprices  and  other  music.    Froberger 


Frost 


died  at  an  advanced  age  at  the  home 
of  his  former  pupil,  Sibylla,  the 
Duchess  of  Wiirtemberg,  at  Heri- 
court,  France.  The  dates  of  his  birth 
and  death  are  matters  of  dispute, 
though  the  above  are  generally  ac- 
cepted. Champlin  &  Apthorp  say  of 
him:  "Froberger  was  the  first  of  the 
great  German  organists  and  clavecin- 
ists.  He  brought  the  great  Indian  style 
of  organ-playing,  first  developed  by 
Merulo  and  culminating  in  Fresco- 
baldi, to  Germany,  and  was  thus  the 
real  father  of  the  great  German  organ 
school,  the  precursor  of  Pachelbel, 
Buxtehude  and  the  other  immediate 
predecessors  of  Sebastian  Bach.  His 
style  was  somewhat  less  grand  than 
that  of  his  master,  but  more  easily 
graceful  and  elegant  and  he  is  called 
by  some  the  earliest  salon-composer."' 

Frohlich  (fra-likh),  Anna.    1793- 

The  eldest  of  four  sisters,  all  na- 
tives of  Vienna,  who  distinguished 
themselves  in  the  artistic  world. 
Franz  Schubert  is  said  to  have  com- 
posed for  her  Gott  ist  Mein  Hirt, 
Gott  in  der  Natur,  Nachtelle,  The 
Serenade  and  other  compositions.  She 
studied  piano  under  Hummel  and 
singing  under  Hauss  and  Siboni,  and 
became  an  excellent  artiste.  From 
1819  to  1854  she  was  a  teacher  of 
singing  at  the  Conservatory  at 
Vienna,  where  she  trained  many  dra- 
matic and  concert  singers  who  have 
since  become  famous. 
Frohlich,  Josephine.    1803-1878. 

One  of  the  talented  Frohlich  sis- 
ters of  Vienna,  a  sister  and  pupil  of 
Anna  Frohlich.  Josephine  became  a 
distinguished  singer.  She  made  her 
debut  at  a  concert  in  her  native  town 
and  was  so  successful  from  the  outset 
that  she  was  engaged  for  the  Court 
Theatre  from  1821  to  1822.  Shortly 
afterward  she  went  to  Copenhagen 
and  studied  there  under  Siboni.  She 
appeared  with  success  in  Denmark, 
Norway  and  Sweden,  and  was  ap- 
pointed private  singer  to  the  King  of 
Denmark.  Later  she  sang  in  opera 
in  Italy,  notably  at  Venice  in  1829 
and  Milan  in  1831,  with  striking  suc- 
cess. She  was  elected  an  honorary 
member  of  the  Societa  Appollinea  of 
Venice.  The  later  years  of  her  life 
were  devoted  to  teaching. 

Frost,  Charles  Joseph.    1848- 

English  composer  and  organist, 
born  at  Westbury-on-Tyne,  near  Clif- 


BIOGRAPHIES 


259 


Frost 

ton,  and  studied  music  with  his  father, 
the  organist  at  Tewkesbury;  later 
studied  under  George  Cooper,  Steg- 
gall  and  Sir  John  Goss.  Frost  was 
organist  of  St.  James',  Cheltenham,  in 
1865;  also  at  Westbury;  Haggerston; 
at  Brockley,  where  he  founded  a 
choral  society  in  1885;  and  in  London. 
He  was  a  member  of  the  board  of  ex- 
aminers for  awarding  fellowships  at 
the  College  of  Organists  in  1875,  and 
was  professor  of  the  organ  at  the 
Guildhall  School  of  Music  in  1880. 
He  received  the  degree  of  Bachelor 
of  Music  and  Doctor  of  Music  from 
Cambridge.  Frost's  compositions  in- 
clude the  oratorio,  in  manuscript, 
Nathan's  Parable;  Harvest  cantata  in 
manuscript;  By  the  Waters  of  Baby- 
lon; anthems;  collection  of  organ- 
pieces;  forty  preludes,  published  in 
1880;  three  books  of  voluntaries;  so- 
nata for  piano;  symphonies  in  manu- 
script and  other  works. 

Frost,  Henry  Frederick.    1848-1901. 

English  musician,  organist  and  able 
critic;  born  in  London.  His  father, 
Thomas  Frost,  was  a  well-known 
vocahst  and  his  mother  was  a  con- 
tralto singer.  He  was  a  chorister  at 
St.  George's  Chapel,  Windsor,  assist- 
ing at  all  the  royal  functions  there  up 
to  the  wedding  of  the  Prince  of  Wales 
in  1863.  In  1865  Frost  became  an 
organ  pupil  of  Sebastian  Hart,  Lon- 
don, and  assistant  organist  of  the 
Chapel  Royal  at  the  Savoy,  and  later 
organist.  He  acted  as  musical  critic 
of  the  Standard,  Anthenaeum  and  other 
English  publications,  and  was  pro- 
fessor of  piano  at  the  Guildhall  School 
of  Music  from  1880  until  1888.  He  is 
the  author  of  a  biography  of  Schu- 
bert, of  the  Great  Musicians  series, 
published  in  London  in  1881,  and  also 
published  the  Savoy  Hymn  Tunes  and 
Chants.  He  resigned  his  post  at  the 
Savoy  in  1891.  Frost  was  one  of  the 
earliest  champions  of  Wagner,  lec- 
tured on  the  composer  and  his  works 
at  the  Musical  Association  and  was 
prominent  in  the  London  Wagner 
Society. 

Frotzler  (frots'-ler),  Carl.    1873- 

He  was  born  at  Stockerau,  Lower 
Austria,  and  was  taught  by  his  father 
until  1888,  when  he  became  a  student 
at  the  Vienna  Conservatory.  He  re- 
mained there  as  a'  pupil  of  Franz 
Krenn  until  1891.  Previously  he  had 
composed  a  grand  mass  in  B  flat;  an 


Fry 


offertory,  and  miscellaneous  pieces. 
Frotzler  was  organist  at  Stockerau 
and  chamber-virtuoso  on  the  piano  to 
Prince  Heinrich  Reuss  IV.,  and  from 
1893  until  1897  chapelmaster  to  Count 
Nicolaus  Esterhazy  at  Totis,  Hun- 
gary. Since  then  he  has  held  the  post 
of  chapelmaster  at  the  City  Theatre, 
Linz-on-Danube.  Beside  the  works 
mentioned  Frotzler  has  composed 
three  operas,  Arnelda,  produced  at 
Totis  in  1894  and  which  later  won  the 
prize  of  the  German-American  Opera 
Society  at  Philadelphia;  Die  Liebes- 
ring,  and  Mathias  Corvinus,  produced 
at  the  Pesth  Royal  Opera  in  1896.  He 
also  composed  three  masses;  offer- 
tories; a  symphony;  scherzo;  valse, 
and  other  pieces. 

Friih   (frii),  Armin  Leberecht.    1820- 
1894. 

Dramatic  composer  and  inventor, 
who  was  born  in  Miihlhausen,  Ba- 
varia, and  was  a  pupil  of  Dehn  in 
Berlin,  where  he  later  became  a 
teacher  of  vocal  music.  Fruh  invented 
in  1857  an  apparatus  called  by  him, 
Semeio-Melodicon,  to  facilitate  ele- 
mentary musical  instruction,  by  in- 
troducing the  notes  to  sight  and 
hearing  simultaneously.  He  received 
from  Fetis,  Moscheles,  Heller,  Auber, 
Halevy,  Dreyschock  and  the  Paris 
Conservatory  approval  of  his  inven- 
tion, then  settled  in  Dresden  in  1858 
to  establish  a  factory,  but  the  enter- 
prise failed  and  he  was  obliged  to 
abandon  his  plans.  He  wrote  several 
operas,  among  them  Die  Bergknap- 
pen;  Die  Beiden  Figaro;  also  a  sym- 
phony and  songs.  He  died  at  Nord- 
hausen. 

Fry,  William  Henry.    1813-1864. 

American  composer  and  writer, 
whose  chief  claim  to  distinction  lies 
in  the  fact  that  he  was  the  composer 
of  the  first  American  opera  worthy  of 
record.  Fry  was  born  in  Philadelphia, 
his  father  being  the  publisher  of  the 
Philadelphia  National  Gazette.  He 
received  a  good  general  education,  and 
after  graduating  from  college  he 
became  an  editorial  writer  on  his 
father's  newspaper  m  Philadelphia. 
He  also  received  a  good  musical  edu- 
cation and  devoted  all  his  leisure  mo- 
ments to  composition.  He  taught 
himself  to  play  the  piano  by  listening 
to  the  instruction  given  an  elder 
brother.  At  the  age  of  twenty  he  re- 
ceived a  gold  medal  for  an  overture 


260 


BIOGRAPHIES 


Fry 


Fuchs 


which  was  performed  by  the  Phil- 
harmonic Society  of  Philadelphia.  He 
went  abroad  in  1849  to  collect  musical 
specimens,  and  while  in  Paris  studied 
with  L.  Meignen  in  harmony  and 
counterpoint,  became  acquainted  with 
Berlioz,  and  met  several  of  the  best 
known  French  composers.  Upon  his 
return  to  his  native  country  five  years 
later,  Fry  became  musical  editor  and 
critic  of  the  New  York  Tribune,  and 
in  a  series  of  papers  he  attempted  to 
prove  the  superiority  of  Italian  music. 
He  also  delivered  a  series  of  ten  illus- 
trated lectures  on  music,  assisted  by  a 
chorus  of  eighty  performers  and  a 
military  band  of  fifty.  These  lectures 
were  held  in  Metropolitan  Hall,  New 
York.  Fry  paid  for  everything, 
chorus,  orchestra  and  other  expenses 
out  of  his  own  pocket.  The  venture 
was  not  a  success.  Fry's  first  opera 
and  the  first  composition  from  the 
pen  of  an  American  composer  worthy 
to  be  called  an  opera,  was  entitled 
Leonora,  and  was  produced  for 
the  first  time  in  Philadelphia  by  the 
Sequin  troupe,  and  afterwards  at  the 
New  York  Academy  of  Music,  with 
marked  success,  in  1858.  Thirteen 
years  later  it  was  performed  in  Ital- 
ian by  a  great  opera  company.  Its 
music  is  melodious  and  pleasing  and, 
like  all  of  the  composer's  succeeding 
works,  was  in  the  form  of  the  French 
grand  opera,  the  ensemble,  orchestra- 
tion and  dramatic  arrangement  being 
according  to  French  tradition.  Fry's 
next  opera  was  Notre  Dame  de  Paris, 
with  the  libretto  written  by  the  com- 
poser's brother,  J.  R.  Fry,  and  was 
given  its  first  performance  at  the 
Academy  of  Music,  Philadelphia,  in 
1864,  shortly  before  Fry's  death.  It 
was  also  well  received.  Fry's  sym- 
phonies, Childe  Harold,  A  Day  in 
the  Country  and  A  Breaking  Heart, 
have  been  much  praised,  although 
neither  his  operas  nor  his  other  works 
ever  achieved  any  great  amount  of 
success.  He  does  not  rank  with  the 
great  composers,  but  deserves  con- 
sideration for  his  eflforts  to  elevate 
the  musical  life  of  his  country.  He 
wrote  beside  the  works  mentioned 
many  solo  pieces,  both  vocal  and  in- 
strumental; cantatas;  a  Stabat  Mater; 
and  many  songs. 

Fuchs    (fookhs),    Johann    Nepomuk. 

1842-1899. 

Dramatic  composer,  who  was  born 
at  Frauenthal,  Styria,  and  was  a  pupil 


of  Sechter  in  Vienna.  He  has  held 
positions  of  importance  at  various 
theatres  in  Presburg,  Cologne,  Leipsic 
and  Hamburg.  He  became  chapel- 
master  at  the  Opera,  Presburg,  in 
1864,  then  acted  in  the  same  capacity 
at  different  theatres,  last  in  Cologne, 
Hamburg  and  Leipsic,  and  since  1880 
at  the  Imperial  Opera,  Vienna.  In 
1894  he  was  appointed  director  of  the 
Vienna  Conservatory.  Fuchs'  opera, 
Zingara,  was  given  at  Briinn,  Moravia, 
in  1872.  He  wrote  additional  accom- 
paniments to  Handel's  Almira,  for 
representation  at  Hamburg  and  re- 
vised Schubert's  Alfonso  and  Estrella 
and  Cluck's  Der  Betrogene  Kadi,  for 
Vienna. 

Fuchs,  Karl  Dorius  Johann.    1838- 

Pianist,  conductor,  writer  and 
critic,  born  in  Potsdam,  and  studied 
music  under  his  father,  who  was  an 
organist.  He  gave  lessons  on  the 
piano  while  he  was  pursuing  his 
studies  at  the  Berlin  University  and 
later  was  enabled  to  study  under  von 
Billow,  who  took  an  interest  in  him 
and  for  four  years  taught  him  gratis. 
In  1869  Fuchs  was  organist  at 
Stralsund,  and  later  studied  thorough- 
bass under  K.  Fr.  Wietzmann  and 
composition  with  F.  Kiel.  He  was  for 
two  years  a  private  tutor  at  the  home 
of  a  rich  gentleman  near  Berlin  and 
also  employed  at  the  home  of  Stef- 
feck,  the  artist,  in  a  like  capacity.  He 
appeared  at  Berlin  frequently  as  a 
pianist  and  went  on  a  concert  tour 
in  1875.  He  lived  in  Berlin  from 
1871  to  1875  as  pianist,  teacher  and 
critic,  and  also  lived  at  Hirschberg 
and  at  Danzig,  where  he  became  con- 
ductor of  the  choral  union,  a  teacher 
and  organist.  Fuchs  wrote  a  number 
of  theoretical  works  of  great  value 
and  as  a  pianist  ranked  high.  An 
English  translation  of  his  Praktische 
Anleitung  zum  Phrasieren,  written 
jointly  with  Hugo  Reimann  in  1886, 
appeared  in  New  York  in  1892.  He 
was  a  learned  man  of  great  intellec- 
tual attainments  as  well  as  an  ac- 
complished musician, 

Fuchs,  Robert.    1847- 

A  brother  of  Johann  Nepomuk 
Fuchs,  a  pupil  of  the  Vienna  Con- 
servatory, where  he  still  teaches  har- 
mony and  theory,  having  taken  the 
post  in  1875.  He  has  published  a 
symphony;  quartet;  trio;  five  sere- 
nades   for    string    orchestra,    which 


BIOGRAPHIES 


261 


Fuchs 


enjoy  a  wide  popularity;  two  sonatas 
for  violin;  sonata  for  piano;  a  mass; 
works  for  the  chamber  and  several 
variations.  Fuchs'  first  opera  was 
Spieloper.  This  was  followed  by  Die 
Teufelsglocke  and  Die  Konigsbraut, 
the  latter  produced  at  Vienna  with 
great  success. 

Fuhrer  (fu'-rer),  Robert.    1807-1861. 

Bohemian  organist,  church  com- 
poser and  teacher  of  theory,  born  at 
Prague.  He  wrote  a  large  amount  of 
church-music,  and  many  compositions 
for  the  organ.  He  was  a  pupil  of 
Witasek  and  was  first  organist  at 
Strahow,  then  principal  instructor  at 
the  organists'  school  in  Prague  (1830) 
and  later  organist  of  the  Cathedral 
of  Prague  in  1839,  succeeding  his 
teacher,  Witasek.  Fiihrer  led  an 
irregular  life  and  lost  his  position  in 
1845,  then  went  to  Salzburg,  Bavaria, 
and  other  places,  securing  an  appoint- 
ment as  organist  at  Gmunden  and 
Ischl  in  1857.  He  died  in  Vienna  in 
1861.  His  works  consist  of  about 
twenty  masses  and  other  music  of  a 
sacred,  nature;  preludes,  fugues,  etc., 
for  the  organ.  He  also  wrote  several 
instruction  books  for  the  organ. 

Fulcher,  John.    1830-1893. 

English  musician  and  editor,  who 
was  born  in  London.  He  studied 
with  Meyer  Lutz  and  Alfred  Mullen, 
and  settled  in  Glasgow  in  1855,  where 
he  held  the  position  of  choirmaster 
in  the  Cathedral  from  1868  to  1879. 
Fulcher  was  the  editor  of  Lays  and 
Lyrics  of  Scotland,  with  a  historical 
epitome  of  Scottish  Song,  by  James 
Ballantine.  He  also  wrote  a  number 
of  songs  which  became  popular, 
among  them  Afton  Water;  Bonnie, 
Bonnie  Bell;  Songs  of  Scotland;  a 
Scottish  vocal  duet;  part-songs  and 
other  music.  His  arrangements  and 
accompaniments  to  Scottish  songs  are 
more  acceptable  to  modern  taste  than 
some  of  the  tunes  of  the  earlier 
adapters. 

Fumagalli     (foo-ma-gal'-le),     Adolf  o. 
1828-1856. 

Italian  composer  and  pianist,  born 
at  Inzago.  He  composed  much  bril- 
liant piano  music  and  many  songs, 
which  are  unusually  tuneful  and 
beautiful.  He  was  a  pupil  at  the 
Milan  Conservatory  of  Angeleri  and 
gave  his  first  concert  in  that  city  in 
1848,  next  visiting  Turin  and  Paris, 
and  going  from  there  to  Belgium  in 


Furst 

1854.  He  wrote  a  fantasia  on  I  Puri- 
tani,  others  on  La  Favorita,  Lucia  di 
Lammermoor  and  Norma;  also  ca- 
prices; tarantellas  and  marches.  His 
Les  Clochettes,  for  drawing-room,  with 
orchestra,  was  popular  for  a  time.  He 
died  at  Florence.  Fumagalli's  broth- 
ers, Disma,  Polibio  and  Luca,  were 
also  pianists,  the  last  named,  born  in 
1837,  being  the  best  known.  An  opera 
of  his,  entitled  Luigi  XL,  was  pro- 
duced at  the  Pergola  Theatre,  Florence. 

Fursch-Madi  (foorsh'-ma-de),  Emmy. 
1847-1894. 
Dramatic  soprano,  with  a  creditable 

dramatic  record;  born  in  Bayonne, 
France.  She  was  a  pupil  of  the  Paris 
Conservatory  and  made  her  first  ap- 
pearance on_  the  operatic  stage  as 
Marguerite  in  Faust.  She  shortly 
afterward  created  the  role  of  Aida,  in 
Verdi's  opera  of  that  name,  at  the 
request  of  the  composer.  Mme. 
Fursch-Madi  visited  America  in  1874 
with  the  New  Orleans  French  Opera 
Company,  and  sang  at  Covent  Garden, 
London,  in  1879  to  1881,  and  in  New 
York  at  the  Academy  of  Music  and 
the  Metropolitan  Opera  House,  where 
her  final  appearance  was  made  in 
February,  1894,  as  Ortrud  in  Lohen- 
grin. She  sang  under  the  manage- 
ment of  Colonel  Mapleson  in  Don  Gio- 
vanni, and  was  from  the  time  of  her 
first  appearance  a  favorite  in  London 
and  New  York  as  well  as  in  Paris. 
Her  greatest  successes  were  made  in 
Lucrezia  Borgia,  Donna  Anna,  Aida, 
Leonora  in  II  Trovatore  and  Valen- 
tine in  Faust.  Mme.  Fursch-Madi 
was  placed  in  charge  of  the  vocal 
department  of  the  National  Conserv- 
atory of  Music,  New  York,  and  died 
at  Warrenville,  N.  J. 

Furst,  William  Wallace.    1852- 

American  composer  and  playwright; 
born  in  Baltimore  and  educated  by 
the  Christian  Brothers  at  Calvert 
Hill,  Baltimore,  and  at  Rock  Hill 
College,  Maryland.  Furst  wrote  The 
Isle  of  Champagne,  an  extremely 
popular  comic  opera;  Fleur-de-Lis  and 
Fleurette;  and  was  co-author  with 
C.  A.  Byrne  of  Princess  Nicotine; 
also  wrote  The  Little  Trooper;  and 
with  William  Gillette,  an  operatic 
version  of  She;  beside  numerous 
cornic  operas;  incidental  music  for 
various  plays;  a  grand  opera,  Theo- 
dora; and  numerous  piano  and  voice 
compositions. 


262 


BIOGRAPHIES 


Furstenau 
Furstenau     (fiirsht'-e-now),    Anton 

Bernhard.    1792-1852. 

German  flute-player,  the  son  of 
Kaspar  P'urstenau.  He  was  born  at 
Miinster  and  was  a  solo  concert- 
flutist  from  the  age  of  seven,  traveling 
through  Europe  with  his  father  in 
1809.  He  wrote  several  compositions 
for  the  flute,  which  are  considered 
models  for  players  of  that  instrument. 
He  settled  in  Dresden  about  1820  as 
a  chamber-virtuoso.  Furstenau  wrote 
about  one  hundred  and  fifty  works, 
among  other  compositions  concertos 
for  flute  and  orchestra;  studies;  ron- 
dos; adagios;  quartets;  caprices  and 
nocturnes,  all  for  flute. 

Furstenau,   Kaspar.    1772-1819. 

Born  at  Miinster.  He  became  a 
famous  flute  virtuoso,  beginning  his 
career  in  the  orchestra  of  the  Bishop 
of  Miinster  and  going  to  Oldenburg 
in  1794  to  play  first  flute  in  the  Court 
Orchestra.  He  later  traveled  exten- 
sively with  his  son,  giving  concerts  in 
various  parts  of  Europe.  Furstenau 
published  about  sixty  compositions, 
mcluding  concertos;  fantasias  and 
rondos,  all  for  the  flute. 

Furstenau,  Moritz.    1824-1889. 

Son  of  Anton  Furstenau,  and  a 
flute-player  and  author  of  Geschichte 
der  Musik  und  des  Theatres  am  Hofe 
zu  Dresden,  published  in  two  volumes 
at  Dresden  in  1861  and  1862.  Furstenau 
was  born  in  Dresden,  and  was  a  mem- 
ber of  the  Dresden  Court  Orchestra 
from    1842,   librarian   of   the    musical 


Gabriel 

department  of  the  Royal  Library  from 
1852  and  from  1858  teacher  of  the  flute 
in  the  Censervatory  of  that  city. 

Fux  (foox),  Johann  Josef.    1660-1741. 

German  composer,  writer  and 
theorist;  born  near  Gratz  in  Styria,  a 
province  of  Austria.  Nothing  definite 
is  known  about  his  teachers.  He  pub- 
lished at  Nuremberg,  in  1707,  a  work 
entitled  Concentum  musico  -  instru- 
mental, in  seven  parts,  and  after- 
wards, in  1725,  a  Gradus  ad  Parnassum, 
which  is  considered  a  theoretical 
masterpiece.  It  is  divided  into  two 
books,  in  which  he  gives  the  prin- 
ciples of  musical  composition,  the  use 
of  the  dissonances,  expounds  the 
doctrine  of  fugue,  giving  rules  for  its 
composition  and  writes  of  the  modes 
of  the  ancient  Greeks,  treating  also 
of  the  ecclesiastical  style  of  music. 
Fux  held  many  posts  of  importance, 
among  others  that  of  organist  at 
Vienna  in  1696,  composer  to  the  Court 
of  Vienna  in  1698,  chapelmaster  at 
St.  Stephen's  Cathedral  from  1705  to 
1715,  vice-chapelmaster  to  the  court 
in  1713.  He  succeeded  Ziani  as  first 
chapelmaster  two  years  later.  He 
held  this  office  under  three  emperors 
and  received  from  them  many  favors. 
Fux  dedicated  his  first  work  to  Em- 
peror Joseph  I.  He  wrote  a  large 
number  of  compositions,  and  about 
four  hundred  and  five  of  these  are 
still  in  existence.  His  works  include 
fifty  masses;  three  requiems;  fifty- 
seven  vespers  and  psalms;  ten  ora- 
torios; eighteen  operas;  the  festival 
opera,  Elisa,  and  other  works. 


Gabriel    (ga'-bri-el),  Mary  Ann  Vir- 
ginia.   1825-1877. 

An  Irish  composer,  born  at  Ban- 
stead,  Surrey,  studied  piano  under 
Pixis,  Dohler  and  Thalberg,  and  har- 
mony under  Molique.  In  1874  she 
married  George  E.  March,  who  wrote 
most  of  the  librettos  for  her  operettas. 
She  is  best  known  by  her  cantata, 
Evangeline,  based  on  Longfellow's 
poem  of  that  name,  and  performed  in 
1870  and  1873  at  Covent  Garden,  to- 


gether with  another.  Dreamland.  She 
died  in  London  in  1877  from  the 
effects  of  an  accident.  Of  her  oper- 
ettas, Widows  Bewitched,  produced 
in  1867,  was  very  popular.  Others  are 
Shepherd  of  Cornailles;  The  Rainy 
Day;  and  Who's  the  Heir.  She  also 
wrote  over  seventy  songs,  including 
In  the  Gloaming,  Somebody's  Dar- 
ling, and  When  Sparrows  Build;  also 
some  part-songs  and  pieces  for  the 
piano. 


BIOGRAPHIES 


263 


Gabrieli 
Gabrieli  (ga-bri-a'-le),  Andrea.    1510- 
1586. 

Venetian  organist  and  composer  of 
church-music;  was  born  and  died  at 
Venice;  was  the  foremost  organist  of 
his  time  and  a  pupil  of  the  founder 
of  the  Venetian  school,  Adrian  WiU- 
aert.  It  is  stated  that  Andrea  Ga- 
brieli was  the  first  contrapuntist  to 
write  a  real  fugue,  Frescobaldi  later 
elaborating  his  idea.  In  1536  he  en- 
tered the  choir  of  St.  Mark's,  where 
Willaert  was  chapelmaster,  and  in 
1566  succeeded  Claudio  Merulo  as  the 
second  organist  of  St.  Mark's,  and 
was  first  organist  at  the  time  of  his 
death.  He  was  also  eminent  as  a 
teacher,  and  most  noted  of  his  many 
pupils  were  his  nephew  Giovanni,  Leo 
Hasler,  and  Jan  Peter  Sweelinck,  who 
founded  the  North  German  School  of 
Organists.  He  was  commissioned  by 
the  Venitian  Republic  in  1574  to  write 
the  festival  music  for  the  reception  of 
King  Henri  III.,  which  remains  in 
Gardano's  Gemme  Musicali,  published 
in  1587  at  Venice.  He  was  a  prolific 
composer,  his  works  including  organ- 
music,  masses,  madrigals,  motets,  and 
songs,  much  of  which  is  still  extant. 
His  choral  works  are  considered  su- 
perior to  his  instrumental,  and  the 
Psalmi  Davidici  is  generally  men- 
tioned as  his  best  work,  the  6Sth 
Psalm  being  cited  as  greater  by  far 
than  any  similar  work  before  written. 

Gabrieli,  Giovanni.  1557-1612  or  1613. 
Composer  and  organist,  nephew  and 
pupil  of  the  foregoing;  was  born  and 
died  at  Venice,  and  surpassed  his 
uncle.  He  succeeded  Claudio  Merulo 
as  first  organist  of  St.  Mark's  in  1585, 
and  was  renowned  as  a  teacher;  his 
most  distinguished  pupil  was  Heinrich 
Schiitz.  He  was  the  greatest  com- 
poser of  the  Venetian  School,  and 
stands  in  the  same  rank  with  his  con- 
temporaries, Orlando  Lasso  and 
Palestrina.  The  Sacrae  symphonia;, 
written  for  either  voices  or  instru- 
ments, and  in  from  six  to  sixteen 
parts,  published  in  1597;  a  second  col- 
lection, published  in  1615,  for  six  to 
nmeteen  voices,  and  the  Canzoni  e 
Sonate,  for  three  to  thirty-two  voices, 
indicate  his  command  of  counterpoint. 
Contrary  to  the  custom  of  his  day, 
he  wrote  independent  parts  for  in- 
struments in  his  madrigals  and  other 
choral  works,  and  frequently  used 
modulations  more  suited  to  the  mod- 
ern  orchestra   than   to  voices.     It   is 


Gabrilowitsch 


said  that  in  this  respect  he  may  be 
called  the  "father  of  the  chromatic 
style."  Various  works  are  contained 
in  collections  by  Winterfeld,  Schles- 
inger,  Torchi,  Bodenschatz,  and 
Rochlitz,  the  latter's  including  his 
Benedictus  for  three  choirs,  which  is 
pronounced  a  masterpiece  of  its  kind. 
It  would  seem  that  the  construction 
of  the  auditorium  in  St.  Mark's,  with 
two  large  organs  placed  opposite  each 
other,  facilitated  the  employment  of 
such  efifects  as  were  provided  for  in 
Gabrieli's  choruses  for  two  or  three 
choirs,  and  also  for  the  further 
division  of  the  choirs. 

Gabrielli  (ga-bri-el'-le),  Catterina. 

1730-1796. 

Famous  Italian  soprano,  daughter 
of  the  cook  of  Prince  Gabrielli,  and 
protegee  of  the  Prince,  whose  name 
she  assumed  after  her  public  reputa- 
tion was  established.  She  studied 
with  Garcia  and  Porpora,  making  her 
debut  with  success  at  Lucca,  in 
Galuppi's  Sofonisba,  and  received  in- 
struction^ in  melody  singing  from 
Guadagni.  She  sang  with  brilliant 
success  in  the  chief  Italian  theatres, 
appearing  at  Naples  in  1750,  where 
she  took  some  lessons  from  Metas- 
tasio,  and  going  the  next  year  to 
Vienna,  where  she  remained  until 
1765.  After  appearing  in  Sicily  and 
Parma  she  went  to  St.  Petersburg  in 
1768,  appeared  in  London  in  the  sea- 
son of  1775  to  1776,  and  sang  at 
Venice  in  1777  and  in  Milan  in  1780. 
From  1781  until  her  death  she  lived 
quietly  in  Rome  with  her  sister  Fran- 
cesca,  also  an  opera  singer.  In  addi- 
tionto  her  fame  as  a  vocalist,  various 
stories  are  told  of  her  beauty,  intelli- 
gence, capriciousness  and  charm,  and 
her  many  admirers,  as  well  as  the 
lavish  generosity  with  which  she 
spent  the  wealth  earned  by  her  beau- 
tiful voice  and  finished  style.  It  is 
said  that  her  voice  was  not  powerful, 
but  of  fine  quality,  extremely  flexible, 
and  even  throughout  its  entire  range 
of  two  and  a  half  octaves. 

Gabrilowitsch      (ga  -  bre  - 16'  -  ^nftsch) , 
Ossip.    1878- 

One  of  the  most  celebrated  of  the 
younger  generation  of  concert 
pianists;  a  Russian,  born  in  St.  Peters- 
burg, and  is  the  son  of  a  lawyer.  At 
the  age  of  four  Ossip  could  sing  all 
the  Russian  folk-tunes.  Anton  Ru- 
binstein  wa.s  a  friend  of  tb.e   familv 


264 


BIOGRAPHIES 


Gabrilowitsch 

and  was  much  interested  in  the 
prodigy;  through  his  advice  Gabrilo- 
witsch began  piano  lessons  at  six; 
and  the  further  progress  of  the  boy's 
musical  education  was  watched  and 
directed  by  the  great  Rubinstein. 
After  his  death  Gabrilowitsch  became 
a  pupil  of  Leschetitzky,  thus  fulfilling 
the  wishes  of  his  deceased  friend,  and 
studied  under  this  famous  teacher  for 
two  years  at  Vienna.  Prior  to  this, 
however,  he  had  won  the  Rubinstein 
prize  under  Tolstofif  at  the  Conserv- 
atory. At  eighteen  he  began  active 
concert  work.  His  first  success  was 
with  Richter's  Orchestra  in  the  B  flat 
minor  concerto  of  Tschaikowsky, 
after  which  he  appeared  under  Nikisch 
at  Leipsic,  and  at  Berlin  with  the  Phil- 
harmonic Orchestra.  His  concert 
tours  include  the  chief  cities  of  Rus- 
sia, Germany,  Austria,  the  Netherlands, 
Denmark,  Sweden,  Great  Britain,  and 
America,  where  he  has  appeared  in 
three  different  tours,  the  last  being  in 
the  winter  of  1907.  His  talent  is  said 
to  be  akin  to  that  of  Paderewski; 
emotional,  spontaneous,  and  sympa- 
thetic. His  tone  has  breadth,  warmth, 
and  singing  qualities.  The  worth  of 
true  character  reveals  itself  through 
his  playing,  and  makes  a  deeper  im- 
pression than  mere  technical  display 
or  even  purely  intellectual  interpre- 
tation. Personally  he  has  been  de- 
scribed as  slender  and  of  good  height, 
with  a  fine  presence  and  a  manner 
gentle  yet  spirited;  an  excellent 
scholar  and  linguist,  speaking  well  in 
German,  English,  French,  and  Italian, 
as  well  as  his  native  tongue. 

Gade  (ga'-de),  Niels  Wilhelm.    1817- 
1890. 

This  native  of  Copenhagen  has  been 
called  the  founder  of  the  Scandinavian 
school  of  music,  but  strictly  speaking, 
he  was  rather  the  foremost  romantic 
composer  among  the  Scandinavians, 
his  individuality  not  being  forceful 
enough  to  mold  a  national  style. 
The  son  of  an  instrurnent-maker,  he 
was  intended  for  his  father's  craft. 
His  first  music  lessons  were  desul- 
tory, and  given  him  only  that  he  might 
have  a  better  understandmg  of  the 
musical  instruments  of  his  father's 
manufacture,  so  he  grew  up  largely 
self-taught,  studying  a  little  on  the 
guitar,  piano  and  violin.  At  about 
fifteen  years  of  age  he  became  a  pupil 
of  Wexschall,  leader  of  the  Royal 
orchestra  at  Copenhagen,  and  subse- 


Gade 

quently  a  violinist  in  this  orchestra, 
which  proved  a  valuable  school  of  in- 
strumentation. He  also  took  lessons 
from  Weyse  and  .Berggreen,  studying 
theory  under  the  latter,  and  soon 
began  to  compose,  though  he  did  not 
consider  his  first  attempts  worth  pub- 
lishing. His  first  work  of  note  was 
the  overture,  Nachlange  aus  Ossian 
(Echoes  from  Ossian),  which  won  the 
first  prize  in  a  competition  started  by 
the  Copenhagen  Musical  Union  in 
1841.  This  was  followed  by  a  sym- 
phony in  C  minor,  the  score  of  which 
Gade  sent  to  Mendelssohn,  then  musi- 
cal director  of  the  Gewandhaus  at 
Leipsic,  where  he  gave  the  rising 
composer  the  best  possible  encourage- 
ment by  producing  this  work  in  1843. 
Shortly  after  Gade,  relieved  by  an 
allowance  from  the  King  of  Denmark 
for  study  and  travel,  appeared  in  Leip- 
sic. He  was  welcomed  by  musicians 
in  general,  and  became  intimate  with 
both  Schumann  and  Mendelssohn. 
Toward  the  close  of  that  year  he  vis- 
ited Italy,  returning  in  1844;  during 
Mendelssohn's  absence  in  Berlin  he 
conducted  the  Gewandhaus  concerts, 
and  in  the  winter  of  1845  and  1846  was 
sub-conductor  under  Mendelssohn. 

After  the  death  of  Mendelssohn,  in 
1847,  Gade  continued  alone  the  direc- 
tion of  the  Gewandhaus  Orchestra 
until  the  beginning  of  the  Schleswig- 
Holstein  war  the  following  year.  He 
then  returned  to  Copenhagen,  and 
soon  became  prominent  in  its  musical 
life  as  leader  of  the  Musical  Union, 
organist,  and  conductor  pro  tem  of 
the  royal  orchestra,  succeeding  in  1861 
to  the  chief  conductorship  on  the 
death  of  Glaser.  Here  in  1851  he  mar- 
ried a  daughter  of  Johann  Hartmann; 
the  two  were  well  suited,  but  in  a  few 
years  she  died,  and  Gade  married  a 
second  time  in  1857,  this  union  also 
proving  a  happy  one.  With  the  ex 
ception  of  his  visits  to  England,  where 
in  1876  he  conducted  his  two  can- 
tatas, Zion,  and  The  Crusaders,  at  the 
Birmingham  Festival,  the  remainder 
of  his  Tife  was  spent  in  Copenhagen, 
composing,  conducting  and  teaching, 
and  was  placid  and  fortunate  above 
that  of  the  majority  of  musicians.  In 
the  year  of  his  first  visit  to  England 
he  received  a  life  pension  from  the 
Danish  government.  He  became  a 
leader  in  the  musical  affairs  not  only  of 
the  capital  but  of  the  country  at  large, 
and  had  conferred  upon  him  by  the 
King  the  title  of  "professor,"  which, 


BIOGRAPHIES 


265 


Gade 

as  Elson  remarks,  is  "  so  valuable  in 
Europe,  so  abused  in  America";  and 
also  received  the  honorary  degree 
of  Doctor  of  Philosophy  from  the 
University.  In  1886  he  was  made  Com- 
mander in  the  Order  of  Danebrog. 
His  second  visit  to  England,  in  1882, 
was  to  conduct  another  cantata, 
Psyche.  The  performance  of  his 
works  in  America  was  very  gratify- 
ing to  Gade,  and  he  is  said  to  have 
declared  that,  had  he  been  younger, 
he  would  have  come  to  this  country 
to  direct  their  production  here.  He 
died  in  harness  at  Copenhagen,  much 
respected  and  loved.  In  personal 
character  he  was  sincere,  cheerful, 
fond  of  fun,  and  an  agreeable  corre- 
spondent. 

His  most  important  work  was  the 
Echoes  from  Ossian,  nothing  writ- 
ten afterward  in  that  line  having  sur- 
passed this  early  masterpiece.  Of  his 
other  overtures,  Im  Hochland  (In  the 
Highlands),  like  the  Echoes  from 
Ossian,  is  imbued  with  the  somber- 
ness  of  northern  music.  There  is 
also  a  nameless  overture  in  C,  and 
two  others,  Hamlet  and  Michelan- 
gelo. Gade  wrote  seven  symphonies 
after  his  first  one.  Though  the  first 
is  considered  by  far  the  best,  the 
fourth  is  also  a  standard  composition 
for  orchestral  performance,  and  the 
G  minor  and  A  minor  are  ranked  next 
in  strength.  The  grace  and  ease  of 
Gade's  orchestral  writing,  both  in 
melody  and  instrumentation,  become 
still  more  effective  when  combined 
with  his  excellent  use  of  voices  in  the 
cantatas.  Of  these,  the  Friihlings- 
Phantasie  (Spring  Fantasy),  for  four 
solo  voices,  orchestra  and  piano,  and 
the  Friihlingsbotschaft  (Spring's  Mes- 
sage), have  virtually  made  his  repu- 
tation; they  have  been  frequently 
given  in  both  England  and  America, 
while  the  Crusaders,  his  most  varied 
work,  has  been  performed  more  often 
in  those  two  countries  than  in  his 
own.  Elson  considers  Comala,  his 
"  Ossianic  cfantata,"  produced  at  Leip- 
sic  in  1846,  as  greater  than  the  fore- 
going, and  Zion  as  one  of  his  best 
compositions.  The  Erl  King's  Daugh- 
ter owes  its  success  prmcipally  to  the 
local  color,  being  based  on  Scandi- 
navian melodies.  His  other  cantatas 
are  The  Holy  Night;  Der  Strom  (The 
Stream),  for  four  solo  voices  and  or- 
chestra, with  piano  obligato;  Balder's 
Dream,  for  the  same  combination; 
Calamis,  and  Genoa.     He  also  com- 


Gadsby 

posed  an  opera,  Mariotta,  which  was 
published  in  part,  but  never  produced. 
Aside  from  his  symphonies  and 
overtures,  his  orchestral  works  con- 
sist of  a  suite,  Holbergiana;  a  set  of 
five  pieces;  and  Sommertag  aug  dem 
Lande.  For  strings  he  has  written 
some  excellent  music,  especially  the 
octet,  quintet,  and  sextet;  four  nov- 
ellettes  for  string  orchestra;  and  a 
concerto  and  four  sonatas  for  violin, 
of  which  the  D  minor  one  has  been 
placed  among  the  most  inspired  of 
his  smaller  works.  For  the  piano, 
there  is  a  trio;  a  duet;  a  number  of 
folk-dances;  a  sonata;  an  Arabeske; 
two  books  of  Aquarelles;  and  numer- 
ous other  solos.  His  vocal  music 
includes  German  and  Scandinavian 
songs  and  part-songs,  some  of  the 
latter  with  orchestra;  choruses  for 
various  combinations  of  voices;  and 
sacred  songs.  For  the  organ  he  wrote 
three  tone-preludes.  Among  his  un- 
published compositions  are  festival 
music,  marches,  and  a  funeral  march. 
Gade  has  been  called  an  imitator  or 
follower  of  Mendelssohn  and  Schu- 
mann, and  their  influence  on  his  com- 
position is  apparent  in  some  slight 
degree.  He  does  not,  however,  lack 
originality;  his  works  are  refined, 
poetic,  graceful,  and  partake  to  some 
extent  of  his  northern  nationality.  His 
strong  point  as  a  composer  is  his 
command  of  orchestral  coloring. 
Elson  has  concisely  characterized  him 
thus:  "Gade  occupies  a  position 
midway  between  the  classical  and  the 
new  romantic  school.  He  is  on  the 
one  hand  more  free  in  development 
and  musical  treatment  generally  than 
the  old  masters,  and  more  shapely 
and  symmetrical  than  Schumann, 
Liszt,  or  Brahms." 

Gadsby,  Henry  Robert.    1842-1907. 

This  organist  and  composer,  a  late 
representative  of  the  modern  English 
school,  was  born  in  London;  was  a 
choir-boy  in  St.  Paul's  Cathedral 
from  1849  to  1858,  where  he  studied 
to  some  extent  under  William  Bayley, 
the  choirmaster,  but  was  afterward 
self-taught.  After  holding  several 
different  positions  as  organist,  up  to 
1884,  he  succeeded  John  HuUah  as 
professor  of  harmony  in  Queen's  Col- 
lege, London,  and  in  1893,  after  Cusins' 
death,  became  also  professor  of  piano 
and  director  of  musical  studies  there. 
He  was  also  a  professor  at  the  Guild- 
hall School  of  Music,  London,  a  mem- 


266 


BIOGRAPHIES 


Gadsby 
ber  of  the  Philharmonic  Society,  and 
an  honorary  fellow  of  the  Royal  Col- 
lege of  Organists.  His  compositions 
include  the  following:  The  cantatas, 
Alice  Brand,  Lord  of  the  Isles,  Co- 
lumbus, and  The  Cyclops;  and  the 
three  overtures,  to  The  Golden 
Legend,  to  Andromeda,  and  to  The 
Witches'  Frolic.  For  orchestra  are 
three  symphonies,  one  of  which,  the 
Festal,  was  written  for  the  Queen's 
Jubilee,  and  produced  in  1888  at  the 
Crystal  Palace;  a  suite.  The  Forest 
of  Arden;  an  intermezzo  and  scherzo; 
an  organ  concerto;  a  string  quartet; 
an  andante  and  rondo  for  piano  and 
flute;  and  incidental  music  to  several 
plays,  including  Alcestis,  Andromache, 
and  Tasso's  Aminta.  He  also  wrote 
songs  and  part-songs,  but  it  is  his 
church-music  that  made  his  reputa- 
tion. This  includes  a  number  of 
anthems,  various  services,  and  other 
works,  including  a  Magnificat  and 
Nunc  dimittis  with  orchestral  accom- 
paniment. He  also  wrote  a  book  of 
sight-reading  exercises  and  a  treatise 
on  harmony.  Riemann  ranks  Gadsby 
among  the  most  important  English 
composers  of  modern  times.  J.  D. 
Brown  speaks  of  his  works  as  "  broad 
in  design  and  careful  in  execution," 
and  places  The  Lord  of  the  Isles  first 
among  them. 

Gadski,  Johanna  Tauscher.    1871- 

Famous  Wagnerian  soprano,  who 
by  universal  consent  takes  first  place 
among  the  great  singers  of  the  pres- 
ent day.  She  is  equally  as  popular  in 
America  as  in  her  native  Germany, 
and  is  probably  the  most  highly- 
gifted  of  all  the  German  lyric  so- 
pranos. Mme.  Gadski  was  born  in 
Stettin,  Prussia,  of  German  and  Polish 
parentage,  and  when  a  child  of  nine 
her  great  voice  was  discovered.  She 
was  placed  in  care  of  Mme.  Schroeder- 
Chalouple  in  Stettin,  and  from  this 
great  teacher  learned  all  that  she 
knows  of  the  art  of  singing.  At 
twelve  she  appeared  as  a  vocalist  at 
a  concert  in  her  native  town,  but  her 
real  debut  was  made  when  she  was 
seventeen,  her  initial  appearance  being 
in  the  title  role  of  Lortzing's  opera, 
Undine,  at  Kroll's  Theatre,  in  Berlin. 
Her  success  was  such  that  she  was 
promptly  re-engaged  by  Director 
Engel  for  the  next  three  seasons, 
during  which  she  sang  leading  parts 
in  the  standard  operas.  In  1894,  fol- 
lowing    an     extended     concert     tour 


Gadski 
through  Germany  and  Holland,  she 
sang  at  the  Royal  Opera  House,  Ber- 
lin, and  there  was  heard  by  Walter 
Damrosch,  who  immediately  made  her 
an  oflfer  to  sing  in  opera  under  his 
direction  in  the  United  States.  Mme. 
Gadski  was  heard  first  in  this  coun- 
try March,  1895,  making  her  appear- 
ance as  Elsa  in  Lohengrin,  and  her 
triumph  in  the  role  was  little  short 
of  sensational.  For  two  seasons  she 
remained  a  member  of  the  Damrosch- 
Ellis  Company,  constantly  increasing 
her  repertory  and  steadily  gaining  in 
public  favor.  Her  success  in  inter- 
preting the  great  Wagnerian  parts 
made  her  doubly  secure  in  the  affec- 
tions of  American  audiences.  From 
this  time  the  singer  became  an  estab- 
lished favorite  in  this  country. 

For  several  years  she  has  been  one 
of  the  most  popular  members  of  the 
Metropolitan  Opera  Company  and  has 
been  heard  as  Eva  in  Die  Meister- 
singer,  Elsa  in  Lohengrin,  Elizabeth 
in  Tannhauser,  Senta  in  The  Flying 
Dutchman,  Brunhilde  in  the  Nibe- 
lungen  Lied  music-dramas  and  in 
many  other  Wagnerian  parts.  During 
the  season  of  1906  Mme.  Gadski 
essayed  for  the  first  time  the  role  of 
Isolde  in  Wagner's  great  love-drama, 
Tristan  and  Isolde,  and  sang  it  to 
enthusiastic  applause.  Mme.  Gadski 
is  popular  in  London,  where  she  is 
frequently  heard  at  Covent  Garden, 
and  at  Bayreuth,  where  her  singing  of 
the  part  of  Eva  in  Die  Meistersinger 
and  her  Brunhilde  have  brought  her 
special  commendation.  In  Munich 
her  appearance  in  three  of  the  Ring 
performances  led  to  her  being  deco- 
rated by  the  Prince  Regent  Luitpold 
with  King  Ludwig's  Order  of  Art 
and  Science  —  a  rare  distinction.  In 
addition  to  the  roles  mentioned,  Mme. 
Gadski  has  sung  the  part  of  Aida, 
the  role  of  the  Countess  in  The  Mar- 
riage of  Figaro,  in  Les  Huguenots, 
Cavalleria  Rusticana,  Sieglinde,  Pa- 
mina  in  The  Magic  Flute,  Anna  in 
La  Dame  Blanche,  Amelia  in  Un 
Ballo  in  Maschera,  and  the  leading 
part  in  Miss  Ethel  Smith's  opera,  Der 
Wald,  when  it  was  produced  in  1903 
by  the  Metropolitan  Opera  Company. 

Mme.  Gadski  is  equally  successful 
as  a  concert  singer  and  her  interpre- 
tation of  the  beautiful  songs  of 
Schubert,  Schumann  and  Franz  is 
unexcelled.  Her  voice  is  a  lyric 
soprano  of  wonderful  beauty  and 
flcxibilitv.  and  her  singing  is  always 


BIOGRAPHIES 


267 


Gadski 

marked  by  the  greatest  artistic  finish. 
In  private  life  the  singer  is  Mme. 
Tauscher,  the  wife  of  Herr  Tauscher, 
formerly  of  the  Imperial  army,  who 
resigned  his  commission  at  the  time 
of  their  marriage   in    1891. 

Gaforio  (ga-fo'-ri-o),  Franchino.  1451- 
1522. 

Priest  and  writer  on  music;  born 
near  Lodi;  studied  both  music  and 
theology,  and  lived  at  different  times 
in  Mantua,  Verona,  and  Genoa, 
whence  in  1478  he  went  with  the 
fugitive.  Doge  Adorno,  to  Naples, 
where  he  resided  for  several  years, 
enjoying  the  acquaintance  of  a  few 
prominent  musicians.  Forced  to 
leave  by  the  Turkish  invasion  and 
the  plague,  he  returned  to  Lodi,  and 
next  settled  in  Monticello,  where  for 
three  years  he  was  choirmaster.  In 
1484,  having  made  a  short  stay  in 
Bergamo,  he  became  conductor  of 
the  Cathedral  choir  at  Milan,  and  also 
established  a  music  school  there.  He 
wrote  the  following  works:  The- 
oricum  Opus  Harmonicse  Disciplinse; 
Practica  Musica  utriusque  Cantus; 
Angelicum  ac  Divinum  Opus  Mu- 
sicae;  De  Harmonia  Musicorum  In- 
strumentorum.  He  was  a  man  of 
great  learning,  well  versed  in  the 
knowledge  of  his  day  as  well  as  that 
of  earlier  times,  and  was  looked  up 
to  as  an  authority  on  musical  theory 
while  living.  His  books,  now  rare, 
are  of  considerable  historical  value 
and  of  interest  as  specimens  of  early 
printing. 

Gagliano    (gal-ya'-no),   Marco   da. 
About  1575-1642. 

One  of  the  earliest  composers  of 
opera;  was  born  in  the  village  of 
Gagliano,  near  Florence,  and  from  it 
took  the  surname,  by  which  he  is 
known,  though  that  of  his  father  was 
Zanobi.  He  studied  under  Luca  Bati, 
the  chapelmaster  of  St.  Lorenzo, 
where  he  was  preparing  for  the  priest- 
hood, and  succeeded  to  this  position 
on  Bati's  death,  in  1608,  having  as- 
sumed part  of  his  work  in  1602.  Sev- 
eral years  later  he  became  chapel- 
master to  the  Grand  Duke  of  Tus- 
cany. At  that  time  he  was  already 
an  active  promoter  of  music  in  Flor- 
ence, having  started  in  1607  the 
Accademia  degli  Elevati,  a  musical  as- 
sociation, which  continued  for  twelve 
or  thirteen  years.  The  opera,  Dafne, 
produced  at  Mantua  the  same  year,  is 


Gailhard 

considered  his  most  important  work, 
and  was  highly  praised  and  applauded. 
His  other  works  include  masses  and 
madrigals  in  various  collections.  Re- 
sponsori  della  Settimana  Santa  was 
considered  the  best  of  his  composi- 
tions, of  which  comparatively  few  are 
extant,  some  having  been  lost,  and  a 
number  never  published,  owing,  it  is 
said,  to  his  strict  and  conscientious 
criticism. 

Gail    (ga-el),    Edmee    Sophie.    1775- 
1819. 

French  dramatic  composer  and 
singer;  born  at  Paris;  studied  singing 
under  Nengozzi,  and  sang  in  concerts 
through  southern  France  and  Spain. 
She  also  studied  theory  under  Fetis, 
Perne  and  Neukomm.  She  sang  in 
London  in  1816,  and  in  Germany  and 
Vienna,  two  years  later,  with  Mme. 
Catalini.  She  married  Jean-Baptiste 
Gail,  a  Greek  professor.  She  wrote 
the  operas  Les  deux  Jaloux;  Madem. 
de  Lannay  a  la  Bastille;  Angela,  with 
Boieldieu;  La  meprise;  and  La  Sere- 
nade; also  vocal  nocturnes  and 
romances. 

Gailhard,  Pierre.     1848- 

French  opera  singer  and  manager; 
born  at  Toulouse;  studied  first  at  his 
home  conservatory,  and  at  eighteen 
entered  the  Paris  Conservatory  as  a 
pupil  of  Revial,  where  he  took  first 
prize  in  each  of  three  subjects,  sing- 
ing, opera  and  comic  opera.  In  1867 
he  made  his  debut  at  the  Opera 
Comique,  where  he  sang  the  part  of 
Falstaff  in  Ambroise  Thomas's  Song 
d'une  Nuit  d'fite,  with  pronounced 
success.  He  remained  at  the  Opera 
Comique  for  three  years,  singing  in 
at  least  eight  roles,  three  of  them 
new.  In  1871  he  made  his  debut  at 
the  Grand  Opera  as  Mephistopheles 
in  Faust,  and  there  remained  a  mem- 
ber of  the  company  for  thirteen  years; 
at  the  expiration  of  that  time  he  suc- 
ceeded Vancorbail  as  co-manager 
with  Ritt.  He  sang,  on  leave  of 
absence,  from  1879  to  1883,  at  Covent 
Garden,  London,  where  he  elicited 
much  praise  and  remained  in  high 
favor.  He  has  versatile  talents,  both 
vocal  and  dramatic,  fitting  him  for 
either  tragedy  or  comedy.  In  1893 
he  became  assistant  manager  to  Ber- 
trand,  who  had  succeeded  Ritt  in  1891, 
and  on  his  partner's  death,  Gailhard 
became  sole  manager.  During  his 
management     of     the    Grand     Opera 


268 


BIOGRAPHIES 


Gailhard 

many  of  Wagner's  operas,  and  others 
by  Verdi,  Mozart,  Leoncavallo,  Gou- 
nod, Berlioz,  Massenet,  Saint-Saens, 
etc.,  have  been  performed,  and  a  num- 
ber of  famous  singers  have  made  their 
initial  appearance  in  that  theatre,  in- 
cluding Melba,  Eames,  Alvarez  and 
the  De  Reszke  brothers.  Gailhard 
also  wrote  several  librettos,  and  in 
1886  became  a  Chevalier  of  the  Legion 
of  Honor. 

Galilei  (ga-K-la'-e),  Vincenzo.    About 

1533-about  1600. 

Celebrated  musical  theorist;  was 
born,  lived  and  died  in  Florence, 
where  he  was  one  of  the  most  prom- 
inent of  those  who  frequented  the 
house  of  Count  Bardi  for  the  dis- 
cussion of  subjects  in  art,  music  and 
philosophy.  He  played  the  lute  and 
the  violin,  and  was  learned  in  Greek 
musical  theory,  the  principles  of  whicTi 
he  upheld  in  opposition  to  those  who 
used  counterpoint.  He  not  only 
argued  and  wrote  from  this  stand- 
point, advocating  simpler  ^  musical 
forms,  but  composed  some  airs  for  a 
single  voice  with  lute  accompaniment. 
This  was  the  beginning  of  the  mod- 
ern vocal  solo,  an  idea  developed  by 
his  successors,  Caccini  and  Peri,  who 
later  produced  the  first  musical  drama. 
His  works  are  of  great  historical  in- 
terest. The  dialogue,  II  ^  Fromino, 
published  1568  at  Venice,  gives  much 
information  concerning  the  mode  of 
musical  notation  and  the  method  of 
tuning  used  by  the  Italian  lutenists 
of  Galilei's  time.  Several  other  pam- 
phlets in  dialogue  form  deal  with  the 
controversy  between  himself  and 
Zarlino,  a  contemporary  teacher  oi 
counterpoint,  and  Galilei's  former  in- 
structor. His  son,  the  great  astrono- 
mer Galileo,  is  said  to  have  also 
written  a  musical  treatise. 

Galitzin  (ga-le'-tshen),  Nicolas  Boris- 

sovich.     1866- 

A  Russian  prince  and  enthusiastic 
amateur  musician,  who  played  the 
violoncello  well.  Nothing  is  known 
of  the  date  or  place  of  his  birth;  his 
death  occurred  on  his  estate  in  Kur- 
ski.  He  is  noteworthy  chiefly  from 
the  fact  that  Beethoven  dedicated  to 
him  an  overture  and  three  string 
quartets  and  corresponded  with  hirn 
through  the  composer's  lifetime. 
Galitzin's  wife  was  a  skilled  pianist, 
and  his  son  George,  born  at  St. 
Petersburg  in  1823,  was  a  still  more 


Gain 
active  musician,  conducting  and  main- 
taining a  choir  of  seventy  boys,  which 
he  organized  at  Moscow,  1842,  and 
also  an  orchestra,  with  which  he  made 
concert  tours  in  Germany,  France, 
America  and  England  about  1860, 
playing  mostly  Russian  music,  espe- 
cially Glinka's  and  his  own.  He  com- 
posed vocal,  orchestral,  instrumental 
and  chamber-music. 

Gallenberg    (gal'-len-berkh),    Wenzel 
Robert,  Graf  von.     1783-1839. 

Ballet  composer;  born  in  Vienna, 
studied  under  Albrechtsberger,  and 
married  in  1803  the  Countess  Julietta 
Guicciardi,  formerly  loved  by  Bee- 
thoven. He  composed  festival  music 
for  Joseph  Bonaparte  in  Naples,  1805, 
and  a  year  or  two  afterward  was 
selected  to  direct  the  music  in  the 
Court  Theatre,  where  he  introduced 
the  best  German  music,  thus  raising 
the  standard  and  extending  the  range 
of  music  in  Naples.  From  1821  to 
1823  he  was  assistant  manager  to 
Barbaja,  then  director  of  the  Court 
Theatre,  Vienna.  Gallenberg  under- 
took the  sole  management  in  1829, 
but  failed  for  lack  of  funds,  and  re- 
turned to  Naples,  where  he  again 
worked  with  Barbaja  as  ballet  com- 
poser and  director.  Gallenberg  was 
a  prolific  composer,  but  his  works 
were  soon  forgotten.  He  composed 
a  sonata,  fantasias,  marches  and  other 
pieces  for  piano,  also  several  over- 
tures, and  forty  or  fifty  ballets,  some 
of  those  best  known  in  his  day  be- 
ing Samson;  Arsinoe  und  Telemaco; 
Amleto;  Alfred  der  Grosse;  Jeanne 
d'Arc;  Ismann's  Graab;  La  Caravana 
del  Cairo;  Caesar  in  ^Egypten;  Theo- 
dosia;  Agnes  und  Fitz  Henri;  and 
Latona's    Rache. 

Gain,  Filippo.    1783-1853. 

Italian  opera  singer;  was  born  at 
Rome  and  intended  for  the  church, 
but  as  early  as  ten,  unusual  musical 
talent  was  evident  in  his  playing.  He 
made  his  debut  as  a  tenor  at  Bologna, 
1804,  after  which  he  rose  rapidly  to 
the  front  rank.  In  1810  his  voice  was 
changed  to  a  bass  by  a  severe  illness, 
and  on  competent  advice  he  studied 
to  cultivate  his  changed  voice,  which 
brought  him  success  equal  to,  if  not 
greater,  than  that  prior  to  his  illness. 
A  second  debut  occurred  at  the  Car- 
nival of  1812  at  Venice  in  one  of 
Rossini's  operas.  The  composer 
wrote  several  parts  for  him,  and  in 


BIOGRAPHIES 


269 


GaUi 

spite  of  a  certain  stiffness  in  his  tone 
production,  he  commanded  a  salary 
for  the  London  season  of  1827  of 
about  four  thousand  dollars.  The 
next  year  he  went  to  Spain  and  ap- 
peared successively  at  Rome,  Milan 
and  Mexico,  during  the  years  from 
1822  to  1836.  After  this  his  voice 
deteriorated,  and  after  various  strug- 
gles, necessitated  by  want  of  provi- 
dence in  more  prosperous  years,  he 
died  in  poverty  at  Paris. 

Galliard     (gal'-li-art),    John    Ernest. 

About   1687-1749. 

Composer;  born  in  Hanover,  studied 
under  Steffnai  and  Farinelli.  Galliard 
became  an  efficient  oboe-player,  and 
going  to  London  in  1706,  was  ap- 
pointed chamber  musician  to  Prince 
George  of  Denmark,  and  later  suc- 
ceeded Draghi  as  organist  at  Somer- 
set House,  composing  a  Te  Deum, 
Jubilate  and  several  anthems.  He 
composed  the  music  for  Hughes' 
opera.  Calypso  and  Telemachus,  in 
1712,  and  from  1717  was  commissioned 
by  Rich  to  furnish  music  for  his 
masques  and  pantomimes.  In  1728 
he  set  to  music,  in  the  cantata  style, 
the  Morning  Hymn  of  Adam  and  Eve, 
in  Milton's  Paradise  Lost.  He  pub- 
lished several  translations  and  com- 
posed several  cantatas,  songs  and 
pieces  for  various  orchestral  instru- 
ments. He  also  wrote  the  music  for 
several  plays  and  pantomimes  as  fol- 
lows: Julius  Caesar,  Pan  and  Syrinx, 
Jupiter  and  Europa,  Dr.  Faustus,  The 
Royal  Chace,  or  Merlin's  Cave  (con- 
taining a  well-known  hunting  song, 
With  Early  Horn),  and  music  for 
Lee's  tragedy,  CEdipus. 

GalH-Marie  (gal-le  mar-ya),  Celestine. 

1840-1905. 

French  mezzosoprano,  was  the 
daughter  of  a  singer  at  the  Paris 
Opera,  who  was  her  teacher  as  well 
as  father.  _  She  made  her  debut  at 
Strasburg  in  1859.  After  appearing 
in  Italian  Opera  at  Lisbon  in  1861, 
she  returned  to  Paris,  and  was  en- 
gaged there  at  the  Opera  Comique 
most  of  the  time  from  1862  to  1885, 
though  appearing  at  intervals  in  other 
parts  of  France,  Italy  and  Belgium. 
She  created  the  parts  of  Mignoh  and 
Carrnen,  winning  international  fame, 
and  is  said  to  have  sung  in  more  than 
twenty  operas  from  1862  to  1878,  and 
to  have  appeared  as  Carmen  at  the 
age    of    fifty    with    a    cast    including 


Galuppi 
Melba  as  Michaela  and  Jean  De 
Reszke  as  Don  Jose.  She  died  at 
Venice,  near  Nice.  Her  marked  suc- 
cess is  attributed  rather  to  her  dra- 
matic talent  and  great  versatility  in 
assuming  parts  of  widely  varying 
character,  than  to  her  voice,  which 
seems  to  have  been  of  no  unusual 
quality. 

Gallus,  Jacobus.     (Real  name  Jacob 
Handl).     About   1550-1591. 

His  real  name  was  Jacob  Handl, 
also  written  Handl  and  Hahnel.  Was 
a  German  composer  of  sacred  music, 
born  at  Carniola,  the  name  Gallus 
being  a  Latinized  form,  as  was  cus- 
tomary at  that  time.  He  was  chapel- 
master  to  Stanislaus  Pawlowski, 
Bishop  of  Olmiitz,  about  1579,  and 
later  to  the  Emperor  at  Prague.  He 
was  a  distinguished  contemporary  of 
Palestrini  and  Orlando  Lasso,  and 
composed  before  the  modern  scales  of 
major  and  minor  had  been  formu- 
lated. His  compositions  include  de- 
tached pieces  contained  in  Proske's 
Musica  divina,  and  other  collections 
of  Bodenschatz,  Zahn,  Becker,  Roch- 
litz,  Schoberlein,  etc.  In  1580  he 
published  Missse  selectiones,  a  series 
of  sixteen  masses  in  four  books;  in 
1586,  1587,  1590,  Musici  operis  har- 
moniarium,  in  four  volumes;  in  1589, 
Epicedon  Harmonicum,  and  others. 
His  motet,  Ecce  quomodo  moritur 
Justus,  was  borrowed  by  Handel  for 
his  funeral  anthem. 

Galuppi  (ga-loop'-pi),  Baldassare. 

1706-1785. 

Italian  composer;  was  born  on  the 
island  of  Burano,  from  which  he  was 
frequently  called  Buranello.  His 
father,  a  barber  and  violin-player, 
gave  him  his  first  instruction,  and  by 
the  time  he  was  sixteen  he  had  com- 
posed an  opera  which  was  performed 
at  Vicenza,  but  met  with  a  humiliating 
reception.  This  failure  incited  him  to 
study  under  Lotti;  his  next  attempts 
were  more  successful,  and  he  became 
in  time  one  of  the  most  popular  com- 
posers of  comic  opera  in  his  day.  He 
also  composed  considerable  sacred 
music  and  an  unpublished  sonata  for 
harpsichord.  In  1726  he  had  removed 
to  Venice.  In  1762  he  was  made 
chapelmaster  at  St.  Mark's  and  direc- 
tor of  the  Conservatorio  degli  Incur- 
abili.  In  1765  he  was  called  to  the 
post  of  imperial  chapelmaster  in  St. 
Petersburg,  but  returned  to  Venice  in 


270 


BIOGRAPHIES 


Galuppi 
1768,  resuming  his  former  position  as 
director  at  the  conservatory.  Burney 
says  that  as  an  operatic  composer  he 
had  more  influence  on  music  in  Eng- 
land than  any  other  of  his  nationality. 
His  operas  are  now,  however,  of 
merely  historical  interest  as  being 
superior  in  every  essential  to  the 
works  of  his   ItaUan  contemporaries. 

Gansbacher    (gens'-bakh-er),   Johann. 
1778-1844. 

Born  at  Sterzing,  Tyrol;  began  his 
musical  education  as  a  choir-boy  and 
pupil  under  his  father,  the  choirmas- 
ter in  his  native  town,  and  later 
studied  under  Vogler  and  Albrechts- 
berger  in  Vienna,  where  he  taught 
and  composed.  After  a  visit  to 
Prague  he  next  went  to  Dresden  and 
Leipsic,  and  in  1810  to  Darmstadt,  to 
resume  his  studies  under  Vogler. 
Here  he  became  the  intimate  friend 
of  Meyerbeer  and  Weber,  also  pupils 
of  Vogler,  and  assisted  Weber  in  his 
concerts  at  Mannheim  and  Heidel- 
berg, and  later  in  Prague,  after  a  so- 
journ at  Vienna,  where  he  met  Bee- 
thoven. He  served  in  the  war  of 
1813,  and  for  the  next  ten  years  led 
a  wandering  and  unsettled  life,  but 
succeeded  Preindl  in  1823  as  chapel- 
master  of  the  cathedral  in  Vienna,  a 
post  he  held  till  his  death.  He  was 
highly  esteemed  both  as  a^  man  and 
a  musician.  His  compositions  show 
thorough  preparation  rather  than 
originality.  Out  of  two  hundred  and 
sixteen  in  all,  comparatively  few 
were  published.  His  church  music 
included  seventeen  masses;  four 
requiems;  and  several  Te  Deums  and 
offertories.  His  other  works  com- 
prise a  symphony;  sonatas;  trios  and 
other  music  for  piano;  marches;  sere- 
nades; concerted  pieces;  various  songs 
and  vocal  compositions;  a  Lieder- 
spiel;  and  music  to  Kotzebue's  Kreuz- 
fahrer. 

Gantvoort   (gant'-vort),   Arnold  J. 
1857- 

Teacher  and  writer  of  music;  was 
born  in  Amsterdam,  and  at  the  age  of 
nineteen  came  to  America,  where  he 
has  established  himself  as  a  teacher, 
having  been  connected  with  colleges 
at  Bowling  Green,  Kentucky;  Oxford, 
Ohio,  and  Piqua,  Ohio.  In  1894  he 
became  the  head  of  the  preparatory 
department  for  teachers  of  public- 
school  music  in  the  College  of  Music, 
Cincinnati,     where     he     published    a 


Ganz 

series  of  music-readers  for  public- 
school  children.  From  1891  to  1894 
he  was  president  of  the  Ohio  State 
Music  Teachers'  Association.  In 
1889  he  was  president  of  the  Music 
Teachers'  National  Association,  which 
met  that  year  in  Cincinnati.  He  is  at 
present  president  of  the  Cincinnati 
College  of  Music. 

*  Ganz  (gants),  Rudolph.    1877- 

Contemporary  pianist,  pronounced 
by  Felix  Weingartner  as  without  an 
equal  among  the  piano  virtuosos  of 
the  younger  generation.  Was  born  in 
Zurich,  Switzerland;  was  a  pupil  of 
his  uncle,  Carl  Eschmann-Dumur, 
studying  both  piano  and  cello;  play- 
ing the  latter  instrument  in  public  at 
ten,  and  the  piano  at  twelve.  In  1899 
he  went  to  Berlin,  where  he  studied 
piano  under  Busoni,  and  composition 
under  Urban.  He  appeared  there  in 
recital  and  with  the  Philharmonic 
Orchestra.  In  1900  he  came  to  Chi- 
cago to  accept  the  position  of  head 
teacher  of  piano  in  the  Chicago  Musi- 
cal College,  where  he  remained  until 
1905,  becoming  prominent  in  America 
as  a  concert  pianist,  appearing  both 
in  recital  and  with  the  principal 
orchestras.  Although  at  home  in  both 
classical  and  modern  works,  he  has 
become  especially  distinguished  for 
his  initiative  and  perseverance  in  in- 
troducing the  compositions  of  the 
later  French  composers  to  American 
audiences,  including  Debussy,  d'Indy 
and  Chausson.  In  1905  he  severed  his 
connection  with  the  Chicago  Musical 
College  to  devote  himself  to  concert 
work,  incidental  private  teaching  and 
composition,  going  to  Europe  the 
next  year  for  a  concert  tour,  and  re- 
turning to  America  for  the  season  of 
1907-1908,  during  which  he  appeared 
in  public  nearly  a  hundred  times,  in- 
cluding twelve  appearances  with 
orchestra.  In  March,  1908,  he  sailed 
for  Europe,  expecting  to  settle  in 
Berlin,  and  divide  his  time  between 
concert  work  and  composition.  For 
three  successive  seasons  he  has  played 
with  the  Boston  Symphony  Orches- 
tra, the  New  York  Symphony  Or- 
chestra, and  the  Pittsburg  Orchestra, 
and  with  the  Kneisel  Quartet;  he  has 
appeared  three  times  with  the  Thomas 
Orchestra  in  Chicago,  and  with  other 
prominent  organizations,  and  has 
elicited  enthusiastic  praise  from  the 
foremost  critics  and  conductors  of 
the    country.      Mr.    Ganz's    composi- 


BIOGRAPHIES 


271 


Ganz 


tions  comprise  a  symphony  in  E;  a 
concertstiick  for  piano  and  orchestra 
in  B  minor;  a  piano  concerto  in  E; 
sonata  for  piano  and  violin  in  C;  two 
song  cycles  in  English,  the  Lake  and 
the  Season  cycles;  male  chorus  from 
Cyrano  de  Bergerac;  variations  for 
piano  on  a  theme  by  Brahms;  piano 
transcriptions  of  famous  songs  by 
Franz,  Kirchner  and  other  composers; 
shorter  piano-pieces;  and  about  eighty 
separate  songs,  set  to  words  in  Eng- 
lish, French  and  German,  respec- 
tively, about  twenty-five  of  these, 
having  been  published  so  far. 

Ganz  (gants),  Wilhelm.    1833- 

Son  of  Adolf  Ganz;  born  at  May- 
ence,  and  is  a  versatile  musician.  He 
studied  with  Eckert,  Anschiitz  and 
others.  At  about  fifteen  years  of  age 
assisted  his  father,  when  the  latter 
was  chorusmaster  at  Her  Majesty's 
Theatre,  London,  where  he  heard  the 
best  singers  of  that  time,  and  some 
eight  years  later  was  accompanist  to 
Jenny  Lind  during  her  tour  through 
England  and  Scotland.  Was  organist 
of  the  German  Lutheran  Church  in 
the  Strand  for  some  time,  and  second 
violin  in  Dr.  Wylde's  New  Philhar- 
monic Society  in  1852.  Some  twenty 
years  later  he  became  joint  conductor 
with  Wylde,  and  in  1879  sole  conduc- 
tor, for  three  seasons  directing  the 
Ganz  Orchestral  Concerts,  where  he 
brought  out  Berlioz's  Symphonic 
Fantastique,  Liszt's  Dante  Symphony, 
and  other  works  of  importance,  also 
engaging  soloists  of  such  standing  as 
Sophie  Menter,  Essipoflf,  Saint-Saens, 
and  de  Pachmann.  Ganz  is  professor 
of  singing  at  the  Guildhall  School  of 
Music,  London,  and  in  1898  a  Jubilee 
concert  was  held  in  his  honor. 

Garat  (ga-ra),  Pierre  Jean.    1764-1823. 

Celebrated  French  concert  singer 
and  vocal  teacher;  was  born  at  Usta- 
ritz,  and  was  intended  for  a  lawyer, 
but  while  attending  the  Paris  Univer- 
sity, for  this  purpose,  devoted  so 
much  time  to  music  that  a  quarrel 
occurred  with  his  father.  Fortunately, 
however,  he  secured  the  position  of 
private  secretary  to  Count  d'Artois, 
through  whom  he  became  a  favorite 
singer  to  Marie  Antoinette,  who  paid 
his  debts  more  than  once.  He  is  said 
not  to  have  had  thorough  elementary 
training,  but  nevertheless  his  talent 
and  _  opportunities  for  hearing  good 
music   compensated   largely   for   lack 


Garcia 

of  early  instruction.  At  the  time  of 
the  French  Revolution  he  left  Paris 
with  Rode,  and  they  gave  concerts 
at  Hamburg  with  great  success.  In 
1794  they  returned  to  Paris,  and  next 
year  Garat  appeared  in  the  Feydeau 
concerts,  winning  such  a  triumph  that 
he  was  soon  offered  the  professorship 
of  singing  in  the  newly  established 
Conservatory,  where  his  success  as  a 
teacher  was  attested  by  a  large  num- 
ber of  noted  pupils.  Up  to  his  fiftieth 
year,  he  retained  his  fine  voice,  both 
tenor  and  barytone  in  compass,  and 
especially  remarkable  for  execution  in 
coloratura  singing.  His  memory  also 
was  prodigious. 

Garcia  (gar-the'-a),  Manuel  del  Popolo 

Vicente.     1775-1832. 

Illustrious  Spanish  vocalist  and 
teacher;  born  at  Seville,  was  a  chor- 
ister in  the  cathedral  at  six  years  of 
age,  and  by  the  time  he  was  seventeen 
was  known  as  a  singer,  composer  and 
conductor.  At  thirty  his  composi- 
tions, mostly  light  operas,  were  popu- 
lar throughout  his  native  country,  but 
his  work  in  this  line  was  insignificant 
beside  that  which  he  later  accom- 
plished in  singing  and  yet  more  in 
teaching.  His  debut  as  a  singer  oc- 
curred in  Italian  operas  at  the  Opera 
Boufife  in  Paris,  1808,  and  his  success 
was  immediate.  In  1809  he  sang  in 
concert  a  monodrama  of  his  own, 
Poeta  calculista,  previously  produced 
in  Madrid.  He  went  to  Italy  in  1811, 
repeating  his  former  successes,  and 
the  next  year  was  made  first  tenor 
in  Murat's  Chapel,  Naples.  While  in 
Italy  he  brought  out  his  Caliph  of 
Bagdad  with  great  success,  and  was 
the  recipient  of  honors  from  Rossini, 
who  wrote  for  him  the  part  of  Alma- 
viva,  and  the  chief  tenor  role  in  Elisa- 
betta.  In  1816  he  returned  to  Paris, 
bringing  out  several  operas,  and  sing- 
ing again  at  the  Theatre  Italien  under 
Catalini's  management,  with  which, 
however,  he  soon  became  provoked, 
and  the  next  season  found  him  in 
London,  singing  with  triumphs  equal 
to  those  in  Italy  and  Paris.  In  1819 
he  was  once  more  singing  at  the 
Theatre  Italien,  and  remained  in  Paris 
till  1823,  singing  in  all  the  well-known 
Italian  operas,  and  bringing  out  four 
operas  of  his  own  at  different  thea- 
tres. He  then  reappeared  in  London, 
singing  at  the  Royal  Opera  in  1824, 
and  founding  a  school  of  singing 
there.    In  1825  he  went  to  New  York 


272 


BIOGRAPHIES 


Garcia 
with  the  purpose  of  establishing 
Italian  Opera  in  that  city,  taking  with 
him  a  company  among  whom  were  his 
wife,  his  son  Manuel  and  his  daughter 
Maria,  (afterward  the  famous  Mali- 
bran).  The  next  year  he  produced 
nearly  a  dozen  new  Italian  operas, 
and  gave  seventy-nine  performances 
at  the  Park  and  Bowery  Theatres, 
New  York,  and  in  1827  went  to 
Mexico,  where  he  brought  out  eight 
operas,  during  a  stay  of  a  year  and  a 
half;  but  on  the  return  journey  the 
company  was  robbed  of  a.ll  the  pro- 
ceeds of  this  work,  including  about 
six  thousand  pounds  in  gold.  Garcia 
returned  to  Paris,  and  from  this  time 
devoted  himself  to  teaching.  He 
composed  the  following  operas:  La 
mort  du  Tasse,  and  Florestan,  grand 
operas;  Le  prince  d'occasion;  Fazzo- 
letto;  La  Meuniere;  Les  Deux  Con- 
trats;  and  Le  tre  sultane.  In  all  he 
is  said  to  have  composed  seventeen 
Spanish,  nineteen  Italian,  and  seven 
French  operas.  He  was  intelligent 
and  musically  broad  beyond  the 
majority  of  vocalists.  A  number  of 
celebrated  pupils  were  indebted  to 
him  for  their  training;  including 
Mmes.  Rimbault  and  Favelli,  and 
Adolphe  Nourrit,  his  own  three  chil- 
dren, Madame  Malibran,  Madame 
Viardot,  and  his  son  Manuel,  being 
the  most  famous  of  all. 

Garcia,    Manuel    Patricio    Rodriguez. 

1805-1906. 

Was  born  March  17,  1805,  at  Mad- 
rid, Spain,  and  began  his  musical 
studies  under  his  father  and  various 
teachers  in  Naples,  where  they  lived 
from  1811  to  1816.  His  father  began 
to  train  his  voice  at  fifteen  years  of 
age,  and  at  the  same  time  the  younger 
Garcia  was  a  pupil  of  Fetis  in  har- 
mony at  Paris.  After  his  return  from 
the  American  tour,  made  by  his 
father's  opera  company,  he  went  to 
Algeria  as  a  soldier^  in  the  French 
army;  this  action,  it  is  said,  was 
because  of  his  father's  extreme  strict- 
ness and  severity.  On  the  younger 
Garcia's  return  to  Paris,  he  undertook 
work  in  the  military  hospitals,  and 
became  interested  in  the  study  of 
medicine,  which  led  him  into  special 
investigations  of  the  vocal  organs.  In 
1829  he  joined  his  father  as  a  teacher 
of  singing,  in  which  vocation  his 
ultimate  success  was  scarcely  sur- 
passed by  that  of  the  elder  Garcia. 
He  used  his  father's  method,  but  went 


Garcia 

farther;  his  medical  researches  enabled 
him  to  apply  scientific  principles  to 
the  training  of  the  voice,  and  to  base 
his  system  on  a  thorough  knowledge 
of  the  physiological  laws  governing 
voice  production,  both  natural  and 
artificial.  In  1840  he  sent  to  the 
French  Academy  a  valuable  treatise, 
entitled  Memoire  sur  la  voix  humaine, 
for  which  he  received  many  congratu- 
lations, and  which,  it  is  said,  may 
be  called  the  foundation  of  all  similar 
investigations  since.  The  next  year 
his  first  celebrated  pupil,  Jenny  Lind, 
destined  also  to  be  the  most  distin- 
guished of  all  his  pupils,  came  to  him. 
Afterwards,  other  famous  singers 
studied  under  him,  including  Mathilde 
Marchesi,  Charles  Santley,  and  Julius 
Stockhausen.  In  1847  he  was  ap- 
pointed professor  of  singing  at  the 
Paris  Conservatory,  and  published  the 
same  year  a  second  work,  Traite 
complet  de  I'art  du  chant,  which  was 
subsequently  translated  into  German, 
Italian  and  English.  In  1848  the 
French  Revolution  impelled  him  to 
London  as  a  refuge,  and  that  same 
year,  contrary  to  the  usual  statement 
of  biographers,  he  was  elected  to  the 
faculty  of  the  Royal  Academy  of 
Music,  and  held  this  post  till  1895,  a 
tenure  of  forty-seven  years.  He  then 
resigned,  but  continued  to  teach  pri- 
vately, and  on  the  centenary  of  his 
birth,  he  gave  a  lesson.  James  D. 
Brown  thus  speaks  of  Garcia's  influ- 
ence in  his  adopted  land:  "  His  labors 
at  the  Royal  Academy  of  Music  havt 
been  of  the  most  valuable  character 
for  English  vocal  art,  and  his  pres- 
ence in  it^  during  thirty  years  has 
placed  it,  in  this  special  department, 
on  a  level  with  the  great  continental 
conservatories."  He  was  elected  a 
director  of  the  institution  in  1878. 

Garcia's  most  original  and  valuable 
work  was  the  invention  of  the  laryn- 
goscope, which  occurred  in  1854.  The 
idea,  according  to  his  own  account, 
came  to  him  rather  as  a  discovery 
than  as  an  invention,  since  it  was  the 
result  of  what  might  be  called  a  flash 
of  inspiration,  and  not  of  patient  re- 
search with  a  particular  object  in 
view.  His  friend,  Felix  Lemon,  has 
said  that  its  beneficial  eflFects  have 
been  so  widespread  that  "  three  per 
cent  of  all  human  beings  have  reason 
to  bless  the  name  of  Manuel  Garcia," 
referring,  evidently,  to  the  fact  that 
the  laryngoscope  has  proved  even 
more  important  to  the  medical  than 


B10G» 

Garcia 
■<■  the  masical  profession;  it  won  for 
honorary  degree  of  Doctor 
ne  from  the  University  of 
iNoniy-.)  rg.  The  centenary  of  Garcia's 
birth  was  honored  with  a  celebra- 
ii,-.-.      ;    .,^Il,..^-    iin;.-<i.->      March    17, 

■^    in    the 
Vu:?\    and 


273 

viola,  a  symphonic  suite  for  orches- 
tra, and  various  compositions  for  vio- 
lin, including  a  concerto  which  he 
{)layed  in  1868  at  the  Concerts  Popu- 
aires. 

G  "^Tary.    1873- 

d'Amatic    soprano,    who 


Emperor  confcrrf":  upon  him  the  Aberdeen,  w.i;oil^;iJ,  tut  c&mc  -o 
Great  Gold  Me;'^'  vi^\i>«ie«i:ja.,yhkii.  America  with  her  parents  when  she 
'-'^^"V'"°,'^„:''^       ANT5WTN^nVO»l«BKYcri&l4uliS(HHer    early    years 

■"A-.TC    p-;  scd    in    Cliicago,    and    when 
Born  in  Bohemia ;  lie  was  one  of  tTie"  most  ce'fe'-"  "^  ^h^^ 
brated     of     modern     musical     geniuses.       Composed        "^  "^ 
numerous    cantatas    and    operas,    also   much   beautiful 
piano    music.      Many    of   his    compositions    were    in- 
tensely national. 

He   came   to   New   York   in    1892   as   head  of  the 
National    Conservatory   of   Music.      His   "Symphony 
from  the  New  World,"  which  was  first  performed  in        ■  - 
1893.  possesses  great  charni  ancf  Jdc^j^  |i?feMii  it  h^ly'^^ro- 
-  trfAl'to"sfiow  how  the  songssdofi  i^nl^ricapindian  andthe  wife 
negro  melodies-,  might  jbe  eitji)163:ed  111'  building  up  aa"^°;,,^ 
Amiqric^q  ^.febool  of  Mu^ic.  ^For  this  reason  Dvorafcy-     For 
and    his :  compositions    hold    an    unusual    amount    of      ' 
interest  for  Americans. 


b 

St  .'■,  i^iory     nc     siuaioc     v'-.'Miii 
Clavel    and     Alard,     harmony    ; 
Bazin,  and  composition  under  r   ...,,. 
end  took  first  prize  for  violin  in  18^.?. 
In  1856  he  became  a  member  of  the 
opera    orchestra,    and    in     1871    was 
appointed    first    solo-violin   and    third 
conductor.     In    1880    he    joined    the 
orchestra    of   the    Conservatory    con- 
certs as  first  violin,  becoming  second 
conductor  in   1882,  and  first  in   1881 
In    1890     he     succeeded     Massart 
professor   of   violin    at    the    Con 
atory,   and   died   in    Paris    six   .. . 
later.     He    wrote    a    concertino   tc 


role  •  pen- 
tier's  >. ,  _.    -^  _::. ^.  ,    .    .jpera 

Comique,  in  place  of  the  prima  donna, 
who  was  ill.  Miss  Garden's  success 
was  so  great  that  she  was  retained  in 
tl><'  part  and  made  two  hundred  and 
.ranees  in  it  at  that  thea- 
1  time  after  that  she  studied 

I'sande  in 
..  „.  .  l.^>;i:sande,  in 
Iraviata,    in    Piernes' 


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■'•    ■'■tr'nmc    Icwsr.';"    --    '^'■■-'    '-ii>  ..•I'-.oqfnoo    aid    bns 


BIOGRAPHIES 


273 


Garcia 
to  the  musical  profession;  it  won  for 
Garcia  the  honorary  degree  of  Doctor 
of  Medicine  from  the  University  of 
Konigsberg.  The  centenary  of  Garcia's 
birth  was  honored  with  a  celebra- 
tion absolutely  unique.  March  17, 
1905,  witnessed  a  gathering  in  the 
rooms  of  the  Royal  Medical  and 
Chirurgical  Society,  London,  of  dele- 
gates from  musical  and  medical  so- 
cieties all  over  the  world,  including 
Australia  and  Japan,  who  delivered 
addresses  or  messages.  The  King  of 
England  conferred  upon  him  the  hon- 
orary commandership  of  the  Royal 
Victoria  order;  the  King  of  Spain 
sent  a  decoration,  and  the  German 
Emperor  conferred  upon  him  the 
Great  Gold  Medal  of  Science,  which 
only  four  other  scientists  had  pre- 
viously received.  Garcia's  old  pupils 
also  sent  a  delegate  to  deliver  an 
address.  A  score  of  laryngological 
societies,  together  with  a  number  of 
private  individuals,  had  engaged  the 
distinguished  Sargent  to  paint  the  old 
musician's  portrait,  which  was  now 
presented  to  him  before  the  great 
assembly.  His  response,  and  his 
speech  at  the  banquet  given  that  even- 
ing in  his  honor,  would  confirm  the 
statement  of  writers  at  that  time  that 
his  mental  faculties  were  entirely  un- 
affected by  age.  At  this  banquet  the 
attendance  of  the  personal  representa- 
tive of  the  English  King  and  the 
telegram  of  congratulations  from  the 
prime  minister,  Balfour,  prove  in  what 
high  esteem  Garcia  was  held  by  the 
British  government.  Garcia  is  said  lo> 
have  been,  with  the  possible  excep- 
tion of  Sarasate,  the  most  important 
musical  genius  produced  by  Spain. 

Garcin    (gar-sah),   Jules    Auguste. 

1830-1896. 

French  violinist  and  conductor;  was 
born  at  Bourges,  At  the  Paris  Con- 
servatory he  studied  violin  under 
Clavel  and  Alard,  harmony  under 
Bazin,  and  composition  under  Adam, 
and  took  first  prize  for  violin  in  1853. 
In  1856  he  became  a  member  of  the 
opera  orchestra,  and  in  1871  was 
appointed  first  solo-violin  and  third 
conductor.  In  1880  he  joined  the 
orchestra  of  the  Conservatory  con- 
certs as  first  violin,  becoming  second 
conductor  in  1882,  and  first  in  1885. 
In  1890  he  succeeded  Massart  as 
professor  of  violin  at  the  Conserv- 
atory, and  died  in  Paris  six  years 
later.     He    wrote    a    concertino   for 


Garden 
viola,  a  symphonic  suite  for  orches- 
tra, and  various  compositions  for  vio- 
lin, including  a  concerto  which  he 
played  in  1868  at  the  Concerts  Popu- 
laires. 

Garden,  Mary.     1873- 

American  dramatic  soprano,  who 
has  been  called  "  the  idol  of  the 
Parisian  opera-goers,"  and  who  came 
back  to  her  own  country  in  1907,  to 
sing  in  New  York  for  the  first  time, 
at  the  Manhattan  Opera  House,  the 
roles  she  had  made  famous  at  the 
Opera  Comique.  Her  appearances 
were  greeted  with  the  greatest  en- 
thusiasm. Miss  Garden  was  born  in 
Aberdeen,  Scotland,  but  came  to 
America  with  her  parents  when  she 
was  very  young.  Her  early  years 
were  passed  in  Chicago,  and  when 
she  grew  to  young  womanhood  and 
developed  a  good  soprano  voice,  she 
was  much  in  demand  for  musicales 
and  church  affairs  and  also  sang  in  a 
church  choir  in  that  city.  The  family 
moved  to  Haftford,  Connecticut,  and 
from  there  to  New  York,  where  Miss 
Garden  studied  voice  culture  with 
Mrs.  Robinson  Duff,  who  recom- 
mended a  course  under  some  good 
teacher  in  Paris,  with  a  view  to  her 
pupil's  going  on  the  operatic  stage. 
The  funds  for  her  course  of  instruc- 
tion in  Paris  were  generously  pro- 
vided by  Mrs.  David  Mayer,  the  wife 
of  a  retired  merchant  of  Chicago,  a 
keen  patron  of  the  arts,  and  an  old 
friend  of  the  Garden  family.  For 
four  years  Mrs.  Mayer  defrayed  the 
expenses  of  her  protegee's  studies  in 
the  French  capital,  which  she  reached 
early  in  1897,  and  made  it  possible 
for  her  to  study  with  the  best  teachers 
of  that  city.  Her  first  teacher  was 
Trobedello,  she  next  became  a  pupil 
of  Fugere  of  the  Opera  Comique,  and 
then  studied  with  Jules  Chevallier.  It 
was  not  until  1900  that  the  American 
girl  had  her  chance,  when,  with  only 
a  few  hours'  notice,  she  undertook  the 
role  of  Louise,  in  Gustave  Charpen- 
tier's  opera  of  that  name  at  the  Opera 
Comique,  in  place  of  the  prima  donna, 
who  was  ill.  Miss  Garden's  success 
was  so  great  that  she  was  retained  in 
the  part  and  made  two  hundred  and 
five  appearances  in  it  at  that  thea- 
tre. For  a  time  after  that  she  studied 
with  Jean  De  Reszke  and  sang  at  the 
Comique  the  roles  of  Melisande  in 
Debussy's  Pelleas  and  Melisande,  in 
Thais,    in    La    Traviata,    in    Piernes' 


274 


BIOGRAPHIES 


Garden 
Fille  de  Tabarin,  in  La  Reine  Fiam- 
etta;  Lakme;  Manon;  Massenet's 
Cherubin,  and  in  Erlanger's  Aphro- 
dite. Later  she  added  to  her  reper- 
tory, the  part  of  Nedda  in  I  Pagliacci. 
Miss  Garden  is  exceedingly  popular 
in  London,  where  she  has  sung  at 
Covent  Garden.  She  has  also  been 
successful  at  many  of  the  European 
watering-places,  especially  at  Aix-lcs- 
Bains,  where  she  sang  a  few  summers 
ago  by  special  request  of  King 
George  of  Greece,  by  whose  desire 
she  also  sang  at  Windsor  Castle  for 
King  Edward  and  Queen  Alexandra 
in  1907. 

Gardiner,  William.     1770-1853. 

English  amateur  composer  and 
writer  on  musical  subjects;  was  born 
at  Leicester  and  died  there  later.  He 
spent  much  time  in  traveling  over 
Continental  Europe,  and  composed 
some  songs  under  the  pseudonym  of 
W.  G.  Leicester.  He  also  set  to 
music  by  Haydn,  Mozart  and  Bee- 
thoven, Pope's  Universal  Prayer; 
published  in  1812  a  collection  of 
sacred  melodies  from  these  three 
composers,  and  wrote  an  oratorio, 
Judah,  adapted  from  their  musical 
works.  He  wrote  Music  and  Friends, 
published  in  London,  1838  to  1853,  in 
three  volumes,  and  Sights  in  Italy,  a 
book  giving  his  observations  in  re- 
gard to  music  and  art  in  general.  His 
most  striking  and  characteristic  work, 
however,  is  The  Music  of  Nature, 
which  he  calls  "  an  attempt  to  prove 
that  what  is  passionate  and  pleasing 
in  the  art  of  singing,  speaking,  and 
performing  upon  musical  instruments 
is  derived  from  the  songs  of  the 
animated  world;"  a  book  which,  as 
one  might  infer,  leads  its  writer  into 
some  deductions  original  to  the  point 
of  whimsicality. 

Gardoni     (gar-d5'-ne),    Italo.       1821- 

1882. 

Italian  operatic  tenor;  born  at 
Parma,  was  a  pupil  of  De  'Cesari,  and 
made  his  debut  in  Roberto  Devereux 
at  Viadana,  in  1840.  Going  to  Berlin, 
he  appeared  as  Rodrigo  in  the  same 
cast  with  Rubini,  who  sang  Otello. 
After  successive  appearances  in  Milan, 
Brescia  and  Vienna,  where  he  sang 
with  Viardot  and  Alboni  in  several 
operas,  he  went  to  Paris,  where  he 
created  the  part  of  the  tenor  in  Marie 
Stuart  at  the  Academic  Royale,  and 
also  was  given  the  chief  parts  in  the 


Garrett 
Favorite,  Robert  le  Diable,  etc.  His 
first  London  appearance  was  in  1847, 
where  he  succeeded  to  a  portion  of 
the  favor  accorded  Mario.  From  that 
time  forth  he  sang  during  the  winter 
at  the  Theatre  des  Italiens,  Paris, 
returning  to  London  for  the  season, 
although  engaged  occasionally  for  the 
season  in  Madrid,  Rome,  Amsterdam 
and  St.  Petersburg, 

Garlandia,  Johannes  de.     Lived  about 
the  Thirteenth  Century. 

Writer  on  musical  subjects,  was  the 
author  of  a  treatise  on  plain  chant, 
and  several  works  on  mensural  music, 
which  have  been  by  some  authorities 
ascribed  to  Gerlandus,  a  mathemati- 
cian of  the  Twelfth  Century;  but 
later  their  author  was  conceded  to  be 
identical  with  the  grammarian,  Gar- 
landia, who  seems  to  have  been  active 
in  the  earlier  half  of  the  Thirteenth 
Century  in  England  and  France,  and 
who  wrote  poems  on  religious  and 
historical  themes.  Riemann  names  a 
second  writer,  sometimes  called  Gal- 
andia,  of  the  latter  half  of  the  Thir- 
teenth Century,  still  living  in  the 
Fourteenth,  as  the  author  of  the 
treatise  on  plain  chant  above  men- 
tioned. 

Garrett,   George   Mursell.     1834-1897. 

English  church  composer  and  organ- 
ist; was  born  at  Winchester,  England, 
was  a  pupil  of  Elvey  at  Oxford,  and 
afterwards  of  the  organist  Wesley  at 
Winchester,  from  1848  to  1854,  be- 
coming the  latter's  assistant  in  1851. 
From  1854  to  1856  he  was  organist  of 
Madras  Cathedral,  from  1857  of  St. 
John's  College,  Cambridge,  taking 
the  same  year  the  degree  of  Bachelor 
of  Music  from  Cambridge,  and  in 
1867  that  of  Doctor  of  Music.  In 
1873  he  succeeded  Hopkins  as  organ- 
ist at  the  University.  In  1878  he 
received  the  degree  M.A.,  then  con- 
ferred for  the  first  time  upon  any- 
one not  filling  a  professor's  chair 
in  music.  He  was  University  lec- 
turer on  harmony  from  1883;  was 
examiner  in  music  for  the  University 
of  Cambridge,  and  conductor  of  St. 
John's  College  Musical  Society,  play- 
ing at  its  concerts  as  solo  pianist.  He 
was  also  a  member  of  the  Philhar- 
monic Society.  His  compositions  are 
The  Shunammite,  sacred  cantata; 
The  Deliverance  of  St.  Peter,  in 
manuscript;  The  Triumph  of  Love, 
secular  cantata;  services  and  anthems; 


BIOGRAPHIES 


275 


Garrett 

part-songs,  songs  and  organ  pieces. 
His  reputation  as  a  composer  rests 
almost  entirely  on  his  music  for  the 
church  service.  He  was  well  known 
as  an  organist,  and  died  in  Cambridge. 

Gasparini   (gas-pa-re'-ne),  Francesco. 

1668-1727  or  1737. 

Italian  composer;  born  near  Lucca, 
studied  under  Corelli  and  Pasquini  at 
Rome,  and  later  taught  at  the  Con- 
servatory della  Pieta  in  Venice.  Two 
years  before  his  death  (upon  the  date 
of  which  authorities  differ)  he  was 
appointed  chapelmaster  at  the  Lateran, 
Rome;  but  the  real  responsibility  of 
the  position  devolved  upon  an  assist- 
ant, on  account,  it  is  said,  of  his 
advanced  age.  He  is  said  to  have 
been  much  esteemed  in  his  time  for 
his  compositions  in  both  sacred  and 
dramatic  music.  His  works  include 
from  thirty  to  forty  operas,  produced 
in  Venice,  Rome,  and  elsewhere;  a 
number  of  masses,  songs,  cantatas, 
and  motets;  an  oratorio,  Moses;  and 
a  method  of  thorough-bass  accom- 
paniment which  has  outlived  his 
musical  compositions,  and  was  used 
up  to  about  the  middle  of  the  last 
century.  The  well-known  Benedetto 
Marceilo  was  his  pupil  for  a  number 
of  years. 

Gassmann    (gas'-man),   Florian   Leo- 
pold. 1723-1774. 

Composer;  born  at  Brux,  Bohemia; 
ran  away  from  home  at  about  the  age 
of  thirteen  to  escape  a  distasteful 
commercial  career,  and  by  playing  the 
harp  made  his  way  to  Bologna.  Here 
he  became  the  pupil  of  Padre  Martini, 
who  gave  him  lessons  for  two  years 
and  secured  an  organ  position  for 
him  in  Venice,  where  he  entered  the 
service  of  Count  Leonardo  Venieri, 
and  speedily  became  known  as  a  com- 
poser. In  1762  Emperor  Francis  I. 
called  him  to  Vienna  as  ballet  com- 
poser, and  here  in  1771  he  was 
instrumental  in  founding  the  Ton- 
kiinstler  Societat,  for  the  aid  of  the 
Vv'idows  and  orphans  of  Viennese 
musicians,  which  in  1862  was  reor- 
ganized under  the  name  of  the  Haydn 
Society.  His  most  famous  pupil  was 
Salieri,  who  educated  Gassmann's 
daughters  as  opera  singers  after  his 
death,  which  occurred  in  Vienna.  His 
compositions  include  twenty-three 
Italian  operas;  two  German  opera<; 
considerable  orchestral  and  chamber 
music;  and  a  large  amount  of  church 


Gaul 

music,  which  included  a  mass  for 
chorus  and  orchestra  and  an  oratorio, 
which  was  considered  by  Mozart 
superior  to  his  operas. 

Gatty,  Alfred  Scott.     1847- 

English  composer;  born  at  Eccles- 
field,  Yorkshire;  was  the  son  of  a 
clergyman,  the  subdean  of  York 
Cathedral.  He  studied  at  Marlbor- 
ough, and  at  Christ's  College,  Cam- 
bridge, and  in  1880  was  appointed 
Rouge  Dragon,  Pursuivant  of  Arms, 
Heralds'  College,  London.  His  works 
comprise  two  operettas,  Sanford  and 
Merton's  Christmas  party,  and  Not  at 
Home;  Little  Songs  for  Little  Voices, 
in  two  books,  for  children;  some 
piano  music;  and  numerous  songs, 
including  O  Fair  Dove!  O  Fond 
Dove!  One  Morning,  Oh!  So  Early, 
and  The  Lights  Far  Out  at  Sea.  His 
reputation  is  based  principally  on  his 
songs. 

Gaul  (gol),  Alfred  Robert.    1837- 

English  organist  and  composer; 
born  in  Norwich,  was  a  chorister  in 
Norwich  Cathedral  from  1846,  and 
later  pupil  and  assistant  to  Dr.  Buck, 
the  organist.  At  the  age  of  seventeen 
he  became  organist  of  Fakenhani, 
and  in  1859  left  to  take  the  position 
at  Lady  Wood,  Birmingham,  and  in 
1868,  at  St.  Augustine's,  Edgbaston. 
In  the  meantime  he  had  obtained  the 
degree  of  Bachelor  of  Music  at  Cam- 
bridge, in  1863.  He  became  conductor 
of  the  Walsall  Philharmonic  Society 
in  1887,  and  up  to  1904,  possibly  later, 
was  teacher  of  harmony  and  counter- 
point and  conductor  of  a  singing  class 
at  the  Birmingham  and  Midland  Insti- 
tute, also  teaching  at  King  Edward's 
High  School  for  Girls  and  at  the 
Blind  Asylum.  He  played  at  the  Bow 
and  Bromley  Institute  in  1888,  and 
has  conducted  performances  of  his 
own  works  in  many  English  towns. 
His  choral  works  are  Hezekiah,  an 
oratorio:  First  Psalm,  a  sacred  can- 
tata; Ninety-sixth  Psalm  for  solo 
voices  and  eight-part  chorus;  Ruth,  a 
sacred  cantata;  The  Holy  City;  Pas- 
sion music;  Joan  of  Arc;  ISOth 
Psalm;  The  Ten  Virgins;  Israel  in 
the  Wilderness;  and  Una,  with  li- 
bretto adapted  from  Spenser's  Faerie 
Queene.  Other  works  are  anthems, 
part-songs  and  glees,  including  The 
Shipwreck,  a  prize  glee;  The  Death 
of  Adonis;  Silent  Land;  Better  Land; 
The    Dav    is    Done;    Ferrv    Maiden: 


276 


BIOGRAPHIES 


Gaul 


Footsteps  of  Angels;  The  Reaper  and 
the  Flowers;  Jack  Frost;  an  ode,  A 
Song  of  Life,  some  hymns,  chants, 
and  pieces  for  piano.  The  Holy  City 
has  been  very  popular  in  this  country, 
but  Ruth,  also  well  known,  was  the 
first  large  work  to  call  attention  to 
his  compositions.  It  has  been  spoken 
of  as  a  fresh  and  melodious  work, 
well  contrasted  in  its  several  parts. 

Gaultier  (got-ya),  Denys. 

Born  between  1600  and  1610.  Died 
about  1664.  A  renowned  lute-player; 
was  born  at  Marseilles,  and  died  in 
Paris.  When  quite  young  he  went  to 
Paris  to  study  law,  and  there,  in  1647, 
with  his  cousin  Jacques,  established 
a  school  for  lute-playing,  which 
proved  a  success.  He  composed  much 
for  the  lute,  and  was  considered  by 
his  contemporaries  the  most  eminent 
composer  and  player  for  his  instru- 
ment. Two  collections  of  lute-music 
containing  many  of  his  own  and  of 
his  cousin's  compositions,  are  extant, 
namely.  Pieces  de  luth  and  Livre  de 
tablature;  and  a  manuscript  collection 
of  sixty-two  pieces  is  preserved  in  the 
Berlin  Museum. 

Gaultier,  le  vieux.    About  1597-about 

1670. 

Celebrated  French  lutenist  (sup- 
posed to  be  identical  with  Jacques 
Gaultier,  and  to  have  been  born  at 
Lyons),  was  a  pupil  of  Mesangeau 
and  Court  lutenist  in  London  from 
1617  to  1647,  when  he  returned  to 
Paris,  where  with  his  cousin  Denys 
he  formed  many  pupils  of  note.  The 
library  of  the  Paris  Conservatory  con- 
tains some  of  his  compositions. 

Gauntlett,  Henry.    1805-1876. 

English  composer,  editor,  and  or- 
ganist; was  born  at  Wellington;  son 
of  a  clergyman,  and  played  the  organ 
before  reaching  his  teens.  At  twenty- 
one  he  was  apprenticed  to  a  solicitor, 
and  in  five  years  began  the  practise 
of  law,  but  in  the  meantime  continued 
his  musical  work,  and  was  organist  at 
St.  Olave's  from  1827  to  1847.  About 
1836  he  began  to  advocate  a  change 
in  the  compass  of  the  organ  keyboard, 
extending  it  from  C  to  C  instead  of 
the  commonly  used  form  of  F  and  G. 
This  innovation  was  looked  upon  un- 
favorably, but,  with  the  assistance  of 
William  Hill,  a  prominent  organ 
builder,  who  reconstructed  according 
to  this  new  model  several  large  or- 


Gautier 

gans  in  London,  as  well  as  building 
new  ones,  he  finally  succeeded  in 
bringing  about  the  use  of  the  C  organ 
over  England.  He  also  patented,  in 
1852,  an  electro-magnetic  device  to  be 
used  in  organs  with  pneumatic  ac- 
tion; this  was  a  step  toward  the 
improved  electro-pneumatic  action  of 
the  present  day.  Gauntlett  became 
organist  of  Christ  Church,  Newgate 
Street,  in  1836,  where  the  instrument 
was  rebuilt  by  Hill.  In  1842  he  gave 
up  his  law  practise  and  turned  his 
attention  entirely  to  music,  the  next 
year  receiving  the  degree  of  Doctor 
of  Music  from  Lambeth.  He  was 
later  organist  of  two  other  churches, 
and  continued  active  work  in  that. line 
until  1872.  Gauntlett  was  in  his  day 
considered  one  of  the  best  organists 
and  authorities  on  psalmody,  and  com- 
posed much  church-music.  His  later 
reputation  rests  on  his  collection  of 
hymns  and  psalms,  and  on  his  own 
anthems  and  hymns,  which  are  much 
used,  especially  the  latter.  He  also 
published  editions  of  works  by  Bach, 
Beethoven  and  other  composers. 

Gautier   (got-ya),  Jean  Frangois  Eu- 
gene.    1822-1878. 

French  composer  and  violinist;  was 
born  at  Vaugirard,  near  Paris.  He 
studied  violin  under  Habeneck  and 
composition  under  Halevy  at  the 
Paris  Conservatory,  where  in  1838  he 
won  the  first  prize  for  violin  and  in 
1842  the  second  grand  prize.  In  1848 
he  was  second  conductor  at  the 
Theatre  National,  and  later  at  the 
Theatre  Lyrique.  In  1864  he  became 
choral  director  at  the  Theater  Italien. 
The  same  year  he  was  appointed  pro- 
fessor of  harmony  at  the  Paris  Con- 
servatory, and  eight  years  afterwards 
of  musical  history.  For  several  years 
he  was  also  chapelmaster  of  the 
Church  of  St.  Eugene,  Paris.  His 
dramatic  compositions  consist  of  four- 
teen operas,  the  majority  containing 
only  one  act,  and  performed  at  the 
Theatre  Lyrique  or  the  Opera  Comi- 
que.  Among  these  may  be  mentioned 
L'Armeau  de  Marie;  Les  Barricades, 
in  collaboration  with  Pilati;  Le  mann 
de  la  garde;  Murdock  le  Bandit;  Flore 
et  Zephire;  Schahabaham  II;  Le  mari- 
age  extravagant;  Le  docteur  Mirobo- 
lau;  La  Bacchante;  Jocrisse;  and  Le 
tresor  de  Pierrot.  His  sacred  music 
comprises  an  oratorio.  La  mort  de 
Jesu;  a  cantata,  Le  aout,  and  du 
Ave  Maria. 


BIOGRAPHIES 


277 


Gaveaux 
Gaveaux  (ga-vo),  Pierre.    1761-1825. 

French  opera  singer  and  opera  com- 
poser; born  at  Beziers,  was  a  pupil 
of  Franz  Beck,  conductor  of  the 
Bordeaux  Theatre,  in  composition, 
and  sang  at  the  Church  of  Saint 
Severin  in  the  same  city,  where  he 
made  his  debut  with  decided  success. 
He  sang  later  in  Montpelier,  and  from 
1789  was  engaged  at  the  Opera 
Comique,  Paris.  He  composed  thirty- 
five  operas,  of  which  a  few  remain  in 
some  favor.  Though  fluently  written 
and  appropriate  to  the  stage,  their  in- 
trinsic value  is  small.  One  of  these, 
Leonore  ou  I'amour  conjugal,  was 
written  on  the  same  subject  as 
Beethoven's  Fidelio.  Gaveaux  died 
insane. 

Gavinies  (ga-ven-yes),  Pierre.     About 
1726-1800. 

Eminent  French  violinist,  called  by 
Viotti  "  the  French  Tartini."  Was 
born  at  Bordeaux,  the  son  of  a  violin- 
maker.  He  was  chiefly  self-taught, 
but  learned  much  from  hearing  the 
great  Italian  violinists  on  their  tours 
through  France.  He  made  his  debut 
in  1741  at  one  of  the  Concerts  Spir- 
ituels,  and  settled  in  Paris  as  a 
teacher  and  concert  player;  in  the  lat- 
ter capacity  he  confirmed  the  highly 
favorable  impression  made  at  his  first 
appearance,  and  was  regarded  by 
contemporaries  as  one  of  the  great 
violinists.  He  was  director  of  the  Con- 
cert Spirituel  from  its  reorganization 
by  Gossec  in  1773,  and  on  the  foun- 
dation of  the  Paris  Conservatory  was 
appointed  professor  of  violin,  and  here 
formed  many  noted  pupils.  He  is 
regarded  in  France  as  the  founder  of 
the  French  school  of  violin-playing. 
While  by  no  means  lacking  on  the 
expressive  side,  his  playing  displayed 
great  virtuosity,  and  his  compositions, 
especially,  indicate  a  greater  command 
of  technique  than  those  of  Tartini, 
although  inferior  in  other  respects. 
Les  Vingt-quatres  Matinees,  twenty- 
four  studies  for  violin  in  all  keys,  his 
most  noted  work,  contains  difficulties 
of  execution  that  are  said  to  be  a 
strain  on  the  possibilities  of  the  violin 
itself,  though  it  is  asserted  that 
Gavinies,  even  as  an  old  man,  played 
these  very  passages  with  perfect  ease. 
His  other  works  comprise  six  con- 
certos and  six  sonatas  for  violin  and 
bass;  three  sonatas  for  violin  solo; 
six  sonatas  for  two  violins,  the  Ro- 
mance  de   Gavinies,   long  popular   in 


Gaynor 
France;  and  a  comic  opera,  Le  Pre- 
tendu,     performed    at     the     Comedie 
Italienne,  1760. 

Gayarre,  Julian.    1844-1890. 

Opera  singer  of  Italian  descent, 
who  was  born  in  Spain.  His  parents 
were  poor,  but  the  Spanish  musician 
Eslava  assisted  him  to  study  in  the 
Conservatory  of  Madrid.  Singing 
first  in  public  in  a  subordinate  part, 
his  debut  as  soloist  was  remarkably 
successful.  From  1873  to  1877  he  sang 
at  Rome,  Milan,  Vienna,  St.  Peters- 
burg and  in  South  America,  then 
made  his  real  debut  at  Convent  Garden 
as  Fernando  in  La  Favorita,  and  was 
at  first  hailed  as  a  second  Mario.  He 
thereafter  appeared  successfully  in 
various  operas  of  Wagner,  Verdi, 
Weber,  Gounod,  Bellini,  and  others. 
In  1887  he  reappeared  at  Covent  Gar- 
den as  the  tenor  in  Glinka's  Vie  pour 
le  Czar,  then  first  performed  in  Lon- 
don, he  having  been  engaged  for  sev- 
eral years  previous  in  different  cities 
of  Continental  Europe.  He  is  said  to 
have  been  an  "  admirable  Lohengrin, 
and  unrivaled  as  Gennaro  in  Lucrezia 
Borgia,  as  Jean  de  Leyden  in  Le 
Prophete,  and  Enzo  in  Ponchielli's 
Giaconda."  From  1877  to  1887  Ga- 
yarre was  the  most  interesting  tenor 
in  London  opera.  His  character  was 
remarkable  among  men  of  his  pro- 
fession from  the  fact  that,  remem- 
bering his  earlier  days  of  poverty,  he 
passed  on  to  others  the  aid  he  had 
received,  and  among  other  worthy 
deeds  founded  a  school  for  Spanish 
singing  students  in  cramped  circum- 
stances. He  died  at  Madrid,  much 
regretted. 

*  Gaynor,  Mrs.  Jessie  L.     1863- 

Jessie  L.  Smith  was  born  in  St. 
Louis,  Missouri,  the  daughter  of  a 
prominent  business  man  of  that  city. 
Her  mother,  Susan  Fenimore  Taylor, 
from  whom  she  inherited  her  love  and 
talent  for  music,  was  related  to  James 
Fenimore  Cooper.  As  a  child  Mrs. 
Gaynor  sang  correctly  before  she 
could  talk.  She  was  early  placed 
under  instruction,  first  in  instrumental, 
and  later  in  vocal  music,  continuing 
her  musical  studies  while  in  school 
and  college.  Aside  from  her  piano 
study  she  became  somewhat  familiar 
with  the  cornet,  doublebass,  and  vio- 
lin, later  giving  two  years'  study  to 
the  last  named  instrument,  and  while 
at  school  played  in  an  amateur  or- 
chestra on  these  different  instruments. 


278 


BIOGRAPHIES 


Gaynor 
Her  later  preparation  for  professional 
work  was  made  under  Dr.  Louis  Maas 
of  Boston,  in  piano  and  theory. 
Afterward  she  studied  voice  under 
John  Dennis  Mehan,  theory  under 
A.  J.  Goodrich  and  Adolph  Weidig, 
and  piano  under  Leopold  Godowsky. 
After  her  marriage  to  Thomas  W. 
Gaynor  of  Iowa  City,  they  removed 
to  St.  Joseph,  Missouri,  where  Mrs. 
Gaynor  organized  the  Ladies'  Fort- 
nightly Musical  Club,  and  became  an 
active  musical  influence  in  the  com- 
munity. In  1895  she  went  to  Chi- 
cago, where  for  five  years  she  was  a 
well-known  teacher  of  piano  and  har- 
mony, and  published  there  her  first 
compositions,  among  them  An  Album 
of  Seven  Songs,  Rose  Songs,  and 
Songs  to  the  Little  Folks,  besides  a 
number  of  single  works,  all  of  which 
met  with  a  most  favorable  reception. 
In  1900  she  returned  to  St.  Joseph 
and  established  a  musical  school 
known  as  The  Gaynor  Studios,  which 
has  been  very  successful,  and  consti- 
tutes an  art  center  in  that  place, 
drawing,  painting  and  other  arts 
being  taught  in  addition  to  the  vari- 
ous branches  of  music.  Her  musical 
activities  have  extended  to  the  giving 
of  lecture-recitals  of  her  songs,  par- 
ticularly for  children,  and  of  talks  on 
the  musical  training  of  children,  for 
which  she  is  in  demand  at  musical 
clubs,  state  teachers'  conventions,  and 
other  educational  bodies.  She  is  a 
member  of  the  Chicago  Manuscript 
Society,  and  of  the  Musical  Manu- 
script Society  of  New  York.  Her 
Album  of  Seven  Songs  includes  a 
graceful  setting  of  the  favorite,  The 
Night  Hath  a  Thousand  Eyes;  Love's 
Coming;  Cradle  Song;  If  I  were  a 
Bee;  Lullaby;  Sleep  Song;  and  And  I. 
The  Album  of  Rose  Songs  contains 
If  I  Knew;  My  True  Lover  gave  me 
a  Red,  Red  Rose;  The  Wind  Went 
Wooing  a  Rose;  In  my  Garden;  My 
Valentine;  and  Because  She  Kissed 
It.  Among  the  Songs  to  Little  Folks 
are  The  Rich  Little  Dolly;  Fireflies; 
An  Early  Morning  Pastoral;  and  The 
Flower's  Cradle  Song.  Another  vol- 
ume of  interest  to  every  child  is  that 
of  Mother  Goose  Songs  from  the 
operetta,  The  House  that  Jack  Built, 
which  Mrs.  Gaynor  wrote  in  collabo- 
ration with  Mrs.  Alice  C.  D.  Riley. 

Several  recent  publications  are  for 
the  use  of  public  schools,  written  with 
an  educational  object  in  view;  these 
include   Lilts  and  Lyrics,  written  in 


Gazzaniga 

collaboration  with  Mrs.  Riley,  men- 
tioned before,  who  is  the  author  of 
the  words  of  most  of  Mrs.  Gaynor's 
songs;  and  The  Elements  of  Musical 
Expression.  Songs  of  the  Child 
World,  Nos.  1  and  2,  are  for  an  earlier 
grade,  and  have  a  wide  use  in  kinder- 
gartens and  the  primary  grades  of 
schools. 

Mrs.  Gaynor  has  also  published 
some  works  for  piano,  among  those 
best  known  being  two  books  for 
beginners,  Miniature  Melodies,  and 
First  Pedal  Studies.  She  has  also 
written,  in  collaboration  with  Mrs. 
Riley  and  Frederic  Fleming  Beale, 
several  successful  operettas  and  can- 
tatas, such  as  The  House  That  Jack 
Built,  The  Toy  Shop,  The  First  Lieu- 
tenant, The  Man  with  a  Wart,  and 
Harvest  Time,  Christmas  Time,  and 
Blossom  Time.  Elson  says  of  her 
children's  songs  that  in  this  juvenile 
vein  she  has  no  equal  among  Amer- 
ican women,  and  that  some  of  them 
may  be  readily  used  by  "  children  of  a 
larger  growth."  Mrs.  Gaynor's  repu- 
tation rests  principally  on  her  songs. 
In  the  attractive  operettas  her  gift  of 
melody  and  of  rhythm  is  in  evidence, 
and  also  the  same  instinct  which 
unites  the  words  and  music  of  her 
songs  into  an  artistic  whole. 

Gaztambide    (gath-tam-be'-dhe),   Joa- 
quin.   1822-1870. 

Spanish  composer  and  teacher;  born 
at  Tudela;  studied  piano  and  composi- 
tion under  Jose  Guelbenzo,  organist 
at  Pampeluna,  and  afterward  became 
a  pupil  of  the  Madrid  Conservatory, 
where  he  studied  under  Albeniz  and 
Carnicer.  Later  he  became  orchestral 
leader  at  the  Teatro  del  Principe, 
Madrid,  where  he  brought  out  his  first 
operatic  workj  known  as  a  zarzuela. 
During  the  next  twenty-five  years  he 
composed  about  forty  of  these  Span- 
ish operettas,  which  met  with  great 
popular  success.  He  also  became 
director  of  the  Conservatory  concerts 
and  honorary  professor  at  the  Con- 
servatory. A  younger  relative,  Xavier 
Gaztambide,  was  an  orchestral  leader 
at  a  Madrid  theatre  in  1866,  and  the 
composer  of  several  zarzuelas. 

Gazzaniga    (gad-san-e-ga),    Giuseppe. 

1743-1819. 

Celebrated  Italian  opera  composer; 
born  at  Verona,  was  a  pupil  of  Por- 
pora  and  Piccinni.  His  first  opera,  11 
finto  cieco,.  was  brought  out  in  1770 


BIOGRAPHIES 


279 


Gazzaniga 

at  Vienna,  and  was  followed  by  more 
than  thirty  others,  produced  in 
Vienna,  Naples,  Venice  and  other 
Italian  cities,  also  Dresden.  Among 
these  were  the  noted  II  Convitato  di 
Pietra,  a  work  based  on  the  same 
subject  as  Mozart's  Don  Giovanni,  and 
after  its  first  success  in  Venice,  1787, 
repeated  in  Rome  and  London  as  well 
as  in  the  Italian  theatres.  In  1791 
Gazzaniga  received  the  appointment 
as  chapelmaster  of  the  Cathedral  at 
Crenia,  and  composed  only  sacred 
music  thenceforth,  including  cantatas, 
masses,  a  Te  Deum,  and  a  Stabat 
Mater;  but  his  reputation  is  decidedly 
based  on  his  operatic  works. 

Gear,  George  Frederick.    1857- 

English  concert  pianist  and  com- 
poser, was  the  son  of  Henry  Handel 
Gear,  a  professional  musician,  active 
as  a  vocal  teacher,  organist  and  church 
composer.  George  Frederick  Gear 
was  born  in  London,  studied  under 
J.  F,  Barnett  and  Dr.  Wylde,  and 
secured  in  1872  a  scholarship  at  the 
London  Academy  of  Music,  where  he 
won  medals  in  piano  and  harmony, 
and  later  became  a  professor.  He 
was  also  an  associate  of  the  Philhar- 
monic Society,  a  member  of  several 
other  musical  societies,  and  directed 
the  German  Reed  Company  from  1876 
to  1892.  He  composed  a  string  quar- 
tet; two  sonatas  for  piano;  two  oper- 
ettas, A  Water  Cure,  and  Hobbies;  a 
scene  for  soprano  voice  and  orchestra; 
and  a  number  of  songs. 

Gebauer    (zhii-bo-a),    Michel   Joseph. 

1763-1812. 

Orchestral  player  and  composer; 
was  born  at  La  Fere,  France,  and 
when  but  fourteen  years  old  was 
oboist  in  the  Swiss  Guard,  and  in  1791 
in  the  Garde  Nationale,  Paris,  where 
three  years  later  he  became  professor 
at  the  Conservatory.  In  1802  he  re- 
signed to  assume  the  leadership  of  the 
band  of  the  Imperial  Guard,  and  on 
his  army  route  made  a  study  of  Ger- 
man military  music.  He  was  also  a 
proficient  executant  on  the  violin  and 
viol,  and  in  addition  to  the  two  hun- 
dred or  more  popular  military  marches 
which  he  wrote,  composed  much 
music  for  various  combinations  of 
orchestral  instruments. 

Gebauer,  Frangois  Rene.    1773-1845. 

Composer  and  bassoonist;  born  at 
Versailles;  studied  under  his  brother, 


Gebel 
Michel  Joseph,  and  Devienne.  At 
fifteen  he  was  bassoonist  in  the  Swiss 
Guard,  at  twenty-three  professor  of 
bassoon  at  the  Conservatory,  where 
he  remained  till  1802,  and  resumed 
the  position  after  1825.  From  1801  to 
1826  he  was  a  member  of  the  Grand 
Opera  Orchestra.  He  wrote  a  variety 
of  compositions  for  wind-instruments, 
and  also  a  method  for  bassoon. 

Gebauer,  Etienne  Franjois.    1777-1823. 

Flutist  and  composer  for  orchestral 
instruments;  was  born  at  Versailles, 
and  studied  first  under  his  brother, 
Michel  Joseph,  later  under  Hugot.  He 
entered  the  Opera  Comique  Orchestra 
as  second  flute  in  1801,  and  was  first 
flute  from  1813  to  1822,  when  he  re- 
signed because  of  ill  health.  He  com- 
posed over  one  hundred  flute  solos, 
exercises,  and  variations;  also  numer- 
ous duets  for  flutes;  several  duets  for 
violins;  sonatas  for  flute  and  bass;  and 
airs  with  variations  for  clarinet. 

Gebel  (ga'-bel),  Georg.    1709-1753. 

Organist  and  composer;  born  at 
Brieg,  Silesia;  was  the  son  and  pupil 
of  Johann  Georg.  Commenced  to 
play  the  harpsichord  at  four,  and  at 
twelve  showed  marked  ability  as  an 
organist.  For  some  time  his  father's 
assistant,  he  became  second  organist 
at  St.  Maria  Magdalene,  Breslau,  in 
1729,  and  later  chapelmaster  to  the 
Duke  of  Oels.  In  1735  he  became  a 
member  of  Count  Bruhl's  Orchestra 
at  Dresden,  and  from  the  inventor, 
Hebenstreit,  learned  to  play  the  lat- 
ter's  pantaleon,  a  peculiar  stringed  in- 
strument. In  1747  he  was  appointed 
leader  and  conductor  to  the  Prince  of 
Schwarzburg  at  Rudolstadt,  where  he 
died.  Georg  junior  produced  during 
his  brief  life  about  as  many  composi- 
tions as  Johann  Georg.  During  his 
residence  at  Breslau  he  composed  con- 
siderable church  and  chamber-music, 
while  at  Rudolstadt  he^  wrote  over 
one  hundred  symphonies,  partitas, 
concertos,  and  other  compositions  for 
orchestra;  twelve  operas,  several  can- 
tatas and  oratorios. 

Gebel  (ga'-bel),  Johann  Georg.    1685- 

1750. 

German  organist  and  composer; 
born  at  Breslau;  was  apprenticed  as 
a  boy  to  a  tailor,  but  ran  away  at  the 
age  of  eighteen  and  studied  under  the 
organists  Tiburtius,  Winkler  and 
Krause.     In  1709  he  became  organist 


280 


BIOGRAPHIES 


Gebel 

at  Brieg,  where  he  studied  under 
Stoltz,  and  in  1713  returned  to  Bres- 
lau  to  take  a  similar  position.  He 
possessed  a  mechanical  turn  of  mind, 
and  invented  a  clavichord  with  quar- 
ter-tones, and  a  clavicymbalum  (or 
clavicembalo)  with  both  manual  and 
pedal  keyboards.  At  the  age  of  sixty- 
four,  though  quite  infirm,  he  succeeded 
his  younger  son  as  organist  of  the 
Breslau  Church,  the  latter  having  to 
take  another  position;  the  next  year 
he  died.  His  compositions  are  a  Pas- 
sion oratorio;  a  mass  with  orchestral 
accompaniment;  songs,  chorals,  and 
canons,  including  one  for  thirty 
voices;  a  number  of  pieces  for  organ, 
clavichord  and   other   instruments. 

Geisler  (gis'-ler),  Paul.    1856- 

German  dramatic  composer;  born  at 
Stolp,  Pomerania;  was  a  pupil  of  his 
grandfather,  the  musical  director  at 
Marienburg,  and  later  of  Konstantin 
Decker,  a  pianist  and  composer  of 
note.  He  was  chorusmaster  at  the 
City  Theatre,  Leipsic,  from  1881  to 
1882,  and  next  joined  Angelo  Neu- 
mann's Wagner  Company.  From  1883 
to  1885  he  was  second  conductor  at 
Bremen,  Anton  Seidl  being  chief  con- 
ductor. He  lived  in  Leipsic  for  a 
number  of  years,  later  in  Berlin,  and 
finally  in  Posen,  where  he  founded 
the  Symphony  concerts  and  became 
conductor  of  the  Posen  Orchestra. 
He  has  several  operas  to  his  credit, 
including  Ingeborg;  Hertha;  Die  Rit- 
ter  von  Marienburg;  Palmi;  and  Wir 
Siegen.  He  has  also  written  two 
cycles  for  solos,  chorus  and  orchestra, 
Sansara  and  Golgotha;  about  a  dozen 
symphonic  poems,  ot  which  may  be 
noted  The  Pied  Piper  of  Hamelin, 
and  Till  Eulenspiegel;  incidental  mu- 
sic for  several  dramas,  and  a  few 
songs  and  piano-pieces.  Compara- 
tively few  of  his  works  have  been 
published. 

Gelinek   (ga-li-nek),  Joseph.     17  5  8- 

1825. 

Bohemian  composer  for  piano;  born 
in  Seicz,  Bohemia;  studied  composi- 
tion under  Segart,  at  Prague,  where 
he  met  Mozart,  who  encouraged  him 
in  his  playing  and  later,  after 
Gelinek's  ordination  as  a  priest,  rec- 
ommended him  as  domestic  chaplain 
and  piano  tutor  to  Prince  Kinsky. 
He  remained  in  the  service  of  the 
Kinsky  family  for  some  years  in 
Vienna,     where     he     studied     under 


Genee 

Albrechtsberger,  and  became  im- 
mensely popular  as  a  teacher  and  a 
composer  of  variations  and  other 
piano-pieces  of  a  frivolous  nature, 
which  were  so  remunerative  that  some 
unscrupulous  music-writers  of  the 
time  imitated  his  style  and  published 
their  works  under  his  name. 

Geminiani  (jem-e-ni-a'-ne),  Francesco. 
1680-1762. 

Italian  virtuoso,  composer  and 
writer;  was  born  at  Lucca,  and  studied 
with  Lunati,  known  as  II  Gobbo,  and 
Corelli,  who  considered  him  his  best 
pupil,  and  "  of  whose  school  he  must 
be  considered  one  of  the  foremost 
representatives,"  although  by  no 
means  an  imitator  of  his  master's  in- 
dividual style.  His  impetuous,  some- 
what eccentric  nature,  while  it  added 
a  charm  to  his  solo  playing,  dis- 
tinguished also  for  technical  mastery 
of  the  most  difhcult  works  of  his  day, 
prevented  his  success  as  a  conductor, 
or  in  any  settled  position.  As  a 
teacher  and  player,  however,  he  rap- 
idly became  prominent  and  highly 
successful  in  London,  where  he  had 
gone  in  1714,  although  confining  his 
performances  to  private  affairs  at  the 
homes  of  people  of  rank  and  wealth. 
He  afterwards  spent  about  six  or 
seven  years  in  Paris,  returning  to 
London  in  1755,  and  late  in  1761  went 
to  visit  his  friend  and  pupil,  Dubourg, 
a  conductor  at  Dublin,  and  died  there. 
He  is  said  to  have  been,  with  Vera- 
cini,  his  contemporary,  greatly  instru- 
mental in  raising  the  standard  of 
violin-playing  in  England;  and  his  Art 
of  Playing  the  Violin,  the  first  book 
of  the  kind  published  in  England,  was 
his  most  valuable  work,  containing 
important  technical  principles  that  are 
still  in  use.  He  wrote  several  other 
theoretical  works  of  no  permanent 
value,  and  his  musical  compositions, 
comprising  concertos  and  sonatas  for 
violin,  are  considered  above  the 
average. 

Genee  (zhu-na),  Richard  Franz  Fried- 
rich.     1823-1895. 

Composer  and  conductor;  born  at 
Danzig;  studied  at  first  for  the  medi- 
cal profession,  but  gave  this  up,  and 
became  a  pupil  of  Stahlknecht  in  com- 
position at  Berlin.  From  1848  to 
1867  he  was  active  as  a  conductor  in 
various  theatres,  at  Reval,  Riga, 
Cologne,  Aix-la-Chapelle,  Diisseldorf, 
Danzig,  Mayence,  Schwerin,  Amster- 


BIOGRAPHIES 


281 


Genee 

dam  and  Prague;  and  from  1868  to 
1878,  at  the  Theatre  An-der-Wien, 
Vienna,  after  which  he  retired  to  his 
villa  at  Pressbaum,  near  Vienna.  He 
died  at  Baden,  in  the  same  vicinity. 
Genee  brought  out  a  number  of 
operettas,  as  follows:  Der  Geiger  aus 
Tyrol;  Der  Musikfeind,  Die  General- 
probe;  Rosita;  Der  Schwarze  Prinz; 
Am  Runenstein  (with  Flotow);  Der 
Seekadett;  Nanon;  Im  Wunderlande 
der  Pyramiden;  Die  Letzten  Mo- 
hikaner;  Nisida;  Rosina;  Die  Zwill- 
inge  (with  Roth);  Die  Piraten;  and 
Die  Dreizehn.  He  wrote  some  of  his 
own  librettos,  a  number  of  these  in 
collaboration  with  F.  Zell;  and  also 
librettos  for  Strauss,  Suppe,  and  Mil- 
locker.  He  also  composed  part-songs 
and  choruses,  some  of  which  are  of  a 
humorous  character. 

General!   (ja-ne-ra'-le),  Pietro.    1783- 

1842. 

Italian  composer  of  light  opera;  was 
born  at  Masserano,  Piedmont.  His 
real  name  was  Mercandetti.  He 
studied  under  Giovanni  Massi  at 
Rome,  and  there  produced  his  first 
opera,  Gli  Amanti  Ridicoli,  in  1800.  A 
large  number  of  others  followed,  pro- 
duced in  Milan,  Venice  and  other 
Italian  cities,  I  Baccanali  di  Roma, 
Venice,  1815,  being  considered  his 
best.  After  this  time  his  popularity 
was  overshadowed  by  that  of  Rossini. 
From  1817  to  1820  he  was  conductor 
of  the  Barcelona  Theatre,  but  re- 
signed this  post  and  retired  to  that 
of  chapelmaster  at  Novara  Cathedral, 
where  he  made  a  study  of  Rossini's 
compositions,  and  strove  to  regain  his 
lost  prestige,  but  in  vain.  After  his 
last  unsuccessful  appearance  in  Ven- 
ice, 1829,  he  gave  his  time  and  energy 
to  sacred  music,  writing  an  oratorio, 
masses,  and  psalms,  and  dying  at 
Novara  three  years  later.  It  is  said 
that  he  was  Rossini's  model  in 
certain  innovations  in  composition, 
and  that  the  latter,  with  greater 
ability,  made  use  of  these  in  his  own 
works. 

Genet  (zhu-na),  Eleazar.    About  1475- 

about  1532. 

Priest  and  church  composer;  was 
born  at  Carpentras,  France,  after 
which  place  he  was  sometimes  called 
II  Carpentrasso.  He  was  connected 
with  the  Court  of  Pope  Leo  X., 
where,  in  1515,  he  was  chief  singer  of 
the  Pontifical  Chapel,  and  soon  after- 


Georges 

ward  chapelmaster.  In  1521  he  was 
sent  to  Avignon  in  his  priestly  ca- 
pacity, and,  with  the  exception  of  a 
visit  to  Rome  a  few  years  later,  seems 
to  have  remained  there  till  his  death. 
While  on  this  visit  his  Lamentations 
were  given  by  his  former  associates 
at  the  Papal  court.  He  recognized 
on  this  hearing  much  room  for  im- 
provement in  the  work,  and  rewrote 
it.  A  devout  priest,  Genet  seems  to 
have  been  absolutely  indifferent  to 
the  praise  of  outsiders,  and  composed 
for  his  colleagues,  the  musicians  of 
Leo's  court,  who  appreciated  his  work 
to  such  an  extent  that  for  years  after 
his  death  they  refused  to  allow  the 
Lamentations  to  be  supplanted  by 
Palestrina's  music.  The  only  known 
collection  of  Genet's  works  was  pub- 
lished at  Avignon  by  De  Channay,  in 
four  volumes,  introducing  two  im- 
portant improvements,  viz.,  the  use 
of  round  notes  in  the  place  of  the 
former  square  and  diamond  shapes, 
and  the  abandonment  of  the  ligature, 
a  complicated  form  of  connecting 
notes  that  was  commonly  used  by 
church  musicians  prior  to  that  time. 
The  first  volume  contams  five  masses; 
the  second,  festival  hymns;  the  third, 
Lamentations;  the  fourth.  Magnifi- 
cats. Genet  suffered  during  the  latter 
part  of  his  life  from  a  painful  disease 
of  the  ears  and  brain,  which  baffled 
his  physicians  and  left  but  brief  in- 
tervals for  composition. 

Georges  (zhorzh),  Alexander.    1850- 

French  organist  and  composer;  born 
at  Arras;  studied  at  the  Niedermeyer 
School,  Paris,  winning  first  prize  in 
each  of  the  three  branches  he  took, 
organ,  piano,  and  composition,  and 
also  state  diplomas  for  organist  and 
chapelmaster.  His  comic  opera,  Le 
Printemps,  was  produced  first  in  1888, 
and  afterward  at  the  Theatre  Lyrique; 
a  lyric  drama,  Charlotte  Corday,  was 
given  in  1901,  and  a  lyric  opera, 
Poemes  d'Amour,  in  1892.  He  has 
written  the  incidental  music  to  the 
plays,  Le  Nouveau  Monde,  Axel,  and 
Alceste.  The  Chansons  di  Miarka,  for 
voice  with  orchestral  accompaniment, 
are  ranked  among  the  best  modern 
French  songs.  He  has  also  written 
several  symphonic  poems  for  or- 
chestra, Leila,  La  Naissance  de  Venus, 
and  Le  Paradis  Perdu.  He  is  con- 
sidered a  master  of  orchestration,  and 
is  a  representative  Frenchman  in  his 
music. 


282 


BIOGRAPHIES 


Gerardy 
Gerardy  (zha-rar-de),  Jean.    1877- 

Belgian  violoncellist;  born  at  Spa, 
son  of  a  professor  in  the  Liege  Con- 
servatory, began  the  study  of  his  in- 
strument at  the  age  of  seven  under 
Bellman,  a  member  of  the  Heckman 
Quartet,  and  the  next  year  entered 
the  Conservatory  at  Verviers,  where 
his  progress  was  exceptional.  He 
graduated  from  this  institution  in 
1888,  and  immediately  began  a  series 
of  concert  tours,  first  playing  on  the 
same  program  with  Paderewski  and 
Ysaye,  and  afterward  in  London, 
France,  Germany,  Russia,  America, 
and  Australia.  He  has  appeared  prin- 
cipally as  a  soloist,  though  occasion- 
ally playing  in  concerted  music. 
Although  when  a  boy  his  playing  was 
heralded  as  an  example  of  pure  classi- 
cal style,  of  later  years  his  tendency 
has  been  to  use  modern  compositions; 
not,  however,  to  the  extent  of  injuring 
his  best  characteristics  as  a  virtuoso. 
Critics  have  said  that  no  living  violon- 
cellist plays  with  greater  charm. 
Though  his  playing  is  first  and  fore- 
most that  of  a  refined  and  intellectual 
artist,  his  tone  reveals  much  breadth 
and  power  where  the  interpretation 
requires  those  qualities. 

Gerber,  Ernest  Ludwig.    1746-1819. 

Musical  lexicographer,  son  of  Hein- 
rich  Nicolaus  Gerber,  was  born  at 
Sondershausen.  At  first  his  father's 
pupil,  he  afterwards  studied  law,  the 
organ  and  the  violoncello  in  Leipsic, 
1765  to  1769,  and  on  his  return  assisted 
his  father,  and  at  his  death  succeeded 
him  as  organist  and  Court  secretary. 
The  work  for  which  he  is  celebrated 
is  a  biographical  dictionary  of  musi- 
cians, which  grew  out  of  a  collection 
of  portraits  of  musicians,  with  brief 
biographical  sketches  attached,  gath- 
ered by  way  of  recreation  in  his  visits 
to  Leipsic,  Weimar,  and  other  Ger- 
man cities.  When  the  plan  of  making 
a  comprehensive  dictionary  suggested 
itself  his  means  and  resources  were 
alike  limited.  About  the  only  au- 
thority of  the  kind  extant  was  Wal- 
ther's  lexicon,  published  some  forty 
or  fifty  years  previous,  and  with  ma- 
terial sent  in  by  Gerber's  publishers, 
for  the  small  place  where  he  lived 
was  almost  destitute  of  information 
on  the  subject,  the  result  was  the 
Historisch-biographisches  Lexikon  der 
Tonkunstler,  in  two  volumes,  pub- 
lished at  Leipsic  in  1790  to  1792,  by 
Breitkopf.      Information    and    correc- 


Gerbert 
tions  were  thereafter  volunteered 
from  many  sources,  necessitating  a 
second  edition,  which  appeared  as 
Neues  historisch-biographisches  Lex- 
ikon  der  Tonkiinstler,  in  four  volumes, 
1812  to  1814.  Its  excellence  over  all 
previous  works  of  the  kind  made  it  a 
standard  authority  in  Europe  for 
many  years,  especially  on  German  mu- 
sicians. His  large  collection  of  books 
and  music  was  sold  to  the  Gesell- 
schaft  der  Musikfreunde  in  Vienna, 
four  years  before  Gerber's  death,  with 
the  understanding  that  he  was  to  re- 
tain possession  during  his  life,  thus 
giving  him  the  opportunity  to  make 
further  additions.  The  fame  of  his 
book  obscures  his  compositions,  which 
include  organ  preludes,  sonatas  for 
piano,  and  music  for  wind-instru- 
ments. 

Gerbert  (ger'-bert)  von  Homau,  Mar- 
tin.   1720-1793. 

Eminent  writer  on  musical  history; 
born  at  Horb-on-Neckar,  was  a  well- 
educated  priest  of  the  Benedictine 
order.  Having  entered  the  monastery 
of  St.  Blaise  at  seventeen,  he  was  or- 
dained in  1744,  and  in  1764  became 
Prince  Abbot.  Fond  of  historical  re- 
search and  music,  he  combined  the 
two,  beginning  with  the  convent  li- 
brary, and  afterward  traveling  for 
several  years  through  Germany,  Italy, 
and  France,  where  his  position  en- 
abled him  to  secure  access  to  the 
carefully  guarded  books  of  many 
monastic  libraries.  He  became  inti- 
mate with  Padre  Martini  at  Bologna, 
where  an  exchange  of  ideas  was  val- 
uable to  both,  Martini  undertaking  a 
history  of  music  in  general,  Gerbert 
that  of  church-music  alone.  By  a 
prospectus,  published  in  1762,  inviting 
information  and  contributions,  he 
soon  collected  a  vast  amount  of  ma- 
terial, the  greater  part  of  which  was 
unfortunately  destroyed  by  a  fire  at 
the  Abbey  in  1768.  Notwithstanding 
this  drawback,  the  work  was  published 
in  1774,  De  cantu  et  Musica  Sacra,  in 
two  volumes.  Ten  years  later  ap- 
peared a  second  work,  Scriptores 
ecclesiastici  de  musica  sacra  potis- 
simum,  in  three  volumes,  comprising 
a  number  of  treatises  by  musical  au- 
thorities of  the  Middle  Ages  collected 
from  manuscript  and  published  ver- 
batim, without  corrections.  This  is 
considered  his  most  valuable  work, 
both  in  his  own  day  and  in  this, 
though  very  rare.     He  also  published 


BIOGRAPHIES 


283 


Gerbert 

two  lesser  musical  works,  an  account 
of  his  travels,  and  a  translation  of  a 
musical  treatise  by  Notker;  a  number 
of  theological  works,  and  some  offer- 
tories. He  was  prominent  for  his 
estimable  character  and  his  labors  for 
the  improvement  of  conditions  among 
the  poor.  A  statue  was  erected  to 
his  memory  at  Bonndorf  by  the  grate- 
ful peasants  of  that  region.  He  was 
instrumental  in  securing  the  banish- 
ment from  the  church  of  all  instru- 
ments but  the  organ. 

Gericke  (ga'-ri-ke),  Wilhelm.     1845- 

Eminent  conductor;  was  born  at 
Graz,  Styria,  and  studied  composition 
under  Dessoff  at  the  Vienna  Conserv- 
atory from  1862  to  1865,  during  which 
time  a  number  of  his  works  were 
written.  In  1865  he  became  director 
of  the  theatre  at  Linz;  in  1874  second 
conductor  of  the  Court  Opera  at 
Vienna,  Hans  Richter  being  chief  con- 
ductor. In  1880  he  succeeded  Brahms 
as  conductor  of  the  Concert  Society, 
which  stood  foremost  in  that  city  for 
the  production  of  large  choral  works, 
and  he  also  conducted  the  Singers' 
Union.  In  1884  he  gave  up  this  work 
to  come  to  America,  accepting  the 
position  of  conductor  of  the  Boston 
Symphony  Orchestra,  in  which  he 
undertook  the  difficult  but  needed  re- 
form of  replacing  a  number  of  old 
musicians,  formerly  prominent  in  the 
city's  musical  life,  who  were  holding 
their  posts  in  the  orchestra  princi- 
pally through  courtesy,  with  younger 
musicians  from  Europe.  That  he  ac- 
complished this  successfully  and  built 
up  an  orchestra  in  which  perhaps 
fewer  changes  were  later  made  than 
in  any  other  in  the  world  during  a 
period  of  twenty  years  or  more,  is 
proof  that  Gericke  possessed  wonder- 
ful tact,  judgment  and  executive 
ability.  These  qualities,  combined 
with  musical  insight  and  tireless 
energy,  have  made  the  Boston  Sym- 
phony Orchestra  his  debtor  for  its 
international  position  and  comparative 
financial  independence.  For  five  years 
Gericke  remained  at  the  head  of  this 
organization;  at  the  end  of  which  time 
he  returned  to  Germany  and  resumed 
the  leadership  of  the  Concert  Society 
in  Vienna,  which  he  conducted  until 
1895.  Then  followed  a  period  of  three 
years'  freedom  from  professional  ac- 
tivities, and  in  1898  Gericke  was  again 
engaged  to  conduct  the  Boston  Sym- 
phony   Orchestra.      For    eight    years 


German 
longer  Gericke  directed  the  body  of 
musicians  which  he  had  brought  to 
its  present  perfection  of  ensemble; 
then,  in  the  season  of  1905  and  1906 
resigned  his  post,  and  in  the  latter 
year  returned  to  Vienna,  where  he 
now  lives. 

Gericke  is  said  to  have  forwarded 
the  cause  of  music  in  America  more 
than  any  other  one  man,  with  the  pos- 
sible exception  of  Theodore  Thomas. 
Elson  speaks  of  him  as  the  finest 
drillmaster  among  conductors.  His 
reputation  has  been  chiefly  attained 
through  his  direction  of  choral  and 
orchestral  works,  although  he  is  also 
efficient  in  opera.  His  reading  of 
scores  js  considered  remarkable.  A 
short  time  before  his  first  departure 
for  America  he  was  chosen  an  honor- 
ary member  of  the  Gesellschaft  der 
Musikfreunde  (Association  of  Musical 
Friends),  a  rare  mark  of  distinction  in 
Germany.  He  has  also  a  number  of 
compositions  to  his  credit,  as  follows: 
An  operetta,  Schon  Hannchen;  a 
requiem;  concert-overture  for  orches- 
tra; a  septet;  a  string  quartet;  two 
sonatas  for  violin  and  piano;  two 
piano  sonatas;  quintet  for  piano  and 
strings;  trio  for  piano,  violin  and  vio- 
loncello; three  movements  of  a  suite 
for  orchestra;  Huldigungschot;  three 
sonata  movements  by  Bach,  scored 
for  orchestra;  additional  accompani- 
ments to  Handel's  Judas  Maccabaeus, 
and  to  an  anthem;  and  over  one  hun- 
dred songs  and  choruses. 

Gerlach  (ger-lakh),  Theodor.    1861- 

German  composer;  born  at  Dresden; 
studied  under  F.  Wtillner,  then  in 
Berlin  University.  His  first  important 
composition  was  a  cantata,  Luther's 
Lob  der  Musica.  In  1885  he  became 
director  of  the  Theatre  at  Sonders- 
hausen,  and  the  year  following  as- 
sumed the  leadership  of  the  German 
Opera  at  Posen.  In  1891  he  was  ap- 
pointed Court  director  at  Coburg,  a 
position  offered  him  chiefly  through 
the  interest  aroused  by  his  Epic 
Symphony.  Three  years  later  he  be- 
came director  at  Kassel.  He  'has 
written  a  number  of  songs;  chamber- 
music;  and  an  opera  in  three  acts, 
Matteo  Falcone,  of  which  he  was 
librettist  as  well  as  composer. 

*  German,    J.    Edward     (Real    name 
German  Edward  Jones).     1862- 

English  composer,  whose  real  name 
is    German    Edward    Jones,    born    at 


284 


BIOGRAPHIES 


German 

Whitchurch,  Shropshire.  Displayed 
interest  in  music  at  a  very  early  age, 
blowing  the  organ  for  his  father,  who 
was  for  thirty  years  organist  of  the 
Congregational  Church  in  that  town. 
His  mother  encouraged  his  musical 
tendencies,  and  when  he  left  school, 
at  eighteen,  it  was  decided  to  educate 
him  for  a  professional  musician.  From 
January  to  September,.  1880,  he  studied 
harmony,  orchestration,  violin  and 
piano  under  Walter  Cecil  Hay,  an 
active  and  enthusiastic  musician,  who 
conducted  an  orchestra,  a  choral  so- 
ciety and  concerts.  In  the  fall  of  the 
same  year  he  entered  the  Royal  Acad- 
emy of  Music  to  study  organ  under 
Steggall,  but  the  second  year  made 
the  violin  his  principal  study.  Here 
he  remained  for  six  years  longer, 
working  at  the  theoretical  branches 
of  music  also,  and  becoming  promi- 
nent in  the  school  both  as  a  performer 
and  as  a  composer,  producing  a  sym- 
phony at  a  students'  concert.  In  1885 
he  won  the  Charles  Lucas  medal  for 
composition  with  a  Te  Deum  for 
chorus  and  organ,  and  was  made  an 
assistant  teacher  of  violin.  His  comic 
operetta,  the  Two  Poets,  was  per- 
formed at  the  Academy  the  next  year, 
and  was  later  revived  by  the  students, 
in  1901.  This  was  a  work  of  much 
promise,  and  other  compositions  writ- 
ten before  he  left  the  Academy  were 
used  in  concerts. 

In  1887  he  gave  up  his  work  at  the 
Academy,  but  was  made  an  associate. 
For  over  a  year  he  played  the  violin 
in  orchestras  here  and  there,  some- 
times as  a  soloist,  teaching  and  com- 
posing in  the  meantime,  and  was  then 
appointed  musical  director  of  the 
Globe  Theatre,  London,  with  Richard 
Mansfield  as  manager.  His  incidental 
music    to    Richard    III.,    produced    in 

1889,  and  that  for  Henry  VIII.,  given 
at  the  Lyceum  in  1892,  proved  an 
entering  wedge.  His  incidental  music 
to  plays  was  soon  in  demand,  and  was 
composed  for  The  Tempter;  Romeo 
and  Juliet;  and  As  You  Like  It.  His 
first  symphony,  in  E  minor,  was  pro- 
duced at  the  Royal  Academy  of  Music 
in  1896  and  at  the  Crystal  Palace  in 

1890.  Three  years  later  he  conducted 
concerts  at  the  Crystal  Palace,  and  in 
1895  his  own  suite  in  D  minor  at  the 
Leeds  Festival;  and  the  latter  year  he 
was  made  a  fellow  of  the  Royal  Acad- 
emy of  Music.  Other  orchestral 
works  and  suites  have  been  per- 
formed, and  in  the  latter  he  has  given 


German 


preference  to  wmd-instruments  over 
his  own  solo  instrument,  the  violin. 
One  unusual  combination  is  a  sere- 
nade for  tenor  with  accompaniment  of 
piano  and  wind-instruments.  In  1901, 
when  Sir  Arthur  Sullivan's  death  left 
The  Emerald  Isle  hardly  more  than 
begun,  the  work  of  finishing  it  was 
assigned  to  German,  and  it  was  done 
so  well  that  it  was  thought  he  would 
inherit  the  place  of  the  former  in 
English  music.  German's  opera, 
Merrie  England,  would  confirm  that 
opinion,  though  he  is  in  no  sense  an 
imitator  of  Sullivan;  but  though  Ger- 
man has  had  the  rare  good  fortune  lo 
please  the  musicians  and  the  general 
public  alike,  he  has  been  criticized  for 
a  certain  weakness  in  allowing  sug- 
gested changes  to  creep  into  some 
recent  works,  which  has  caused  a  low- 
ering of  the  standard  in  light  opera 
maintained  by  the  Savoy  Theatre 
under  Sullivan.  So  far  as  his  music 
itself  is  concerned,  he  has  a  prolific 
vein  of  melody,  and  the  good  eflfects 
of  his  early  orchestral  training  are 
evident   in   his   compositions. 

German's  compositions  include  inci- 
dental music  to  the  plays,  Much  Ado 
About  Nothing,  Nell  Gwyn,  and  The 
Conqueror;  the  orchestral  suites; 
Gipsy  Suite,  Four  Characteristic 
Dances;  Symphonic  Suite,  in  D  minor; 
English  Fantasia,  Commemoration; 
Symphonic  Poem,  Hamlet;  Sym- 
phonic Suite,  The  Seasons;  Rhapsody 
on  March  Themes,  and  Welsh  Rhap- 
sody. Other  orchestral  works  are 
Funeral  March,  D  minor;  Serenade 
for  voice,  piano,  flute,  oboe,  clarinet, 
bassoon  and  horn;  Pizzicato  move- 
ment, The  Guitar;  and  Bolero  for 
violin  and  orchestra.  His  operas  are 
Emerald  Isle  (above  mentioned), 
Merrie  England,  A  Princess  of  Ken- 
sington, The  Rival  Poets,  an  operetta, 
and  a  comic  opera,  Tom  Jones.  Ger- 
man came  to  America  in  the  fall  of 
1907  to  conduct  this  opera  at  its  first 
performance  in  New  York,  where  it 
had  a  run  of  some  weeks.  He  has 
also  written  many  piano  solos  and 
duets;  violin  solos;  a  Scotch  sketch 
for  piano  and  two  violins;  three 
sketches  for  cello  and  piano;  suite  for 
flute  and  piano;  flute  solos;  pastorale 
and  bourree  for  oboe  and  piano;  and 
many  songs,  including  three  albums 
of  lyrics  (with  Harold  Boulton);  the 
Just  So  Song  Book,  with  Rudyavd 
Kipling;  Orpheus  with  his  lute,  a 
trio;  and  a  Te  Deum  in  F. 


BIOGRAPHIES 


285 


Germer 


Germer   (ger'-mer),   Heinrich.     1837- 

Teacher  of  and  writer  for  piano; 
was  born  at  Sommersdorf,  Saxony; 
began  life  as  a  school-teacher,  but  at 
the  age  of  twenty  entered  the  Berlin 
Akademie  for  the  study  of  composi- 
tion. On  leaving  the  Akademie,  he 
went  to  Poland  as  a  private  tutor, 
but  two  years  later  settled  in  Dres- 
den as  a  teacher  of  music.  He  pub- 
lished a  method  for  piano,  and  edited 
a  number  of  sonatas,  including  those 
of  Beethoven  and  Mozart,  and  of 
studies,  of  which  a  collection  of 
etudes  by  Czerny  is  perhaps  best 
known.  He  also  wrote  some  didactic 
works.  The  Technics  of  Piano-play- 
ing, School  of  Octave  and  Chord 
Playing,  How  Ought  One  to  Study 
Piano  Technique?  and  Manual  of 
Tone  Production.  He  is  much 
esteemed  as  a  teacher  in  Dresden, 
and  his  technical  works  rank  with  the 
best  of  modern  times.  His  Technics 
of  Piano-playing  is  said  by  a  com- 
petent authority  to  be  the  most 
systematic,  progressive  and  logical 
method  for  the  piano,  providing  for 
all  stages  from  the  elementary  to  the 
most  advanced  and  training  the  pupils 
from  the  very  beginning  of  keyboard 
study  to  think  for  themselves  and 
work  toward  an  independent  musical 
intelligence. 

*  Gernsheim    (gerns  -him),   Friedrich. 
1839- 

Eminent  Jewish  pianist,  composer 
and  conductor,  was  born  at  Worms, 
Germany,  the  only  son  of  a  physi- 
cian. He  showed  musical  talent  early 
and  at  five  years  of  age  began  the 
study  of  the  piano  under  his  mother, 
who  was  a  good  musician.  Next  he 
became  a  pupil  of  Louis  Liebe,  direc- 
tor of  music  at  Worms,  and  later 
went  to  Frankfort-on-Main,  at  that 
time  the  musical  center  of  southern 
Germany,  where  his  mother  placed 
him  under  Rosenhain  for  piano,  Hein- 
rich WolflF  for  violin,  and  I.  C.  Haufif 
for  theory.  In  1850  he  appeared  for 
the  first  time  in  public,  and  two  years 
later  made  a  professional  tour  as  a 
young  prodigy  through  various  parts 
of  Germany.  In  the  spring  of  1852 
he  went  to  Leipsic,  where  for  three 
years  he  studied  at  the  Conservatory 
under  Moscheles,  Hauptmann,  Rietz 
and  Richter.  His  next  move  was  to 
Paris,  where  he  became  an  enthusias- 
tic devotee  of  Wagner,  and  was  inti- 
mate with  Saint-Saens,  Lalo,  Stephen 


Gerster 

Heller  and  other  celebrities,  and  won 
favor  as  a  pianist  and  teacher.  In 
1861  he  removed  to  Saarbruck  to  take 
the  position  of  musical  director,  and 
four  years  later  to  Cologne,  where 
he  taught  piano  and  composition  at 
the  Conservatory,  and  soon  after- 
ward was  chosen  director  of  the  vari- 
ous musical  societies  in  that  city,  re- 
ceiving the  title  of  professor  in  1872. 
In  1874  he  became  director  of  the 
Rotterdam  Conservatory,  and  from 
1890  taught  piano  and  composition  at 
the  Stern  Conservatory,  Berlin,  where 
he  conducted  also  the  Stern  Choral 
Society.  In  1897  he  was  elected  to 
membership  in  the  senate  of  the 
Royal  Academy  of  Arts,  Berlin,  of 
which  he  had  been  an  honorary  mem- 
ber since  1888;  and  in  the  spring  of 
1901  he  became  director  of  an  Acad- 
emie  "  Meisterschule "  for  musical 
composition. 

His  chamber-music  compositions 
are  best  known;  they  include  two 
quintets  and  three  quartets  for  piano 
and  strings;  a  quintet  and  four  quar- 
tets for  strings;  Divertimento  for 
flute  and  strings  composed  for  the 
Philharmonic  Club,  New  York;  three 
sonatas  for  violin,  and  one  for  cello, 
all  with  piano.  Other  works  are  four 
symphonies;  an  overture,  Waldmeis- 
ter's  Bridal  Tour;  a  concerto  for  vio- 
lin, which  was  played  in  Boston  under 
Paur;  a  concerto  for  piano;  and  a 
number  of  choral  works  much  in  use 
in  Germany,  among  which  may  be 
named,  Salamis,  for  male  voices, 
barytone  solo,  and  orchestra;  Roman 
Funeral;  Odin's  Ride  on  the  Sea;  The 
Grave  in  the  River  and  Busento,  all 
for  male  chorus  and  orchestra;  Hafis, 
for  solos,  chorus  and  orchestra; 
Watch-Song,  for  male  chorus  and 
orchestra;  Northern  Summer-night; 
Cradle  Song  of  the  Nornen  (the  last 
two  for  mixed  chorus  and  orchestra); 
Crossing  of  the  Nibelungen;  Agrip- 
pina,  for  alto  solo,  chorus  and  orches- 
tra; Phoebus  Apollo;  A  Song  of 
Praise;  Salve  regina,  for  soprano  solo 
and  women's  voices;  a  fantasie  and 
fugue  for  organ;  piano  music,  and 
songs.  Gernsheim  is  much  esteemed 
as  both  performer  and  composer,  and 
has  received  many  honors  and  dec- 
orations. 

Gerster  (ger'-shter),  Etelka.     1855- 

Famous  operatic  soprano,  born  at 
Kaschau,  Hungary,  studied  at  the 
Vienna     Conservatory     under     Mmc. 


286 


BIOGRAPHIES 


Gerster 

Marchesi,  during  which  period  Verdi 
prophesied  a  brilliant  career  for  her. 
On  her  graduation  she  won  all  the 
prizes  offered  in  her  branches,  and 
in  the  season  of  1875  and  1876  made 
her  debut  as  Gilda  in  Rigoletto,  and 
as  Ophelia  in  Hamlet,  with  such  re- 
markable success  that  she  was  offered 
a  three  years'  engagement  by  the 
director  of  the  Paris  Opera.  Carlo 
Gardini,  with  whom  she  had  already 
signed  a  five  years'  contract,  accepted 
the  engagement  for  her;  but  a  long 
delay  awaited  her  in  Paris,  whither 
she  had  gone  to  study  the  part  of 
Ophelia  in  French  under  the  com- 
poser, Ambroise  Thomas,  and  she 
finally  canceled  the  engagement.  She 
next  appeared  at  the  Italian  Opera  in 
Madrid,  but  owing  to  the  rude  outcry 
raised  at  the  beginning  of  the  per- 
formance by  the  people  in  the  pit  and 
galleries  she  was  disheartened,  and 
could  not  do  her  best.  She  was,  how- 
ever, consoled  by  an  invitation  from 
the  King  to  sing  at  a  Court  concert, 
where  all  the  nobility  were  present, 
and  also  by  a  valuable  gift  from  him. 
She  sang  next  at  Marseilles;  then  at 
Genoa,  where  she  was  engaged  for 
the  winter,  making  a  striking  impres- 
sion in  La  Sonnambula  and  I  Puritani, 
and  receiving  much  encourage- 
ment from  Verdi.  She  next  appeared 
in  Kroll's  Theatre,  Berlin,  in  Italian 
opera,  under  the  management  of 
Gardini,  which  brought  her  into 
greater  prominence  and  she  was  in- 
vited to  sing  at  court.  In  1877  she 
married  Gardini  at  Pesth,  and  sang 
the  same  year  in  Breslau.  For  several 
seasons  she  sang  at  Her  Majesty's 
Theatre  in  London,  and  made  tours 
through  Europe  and  America,  appear- 
ing in  all  the  large  cities.  She  visited 
the  United  States  three  times,  in  1878, 
1883  and  1887,  accompanied  by  her 
husband,  and  was  called  the  Hunga- 
rian Nightingale.  Gerster  retired  from 
the  stage  about  1890,  and  in  1896 
opened  a  school  for  singing  in  Berlin. 
She  possessed  dramatic  talent  as  well 
as  a  beautiful  voice,  and  was  a  skil- 
ful coloratura  singer. 

Gevaert  (zhu-vart'),  Francois  Auguste. 
1828- 

Belgian  composer  and  musical  scien- 
tist; was  born  at  Huysse,  near  Oude- 
narde.  He  studied  at  the  Ghent 
Conservatory  from  1841  to  1847,  piano 
under  Sommere  and  harmony  under 
Mengel,  winning  first  prize  for  piano 


Gialdini 
in  1843,  and  the  Grand  Prize  of  Rome 
in  1847.  At  the  age  of  fifteen  he  had 
become  organist  of  the  Jesuits' 
Church  of  Ghent  and  in  1848  produced 
operas  at  Brussels  with  some  meas- 
ure of  success  The  next  year,  1849, 
he  went  to  Paris,  and  receiving  there 
a  commission  to  write  an  opera  for 
the  Theatre  Lyrique,  he  left  in  1850 
for  Spain,  where  he  wrote  a  Fantasia 
sobre  motivos  espanoles,  for  which 
the  Order  of  Isabella  le  Catolica  was 
conferred  upon  him.  He  also  wrote 
a  treatise.  Rapport  sur  la  situation  de 
la  musique  en  Espagne,  published  at 
Brussels  in  1851.  After  short  periods 
of  residence  in  Italy  and  Germany,  he 
returned  to  Ghent  in  1852,  and  during 
the  next  nine  years  brought  out  as 
many  operas,  chiefly  in  Paris,  with 
much  success.  His  festival  cantata 
for  the  twenty-fifth  anniversary  of 
Leopold's  reign  won  him  the  Order 
of  Leopold  in  1857.  In  1867  he  was 
chosen  director  of  the  Grand  Opera, 
Paris,  which  was  closed  by  the  war 
of  1870.  The  next  year,  after  his 
return  to  Germany,  he  succeeded 
Fetis  as  director  of  the  Brussels  Con- 
servatory, where  he  reformed  some 
of  the  conditions  in  the  school,  and 
thereafter  confined  his  efforts  to  the 
duties  of  this  position  and  to  musical 
history  and  theory.  In  1873  he  was 
elected  a  member  of  the  Academic 
des  Beaux  Arts. 

His  operas  are  Georgette;  Le  Billet 
de  Marguerite;  Les  Lavandieres  de 
Santarem;  Quentin  Durward;  Le 
diable  au  Moulin;  Chateau  Trompette; 
La  poularde  de  Caux;  Le  Capitaine 
Henriot;  and  Les  Deux  Amours.  He 
also  composed  two  cantatas,  a  re- 
quiem for  male  voices  and  orchestra, 
choruses,  ballads  and  songs.  His 
theoretical  works  are  Leerboek  van 
den  Gregoriaenscher  zang;  Traite  d' 
instrumentations;  Les  Gloires  d'ltalic, 
a  collection  of  songs  from  operas  and 
cantatas,  by  Italian  composers  of  the 
Seventeenth  and  Eighteenth  Cen- 
turies, with  biographical  sketches; 
Histoire  et  Theorie  de  la  musique 
dans  I'Antiquite;  Les  Origines  du 
Chant  Liturgique,  and  various  con- 
tributions to  periodicals.  He  is  con- 
sidered a  thorough  and  capable 
musician  and  is  much  respected  for 
his  learning. 

Gialdini   (jal-de'-ne),  Gialdino.     1843- 

Italian     conductor    and    composer; 

was   born   at   Pescia,   and   studied  at 


BIOGRAPHIES 


287 


Gialdini 

Florence  with  Mabellini.  He  won  a 
prize  offered  by  the  Pergola  Theatre 
of  that  city  for  the  best  opera,  with 
Rosmunda,  which  met,  however,  with 
an  unfavorable  reception  when  pro- 
duced in  1868.  His  next  works,  com- 
posed in  collaboration  with  others, 
were  two  comic  operas.  La  Secchia 
rapita,  produced  in  1872,  and  L'idolo 
cinese,  in  1874.  For  some  years  after- 
ward he  gave  his  time  and  attention 
to  conducting,  and  was  far  more  suc- 
cessful in  that  line  of  work;  but  since 
about  1890  he  returned  to  composi- 
tion, and  his  later  operas,  I  due  soci, 
given  at  Bologna,  in  1892,  and  La 
Pupilla,  at  Trieste,  in  1896,  were  suc- 
cessful. Besides  these  operas  he  has 
written  a  menuetto  for  strings; 
Preghiera  di  Sera,  for  orchestra,  and 
published  a  collection  of  fifty  folk- 
songs under  the  name  Eco  dello 
Lombardia. 

Giardini  (jar-de'-ne),  Felice  de.    1716- 

1796. 

Eminent  Italian  violinist  and  com- 
poser for  his  instrument;  was  born 
at  Turin;  was  choir-boy  in  the  Cathe- 
dral at  Milan,  where  he  was  a  pupil 
of  Paladini  in  harpsichord,  composi- 
tion and  singing;  he  afterward  re- 
turned to  Turin  and  studied  violin 
under  Somis.  He  played  in  the  or- 
chestra of  an  opera  at  Rome,  and  later 
in  that  of  the  Theatre  San  Carlo, 
Naples.  Beginning  in  1748  he  made  a 
tour  in  Germany  and  France,  winning 
great  favor  in  Paris,  and  appeared  in 
London  in  1750,  according  to  most 
authorities,  with  the  greatest  success. 
Brilliancy  of  execution  and  purity  of 
tone-quality  are  said  to  have  been 
the  prominent  points  in  his  playing. 
Upon  the  death  of  Festing,  in  1752, 
he  became  leader  of  the  Italian  Opera 
in  London,  and  four  years  later  un- 
dertook its  management;  failing  in 
this  financially,  he  returned  to  concert 
work,  but  shouldered  the  management 
again  from  1763  to  1765.  As  a  con- 
ductor he  was  thoroughly  successful, 
and  in  addition  to  playing  and  teach- 
ing he  conducted  the  Pantheon  con- 
certs from_  1774  to  1780,  and  in  1782 
resumed  his  first  position  at  the  Ital- 
ian Opera.  Within  the  next  two 
years  he  went  to  Italy,  but  in  1790  he 
returned  to  London;  attempted,  but 
failed  to  establish  an  Italian  light 
opera  there,  after  which  he  took  his 
troupe  to  Russia,  and  died  in  Moscow. 
Giardini    composed    several     operas, 


Gibbons 

produced  in  London  with  small  suc- 
cess; also  an  oratorio,  Ruth;  a  num- 
ber of  songs  and  some  chamber-music; 
but  his  best  works  were  written  for 
violin,  though  they  shared  the  com- 
mon Italian  fault  of  over-elaboration, 
and  as  a  composer  he  is  interesting 
only  in  a  historical  sense. 

Gibbons,   Orlando.    1583-1625. 

Noted  English  organist  and  com- 
poser; was  born  at  Cambridge.  He 
sang  in  the  choir  of  King's  College, 
Cambridge,  in  1596,  and  became  or- 
ganist of  the  Chapel  Royal  in  1604. 
The  degree  of  Doctor  of  Music  was 
conferred  on  him  at  Oxford  in  1622, 
and  in  1623  he  was  organist  of  West- 
minster Abbey.  He  died  at  Canter- 
bury, where  he  had  been  summoned 
to  appear  at  the  production  of  his 
festival  music  for  the  wedding  of 
Charles  I. 

His  elder  brother,  Edward,  born 
about  1570,  graduated  as  Bachelor  of 
Music  at  Cambridge,  and  in  1592  be- 
came organist  and  choirmaster  of 
King's  College,  later  organist  of 
Bristol  Cathedral,  and  in  1609  at 
Exeter.  A  few  of  his  compositions 
remain  in  manuscript  at  Oxford  and 
the  British  Museum. 

Christopher,  son  of  Orlando  Gib- 
bons, was  born  in  1615,  was  organist 
of  Winchester  Cathedral  from  1638 
to  1644,  and  in  1660  became  organist 
of  the  Chapel  Royal  and  Westminster 
Abbey.  A  few  of  his  compositions 
remain  in  manuscript,  but  he  was 
chiefly  known  as  an  organist.  His 
best  compositions  were  sacred,  and 
his  style  grand  and  dignified,  but 
lacking  in  freshness,  and  somewhat 
overburdened  with  a  pedantic  use  of 
counterpoint.  Orlando  Gibbons  was 
the  last  of  the  early  school  of  Eng- 
lish church  composers,  and  has  been 
called  the  English  Palestrina.  His 
sacred  compositions  are  learned  and 
contrapuntal,  but  considerably  better 
than  those  of  his  contemporaries,  and 
he  has  been  ranked  by  some^  writers 
as  a  genius.  His  anthem,  O  Clap 
Your  Hands,  is  still  in  use,  and 
Hosanna  was  spoken  of  in  the  middle 
part  of  the  Nineteenth  Century  as  a 
model  of  its  kind.  He  is  considered 
one  of  the  greatest  of  English  musi- 
cians. "  In  imagination,  fancy,  scien- 
tific knowledge,  and  in  his  power  ot 
concentration,"  says  Lahee,  in  The 
Organ  and  Its  Masters,  "  he  may  be 
considered  the  musical  Shakespeare  of 


288 


BIOGRAPHIES 


Gibbons 
his  age."  His  compositions  include 
Morning  and  Evening  Service  in  F; 
Te  Deum  and  Jubilate  in  D  minor; 
Venite  exultemus  in  F;  Magnificat  and 
Nunc  dimittis  in  D  minor  and  in  F; 
Te  Deum  and  Benedictus  in  F;  and 
the  anthems,  Hosanna;  Almighty  and 
Everlasting  God;  and  O  Lord  In- 
crease Our  Faith.  He  also  published 
a  number  of  collections,  wrote  a  few 
pieces  for  the  harpsichord,  which  are 
of  historical  value  only,  and  many 
madrigals. 

Gigout   (zhe-goo),  Eugene.     1844. 

Eminent  French  organist  and  com- 
poser; was  born  at  Nancy,  France, 
and  received  his  first  musical  instruc- 
tion from  the  organist  of  the  town 
cathedral.  At  the  age  of  thirteen  he 
entered  the  Niedermeyer  School  of 
Religious  Music  in  Paris,  where  he 
studied  and  afterward  taught,  for 
more  than  twenty  years  altogether. 
It  is  stated  that  he  was  a  favorite 
pupil  of  Niedermeyer,  and  became  in 
time  his  son-in-law.  He  also  took 
some  lessons  of  Saint-Saens.  In  1863 
he  became  organist  of  the  Church  of 
St.  Augustin,  one  of  the  most  promi- 
nent churches  in  Paris,  and  while  in 
that  position  also  traveled  as  a  con- 
cert organist  in  Germany,  Switzer- 
land, England,  Spain  and  Italy,  as 
well  as  in  his  own  country.  In  1885 
he  established  an  organ  school  in 
Paris,  which  received  financial  assist- 
ance from  the  government,  and  of 
which  a  number  of  graduates  have 
won  distinction.  Gigout's  playing  is 
characterized  by  warmth  and  clearness 
in  interpreting  the  classic  works,  such 
as  those  of  Bach,  as  well  as  in  the 
modern  school,  while  he  excels  in  im- 
provisation. His  extempore  playing 
IS  described  by  Clarence  Eddy  as  at 
once  scholarly  and  full  of  imagination 
and  feeling,  that  of  an  undoubted  vir- 
tuoso. Eddy  ranks  him  with  Widor 
and  Guilmant  as  a  player.  As  a  com- 
poser, however,  his  style  is  rigidly 
classical.  His  most  noted  work  is 
the  Album  Gregorien  in  two  volumes, 
containing  over  three  hundred  pieces 
of  organ  music;  other  valuable  collec- 
tions for  organ  are  Pieces  breves,  a 
volume  of  plain-song  compositions, 
and  L'Orgue  d'figlise.  In  addition  to 
these  he  has  published  numerous  tran- 
scriptions; considerable  vocal  music; 
church-music;  a  sonata  for  the  piano; 
and  a  meditation  for  violin  and  or- 
chestra. 


Gilbert 


GUbert,  Walter  Bond.    1829- 

English  composer,  organist  and 
writer;  was  born  at  Exeter,  and 
studied  under  Alfred  Angel,  Dr.  Wes- 
ley and  Sir  Henry  Bishop.  He  was 
organist  at  Topham  about  1845,  and 
after  holding  five  other  similar  posi- 
tions in  his  native  country,  covering 
a  period  of  nearly  twenty-five  years, 
he  came  to  New  York  to  become 
organist  of  Trinity  Episcopal  Church. 
On  revisiting  England  in  1888  the  de- 
gree of  Doctor  of  Music  was  con- 
ferred on  him  by  Oxford,  where  he 
was  graduated  in  1854.  Bond's  talent 
as  a  composer  was  marked  in  youth; 
at  seventeen  he  composed  a  full  cathe- 
dral service,  used  in  two  prominent 
English  churches.  Other  works  com- 
prise two  oratorios,  St.  John,  and  The 
Restoration  of  Israel;  the  Psalter,  or 
Psalms  of  David;  a  number  of 
anthems;  church  services;  organ  solos; 
the  well-known  hymn  tune  of  Maid- 
stone; and  several  historical  works, 
including  The  Antiquities  of  Maid- 
stone, and  Memorials  of  Maidstone 
Church. 

Gilbert,  William  Schenck.    1836- 

English  writer,  dramatist  and  opera 
librettist,  who  for  a  quarter  of  a  cen- 
tury collaborated  with  Sir  Arthur  Sul- 
livan in  the  production  of  a  succession 
of  operettas,  which  captivated  the 
English-speaking  world  and  stamped 
English  operetta  as  an  art  form  to  be 
considered  seriously.  Gilbert  was  born 
in  London  and  was  educated  at  the 
London  University,  graduating  with 
the  degree  of  Bachelor  of  Arts  at  the 
age  of  nineteen.  He  is  said  to  have 
passed  most  of  his  time  while  at 
school  between  play-writing  and  fight- 
ing, always  being  of  a  decidedly 
pugnacious  disposition.  At  college  he 
won  a  few  prizes.  After  his  grad- 
uation he  was  a  clerk  in  the  Privy 
Council  oflSce  from  1857  to  1862,  and 
was  called  to  the  bar  in  1864,  becom- 
ing a  barrister  at  Inner  Temple.  In 
1861  he  joined  the  staff  of  Fun,  a 
comic  weekly,  and  to  its  columns 
contributed  the  Bab  Ballads,  some  of 
which  found  their  way  into  his  oper- 
ettas later,  to  be  set  to  Sir  Arthur 
Sullivan's  music,  others  having  been 
since  published  in  book  form.  He 
was  most  versatile,  often  illustrating 
his  verses  with  little  pen  sketches, 
which  were  pronounced  "  inimitably 
Gilbertian."  In  several  of  the  ballads 
Gilbert  touched  upon  situations  which 


BIOGRAPHIES 


289 


Gilbert 

he  afterward  elaborated  in  his  comic 
operas.  In  1867  he  was  married  to 
Lucy  Agnes  Turner,  a  daughter  of 
Captain  Turner,  but  the  marriage 
proved  unhappy.  The  following  year 
Mr.  Gilbert  was  appointed  captain  of 
the  Royal  Aberdeenshire  Highs 
(Militia).  He  wrote  for  numerous 
London  periodicals  and  newspapers, 
and  in  1868  became  dramatic  critic 
for  two  of  the  London  papers,  but 
shortly  afterward  resigned  both  posi- 
tions. During  this  period  Gilbert  was 
constantly  writing  plays  and  farce 
comedies  and  society  dramas.  In  one 
of  his  most  ambitious  pieces,  Pygma- 
lion and  Galatea,  Mr.  and  Mrs.  Ken- 
dall, the  eminent  English  actors,  made 
their  reputation  on  the  stage. 

In  1871  Gilbert  first  met  Sullivan, 
then  firmly  established  as  one  of  Eng- 
land's foremost  composers.  This 
meeting  was  the  beginning  of  a  long 
partnership  with  Sullivan  and  D'Oyley 
Carte,  the  latter  of  whom  built  for 
the  collaborators  the  famous  London 
Savoy  Theatre,  for  the  production  of 
their  operettas.  The  first  work  they 
collaborated  upon  was  Thespis,  or 
The  Gods  Grown  Old,  which  received 
its  first  performance  at  the  London 
Gaiety  Theatre  in  1871.  Four  years 
later  they  wrote  jointly,  Trial  by  Jury, 
for  D'Oyley  Carte.  This  was  a  great 
success.  The  Sorcerer  was  given  in 
1877  and  was  the  first  of  a  long  series 
of  Savoy  Theatre  operas.  Following 
it  came,  perhaps,  the  collaborators' 
greatest  success.  Her  Majesty's  Ship, 
Pinafore,  then  Pirates  of  Penzance; 
lolanthe;  Princess  Ida;  then  another 
great  success.  The  Mikado;  Ruddy- 
gore;  Yeomen  of  the  Guard;  and  The 
Gondoliers.  After  the  production  of 
the  last  named,  Sullivan  and  Gilbert 
had  their  first  diflferences,  and  each 
decided  to  go  his  own  way.  Alone, 
they  never  did  as  good_  work.  Their 
quarrels  were  finally  adjusted  through 
the  friends  of  both  and  they  once  more 
combined  forces  and  brought  out 
Utopia,  Limited,  which  was  well 
received,  as  the  other  operas  had 
been.  Again  they  parted  company, 
and  again  united  in  the  opera.  The 
Grand  Duke,  produced  in  1896,  but  it 
too  plainly  bore  the  marks  of  having 
been  written  to  order,  and  was  not 
the  success  the  others  had  been.  The 
separation  was  final  this  time  and 
Gilbert  and  Sullivan  parted  never  to 
unite  again.  After  the  final  separa- 
tion   Gilbert    turned    to    drama,    but 


Gilchrist 
added  little  or  nothing  to  his  fame. 
Of  late  years  Gilbert  has  filled  the 
position  of  justice  of  the  peace  in  the 
County  of  Middlesex,  and  enjoyed 
the  life  of  an  English  gentleman  of 
leisure.  His  estate  is  at  Grim's  Dyke, 
on  Harrow  Weald,  very  near  the  place 
where  Byron  passed  his  school-days. 
Gilbert  and  Sullivan  made  the  oper- 
etta as  characteristic  a  form  as  opera 
bouflfe,  and  it  is  as  distinctly  English 
as  the  latter  is  French.  They  had 
many  imitators,  but  never  in  the  his- 
tory of  the  stage  has  anything  reached 
the  vogue  that  the  Gilbert  and  Sulli- 
van operettas  enjoyed  so  long.  The 
up-to-dateness  of  the  libretto  had  a 
great  deal  to  do  with  its  success  and 
this  of  course  was  due  to  Gilbert. 
His  plays  had  a  neatness  of  dialogue, 
much  originality  and  his  ability  to  hit 
off  the  foibles  of  the  day  and  to  satir- 
ize society's  follies  found  an  immedi- 
ate audience.  In  Pinafore  he  gave 
rnany  sly  digs  at  the  red  tape  prac- 
tised in  the  British  navy,  and  in 
Patience  he  satirized  the  aesthetic 
craze  in  England  during  the  70s.  In 
all  their  operettas  Gilbert  and  Sulli- 
van did  all  in  their  power  to  wipe 
out  the  grosser  element  from  the  stage 
and  their  plays  were  clean  and  whole- 
some, as  well  as  clever  and  tuneful. 
While  Gilbert  brought  out  many  plays 
that  were  more  or  less  successful, 
his  efforts  in  comic  opera  completely 
overshadowed  his  work  in  other 
lines,  and  it  is  as  the  author  of  the 
librettos  of  the  Gilbert  and  Sullivan 
Savoy  operas  that  he  will  live  in 
memory. 

♦Gilchrist,  William  Wallace.     1846- 

American  organist,  conductor  and 
composer;  was  born  in  Jersey  City, 
New  Jersey,  of  Canadian  descent  on 
his  father's  side,  and  was  a  pupil  of 
H.  A.  Clarke  at  the  University  of 
Pennsylvania.  At  one  time  he  was 
barytone  soloist  in  Holy  Trinity 
Church  and  of  St.  Mark's,  Philadel- 
phia, and  was  successful  as  a  soloist 
in  oratorio.  In  1872  he  went  to  Cin- 
cinnati, taught  for  a  year  in  the  Con- 
servatory, and  was  also  choirmaster 
of  the  First  New  Jerusalem  Society. 
On  his  return  to  Philadelphia  he  be- 
came choirmaster  of  St.  Clement's 
Church,  where  he  remained  till  1877, 
when  he  took  the  position  of  organist 
and  choirmaster  of  Christ  Church, 
Germantown,  Pa.,  and  in  1882  added 
to  this  work  that  of  an  instructorship 


290 


BIOGRAPHIES 


Gilchrist 
in  the  Philadelphia  Musical  Academy. 
He  has  conducted  the  following:  The 
Philadelphia  Festival  Chorus,  Am- 
phion  Society,  The  Arcadian,  Mendels- 
sohn Club,  Germantown  Choral,  and 
the  West  Philadelphia  Choral.  He  is 
not  only  an  excellent  conductor,  as  at- 
tested by  the  work  of  the  Mendels- 
sohn Club  in  particular,  but  also 
stands  in  the  first  rank  of  American 
composers.  Although  he  never  stud- 
ied abroad  he  is  a  finished  contra- 
puntist, in  fact,  somewhat  formal  in 
style.  None  of  his  music  was  pub- 
lished till  he  was  thirty-two  years  old; 
he  then  took  two  prizes  offered  by 
the  Abt  Male  Singing  Society  of  Phil- 
adelphia, and  soon  afterward  three 
offered  by  the  Mendelssohn  Glee  Club, 
New  York,  in  1880,  with  his  Ode  to 
the  Sun,  In  Autumn,  and  The  Journey 
of  Life.  The  Uplifted  Gates,  a  mixed 
chorus  with  soprano  and  alto  solos, 
is  another  of  his  best  works;  and  his 
settings  of  the  Forty-sixth  Psalm  re- 
ceived the  Cincinnati  Festival  Prize  in 
1882,  the  judges  being  Saint-Saens, 
Theodore  Thomas,  and  Reinecke. 
Other  choruses  are  The  Sea  Fairies, 
for  women's  voices,  with  four-hand 
piano  accompaniment;  and  The  Foun- 
tain, also  for  women's  voices,  which 
has  been  called  a  "  surpassingly  beau- 
tiful work,  graceful  and  silvery  as  a 
cascade."  Hughes,  however,  consid- 
ers his  best  chorus  to  be  The  Legend 
of  the  Bended  Bow,  set  to  a  war- 
chant  of  Mrs.  Hemans,  speaking  of  it 
as  one  of  the  best  things  of  the  kind 
done  in  America,  full  of  "intense  and 
epic   power,   almost   savagery." 

Other  compositions  include  A  Song 
of  Thanksgiving,  for  chorus  and 
orchestra;  a  cantata.  The  Rose;  trio, 
Spring  Song;  Prayer  and  Praise,  and 
Easter  Idyll,  both  cantatas;  a  suite 
for  piano  and  orchestra;  a  symphony 
in  C;  a  quintet;  a  trio;  and  a  nonet, 
for  piano  and  strings.  This  nonet  is 
said  to  be  especially  original  and 
beautiful,  and  the  scherzo  movement 
of  the  quintet  to  resemble  Bee- 
thoven's music  in  his  humorous 
moods.  Gilchrist  has  also  written  two 
hundred  or  more  songs ;_  the  single 
songs  have  been  said  to  indicate  his 
early  training  in  hymns.  Some  of  the 
best  solos  are  A  Song  of  Doubt,  and 
A  Song  of  Faith;  The  Two  Villagers; 
A  Dirge  for  Summer;  and  a  setting 
of  Burns'  My  Heart  is  Sair.  A  group 
of  eight  songs  is  more  of  the  modern 
type.     Gilchrist  has   been  called   the 


Gilmore 
Mendelssohn  of  America;  whik  not 
an  imitator  of  Mendelssohn,  he  is  "a 
classicist  touched  by  the  revivifying 
finger  of  Romanticism."  Much  of  his 
instrumental  music  is  unpublished. 

Gilmore,  Patrick  Sarsfield.    1829-1892. 

Popular  American  bandmaster  of 
Irish  birth.  Went  to  Canada  with  an 
English  band,  of  which  he  was  a 
member,  and  from  there  to  Salem, 
Massachusetts,  where  he  soon  became 
a  military  band  leader.  In  1859  he 
went  to  Boston,  where  he  organized 
the  celebrated  Gilmore's  band,  which 
he  brought  to  an  excellent  standard 
of  playing.  In  1864,  during  the  Civil 
War,  he  gave  a  festival  at  New  Or- 
leans, where  he  was  a  bandmaster  in 
the  Federal  army,  utilizing  a  number 
of  military  bands  as  one,  and  produc- 
ing the  effect  of  gigantic  drums  with 
guns  fired  by  electricity.  This  same 
device  was  later  used  in  the  National 
Peace  Jubilee  at  Boston,  in  1869, 
where  he  organized  an  orchestra  of 
one  thousand  and  a  chorus  of  ten 
thousand;  and  in  the  World's  Peace 
Jubilee,  1872,  also  in  Boston,  just 
doubling  the  previous  number  of  play- 
ers and  singers.  Cannons,  a  powerful 
organ,  a  drum  eight  feet  in  diameter, 
anvils,  and  chimes  of  bells  were  also 
added  to  the  stupendous  whole.  The 
festival  occupied  five  days.  Patriotic 
airs,  selections  from  the  great  works 
of  Handel,  Mozart,  Mendelssohn, 
Gounod,  and  the  best  opera  compos- 
ers were  mingled  in  the  programs, 
that  of  the  fourth  day  being  wholly 
classical,  and  including  the  Gloria 
from  Mozart's  Twelfth  Mass  and  Bee- 
thoven's Fifth  Symphony,  given  by 
the  orchestra. 

On  the  fifth  day,  Saturday,  a  chorus 
of  ten  thousand  school  children  gave 
the  greater  part  of  the  program,  as- 
sisted by  the  orchestra  and  the  solo- 
ists. These  performances,  humor- 
ously characterized  by  Louis  Elson, 
in  his  National  Music  of  America  as 
"  art  by  the  wholesale,"  nevertheless 
were  an  ultimate  influence  for  good 
music  throughout  the  United  States 
in  general,  as  many  singers  from  the 
villages  and  country  districts  who  had 
scarcely  heard  the  names  of  Mozart 
and  Beethoven,  flocked  to  join  the 
huge  choruses,  and  received  impres- 
sions that  remained  with  them  and 
later  benefited  their  home  choirs  and 
schools.  Their  more  immediate  re- 
sult  was   to   make   Gilmore's  reputa- 


BIOGRAPHIES 


291 


Gilmore 
tion  international.  He  next  went  to 
New  York,  and  there  became  leader 
of  a  large  military  band  with  which 
he  toured  the  United  States,  and,  in 
1878,  Europe.  It  is  said  that  his  band 
was  the  first  to  play  the  Tannhauser 
overture.  He  had  charge  of  bands  or 
orchestras  in  various  New  York  gar- 
dens, and  at  summer  resorts  in  that 
vicinity.  Many  of  his  compositions, 
including  military  and  dance  music 
and  songs,  became  very  popular;  he 
also  arranged  numerous  works  for 
band,  and  wrote  a  history  of  the 
Peace  Jubilee  of  1869,  and  a  work  on 
scales  for  the  cornet. 

*GiIson  (zhel-son),  Paul.    1865- 

Belgian  composer;  born  at  Brus- 
sels; was  largely  self-taught,  but  stud- 
ied harmony  and  counterpoint  under 
the  director  of  the  Brussels  Conserv- 
tory.  In  1889  his  cantata,  Sinai,  won 
the  Grand  Prize  of  Rome,  and  created 
great  interest  on  its  performance  in 
Brussels  in  1890.  In  1889  he  became 
professor  of  harmony  and  theory  in 
the  Royal  Conservatory  of  that  city, 
and  in  1904,  in  the  Conservatory  of 
Anvers,  which  positions  he  still  occu- 
pies. In  1906  he  was  appointed  musi- 
cal editor  of  the  Soir,  and  in  1907 
professor  of  orchestration  and  instru- 
mentation at  the  Ixelles  School  of 
Music.  His  compositions  are  as  fol- 
lows: For  orchestra:  Dramatic 
Overture;  Festival  Overture;  Fan- 
tasie  on  Canadian  melodies;  a  Scotch 
dance  and  rhapsody;  La  Mer  (The 
Sea),  a  sketch,  or  group  of  symphonic 
sketches;  an  andante  and  presto  on 
the  theme  Brabanqon;  a  humoresque 
for  wind-instruments,  frequently  per- 
formed in  the  Brussels  Conservatory; 
three  scherzos;  a  Festival  March;  an 
Inaugural  Fanfare;  eight  suites;  a 
third  overture;  symphonic  poem, 
Halia;  symphonic  poem,  Destiny;  two 
Slavonic  dances;  a  Cavatina;  a  suite 
ballet;  a  suite  rustique;  variations; 
and  a  symphonic  waltz,  Alvar.  For 
strings:  Three  Scotch  melodies; 
Pizzicati;  Zabara  polka;  serenade  for 
cello;  two  Flemish  melodies;  a  Pre- 
lude and  Scherzo;  an  Elegie;  alia 
marcia;  and  rhapsody.  For  violin  and 
piano;  Berceuse;  Prelude;  Barca- 
rolle; and  Romance.  For  harp:  A 
Prelude  and  suite.  For  brass  instru- 
ments: Military  fanfare;  processional 
march;  polka  fantastic;  alia  Polacca; 
Overture  to  Richard  III.;_  fantasia; 
and  variations.  For  harmonium:   Two 


Giordani 
books  of  Preludes.  For  wood  and 
horns:  Suite  Norwegienne;  and  two 
humoresques,  probably  including  the 
one  mentioned  under  orchestral  works., 
For  trumpets  alone:  Concertstiick; 
and  scherzo.  For  saxophone:  A  con- 
certo. His  operas  include  Le  Demon; 
Le  Captive;  Les  Pauvres  Gens; 
Prinses  Zonneschyn;  and  Gens  de 
Mer  (People  of  the  Sea),  after  Victor 
Hugo.  He  has  written  incidental 
music  to  Hiel's  Alvar,  and  to  a  five- 
act  drama,  Liefdebloem;  also  two  bal- 
lets. Among  his  choral  works  are 
Marine;  Ballade  Frangaise;  Song  of 
the  Forge;  Inaugural  Cantata;  Sinai; 
Let  There  be  Light;  Moses;  and  a 
dramatic  oratorio,  Francesca  da  Ri- 
niini.  Also  a  number  of  sohgs  with 
piano  accompaniment.  Arthur  Elson, 
in  his  Modern  Composers  of  Europe, 
calls  especial  attention  to  the  ora- 
torio, Francesca  da  Rimini,  as  a  work 
displaying  "  great  strength,  a  strength 
almost  excessive  and  at  times  too 
much  in  evidence.  But  the  skill  in 
orchestration,  the  variety  of  combi- 
nations,_  and  the  marvelous  invention 
shown  in  the  harmonic  progressions 
all  stamp  the  work  as  a  masterpiece." 
Gilspn  is  called  by  one  writer  the 
"  spiritual  descendant  of  the  young 
Russian  school." 

Giordani  (j6r-da-ne),  Giuseppe.    1744- 

1798. 

Italian  opera  composer;  born  at 
Naples;  studied  at  the  Conservatory 
of  Loreto,  at  Naples.  His  first  opera 
was  produced  at  Pisa  in  1771.  In 
1772  he  went  to  London,  where  he 
remained  for  ten  years,  teaching  and 
composing  many  works,  then  returned 
to  Italy,  continuing  to  compose;  and 
in  1791  he  became  chapelmaster  at 
Fermo  Cathedral,  where  he  remained 
until  his  death.  He  was  a  most  pro- 
lific composer,  producing  about  thirty 
operas  performed  in  Rome,  Venice, 
many  other  Italian  cities,  and  T.ondon, 
where  his  II  Bacio  was  especially 
popular.  His  compositions  include 
rnuch  chamber-music;  string  quartets; 
violin  concertos;  thirty  trios;  piano 
sonatas  for  two  and  four  hands;  five 
books  of  vocal  solos;  soprano  duets; 
exercises  and  preludes  for  piano;  and 
a  considerable  amount  of  manuscript, 
chiefly  sacred  music. 

Giordani,  Tommaso.    1740-after  1816. 

Italian  opera  singer,  composer  and 
music  teacher.     Brother  of  preceding. 


292 


BIOGRAPHIES 


Giordan! 
Born  at  Naples,  came  of  a  musical 
family,  and  appeared  as  a  comic  opera 
singer  at  the  Haymarket  Theatre  in 
1762.  Taught  music  in  London  for 
some  time,  then  removed  to  Dublin, 
where  he  undertook  the  management 
of  an  opera  company,  later  giving 
this  up.  He  has  w^ritten  an  oratorio, 
Isaac;  and  the  operas.  The  Siege  of 
Gibraltar,  and  Perseverance;  a  num- 
ber of  compositions  for  orchestral  in- 
struments; and  piano-pieces  and  songs. 

♦Giordano  (j6r-da'-n6),  Umber  to. 
1867- 

Italian  dramatic  composer;  was  born 
at  Foggia;  studied  at  the  Conserv- 
atory of  Naples  under  Serrao,  and 
there  composed  an  opera,  Marina, 
which  was  performed  at  a  Sonzogno 
concert,  and  secured  a  publisher's  re- 
quest for  a  second.  The  ensuing 
melodrama,  Mala  Vita,  was  produced 
in  Rome  in  1892,  with  great  popular 
success.  Regina  Diaz,  given  at  Naples 
in  1894,  failed;  Andrea  Chenier,  con- 
sidered the  most  original  of  his  works, 
was  brought  out  at  Slilan  in  1896,  and 
was  much  more  successful.  After 
appearing  on  most  of  _  the  Italian 
stages  it  was  produced  in  Berlin  in 
1898,  and  in  English  in  London  in 
1903.  In  1897  Mala  Vita  reappeared 
at  Milan,  with  some  changes,  under 
the  name  II  Voto.  In  1898  Fedora, 
an  opera  based  on  Sardou's  drama  of 
that  name,  was  produced  with  suc- 
cess. Siberia,  which  has  excited 
much  comment,  was  first  produced 
at  Milan,  and  later  at  Genoa,  Naples, 
and  other  Italian  cities,  with  more 
success;  in  1905  it  was  given  at  Paris, 
and  in  1907  at  Leipsic.  In  Novem- 
ber, 1907,  his  latest  opera,  Marcella, 
was  produced  at  Milan,  after  which 
Giordano  set  to  work  on  another 
libretto  by  Victorien  Sardou,  Fes- 
tival of  the  Nile. 

Giorza  (jor'-tsa),  Paolo.    1838- 

Composer  of  ballet  and  dance  music; 
born  at  Milan,  was  the  pupil  of  his 
father,  an  organist  and  singer;  and 
with  the  exception  of  an  opera,  Cor- 
rado,  console  di  Milan,  that  was  a 
failure  when  produced  at  Milan  in 
1860,  confined  his  efforts  to  the  com- 
position of  dances,  marches,  and  bal- 
let music  of  the  best  Italian  type. 
More  than  forty  ballets  have  been 
written  by  him,  some  having  made  a 
decided  success  in  many  large  Euro- 
pean cities.     At  the  request  of  Gari- 


Gizziello 

baldi,  he  wrote  a  martial  hymn 
during  the  war  of  1866.  He  lived  for 
some  time  in  New  York  and  London, 
and  while  in  the  former  city  taught 
at  the  Metropolitan  Conservatory 
there.  W.  S.  B.  Mathews  states  that 
he  entered  the  Royal  Conservatory 
of  Music  at  Milan  at  the  age  of 
eleven,  graduating  at  seventeen,  and 
was  for  eight  years  assistant  musical 
director  of  the  Royal  Theatre  at  La 
Scala.  His  chief  ballets  are  Unfallo; 
I  Biachi  ed  i  Negir;  Un  aventura  di 
Carnevale  a  Pangi;  Farfalletta;  Cleo- 
patra; Fiammella;  and  many  others. 

Giovanelli     (jo-va-nel'-le),    Ruggiero. 
1560-unknown. 

Italian  composer,  and  chapelmaster; 
was  born  at  Velletri,  about  1560;  the 
precise  date  of  his  death  is  not  known. 
He  was  one  of  the  most  prominent 
masters  of  the  Roman  School.  In 
1587  he  was  chapelmaster  of  San 
Luigi  de'  Francesi  in  Rome,  and 
later  of  the  German  Collegiate  Church, 
and  in  1594  of  St.  Peter's,  succeeding 
Palestrina,  just  deceased.  In  1599  he 
became  a  singer  in  the  Papal  choir. 
His  compositions  are  chiefly  madri- 
gals, of  which  he  published  from  five 
to  six  collections  at  dates  ranging 
from  1585  to  1606,  also  a  book  of 
Canzonette  and  Villanelle.  Many  of 
his_  sacred  works  remain  in  manu- 
script in  the  Vatican,  including  masses, 
psalrn  and  motets.  Other  madrigals 
are  in  collections  by  Scotto  and 
Phalese.  The  last  date  at  which  he 
was  known  to  be  living  is  1615;  in 
that  year  he  published  a  revised  edi- 
tion of  Graduals  by  the  request  of 
Pope  Paul  V. 

Gizziello   (gid-zi-el'-lo),  Gioacchino 
Conti.    1714-1761. 

Conti,  one  of  the  most  celebrated 
Italian  soprano  singers  of  his  time, 
named  Gizziello  for  his  teacher,  Gizzi, 
was  born  at  Artino,  making  his  debut 
in  Rome,  1729,  where  he  sang  for  two 
years,  going  thence  to  Naples  about 
1732.  In  1736  he  appeared  in  Han- 
del's company  in  London,  singing  in 
various  parts  the  next  season,  and 
adding  to  his  already  fine  equipment 
by  making  a  study  of  Farinelli's  sing- 
ing, which  he  much  admired.  About 
six  years  later  he  went  to  Lisbon,  and 
in  1749  was  called  to  Madrid,  remain- 
ing there  for  several  years,  after 
which  he  returned  to  Lisbon.  He  re- 
tired to  private  life  in  Arpino  in  1753. 


BIOGRAPHIES 


293 


Gladstone 
Gladstone,   Francis    Edward.     1845- 

Noted  English  organist  and  com- 
poser of  church  music;  born  at  Sum- 
mertown,  near  Oxford;  was  a  pupil 
of  Dr.  S.  Wesley  from  1859  to  1864, 
and  then  became  organist  of  Holy 
Trinity  Church,  Weston-super-Mare. 
From  1866  to  1886  he  occupied  posi- 
tions as  organist  at  five  different 
churches,  including  five  years  at  Christ 
Church,  London.  In  1887  he  became 
a  Roman  Catholic,  and  was  director 
of  the  choir  of  St.  Mary  of  the 
Angels'  Church  at  Bayswater  till  1894. 
He  took  the  degree  of  Bachelor  of 
Music  in  1876,  and  Doctor  of  Music 
in  1879  from  Cambridge.  Became 
professor  of  counterpoint  at  Trinity 
College,  London,  in  1881,  and  of  har- 
mony and  counterpoint  at  the  Royal 
College  of  Music  in  1883.  Dr.  Glad- 
stone stands  in  the  first  rank  of  living 
English  organists,  and  has  composed 
much  music  for  the  church  service; 
an  overture;  and  some  chamber-music, 
all  in  manuscript;  a  chorus  with  or- 
chestral accompaniment,  "A  Wet 
Sheet  and  a  Flowing  Sea;"  and  three 
cantatas,  Philioni,  Nicodemus,  and 
Constance  of  Calais. 

Glareanus,  Henricus.     1488-1563. 

Celebrated  German  teacher  and 
writer  on  musical  theory,  whose  real 
name  was  Hcinrich  Loris.  Was  born 
at  Glarus,  whence  this  Latinized 
name;  was  a  pupil  in  the  Latin  School 
at  Berne,  afterward  studying  theology 
and  music,  the  latter  under  Cochlaus, 
at  Cologne.  In  1512  he  was  crowned 
poet  laureate  for  his  poem  written 
in  honor  of  Emperor  Maximilian  I. 
He  taught  various  subjects  in  Paris 
and  Basle,  including  philosophy  and 
mathematics,  and  settled  in  Freiburg 
in  1529,  where  he  lectured  on  history 
and  literature,  and  finally  retired. 
Learned  and  cultured,  he  was  a  most 
eminent  authority  on  musical  theory 
in  his  day,  and  wrote  several  works 
on  various  phases  of  the  subject,  the 
most  important  being  the  Dode- 
cachordon,  published  in  1547,  which 
advocated  twelve  modes  of  composi- 
tion in  church  music  instead  of  the 
eight  generally  mentioned.  It  is  his- 
torically valuable  in  regard  to  nota- 
tion as  well  as  musical  theory. 

*  Glazounow      (gla'-tsoo-nof),     Alex- 
ander Konstantinowitch.     1865- 

Eminent  composer,  the  greatest  of 
the   younger    Russian    School,    and   a 


Glazounow 

rival  of  his  former  teacher,  Rimsky- 
Korsakow.  He  was  born  at  St, 
Petersburg,  the  son  of  a  well-known 
bookseller  and  publisher,  and  began 
the  study  of  piano  at  nine  years  of 
age  with  Elenowsky,  who  supple- 
mented these  lessons  with  elementary 
theory.  Although  Glazounow  dis- 
played marked  ability  for  composition 
within  the  next  few  years,  he  entered 
the  Polytechnic  Institute  at  fourteen 
for  scientific  study.  About  this  time, 
however,  he  became  acquainted  with 
Balakirev,  who  recognized  his  genius, 
and  introduced  him  to  Rimsky-Kor- 
sakow,  under  whom  he  studied  com- 
position and  theory.  For  several  years 
he  pursued  both  his  general  and  musi- 
cal studies,  and  during  this  period 
composed  a  symphony,  which,  when 
produced  in  1882,  at  a  concert  in  St. 
Petersburg,  met  with  such  success 
that  he  decided  to  follow  music  as  a 
career.  His  patience  and  critical 
taste  in  composition  are  indicated  by 
the  fact  that  the  symphony  had  to  be 
reorchestrated  five  times  before  he 
would  allow  it  to  be  published.  His 
second  _  symphony  was  performed 
under  his  own  baton  at  a  Trocadero 
concert  in  Paris,  in  1889.  The  fourth 
was  brought  out_  in  1897  at  a  Lon- 
don Philharmonic  concert,  and  a 
fifth  at_  a  symphony  concert  in  the 
same  city  the  same  year.  His  first 
overture,  based  on  Greek  themes,  was 
performed  at  a  concert  of  the  Russian 
Musical  Society,  with  Anton  Rubin- 
stein as  conductor.  For  some  time 
he  lived  in  Germany,  and  was  seri- 
ously influenced  by  the  music  of 
Brahms  and  Wagner,  though  not  to 
the  extent  of  submerging  his  Russian 
individuality.  His  music,  however,  is 
more  cosmopolitan  than  the  works 
of  his  compatriots,  and  shows  from 
the  very  first,  a  mastery  of  technical 
means  seldom  attained  till  maturity. 
His  tendency  is  toward  classical  forms, 
yet  suggestive  of  the  realistic  school. 
While  his  harmonies  are  rich,  intri- 
cate and  original,  they  never  overbal- 
ance his  gift  of  melody,  which  is 
perhaps  at  its  best  in  a  melancholy 
vein.  His  early  works  are  character- 
ized also  by  a  strong  inclination 
toward  the  fantastic  and  imaginative, 
his  choice  of  themes  being  drawn 
largely  from  nature  and  from  Ori- 
ental sources. 

In  1899  he  became  professor  of  in- 
strumentation and  score-reading  at  the 
Conservatory  of  St.  Petersburg,  and 


294 


BIOGRAPHIES 


Glazounow 


is  now  one  of  the  directors  of  the 
Imperial  Russian  Music  Society.  He 
is  also  an  associate  conductor  of  the 
Russian  Symphony  concerts.  His 
official  duties  do  not,  however,  inter- 
fere with  his  creative  work,  and  for 
nearly  twenty  years  he  has  occupied 
a  position  in  the  front  rank  of  Russian 
composers.  He  is  an  honorary  mem- 
ber of  the  London  and  St.  Petersburg 
Philharmonic  Societies,  and  of  the  St. 
Petersburg  Society  for  Chamber 
Music,  etc.  His  compositions  num- 
ber about  a  hundred,  nearly  all  of 
them  being  works  of  importance.  He 
has  brought  out  eight  symphonies  in 
all;  the  eighth,  his  last  work,  being 
performed  at  a  Leeds  Musical  Fes- 
tival in  October,  1907.  It  is  said  to 
exhibit  his  best  qualities  as  a  com- 
poser, and  also  for  a  modern  sym- 
phony, unusual  restraint,  as  it  contains 
no  merely  sensational  effects.  He  has 
recently  received  considerable  atten- 
tion in  England,  having  had  conferred 
upon  him  the  honorary  degree  of 
Doctor  of  Music  from  both  Oxford 
and  Cambridge,  in  June,  1907.  Gla- 
zounow's  orchestral  works  predomi- 
nate over  other  compositions  in  the 
eighty  or  more  that  he  has  published. 
They  include,  beside  the  symphonies, 
four  suites,  the  Characteristic,  Scenes 
de  ballet,  Aus  dem  Mittelalter,  and 
Chopiniana;  two  overtures  on  Greek 
themes;  The  Carnaval  overture;  Over- 
ture solennelle;  Cortege  solennel;The 
Kremlin,  a  symphonic  picture;  an 
Oriental  rhapsody;  an  Oriental  rev- 
erie; a  Ballade;  a  Scene  dansante;  a 
wedding  march;  a  mazurka;  two  con- 
cert waltzes;  a  march  on  a  Russian 
theme;  a  Triumphal  March,  written 
expressly  for  the  Chicago  Exposition 
of  1893;  three  fantasias,  two  of  these 
entitled,  respectively.  The  Forest,  and 
The  Sea;  two  symphonic  sketches. 
Spring  and  Un  fete  Slave;  an  elegy; 
and  a  symphonic  poem,  Stenka  Rasinc. 
His  vocal  works  include  three  can- 
tatas, the  Coronation,  written  for  the 
Czar;  the  Memorial  Cantata;  and  a 
third  for  women's  voices;  a  Hymn 
to  Pushkin,  also  for  women's  chorus; 
and  about  twenty  songs.  Among  his 
chamber  compositions  are  a  suite  and 
four  other  numbers  for  string  quartet; 
a  string  quintet;  a  quartet  for  brass 
instruments;  several  works  for  cello 
and  piano;  a  violin  concerto;  a  medi- 
tation for  violin  and  piano;  and  a  rev- 
erie for  horn  and  piano.  His  piano 
t::moositions  include  a   suite  on   the 


Gleason 

theme  Sacha,  a  diminutive  of  his 
Christian  name,  Alexander;  two  so- 
natas; and  arrangements  of  his  orches- 
tral works..  His  orchestral  fantasias. 
The  Forest,  and  The  Sea,  are  ar- 
ranged for  two  pianos,  eight  hands. 
Glazounow  has  written  no  operas,  but 
has  produced  three  ballets,  Raymonda, 
Ruses  d'amour,  and  The  Seasons.  His 
career  has  been  marked  by  a  good 
fortune  rare  among  composers  of 
genius,  unhampered  by  poverty,  grief, 
or  disappointment. 

Gleason,  Frederick  Grant.    1848-1903. 

Frederick  Grant  Gleason  was  born 
at  Middletown,  Conn.  His  father  and 
mother  were  both  excellent  amateur 
musicians.  Gleason's  father  intended 
him  for  the  ministry,  and  discour- 
aged his  desire  for  a  musical  life,  but 
this  opposition  was  withdrawn,  when 
at  the  age  of  sixteen,  he  composed  an 
oratorio.  The  Captivity,  and  a  Christ- 
mas Oratorio,  which  showed  such  de- 
cided talent,  considering  his  lack  of 
theoretical  instruction,  that  he  was 
placed  under  Dudley  Buck  at  Hart- 
ford. In  1869  he  went  to  Leipsic,  and 
at  the  Conservatory  there  studied 
piano  under  Moscheles,  Papperitz  and 
Plaidy;  harmony  under  Dr.  Paul  and 
Richter,  and  composition  under  Lobe. 
The  next  year  he  went  to  Berlin, 
studying  under  Weitzmann,  Haupt, 
Raif,  and  Loeschhorn.  In  1872  he  re- 
turned to  the  United  States  for  a  visit, 
conducting  a  sacred  cantata  of  his  own 
at  Hartford.  The  next  period  of 
study  was  in  London,  under  Oscar 
Beringer.  He  afterward  returned  to 
Berlin  for  the  study  of  the  piano, 
organ  and  theorj',  and  prepared  there 
his  Motet  Collection.  Upon  his  re- 
turn to  America,  in  1875,  he  became 
organist  of  the  Asylum  Hill  Congre- 
gational Church  at  Hartford,  later 
going  to  the  First  Congregational 
Church  of  New  Britain.  In  1877  he 
removed  to  Chicago,  where  he  became 
a  member  of  the  faculty  of  the 
Hershey  School  of  Music,  teaching 
organ,  piano,  composition  and  orches- 
tration. He  also  became  a  Fellow  of 
the  American  College  of  Musicians,  of 
which  he  was  elected  an  examiner  and 
director.  For  about  five  years  he  was 
musical  editor  of  the  Chicago  Trib- 
une. He  became  a  member  of  the 
New  York  Manuscript  Society  soon 
after  its  organization,  and  was  the  first 
president  of  the  Manuscript  Society 
of   Chicago,  from    1896  to   1898.   and 


BIOGRAPHIES 


295 


Gleason 

president  of  the  Ameriran  Patriotic 
Musical  League  in  1897.  Later  he 
was  for  a  second  period  president  of 
the  Chicago  Manuscript  Society,  being 
in  this  office  at  the  time  of  his  death. 
He  was  awarded  a  gold  medal  of 
honor  by  the  Associatione  dei  Bene- 
menti  Italiana  of  Palermo,  Sicily,  "for 
distinguished  services  in  the  cause  of 
art."  He  died  in  Chicago  in  1903. 
His  principal  compositions  are  Otho 
Visconti,  an  opera;  Montezuma,  an 
opera  of  which  he  also  wrote  the 
libretto  and  parts  of  which  were 
given  by  Theodore  Thomas;  and  the 
cantatas,  God  Our  Deliverer,  Praise 
Song  to  Harmony,  and  The  Culprit 
Fay,  all  three  for  solos,  chorus  and 
orchestra.  In  1889  the  Auditorium  Fes- 
tival Ode,  a  symphonic  cantata,  was 
produced  at  the  dedication  of  the  Chi- 
cago Auditorium.  The  Processional 
of  the  Holy  Grail;  Edris,  a  symphonic 
poem;  and  The  Song  of  Life  were 
also  given  by  the  Thomas  Orchestra. 
As  Thomas  was  not  inclined  to  favor 
the  American  composer,  the  mere  fact 
that  so  many  of  Gleason's  works 
were  performed  by  the  Chicago  Or- 
chestra is  the  best  of  evidence  that 
they  are  of  a  high  order.  His  vocal 
and  instrumental  music  includes^  three 
trios  for  piano,  violin  and  violon- 
cello; a  concerto  in  G  minor  for 
piano  and  orchestra;  a  Triumphal 
overture  for  organ;  piano-pieces,  part- 
songs  and  sacred  choruses. 

Glinka  (glink'-a),  Michael  Ivanovitch. 

1803-1857. 

Dramatic  Russian  composer,  the  son 
of  a  retired  army  captain.  As  a  boy 
he  was  delicate,  and  from  early  child- 
hood showed  an  extreme  sensitive- 
ness to  musical  sounds.  Until  his 
tenth  year  he  passed  most  of  his  life 
in  the  country,  and  his  first  musical 
impressions  were  those  of  the  peas- 
ants' folk-songs,  and  of  a  small  or- 
chestra of  serfs  on  his  uncle's  estate 
near  by.  At  fourteen  he  was  sent  to 
a  school  in  St.  Petersburg,  where  he 
remained  five  years,  studying  lan- 
guages and  taking  some  piano  lessons 
of  John  Field.  Later  he  continued 
his  study  under  Carl  Meyer,  with 
theory  in  addition,  attaining  consid- 
erable proficiency  as  a  pianist.  He 
also  studied  the  violin  under  Bohm, 
but  made  little  progress  with  that 
instrument.  Various  circumstances 
contributed  to  his  musical  develop- 
ment.    A  trip   through   the   Caucasus 


Glinka 
Mountains,  in  1823,  stimulated  his 
imagination  and  his  musical  desires; 
and  on  his  return  home  he  eagerly 
studied  the  works  of  the  old  masters, 
and  undertook  the  drilling  of  his* 
uncle's  orchestra.  This  familiarized 
him  with  the  different  instruments 
and  the  separate  parts  of  the  scores. 
He  now  began  to  compose;  but  the 
straitened  circumstances  of  his  family 
impelled  him  _  to  take  an  assistant 
eecretaryship  in  a  department  of  the 
government  at  St.  Petersburg,  where 
he  remained  for  four  years.  The 
duties  of  this  position  left  him  con- 
siderable time  for  musical  pursuits, 
and  he  studied  intermittently,  but 
seems  to  have  had  no  thought  of 
making  a  profession  of  music.  About 
1830  he  went  to  Italy  for  his  health, 
remaining  several  years.  In  Milan  he 
took  some  lessons  of  Basili,  the  direc- 
tor of  the  Conservatory,  and  became 
greatly  interested  in  Italian  vocal 
music.  He  met  Bellini  and  Donizetti, 
and  the  influence  of  this  period  is 
seen  in  the  vocal  parts  of  his  operas. 
The  fascination  of  Italian  melody  was 
but  temporary,  however;  the  vivid 
contrast  it  presented  to  the  life  and 
music  of  his  own  nation  brought 
about  a  reaction,  and  he  now  first  be- 
came conscious  of  a  desire,  which 
grew  into  a  purpose,  to  embody  the 
Russian  characteristics  in  an  opera. 
Going  from  Italy  to  Berlin,  he  began 
at  the  late  age  of  twenty-nine  the 
study  of  composition  under  Siegfried 
Wilhelm  Dehn,  who  gave  him  the 
condensed  and  comprehensive  work 
that  he  needed,  and  encouraged  him 
in  his  determination  to  compose  dis- 
tinctly Russian  music.  In  1834  Glinka 
returned  home  and  shortly  after  wrote 
his  first  opera,  Zarskaja  skisu  (A  Life 
for  the  Czar),  a  distinctively  Russian 
composition.  The  Emperor  was  pres- 
ent at  its  production  in  1836,  and  soon 
afterward  Glinka  received  the  appoint- 
ment of  Imperial  chapelmaster.  His 
second  opera,  Russian  and  Ludmilla, 
based  on  the  fairy  story  of  Pushkin's 
poem,  was  brought  out  in  1842,  but 
was  not  so  popular  as  his  first.  After 
Glinka's  death,  it  was  better  appre- 
ciated, and  by  the  centenary  of  his 
birth  had  been  performed  no  less  than 
three  hundred  times  in  Russia.  At 
this  time  Glinka  was  harassed  by  the 
difficulties  growing  out  of  an  un- 
happy married  life,  and  his  frail  con- 
stitution began  to  give  way  under  the 
double  burden. 


296 


BIOGRAPHIES 


Glinka 

Two  years  later,  his  health  still 
failing,  he  went  to  France,  where  he 
met  a  kindred  spirit  in  Berlioz,  to 
whom  he  has  been  compared  as  a 
composer.  They  became  fast  friends; 
Glinka  made  a  study  of  the  music  of 
Berlioz,  and  tried  his  hand  at  orches- 
tral composition.  The  French  com- 
poser secured  several  performances  in 
Paris  of  Glinka's  works,  and  wrote 
an  article  for  the  Journal  des  Debats, 
enthusiastically  praising  the  composi- 
tions of  the  Russian,  who  returned 
the  compliment  by  similar  offices  in 
his  own  country  for  Berlioz.  A  visit 
to  Spain  in  1845  proved  an  additional 
stimulus,  and  after  several  years  in 
these  two  countries,  gathering  mate- 
rial and  inspiration  for  future  work. 
Glinka  returned  to  Russia.  For  three 
years  he  lived  in  Warsaw,  and  after 
a  second  visit  to  Spain  in  1851,  settled 
near  St.  Petersburg,  where  he  began 
an  autobiography  and  planned  other 
compositions.  Early  the  next  year 
he  died,  and  his  body  was  interred 
first  in  Berlin,  but  later  was  taken 
to  St.  Petersburg  for  burial.  Glinka's 
compositions  include  the  orchestral 
numbers  composed  after  his  first  visit 
to  Spain,  Jota  Aragonese,  Night  in 
Madrid,  and  Kamarinskaya,  a  fantasia; 
also  an  adagio  and  rondo  for  orches- 
tra, a  valse-fantaisie,  a  tarantella,  two 
polonaises,  two  unfinished  sympho- 
nies, and  the  incidental  music  to  Prince 
Kholmsky.  His  chamber-music  com- 
prises two  string  quartets,  a  septet, 
a  trio  for  piano,  clarinet  and  oboe. 
For  piano  he  wrote  less  than  half  a 
hundred  pieces,  comprising  variations, 
nocturnes,  polonaises,  fugues,  rondos 
and  various  dances.  He  also  wrote 
several  choruses,  a  Russian  national 
hymn,  a  memorial  cantata  for  Em- 
peror Alexander  I.,  a  number  of  vocal 
duets,  quartets,  trios  and  over  eighty 
songs  with  piano  accompaniment,  in- 
cluding Doubt,  The  Lark,  Thou  Wilt 
Soon  Forget  Me,  Gretchen's  Song, 
and   I   Am  Here,   Inezilia. 

Personally,  Glinka  is  described  as 
being  distinguished  in  appearance,  a 
man  of  polish  and  culture,  a  proficient 
linguist  and  a  conservative  in  his 
religious  and  political  beliefs.  After 
the  separation  from  his  wife,  Glinka 
lived  with  his  mother,  and  after  her 
death,  with  his  sister,  who  seems  to 
have  been  his  confidant  and  sympa- 
thizer. From  her  account,  his  dis- 
position was  always  like  a  child's, 
warm-hearted  and  yet  variable,  want- 


Glover 

ing  his  own  way,  easily  moved  to 
repentance  for  error,  or  to  gratitude 
for  kindness;  wholly  impractical,  ex- 
tremely shy  and  sensitive,  and  more- 
over, nervous  and  superstitious. 
Although  the  strongly  national  char- 
acter of  his  works  has  made  them 
rnost  popular  in  his  own  country,  and 
his  rank  among  composers  is  based 
upon  his  relation  to  Russian  music, 
a  professor  in  the  Paris  Conservatory 
stated,  in  a  lecture  given  there  within 
the  last  decade,  that  it  would  be  well 
if  young  composers  would  let  Wag- 
ner alone  and  take  A  Life  for  the 
Czar,  as  their  model.  In  Russian  and 
Ludmilla,  Glinka  anticipates  many 
characteristic  features  of  later  Rus- 
sian compositions,  such  as  those  of 
Tschaikowsky  or  Rimsky-Korsakow; 
he  was  unaffected  by  the  German 
School,  and  the  influence  of  Italy  and 
France  upon  his  works  was  incidental 
and  superficial.  As  the  founder  of  an 
original  Russian  School,  he  stands 
among  the  epoch-makers  in  music. 

Glover,  John  William.     1815- 

Trish  composer,  teacher  and  organ- 
ist; born  in  Dublin;  studied  in  his 
native  city,  and  entered  the  Dublin 
orchestra  as  violinist  in  1830.  In 
1848  he  was  appointed  professor  of 
vocal  music  in  the  Normal  Training 
School  of  the  Irish  National  Educa- 
tion Board;  and  for  the  funeral  serv- 
ices of  O'Connell  he  superintended 
the  production  of  Mozart's  Requiem. 
After  founding  the  Choral  Institute 
of  Dublin  in  1851,  he  was  active  in 
promoting  the  performance  of  the 
works  of  Handel,  Haydn  and  Men- 
delssohn; and  Schumann's  Paradise 
and  the  Peri  was  given  there  for  the 
first  time  in  Great  Britain.  He  lec- 
tured on  Irish  music  both  in  Dublin 
and  in  London,  and  did  much  for 
choral  music  in  Ireland.  His  own 
works  were  popular,  and  more  numer- 
ous than  those  of  any  other  Irish 
composer.  They  include  two  cantatas, 
St.  Patrick  at  Tara  and  Erin's  Matin 
Song;  two  Italian  operas  by  Metas- 
tasio,  in  manuscript;  an  ode  to 
Thomas  Moore,  One  Hundred  Years 
Ago;  an  opera  on  Goldsmith's  De- 
serted Village;  a  collection  entitled 
Moore's  Irish  ]\felodies;  and  other 
songs;  much  church  music,  including 
hymns  and  masses;  concertos;  and 
music  for  organ  and  for  piano.  He 
also  edited  a  number  of  musical  works 
for  use  in  the  schools  of  Ireland. 


BIOGRAPHIES 


297 


Glover 
Glover,  Sarah  Ann.     1785-1867. 

English  musician  and  teacher; 
daughter  of  a  clergyman;  was  born  at 
Norwich.  She  was  the  inventor  of 
the  Tonic  Sol-fa  system  of  musical 
notation,  which,  after  some  modifica- 
tions by  John  Curwen,  has  come  into 
general  use  in  the  public  schools  of 
England,  and  to  some  extent,  in  the 
United  States.  She  has  written  two 
works,  A  Manual  of  the  Norwich 
Sol-fa  system,  published  in  1845;  and 
a  Manual  containing  a  Development 
of  the   Tetrachordal   system,   1850. 

Glover,  Stephen  Ralph.    1812-1870. 

English  music  teacher  and  prolific 
composer;  was  born  in  London,  and 
died  there,  though  he  is  said  to  have 
lived  in  the  country  much  of  his  life. 
He  began  composing  in  1840,  and  pro- 
duced by  the  score  ballads,  duets  and 
other  songs,  and  piano  music,  amount- 
ing in  all  to  twelve  or  fifteen  hundred 
compositions,  which  were  immensely 
popular  and  remunerative  in  his  day, 
but  mostly  short-lived;  for  example, 
Beauty  and  the  Beast,  a  small  opera, 
and  the  duet,  What  Are  the  Wild 
Waves  Saying?  His  settings  of  Long- 
fellow's Excelsior  are  mentioned  as 
"  not  without  merit."  His  success, 
however,  was  considered  superficial. 

Glover,  William  Howard.     1819-1875. 

English  violinist  and  composer;  born 
in  London;  the  son  of  Mrs.  Glover, 
the  actress.  He  studied  the  violin 
under  Wagstaff,  and  made  a  tour 
through  Europe.  After  his  return  to 
London  he  did  a  little  of  everything 
in  a  musical  way,  taught,  composed, 
played  in  public,  conducted  and  was 
musical  critic  of  the  Morning  Post 
for  some  years.  From  1868  to  his 
death  he  lived  in  New  York,  where 
he  was  conductor  of  Niblo's  Orches- 
tra. His  principal  compositions  are 
the  operas,  Ruy  Bias,  Amineta,  The 
Coquette,  Palomita,  and  Once  Too 
Often;  the  orchestral  overture  to  Man- 
fred; romances  and  other  piano  music; 
spngs;  vocal  duets  and  quartets.  Tam 
O'Shanter,  a  cantata,  is  the  best 
known  of  his  larger  works.  In  1863 
he  arranged  a  performance  of  Bee- 
thoven's Pastoral  Symphony  illus- 
trated by  pictures. 

Gluck    (glook),    Christoph    Wilibald, 

Ritter  von.     1714-1787. 

This  famous  dramatic  composer  has 
been   called   the   "  Father   of   Modern 


Gluck 
Opera."  "His  career,"  says  Streat- 
field,  "is  a  picture  ...  of  a  con- 
stant striving  towards  a  pure  ideal  of 
art,  a  perfect  blending  of  the  lyrical 
and  dramatic  elements  of  opera,  whjch 
he  attained  by  a  balanced  power  of 
intellect  such  as  few  musicians  have 
possessed."  Christoph  Wilibald  Gluck 
was  born  at  Weidenwang,  son  of  the 
gamekeeper  to  Prince  Lobkowitz  of 
Eisenberg.  From  1726  to  1732  he 
attended  a  Jesuit  school  at  Komotau, 
where  he  studied  violin,  organ  and 
harpsichord,  and  was  a  chorister  in 
St.  Ignaz  Church.  At  the  end  of  this 
time  he  went  to  Prague  to  continue 
his  musical  work  under  Czernohorsky, 
and  became  an  excellent  cello  player, 
supporting  himself  meanwhile  by  play- 
ing at  dances  in  villages  near  Prague, 
giving  concerts  in  the  larger  towns, 
and  singing  and  playing  in  different 
churches.  In  1736  he  went  to  Vienna, 
where  his  playing  attracted  the  atten- 
tion of  Prince  Melzi,  with  whose  pri- 
vate band  he  went  to  Milan.  Here 
his  new-found  patron  entrusted  his 
further  education  to  Sammartini, 
under  whom  he  studied  harmony  and 
counterpoint  for  four  years.  Gluck, 
however,  never  became  proficient  in 
counterpoint,  and  his  church  compo- 
sitions were  of  little  importance.  His 
real  work  began  to  manifest  itself  in 
the  production  of  his  first  opera, 
Artaxerxes,  in  1741,  at  Milan;  others 
followed,  and  by  1745  no  less  than 
seven  successful  operas  had  been 
given  in  Milan,  Venice  and  other 
Italian  cities.  In  the  last  named  year, 
he  was  invited  to  London  to  write 
operas  for  the  Haymarket  Theatre. 
It  is  stated  by  several  biographers 
that  Gluck  thus  consciously  entered 
into  competition  with  Handel;  but  as 
the  latter  had  several  years  before 
turned  his  attention  to  oratorio,  and 
had  produced  no  opera  since  1741,  it 
would  seem  that  there  was  no  actual 
rivalry  between  them,  and  that  Han- 
del's feelings  toward  Gluck  were 
rather  those  of  kindly  toleration 
mingled  with  a  certain  contempt  for 
his  lack  of  contrapuntal  skill,  and 
that  Gluck,  on  the  other  hand,  admired 
and  respected  the  elder  composer. 
Notwithstanding  the  humiliation  Gluck 
received  in  London,  a  later  time  justi- 
fied his  self-confidence,  for  Handel's 
operas  sank  rapidly  into  oblivion, 
while  Gluck's  Orpheus  still  holds  the 
boards,  which  cannot  be  said  of  the 
work   of    any    earlier    dramatic   com- 


298 


BIOGRAPHIES 


Gluck 
poser.  La  Caduta  dei  Giganti  was 
given  early  in  1746;  Artamene,  for- 
merly produced  at  Cremona,  was  re- 
peated; but  Pyramus  and  Thisbe,  a 
sort  of  musical  mosaic,  composed  of 
the  best  arias  of  his  previous  operas, 
proved  to  be  an  anti-climax.  Gluck's 
London  prospects  withered  under 
Handel's  disapproval  and  the  cold 
reception  accorded  by  the  English 
public,  and  later  in  the  season  we  find 
him  amusing  the  Haymarket  audi- 
ences in  the  novel  role  of  a  per- 
former on  musical  glasses  with 
orchestral  accompaniment.  However, 
this  seeming  failure,  together  with  the 
impressions  made  on  him  by  the 
music  of  Handel,  and  of  Rameau  in 
Paris,  where  he  visited  long  enough 
to  hear  the  works  of  the  latter  in 
grand  opera,  was  the  ultimate  means 
of  his  attaining  a  truer  and  larger 
success  than  was  possible  to  him  in 
the  conventional  Italian  opera.  He 
'next  went  to  Hamburg  and  Dresden, 
returning  to  Vienna  within  the  year, 
where  he  began  earnest  study  of  musi- 
cal aesthetics,  languages  and  litera- 
ture. The  effects  of  this  broadening 
experience  and  literary  study  were 
but  slightly  apparent  in  his  next  pro- 
duction, Semiramide  riconosciuta,  1748, 
although  it  surpassed  all  former 
efforts;  but  the  ideals  and  purposes 
identified  with  Gluck's  later  work 
were  not  yet  sufficiently  formulated 
to  be  embodied  in  his  compositions  at 
this  time.  About  1750  Gluck  was 
happily  married  to  Marianna  Pergin, 
and  to  this  time  belong  his  Tetide, 
serenade  for  the  Crown  Prince  Chris- 
tian, Telemachus  and  Clemenzo  di 
Tito.  Up  to  1756  he  produced  a  num- 
ber of  works  in  Rome,  Naples,  Vienna 
and  other  cities,  traveling  at  inter- 
vals. In  1755  he  returned  to  Vienna, 
where  for  the  next  six  years  the  de- 
mands of  his  patrons  led  him  to 
produce  works  well-nigh  worthless 
except  as  "pot-boilers"  and  as  prac- 
tise in  composition.  At  the  end  of 
this  time,  he  secured  the  co-opera- 
tion of  Calzabigi,  a  librettist  who  was 
thoroughly  in  sympathy  with  his  own 
ideas  on  the  need  of  reform  in  Italian 
operas  —  the  accepted  standard  of  that 
day.  The  result  of  this  new  combina- 
tion was  remarkably  successful  in 
Orpheus  and  Eurydice,  in  1762.  Al- 
ceste,  in  1767,  was  another  step  in 
advance;  indeed,  its  often  quoted 
preface  amounted  to  a  declaration  of 
war  in  the  operatic  field.     The  gist 


Gluck 

of  this  preface  may  be  stated  as  fol- 
lows: That  the  place  of  music  in 
opera  is  to  supply  adequate  expres- 
sion to  the  text,  without  interrupting 
the  natural  action  of  the  drama  by 
superfluous  vocal  display;  and  on  the 
other  hand,  by  judicious  use  of  the 
orchestra,  to  add  appropriate  effects 
in  tone  that  should  vivify  the  whole 
as  color  does  the  outlines  of  a  paint- 
ing. In  this  "  confession  of  faith " 
Gluck  set  forth  what  he  was  trying 
to  do  in  this  opera,  and  spoke  of  the 
conventional  Italian  operas  as  "  weari- 
some," thus  incurring  the  enmity  of 
the  foremost  German  critics.  In  the 
dedication  to  Paris  and  Helen,  1770, 
he  referred  to  his  critics  as  "  smat- 
terers "  and  "  would-be  judges,"  and 
stated  the  fact  that  "  because  of  im- 
perfectly studied,  poorly  conducted 
and  still  more  poorly  performed 
rehearsals,"  his  opera  had  been  un- 
justly condemned,  the  effect  which  it 
might  produce  upon  the  stage  having 
been  judged  by  its  effect  in  a  room. 
The  attacks  of  the  "  would-be  judges" 
were  but  increased  by  this  defense, 
and  Gluck's  thoughts  turned  to  Paris 
where  the  standard  of  aesthetics  in 
general  was  much  higher  than  in 
Vienna,  as  a  more  congenial  field. 
In  1772  Iphigenie  en  Aulide  was  re- 
hearsed in  Vienna,  and  finally  pro- 
duced at  the  Grand  Opera  in  Paris, 
in  1774;  a  triumph  in  spite  of  adverse 
circumstances.  Orpheus  and  Euryd- 
ice; and  Alceste,  appeared  within  the 
next  two  years,  and  drew  immense 
audiences;  but  their  severely  classical 
style,  and  dramatic  intensity,  aroused 
the  opposition  of  those  prejudiced 
against  the  innovations  of  Gluck,  who 
was  now  determined  to  remain  in 
Paris.  Among  his  admirers  was 
Rousseau,  who  declared  that  the  music 
of  Orpheus  had  reconciled  him  to 
existence,  and  acknowledged  publicly 
that  he  had  erred  in  stating  that  the 
French  language  was  unsuitable  to 
set  to  music.  It  may  be  stated  here 
that  as  a  conductor  Gluck  was  brusque 
and  exacting,  the  musicians  requiring 
double  pay  when  playing  under  his 
baton;  nevertheless,  his  facial  and 
gestural  expression  was  so  emotional 
an  indication  of  his  ideas  that  he 
finally  won  over  the  most  lazy  or 
obstinate  performer  to  his  views.  The 
opposition  to  Gluck  became  so  strong 
that  a  rival  composer,  Piccinni,  was 
invited  to  appear  in  Paris,  and  a  stage 
war  began  similar  to,  yet  more  fierce, 


BIOGRAPHIES 


299 


Gluck 

than  the  one  between  Handel  and 
Bononcini  in  England.  The  press  was 
brought  into  service,  and  for  several 
years  the  conflict  was  kept  up. 
Gluck's  Armide,  produced  in  1777,  was 
written  with  a  view  to  refuting  the 
charge  that  his  work  lacked  melody, 
the  same  accusation  that  was  brought 
later  against  Wagner.  It  amply 
proved  his  ability  to  portray  the  softer 
and  more  pleasing  aspects  of  life. 
This  opera  and  Orpheus  have  attained 
a  wider  and  more  lasting  popularity 
than  any  other  of  his  works.  The 
final  contest  was  soon  precipitated. 
The  directors  of  Grand  Opera  had 
commissioned  Gluck  to  write  an 
opera,  Roland.  On  learning  that  they 
had  called  on  Piccinni  to  do  the  same, 
he  destroyed  the  partly  finished  manu- 
script in  a  rage,  and  wrote  to  du 
Rollet  about  the  matter.  Du  Rollet 
published  Gluck's  letter,  thus  throw- 
ing down  a  gauntlet  to  the  latter's 
opponents.  Nevertheless,  he  uttered 
no  invective  against  Piccinni,  and  the 
two  themselves  were  friendly  rather 
than  otherwise.  The  next  fight  was 
openly  planned.  With  Guillard  as  his 
librettist,  Gluck  began  Iphigenie_  en 
Tauride;  the  rival  faction  put  Piccinni 
at  work  on  the  same  subject.  It  is 
possible  that  strategy  and  influence  at 
court  had  something  to  do  with  the 
delay;  at  any  rate,  Piccinni's  opera 
was  not  given  until  1781,  two  years 
after  the  successful  presentation  of 
Gluck's,  and  then  its  obvious  inferi- 
ority to  the  earlier  production  ended 
the  struggle.  One  more  opera,  Echo 
and  Narcissus,  was  given  in  1779,  but 
made  little  impression;  Gluck's  life- 
work  was  accomplished.  He  began 
work  on  a  last  opera,  Les  Danaides, 
but  a  stroke  of  apoplexy  compelled 
him  to  abandon  the  project,  and  he 
turned  over  the  libretto  to  Salieri. 
Soon  after  he  retired  to  Vienna  with 
honors  and  riches,  his  active  career 
at  an  end;  and  the  next  apoplectic 
stroke  ended  his  life.  As  a  man, 
Gluck  was  self-possessed,  confident, 
a  conscientious  worker,  loyal  to  his 
friends,  generous  in  recognizing  the 
merits  of  others,  yet  quick-tempered 
and  proud.  In  comparing  him  with 
Wagner,  Ernst  Newman  says:  "Less 
nervously  constituted,  less  self-con- 
scious, he  yet  did  a  work  which, 
though  it  can  not  be  compared  to 
Wagner's  in  real  depth  of  importance, 
yet  marks  him  out  far  above  any 
musical    figure     of     his    time."      His 


Godard 

music  reflects  his  character;  it  is 
animated,  yet  never  subtle  nor  over- 
emotional,  and  is  essentially  classical, 
as  was  Gluck's  choice  of  subjects.  He 
differed  from  the  other  great  musi- 
cians of  his  century  in  that  their 
music  was  principally  based  on  the 
piano,  the  instrument  most  capable  of 
purely  polyphonic  treatment,  while 
Gluck  wrote  almost  exclusively  for 
voices  and  stringed  instruments,  more 
limited  in  range,  yet  intrinsically 
more  suited  to  dramatic  expression. 
Iphigenie  en  Tauride,  usually  consid- 
ered Gluck's  masterpiece,  is  the  most 
perfect  in  form  of  all  his  operas.  He 
also  made  important  changes  in  the 
orchestra,  removing  the  harpsichord, 
introducing  the  harp  and  trombone, 
and  emphasizing  the  value  of  the  over- 
ture as  an  indication  of  the  character 
of  the  drama  which  it  prefaced.  The 
general  estimate  of  his  place  among 
composers  is,  that  his  work  as  a  re- 
former of  opera  constituted  a  phase 
in  musical  history  not  without  its 
effect,  yet  not  wholly  permanent  —  a 
first  strong  effort  towards  the  result 
later  achieved  by  Wagner. 

Gobbaerts    (gub'-barts),   Jean   Louis. 

1835-1886. 

Belgian  pianist,  and  composer  of 
light  piano  music;  born  at  Antwerp; 
was  a  pupil  of  the  Brussels  Conserv- 
atory, and  a  brilliant  and  successful 
pianist  in  his  time.  He  published 
about  twelve  hundred  pieces  of  piano 
music,  much  of  which  was  popular. 
The  greater  part  was  published  under 
the  name  of  Streabbog  (Gobbaerts 
spelled  backwards),  though  some  of 
it  appeared  under  the  names  Ludovic 
and  Levi.  He  also  wrote  a  method 
for  piano.  Some  of  his  compositions 
are  Valse  des  Masques,  a  Nocturne; 
an  Idylle,  a  Serenade,  Galop  di  bra- 
vura; twelve  easy  studies;  a  collection 
of  dances,  Les  Papillons,  op.  108;  and 
transcriptions. 

Godard    (go-dar),   Benjamin   Louis 

Paul.     1849-1895. 

Eminent  composer;  born  in  Paris; 
a  violin  pupil  of  Richard  Hammer. 
Played  in  public  at  nine  years  of  age, 
later  studied  under  Reber  for  com- 
position and  Vieuxtemps  for  violin, 
visiting  Germany  twice  with  the  latter 
teacher.  He  was  a  member  of  sev- 
eral chamber-music  societies  in  Paris, 
but  devoted  most  of  his  time  and 
energy  to  composition.    His  first  pub- 


300 


BIOGRAPHIES 


Godard 
lished  work  was  a  violin  sonata,  1865, 
and  the  next,  a  series  of  chamber 
compositions,  string  quartets,  trio, 
and  violin  sonatas,  won  the  recogni- 
tion of  the  Institut  de  France,  which 
bestowed  on  him  the  Chartier  prize. 
In  1876  his  orchestral  arrangement  of 
Schumann's  miniature  piano  pieces, 
Scenes  for  Children  (Kinderscenen), 
was  given  at  the  .Concerts  du  Chate- 
let,  and  his  Concerto  Romantique  for 
violin  was  played  several  times  in  the 
Concerts  Populaires.  Other  works  of 
this  period  were  another  violin  con- 
certo, a  string  quartet,  a  trio  for  piano 
and  strings,  and  a  piano  concerto. 
Concerts  Populaires,  1878.  In  this 
year  he  tied  with  Dubois  in  a  competi- 
tion for  lirst  prize  offered  by  the  city 
of  Paris,  and  the  winning  composi- 
tion, Tasso.  or  Le  Tasse,  a  dramatic 
symphony  with  solos  and  chorus, 
was  given  at  the  Concerts  du  Chate- 
let.  This  work  virtually  established 
his  reputation.  Other  dramatic  com- 
positions are  Les  Bijoux  de  Jeanette; 
Pedro  de  Zalamea;  Jocelyn;  Le 
Dante;  Jeanne  D'Arc;  La  Vivandiere, 
produced  posthumously  with  much  suc- 
cess; and  two  others,  Les  Guelphes 
and  Ruy  Bias,  not  yet  produced. 
Orchestral  compositions  are  Suite, 
Scenes  Poetiques;  Suite,  Lanterne 
Magique;  Symphonie-Ballet;  Overture 
dramatic;  Symphonic  Gothique;  Sym- 
phonie  Orientale;  Symphonic  Legen- 
daire,  with  solos  and^  chorus;  lyric 
scena,  Diane  et  Acteon;  over  one 
hundred  songs;  incidental  music  to 
Much  Ado  About  Nothing,  and  many 
attractive  piano  pieces  and  etudes. 
He  died  at  Cannes.  Godard  possessed 
what  has  been  called  "fatal  facility" 
as  composer.  The  majority  of  Jhis 
best  works  were  composed  before  he 
was  thirty;  and  the  succeeding  com- 
positions have  not  been  considered 
an  advance,  though  his  songs  and 
piano  pieces  are  charming  and  orig- 
inal. His  violin  sonatas,  some  orches- 
tral scenes,  and  the  two  symphonies 
known  as  the  Legendaire  and  Goth- 
ique, are  also  praised.  _  The  berceuse 
from  Jocelyn,  one  of  his  later  works, 
has  been  almost  as  i)opular  as 
Mascagni's  well-known  intermezzo, 
having  been  arranged  for  different  in- 
struments, including  the  piano,  violin 
and  organ. 

Goddard,  Arabella.    1838- 

Noted  English  pianist;  born  at  St. 
Servan,     near     St.     Malo,     Brittany; 


Godefroid 
played  in  public  m  her  native  village 
in  her  fifth  year,  and  at  six  was  a 
pupil  of  Kalkbrenner,  Paris'.  She 
studied  with  Mrs.  Anderson  and 
Thalberg,  and  made  her  debut  at 
twelve  in  one  of  the  Grand  National 
concerts  at  Her  Majesty's  Theatre. 
She  had  previously  played  when  eight 
years  of  age  before  Queen  Victoria 
at  Buckingham  Palace.  From  1850 
she  studied  with  J.  W.  Davison,  a 
well-known  musical  critic  in  London, 
whom  she  married  in  1860._  At 
twenty,  was  recognized  as  a  pianist  of 
the  first  rank,  playing  at  the  Philhar- 
monic concerts  in  1856.  In  1854  to 
1855  she  made  a  tour  through  Ger- 
many, where  she  played  Mendels- 
sohn's D  minor  concerto  at  the 
Gewandhaus  concerts,  Leipsic,  and 
her  reputation  was  further  reinforced 
by  her  success  in  that  country  and  in 
Italy.  For  several  years  she_  played 
at  many  prominent  concerts  in  Eng- 
land, and  from  1873  to  1876  made  a 
tour  of  Australia,  America  and  all 
around  the  world.  Ernst  Pauer  places 
Mme.  Goddard,  together  with  Mme. 
Schumann  and  Mme.  Clauss-Szavardy, 
in  a  list  of  twelve  pianists  possessing 
the  most  perfect  technique  known  be- 
tween 1830  and  1870,  the  list  also  in- 
cluding Liszt,  Tausig  and  Rubinstein. 
Her  last  recorded  appearance  was  in 
1882,  after  which  she  retired  to  Tun- 
bridge  Wells.  In  the  fifties  she  pub- 
lished some  compositions  for  piano 
and  a  ballad. 

Godefroid     (god-fwa),    Felix.     1818- 

1897. 

Celebrated  harpist;  was  born  at 
Namur,  Belgium;  was  a  pupil  of 
Nadermann  at  the  Paris  Conservatory. 
Before  he  was  nineteen  he  had  writ- 
ten a  trio  for  piano,  violin  and  vio- 
loncello. He  lived  in  Paris  for  some 
years,  and  more  recently  at  Brussels. 
In  1839  he  began  giving  concerts, 
first  in  Germany,  then  in  England,  and 
later  through  Continental  Europe.  He 
has  been  called  the  Paganini  of  the 
harp.  In  1856  the  cross  of  the  Order 
of  Leopold  was  conferred  on  him  at 
the  twenty-fifth  anniversary  of  Leo- 
pold I.'s  reign  at  Brussels,  where  he 
took  part  in  the  ceremonies.  He  com- 
posed harp-music  and  salon-music  of 
rnore  than  ordinary  merit  for  the 
piano.  La  Harpe  d'or,  La  derniere 
bataille,  operas,  and  La  fille  de  Saul, 
an  oratorio,  are  other  works  to  his 
credit. 


BIOGRAPHIES 


301 


Godfrey 
Godfrey,  Arthur  Eugene.    1868- 

Composer  and  conductor;  son  of 
Charles  Godfrey,  jr.;  was  a  choir-boy 
at  St.  Paul's,  and  in  1883  entered 
the  Royal  Academy  of  Music,  where 
he  remained  for  six  years,  becoming 
an  associate.  His  compositions  in- 
clude songs,  a  string  quartet,  much 
incidental  music  to  plays,  etc.,  and 
show  much  talent.  Little  Miss  No- 
body, a  musical  comedy,  had  a  nm 
of  more  than  six  months  at  the  Lyric 
Theatre  in  the  season  of  1898-1899. 
He  is  also  a  good  accompanist. 

Godfrey,  Charles,  sr.    1790-1863. 

The  first  of  a  family  of  bandmas- 
ters; was  born  at  Kingston,  Surrey; 
was  first  a  drummer  in  his  home 
military  company,  and  in  1813  a 
bassoon  player  in  the  Coldstream 
Guards;  was  bandmaster  of  the  latter 
from  1825  till  his  death,  although  he 
was  released  from  military  duty  in 
1834.  In  1831  he  had  been  appointed 
musician  in  ordinary  to  the  King  of 
Great  Britain.  He  arranged  and 
edited  Jullien's  Journal,  the  first  jour- 
nal of  military  music  published  in 
England,  and  his  three  sons  became 
prominent  in  their  father's  profession. 

Godfrey,  Charles  George.    1866- 

Conductor  and  composer  for  band 
and  orchestra;  son  of  Charles  jr.;  was 
a  pupil  of  St.  Paul's  School  and  the 
Royal  Academy  of  Music;  substituted 
for  his  father  as  bandmaster,  and  in 
1887  took  a  similar  position  with  the 
Corps  of  Commissionaires,  He  was 
also  organist  of  St.  John's  at  Wap- 
ping,  and  conducted  the  military  band 
at  the  Crystal  Palace  from  1889  to 
1897.  In  1897  and  1898  he  was  con- 
ductor at  the  Spa,  Scarborough.  He 
has  arranged  much  band  music  and 
composed  for  orchestra. 
Godfrey,  Daniel.    1831-1903. 

Son  of  Charles  Godfrey,  sr.;  was 
also  a  bandmaster,  and  a  composer  for 
military  band;  studied  the  flute  at  the 
Royal  Academy  of  Music  in  1847,  and 
became  bandmaster  of  the  Grenadier 
Guards  in  1856,  visiting  the  United 
States  with  his  band  in  1872,  where  he 
made  a  tour.  After  forty  years  in  this 
position  he  organized  his  own  band. 
His  waltzes  for  military  bands  are 
widely  known. 

*  Godfrey,  Daniel  Eyers.     1868- 

Dan  Godfrey,  as  he  subscribes  him- 
self, was  born  at  Beeston,  near  Not- 


Godowski 
tingham,  England,  the  eldest  son  of 
Daniel  Godfrey,  sr.,  and  has  become 
more  eminent  than  the  elder  members 
of  his  family.  He  was  educated  at 
King's  College  School  and  at  the 
Royal  College  of  Music,  and  also  had 
private  lessons  in  music.  Beside  piano, 
violin,  organ,  harmony  and  counter- 
point, he  studied  clarinet  and  military 
orchestration.  His  teachers  were 
Henry  Lazarus,  Henry  Holmes,  Sir 
Frederick  Bridge,  Alfred  Caldicott, 
and  others.  In  1890  he  was  band- 
master of  the  Corps  of  Commission- 
aires and  also  conductor  of  the 
London  Military  band  with  which  he 
toured  England  that  season;  and  the 
next  year,  1892,  he  went  to  South 
Africa  as  musical  director  of  an  opera 
company.  In  1893  he  was  musical 
director  at  the  Olympia,  Limited.  He 
is  at  present  resident  musical  director 
to  the  Corporation  of  Bournemouth, 
to  which  position  he  was  appointed  in 
1895.  not  long  after  his  settlement  at 
that  place.  Here,  as  conductor  of  the 
Winter  Gardens,  and  of  the  Symphony 
concerts  since  1894,  he  has  raised  the 
standard,  not  only  of  local  but  of 
national  music,  producing  the  works 
of  many  British  composers,  and  giving 
also_  numerous  choral  concerts.  He  is 
a  licentiate  and  also  an  honorary 
member  of  the  Royal  Academy  of 
Music. 

Godowski  (go-dof '-shke),  Leopold. 
1870- 

Often  spelled  Godowsky.  A  noted 
pianist  and  composer,  born  at  Wilna, 
Russian  Poland,  His  remarkable 
talent  asserted  itself  when  he  was 
only  three  years  old,  and  at  seven  he 
had  composed  some  pieces  of  melody 
and  originality.  His  first  instruction 
was  received  at  Wilna.  After  making 
his  debut  at  nine  years  of  age  and 
touring  through  Russia  and  Germany 
for  three  years  he  spent  two  years  at 
Berlin  studying  in  the  Hochschule 
under  Ernest  Rudorff  in  piano,  and 
Kiel  and  Bargiel  in  composition.  In 
1884  he  toured  America  with  the  vio- 
linist, Ovid  Musin.  He  went  to  Paris 
in  1886  to  study  under  Saint-Saens,  and 
after  a  year  of  waiting  had  an  oppor- 
tunity to  play  before  the  Reunion  des 
Artistes  of  which  Saint-Saens  was 
president.  The  noted  Frenchman  was 
greatly  attracted  by  the  lad  and  had 
him  play  at  the  Trompette,  a  cele- 
brated club,  Godowski  became  his 
pupil,  and  was  immediately  recognized 


302 


BIOGRAPHIES 


Godowski 

in  the  most  exclusive  artistic  and 
social  circles.  Remaining  under 
Saint-Saens  till  1890,  he  toured  France, 
and  visited  London,  playing  at  Queen 
Victoria's  Golden  Jubilee  at  Marl- 
borough House  in  1887,  where  the 
Prmcess  of  Wales  accepted  the  dedi- 
cation of  his  Valse  Scherzo.  In  1890 
he  came  again  to  America  and  the 
next  year  married  Frederica  Saxe  of 
New  York,  to  which  city  they  re- 
turned after  a  trip  through  Holland 
and  England.  In  1894  Godowski  was 
made  director  of  the  piano  department 
of  Broad  Street  Conservatory  in 
Philadelphia,  and  in  1895  accepted  a 
similar  position  in  the  Chicago  Con- 
servatory, where  he  remained  until 
1899.  Meanwhile  he  appeared  also  in 
concerts  and  recitals  throughout  this 
country  and  Canada.  In  July,  1900, 
he  left  America  to  establish  his  repu- 
tation in  Europe.  His  triumph  at  Ber- 
lin on  his  first  appearance  was  the 
beginning  of  the  successes  which  have 
placed  him  among  the  greatest  of  liv- 
mg  pianists.  De  Pachmann  and 
others  even  declare  that  he  has  the 
most  wonderful  technique  of  any.  His 
repertory  is  immense  and  his  style 
broad  and  brilliant.  His  playing  some 
call  not  only  faultless  but  graceful 
and  poetic,  others  say  there  is  no  soul 
in  It,  but  only  masterful  technique. 
His  interpretations  are  often  unique. 
The  most  important  of  his  composi- 
tions are  the  transcriptions  of  Cho- 
pin's fitudes.  Op.  10  and  25.  By  these 
fifty  studies,  opening  the  way  to  a 
new  and  higher  development  of  the 
pianistic  art,  he  has  won  the  name  of 
the  Apostle  of  the  left-hand.  In  them 
the  original  right-hand  parts  are  given 
to  the  left,  and  often  new  material 
inserted,  yet  everywhere  possible  the 
original  melody  and  progression  is 
preserved.  They  show  a  blending  of 
contrapuntal  and  melodic  style  and  are 
so  difficult  that  at  first  sight  they  have 
been  called  unplayable.  These  diffi- 
culties have  been  overcome  by  his 
new  fingering  for  chromatic  thirds. 
He  has  also  written  concert  arrange- 
ments or  paraphrases  of  other  of 
Chopin's  works;  of  Henselt's  fitude, 
If  I  Were  a  Bird;  and  Weber's  Invi- 
tation to  Dance;  besides  original  com- 
positions which  include  a  Grand  Valse 
Romantique;  Valse  Scherzo,  Valse 
Humoresque;  Valse  Idylle;  Barca- 
rolle-valse;  Marchen;  Moto  Perpetuo; 
Polonaise  in  C;  concert  studies  in  C 
and  E  flat;  Sarabande;  Menuet,  Cou- 


Goetz 

rante;  Perpetuum  Mobile,  toccato; 
Daemmerungsbilder  (Twilight  Pic- 
tures), several  tone  poems;  Scherz- 
ino;  Melodie  Meditative;  Capriccio; 
Arabesque;  and  songs. 

*  Goetschius    (get'-shi-oos),    Percy. 
1853- 

American  teacher,  writer  and  com- 
poser; born  at  Paterson,  New  Jersey; 
was  a  pupil  at  the  Stuttgart  Conserv- 
atory of  Music  in  Germany  from  1873 
to  1876,  of  Lebert  and  Pruckner  in 
piano,  and  of  Faiszt  and  Doppler  in 
harmony,  counterpoint  and  instrumen- 
tation. From  1876  on  he  taught  the 
English  theory  classes  in  the  Conserv- 
atory; in  1878  was  appointed  pro- 
fessor of  the  same  branches,  and  in 
1885  of  musical  history  In  1890  he 
returned  to  America,  and  for  two 
years  taught  in  the  Syracuse  Uni- 
versity, New  York,  as  professor  of 
harmony,  history  and  piano,  and  in 
1892  received  the  honorary  degree  of 
Doctor  of  Music  from  the  University. 
His  next  work  was  in  the  New  Eng- 
land Conservatory,  Boston,  as  lecturer 
on  musical  history  and  teacher  of 
composition,  where  he  remained  until 
1896.  Since  then  he  has  been  a  pri- 
vate teacher  of  harmony  and  composi- 
tion in  Boston.  He  is  a  skilled 
contrapuntist,  and  has  published  the 
following  compositions:  Two  concert 
fugues,  a  minuet,  seven  character- 
pieces  in  waltz  rhythm,  and  a  set  of 
concise  finger-exercises,  all  for  piano; 
a  wedding  march  for  piano  and  organ; 
and  an  anthem,  The  Lord  is  My 
Shepherd.  He  is  far  better  known, 
however,  as  an  able  writer  on  musical 
educational  subjects.  Beside  a  val- 
uable work  on  harmony  he  has  pub- 
lished The  Theory  and  Practice  of 
Tone-Relations;  Models  of  the 
Principal  Musical  Forms;  The  Homo- 
phonic  Forms  of  Musical  Composi- 
tions, said  to  be  the  best  work  extant 
on  the  analysis  of  group-forms  and 
song-forms;  Exercises  in  Melody 
Writing;  Applied  Counterpoint;  and 
Lessons  in  Music  Form.  He  has  also 
contributed  important  essays  to 
American  musical  periodicals,  and  the 
Cotta  Edition,  published  at  Stuttgart, 
1889,  contained  his  critical  Revision 
of  Mendelssohn's  Complete  Piano 
Works. 

Goetz  (gets),  Hermann.    1840-1876. 

Talented  German  composer,  who 
was  born  at  Konigsberg      He   gave 


BIOGRAPHIES 


303 


Goetz 
evidence  of  talent  early,  but  did  not 
begin  to  study  till  the  age  of  seven- 
teen, Louis  Kohler  being  his  first 
teacher.  In  1860  he  entered  the  Uni- 
versity of  Konigsberg  for  serious 
work,  and  continued  piano  under  von 
Biilow,  and  composition  under  Ulrich. 
Within  three  years  he  became  or- 
ganist at  Winterthur,  v^here  he  also 
founded  and  conducted  a  singing 
society,  conducted  an  orchestra,  and 
gave  private  lessons  In  1867  he  re- 
moved to  Zurich,  keeping  his  organ 
position  at  Winterthur  for  three  years 
longer,  but  the  stram  affected  his 
health,  compelling  him  to  resign  it. 
He  died  six  years  later  at  Hottingen, 
near  Zurich.  His  first  opera,  Der 
Widerspenstigen  Zahnung,  based  on  a 
German  version  of  Shakespeare's 
Taming  of  the  Shrew,  was  produced 
in  1874,  after  repeated  discourage- 
ments, at  Mannheim,  under  the  con- 
ductor Frank,  who  in  1877  directed 
the  posthumous  performance  of 
Goetz's  second  opera,  Francesca  da 
Rimini. 

Other  compositions  of  Goetz  are  as 
follows.  Orchestral  symphony  in  F; 
Friihling's  overture;  cantata  for  male 
chorus;  137th  Psalm  for  chorus,  so- 
prano solo,  and  orchestra;  choral  set- 
ting of  Schiller's  Nanie  for  chorus 
and  orchestra;  violin  concerto;  piano 
concerto;  a  trio,  a  quartet,  and  a  quin- 
tet, for  piano  and  strings;  three  light 
pieces  for  piano  and  violin;  piano 
sonata  for  four  hands;  various  piano 
solos;  songs,  and  quartets.  The  gen- 
eral opinion  among  biographers  is 
that  Goetz  died  before  his  talents  had 
time  to  mature;  one  writer  calls 
attention  to  the  early  deaths  of 
Mozart  and  Mendelssohn,  and  to  the 
fact  that  a  certain  melancholy  and 
monotony  pervades  all  the  works  of 
Goetz,  giving  him  credit,  however,  for 
a  freedom  in  the  strictly  classical 
mode  of  composition,  and  an  intuitive 
command  of  tone-color  in  his  choral 
and  orchestral  writings  much  greater 
than  that  of  Schumann,  of  whom  he 
IS  said  to  be  one  of  the  most  marked 
legitimate  followers. 

Goldbeck   (golt'-bek),  Robert.    1839- 

German  pianist,  composer,  and  con- 
ductor; born  at  Potsdam,  near  Berlin. 
He  first  studied  piano  and  harmony 
under  his  uncle,  Louis  Kohler;  later 
was  a  pupil  of  Litolff  at  Brunswick, 
and  for  a  short  time  of  Liszt  at  Wei- 
jnar.     In  1851  he  went  tQ  Paris,  and 


Goldberg 
several  years  later  to  London.  About 
1861  he  came  to  America,  where  he 
composed  his  principal  works  in  New 
York,  founded  a  Conservatory  in 
Boston,  and  in  1868  became  director 
of  the  Chicago  Conservatory  of  Music. 
In  1873  he  went  to  St.  Louis,  Mis- 
souri, where  he  conducted  the  Har- 
monic Society,  and  was  one  of  the 
directors  in  the  Beethoven  Conserv- 
atory. He  returned  to  New  York  in 
1885.  He  has  composed  the  follow- 
ing: Saratoga  and  Newport,  two 
operas;  a  cantata.  The  Song  of  the 
Brave  Man;  the  orchestral  works, 
Elegie,  Idylle,  Leonore,  and  Victoria; 
a  symphony;  two  piano  concertos;  a 
sextet  for  strings;  quintet  for  piano 
and  strings;  over  one  hundred  and 
thirty  compositions  for  the  piano; 
choruses  and  songs,  among  which, 
Three  Fishers,  a  male  quartet,  has 
been  repeatedly  performed  by  the 
choral  societies  of  the  large  cities  of 
the  United  States.  He  is  also  the 
author  of  three  Graduating  Courses, 
instructive  works  for  piano,  voice,  and 
violoncello,  comprising  six  volumes; 
and  an  Encyclopaedia  of  Musical 
Education. 

Goldberg  (golt'-berkh),  Johann  Gott- 
lieb. About  1720-about  1760. 
Remarkable  organ  and  clavichord 
player  and  composer;  born  at  Konigs- 
berg. Was  a  pupil  of  Johnann  Sebas- 
tian Bach,  who  spoke  of  Goldberg  with 
the  highest  praise,  and  wrote  for  him 
the  thirty  variations  sometimes  called 
the  Goldberg  Variations,  He  pos- 
sessed most  unusual  ability  as  an 
executant,  and  was  phenomenal  in  im- 
pressing and  sight-reading.  It  is 
said  he  could  read  at  sight  the  most 
difficult  music,  even  when  turned 
upside  down.  In  1756  Goldberg  was 
chamber-musician  to  Count  Briihl  at 
Dresden.  It  is  probable  that  he  died 
in  the  Count's  service.  Goldberg  is 
said  to  have  ranked  among  the  best 
composers  of  his  day.  His  composi- 
tions, all  manuscript,  include  preludes 
and  fugues;  twenty-four  polonaises; 
two  clavier  concertos,  one  sonata;  six 
trios  for  flute,  violin  and  bass;  menuet 
with  variations;  a  motet  and  a  can- 
tata. His  music  is  said  to  be  strongly 
characteristic  and  imbued  with  a 
melancholy  tinge. 

Goldberg,     Joseph     Pasquale.    1825- 

1890. 

Singing   teacher*    born    at  Vienna. 
Was  a  violin  pupil  of  Mayseder,  and 


304 


BIOGRAPHIES 


Goldberg 
of  Seyfried  in  composition,  appearing 
in  public  at  twelve,  when  he  played 
a  concerto  of  his  own.  Later  he 
traveled  in  Italy  as  a  concert  player, 
and  in  Paris  met  Meyerbeer  and  Ru- 
bini,  who  advised  him  to  cultivate  his 
voice.  He  studied  under  the  latter 
and  under  Bordogni,  and  afterward 
under  Lamperti,  making  a  successful 
debut  as  a  basso  in  1843,  at  Genoa, 
in  Donizeti's  opera,  La  Regina  di 
Golconda.  After  a  few  years  of  stage 
life  he  grew  weary  of  it  and  retired 
to  Paris,  where  he  settled  as  a  teacher 
of  singing,  appearing  at  times  in  con- 
cert, however,  with  much  success.  In 
1861  he  removed  to  London,  where 
he  became  professor  of  music  at  the 
Royal  Academy  of  Music.  In  1871  he 
undertook  a  commission  from  Cor- 
renti,  the  Minister  of  Public  Instruc- 
tionj  to  investigate  the  conditions  of 
instruction  in  the  Italian  Musical  Con- 
servatories and  suggest  improvements 
where  needed,  which  he  fully  carried 
out.  He  wrote  a  few  songs  and  a 
triumphal  march  for  the  entry  of  Vic- 
tor Emanuel's  troops  into  Rome. 

Goldmark  (golt'-mark),  Karl.    1830- 

Although  born  in  Hungary,  this 
celebrated  composer  early  became  a 
citizen  of  Germany,  and  his  works 
take  their  place  with  the  German 
School.  His  birthplace,  Keszthely, 
was  a  small  town,  where  his  father 
was  a  precentor  in  the  Jewish  syna- 
gogue. Karl  early  showed  talent  and 
began  violin  study  at  the  school  of  the 
Musical  Society  of  Oedenburg.  He 
played  in  public  at  the  age  of  twelve, 
and  afterward  obtained  several  en- 
gagements in  theatre  orchestras. 
According  to  some  biographers,  he 
spent  a  year  under  Jansa's  instruction, 
and  in  1847  entered  the  Vienna  Con- 
servatory as  a  pupil  of  Bohm  in 
violin  and  Preyer  in  harmony.  How- 
ever this  may  be,  the  Revolution  of 
1848  put  a  stop  to  musical  labors  for 
a  while,  Goldmark  being  compejled  by 
law  to  serve  a  term  in  the  army. 
When  this  was  over  his  eldest  brother, 
Joseph,  assisted  him  to  continue  his 
studies  at  _  the  Conservatory;  but 
Joseph,  having  been  active  in  the  in- 
surrection, was  thrown,  under  sus- 
picion and  forced  to  leave  the  country. 
This  threw  Karl  on  his  own  resources. 
He  supported  himself  by  playing  in 
the  orchestra  of  a  theatre  in  Raab, 
Hungary,  but  returned  to  Vienna  in 
1850  and  secured  an  engagement  in 


Goldmark 


the  orchestra  of  the  Josephstadt 
Theatre.  Here,  though  too  poor  to 
gratify  his  strong  desire  for  piano  les- 
sons, he  managed  to  rent  an  instru- 
ment and  studied  alone,  with  sufficient 
success  to  enable  him  later  to  teach 
both  piano  and  singing,  in  which  he 
was  also  self-instructed.  During  this 
period  he  studied  the  scores  of  the 
classic  composers  and  attended  the 
Hellmesberger  concerts  of  chamber- 
music  in  Vienna.  His  study  of  classic 
works  stimulated  his  desire  to  com- 
pose, and  in  1857  he  gave  a  concert 
of  his  own  works,  consisting  of  an 
overture,  a  piano  quartet,  a  number 
for  tenor  solo,  chorus  and  orchestra, 
and  two  songs.  Although  these  met 
with  a  favorable  reception  they 
showed  the  influence  of  Mendelssohn, 
which  he  outgrew  not  long  afterward, 
and  these  earlier  compositions  were 
never  published.  Goldmark  now  went 
to  Pesth,  where  he  spent  two  years 
in  yet  deeper  study.  Besides  coun- 
terpoint and  composition  he  studied 
the  works  of  the  greatest  masters. 
Where  Mozart,  Haydn  and  Mendels- 
sohn had  previously  claimed  his 
attention,  Bach,  Beethoven,  and  Schu- 
mann were  now  his  teachers.  During 
this  period  of  retirement  he  composed 
some  of  his  best  works,  the  Sakun- 
tala  and  the  Penthesilea  overtures; 
the  suite.  Die  liindliche  Hochzeit;  and 
a  suite  for  violin  and  piano.  The 
orchestral  training  of  his  youth,  as 
well  as  later  special  study  of  the  in- 
dividual instruments,  now  reflected 
itself  in  his  compositions,  and  assured 
hirn  that  freedom  in  orchestration  in 
which  his  work  is  especially  strong. 
In  1860  Goldmark  settled  in  Vienna, 
where  his  work  was  now  becoming 
recognized.  His  string  quartet  in  B 
flat,  written  after  his  return  to  Vienna, 
so  charmed  Hellmesberger  that  he 
promised  all  Goldmark's  future  cham- 
ber works  performance  at  his  own 
concerts. 

Goldmark's  first  great  success  was 
the  Sakuntala  overture,  composed  in 
1864,  and  produced  the  next  year  at 
a  Vienna  Philharmonic  concert.  It 
won  immediate  praise  from  even  the 
conservative  among  the  critics.  His 
first  opera.  The  Queen  of  Sheba,  gave 
Goldmark  unlimited  opportunity  for 
the  use  of  the  rich  Oriental  effects, 
which  characterize  so  much  of  his 
music.  He  spent  much  time  in  the 
composition  and  revision  of  this 
opera,    seven    or   more    years    being 


BIOGRAPHIES 


305 


1^^  later 

I- 


Goldmark 

occupied  with  the  work  as  a  whole. 
His  careful  and  conscientious  labor 
received  its  reward,  for  when  finally 
brought  out  under  Gericke,  in  1875,  at 
the  Court  Opera,  Vienna,  it  aroused 
overwhelming  applause,  the  composer 
being  recalled  nearly  forty  times. 
After  performances  in  a  number  of 
European  cities,  it  was  given  for  the 
first  time  in  America,  at  the  Metro- 
politan Opera  House,  New  York,  in 
1885,  under  Anton  Seidl,  and  the  next 
season  was  repeated  several  times.  The 
success  of  this  first  opera  caused  a 
demand  for  other  works,  and  a  nurn- 
ber  of  Goldmark's  chamber  composi- 
tions, hitherto  only  in  manuscript, 
were  published  and  performed.  In 
opposition  to  the  urgent  advice  of 
friends  and  operatic  managers.  Gold- 
mark  wisely  refused  to  hurry  his  work 
unduly,  preferrmg  to  endanger  his 
reputation  by  letting  the  public  wait, 
rather  than  by  producing  work  less 
thoroughly  planned  and  finished;  so 
another  ten  years  elapsed  before  the 
production  of  his  second  opera.  Mer- 
lin, in  Vienna,  in  1886.  He  had  also 
resolved  to  refrain  from  the  use  of 
Eastern  subjects  and  the  Oriental 
coloring  which  was  natural  to  him; 
and  this  second  opera,  based  on  an 
Arthurian  legend,  was  written  in  a 
style  more  lofty  and  serious  than  any 
previous  work.  Though  the  opera 
did  not  meet  with  the  spontaneous 
approval  which  had  greeted  the 
Queen  of  Sheba,  it  stands  among  his 
most  important  works,  and  is  said  to 
possess  musical  worth  that  requires 
time  to  demonstrate.  It  was  given 
under  the  direction  of  Walter  Dam- 
rosch  in  New  York  in  1887.  Three 
later  operas  by  Goldmark  are  Das 
Heimchen  am  Herd,  based  on  Dick- 
ens' Cricket  on  the  Hearth;  Die 
Kriegsgefangene,  on  an  incident  of  the 
Trojan  war;  Gotz  von  Berlichingen,  a 
five-act  opera  founded  on  Goethe's 
drama  of  the  same  name;  and  Der 
Fremdling.  Among  his  chief  orches- 
tral works  IS  the  Country  Wedding,  a 
series  of  descriptive  movements  con- 
taining a  wedding-march  with  vari- 
ations, a  bridal  song,  a  serenade,  a 
love-duet,  and  a  dance  finale.  Al- 
though in  the  popular  style,  its  strong 
rhythms  and  flowing  melodies  give  it 
a  genuine  musical  value.  _  Sakuntala, 
considered  by  many  critics  Gold- 
mark's  best  overture,  is  founded  on  a 
legend  from  Hindu  mythology.  A 
later  work  is  the  overture  of  Prome- 


Goldmark 
theus  Bound,  based  on  ^Eschylus* 
famous  drama.  ^The  Penthesilea  over- 
ture is  also  based  on  an  episode  of 
the  Trojan  war,  where  Achilles  slays 
in  battle  the  Amazon  queen,  and 
then  bemoans  his  act.  These  over- 
tures, with  the  one  entitled  Spring, 
the  E  flat  symphony,  containing  an 
eflfective  scherzo,  the  Rural  Wedding 
above  mentioned,  and  the  violin  con- 
certo in  A  minor,  are  the  works  of 
Goldmark  best  known  in  this  coun- 
try. Besides  the  works  mentioned  his 
compositions  include  a  Friihlings- 
hymne;  six  male  choruses;  a  male 
quartet;  Friihlingsuetz  for  four  horns 
and  piano;  two  trios  for  piano  and 
strings;  two  suites  and  a  sonata  for 
piano  and  violin;  a  sonata  for  cello 
and  piano;  two  four-part  songs;  three 
overtures,  S.appho,  In  Italien,  and  Im 
Friihling;  two  orchestral  scherzos;  a 
series  of  sketches  for  piano,  Sturm 
und  Drang;  dances  for  orchestra; 
Meeresstille  und  gliickliche  Fahrt,  for 
male  voices  and  horns;  other  choral 
works  and  a  number  of  songs.  _  A 
second  violin  concerto  and  Zrimyi,  a 
symphonic  poem,  are  recent  works. 

Goldmark's  strong  points  are  rich, 
varied  and  appropriate  orchestral  col- 
oring, and  his  ability  to  handle  all 
materials  effectively.  He  has  declined 
all  orders  and  titles  of  distinction,  and 
given  up  teaching  in  order  to  devote 
his  life  more  completely  to  composi- 
tion. It  is  his  custom  to  retire  for 
that  purpose  during  the  summer  to 
Gmunden,  in  Upper  Austria.  He  lives 
in  Vienna  during  the  winter,  and  for 
a  short  time  was  president  _  of  the 
Tonkiinstlerverein  in  that  city,  the 
only  official  post  he  would  ever 
accept,  though  offered  a  number  of 
conductorships. 

*  Goldmark,  Rubin.     1872- 

American  composer;  nephew  of  Karl 
Goldmark.  Began  his  musical  study 
when  but  seven  years  old  under  Alfred 
Livonius,  and  in  1889  went  with  his 
teacher  to  Vienna,  where  he  con- 
tinued his  studies  in  piano  under  Door 
and  in  composition  under  Fuchs  at 
the  Conservatory  of  Music.  On  re- 
turning to  this  country  he  studied 
with  Joseffy  and  Dvorak  in  New  York. 
In  1891  he  was  instructor  in_  the 
National  Conservatory  of  Music  in 
New  York.  From  1892  to  1903  he 
lived  in  Colorado  Springs,  where  he 
had  gone  on  account  of  his  health,  and 
there  he  established,  in  1895,  the  Colo- 


306 


BIOGRAPHIES 


Goldmark 

rado  College  of  Music,  of  which  he 
was  director  and  lecturer.  He  re- 
turned to  New  York  in  1903,  where 
he  now  lives.  He  has  given  about  two 
hundred  lecture  recitals  in  the  United 
States  and  Canada.  At  the  age  of 
nineteen  he  composed  a  theme  and 
variations  for  orchestra,  which 
scored  a  success  under  Seidl  in  New 
York  in  1895.  Other  compositions  are 
a  cantata  with  orchestra.  Pilgrimage 
to  Kevlaar;  an  overture,  Hiawatha, 
played  by  the  Boston  Symphony  Or- 
chestra; a  romanza  for  violoncello;  a 
sonata  for  violin;  and  a  trio  for  piano, 
violin  and  cello,  on  hearing  which,  it 
is  said,  Dvorak  exclaimed,  "  There  are 
now  two  Goldmarks!"  This  trio  was 
written  by  Goldmark  at  the  age  of 
twenty.  He  has  also  written  numer- 
ous songs,  which  show  originality  and 
much  promise.  Among  them  may  be 
named  Come  Live  With  Me;  Forest 
Song,  Die  erste  Liebe;  and  O'er  the 
Woods'  Brow.  Elson  speaks  of  this 
composer  as  a  "  remarkably  scientific 
musician,  graceful  in  his  thoughts  and 
fine  in  his  orchestral  coloring." 

Goldschmidt     (golt-shmit),    Adalbert 

von.    About  1850-1907. 

Composer  and  amateur  musician; 
born  at  Vienna;  came  from  a  wealthy 
family,  and  though  intended  for  the 
bar,  chose  to  devote  his  energies  to 
music  instead.  He  gave  his  time  to 
composition,  after  studying  at  the 
Vienna  Conservatory,  and  his  first 
work,  founded  on  Hamerling's  poem, 
Die  sieben  Todsunden,  was  produced 
at  Berlin  in  1876.  .  It  aroused  great 
enthusiasm  in  the  musical  world;  was 
produced  in  Paris,  Hanover,  Leipsic, 
Konin^sberg  and  Vienna,  and  highly 
praised  except  in  Goldschmidt's  home 
city.  Dedicated  to  Liszt  it  received 
the  warm  commendation  of  that  artist. 
Goldschmidt's  opera,  Helianthus,  was 
produced  at  Leipsic  in  1884,  and  was 
equally  well  received.  In  1889  his 
trilogy,  Gaea,  was  on  the  eve  of  being 
performed,  but,  the  manager  dying, 
it  failed  to  appear;  and  discouraged 
at  being  unable  to  bring  out  the  work 
into  which  he  had  put  his  best  and 
most  original  thought,  Goldschmidt 
seems  to  have  lost  in  part  the  desire 
for  fame,  although  a  fourth  work,  Die 
fromme  Helene,  was  given  in  1897  at 
Hamburg.  Other  compositions  pub- 
lished are  a  symphony;  piano  music; 
and  numerous  songs,  the  latter  said 
to  be  of  a  very  high  order. 


Golinelli 
Goldschmidt,  Otto.    1829-1907. 

German  pianist,  composer  and  con- 
ductor; born  at  Hamburg.  Was  a 
pupil  of  F  W.  Grund  and  Jacob 
Schmitt,  of  Mendelssohn  at  the  Leip- 
sic Conservatory  from  1843  to  1846, 
and  went  to  Paris  in  1848  for  study 
with  Chopin.  In  1849  he  played  in 
London  at  a  concert  in  which  Jenny 
Lind  was  the  star,  and  in  1851  accom- 
panied her  to  America,  acting  as  a 
conductor  in  a  number  of  her  con- 
certs. The  following  year  he  married 
her,  and  for  three  years  they  lived  in 
Dresden.  From  1858  to  her  death 
they  resided  in  or  near  London.  Gold- 
schmidt conducted  musical  festivals 
in  Dusseldorf  in  1863,  and  in  Ham- 
burg in  1866.  In  1863  he  became  vice- 
principal  of  the  Royal  Academy  of 
Music,  London,  and  in  1875  founded 
the  Bach  Choir,  an  amateur  musical 
union  which  introduced  some  of  the 
works  of  that  master  into  England, 
and  owed  much  to  its  devoted  and 
persevering  leader.  In  1861  he  was 
elected  an  honorary  member  of  the 
London  Philharmonic  Society,  and  in 
1864  of  the  Swedish  Royal  Academy 
of  Music.  In  1876  the  King  of  Swe- 
den made  him  a  recipient  of  the  royal 
order  of  Wasa;  and  he  was  also  a 
member  of  several  other  musical 
associations  of  importance.  His  com- 
positions include  Ruth,  an  oratorio; 
a  piano  concerto;  trio  for  piano,  vio- 
lin, and  violoncello;  twelve  studies 
for  piano;  two  piano  duos;  songs  and 
part-songs;  besides  additional  accom- 
paniments to  works  by  Handel  and 
Bach. 

Golinelli  (gol-in-el-'le),  Stefano.    1818- 

Italian  pianist  and  composer;  highly 
esteemed  in  Italy,  was  born  at 
Bologna.  Studied  piano  under  Don- 
elli,  and  composition  under  Vaccai. 
Rossini,  then  director  of  the  Liceo  at 
Bologna,  appointed  Golinelli  professor 
of  music  in  1840,  in  which  post  he 
remained  until  his  retirement  in  1870. 
Golinelli  gave  concerts  throughout 
Italy,  and  also  toured  in  Germany, 
France  and  England.  His  composi- 
tions are  almost  entirely  for  the 
piano,  and  number  between  two  and 
three  hundred,  including  five  sonatas; 
twenty-four  preludes,  dedicated  to 
Rossini;  twenty-four  preludes,  which 
were  adopted  by  the  Liceo  for  teach- 
ing purposes;  an  album  dedicated  to 
Mercadante;  fantasias,  and  other 
pieces  for  the  piano. 


BIOGRAPHIES 


307 


GoUmick 
(gol'-mik),    Adolf. 


1825- 


Gollmick 
1883. 

Pianist;  born  at  Frankfort-on-Main, 
the  son  of  Karl  Gollmick.  Was  a 
pupil,  first  of  his  father,  later  of 
Riefstahl  and  H.  Wolf.  He  settled  in 
London  in  1844,  where  he  founded 
several  musical  societies,  and  gave 
concerts  both  as  a  pianist  and  vio- 
linist, playing  at  times  in  other  parts 
of  England,  and  in  Germany.  His 
works  comprise  three  comic  opera?. 
Dona  Constanza,  The  Oracle,  and 
Balthasar;  two  operatic  cantatas.  The 
Heir  of  I>ynne  and  Blind  Beggar  of 
Bethnal  Green;  a  symphony  and  other 
orchestral  pieces;  chamber-music; 
songs;  _  and  piano-music,  including 
transcriptions    of   German   folk-songs. 

Goltermann  (gol'-ter-man),  Georg  Ed- 
uard.     1824-1898. 
Celebrated    cellist,    conductor    and 

composer  for  cello;  was  the  son  of  an 
organist  at  Hanover,  a  cello  pupil  of 
Prell,  and  in  Munich  from  1847  to 
1849  of  Menter  and  Lachner,  studying 
composition  with  the  latter.  He  made 
concert  tours  as  cellist  in  1850  to 
1852,  bringing  out  a  symphony  in 
Lepisic  in  1851.  In  1852  he  became 
musical  director  at  Wiirzburg,  in  1853 
second  conductor,  and  in  1874  was 
chief  conductor  at  the  City  Theatre, 
Frankfort.  He  died  in  Frankfort. 
His  reputation  rests  on  his  cello  play- 
ing, but  he  has  also  composed  for  his 
instrument  six  concertos;  sonatas  for 
piano  and  cello;  Morceaux  caracter- 
istiques,  an  Elegie,  and  Danses  alle- 
mande,  also  for  cello  and  piano;  and 
an  adagio  for  cello  and  orchestra.  He 
has  also  composed  two  Festspiel 
Ouverturen,  a  symphony  in  A  minor, 
and  songs. 

Gombert  (gom'-bert),  Nicolas.    About 

1495-after  1570. 

Born  at  Bruges;  was  one  of  the 
most  important  composers  of  the 
Flemish  School,  and  the  most  eminent 
pupil  of  Josquin  Despres.  He  was 
master  of  the  boys  at  the  Imperial 
Chapel,  Madrid,  and  is  thought  to 
have  been  chapelmaster  from  1530  to 
1534.  Charles  V.  appointed  him  later 
to  a  sinecure  position  in  the  Nether- 
lands, thus  enabling  him  to  pass  his 
old  age  in  comfort.  Fetis  is  quoted 
as  having  pronounced  him  a  forerun- 
ner of  Palestrina  in  church  music;  but 
although  skilled  in  learned  forms  of 
music-writing,  his  tastes  were  rather 


Gompertz 

in  the  direction  of  secular  and  cham- 
ber-music, with  an  inclination  toward 
the  sentimental,  which  affected  even 
his  fugues.  His  favorite  subjects  were 
pastoral,  and  his  method  of  treating 
them  is  described  as  similar  to  that  of 
Haydn  and  Mozart,  and  as  refresh- 
ingly simple  and  direct.  His  descrip- 
tive power  is  said  to  have  permeated 
his  church  music  also.  His  composi- 
tions are  over  two  hundred  and  fifty 
in  number  and  include  masses,  motets, 
songs,  and  ancient  dances;  the  chief 
merit  which  they  possess  for  modern 
ears,  according  to  Brown,  being  their 
delightful  quaintness.  Busby  said 
that  Gombert's  masses  and  motets 
"entitle  him  to  a  rank  with  the  first 
masters  of  his  day." 

Gomez    (g5'-mas),    Antonio    Carlos. 

1839-1896. 

An  opera  composer,  of  Portuguese 
parentage;  born  at  Campinas,  Brazil. 
Was  sent  to  Europe  for  musical  study 
by  the  Emperor  of  Brazil,  and  became 
a  pupil  of  Rossi  at  the  Milan  Con- 
servatory. In  1861  he  had  produced 
at  Rio  Janeiro  an  operetta  in  Portu- 
guese, A  noite  de  castello,  and  his 
first  work  performed  in  Italy  was  Se 
sa  rninga  (Nobody  knows!),  the  im- 
mediate success  of  which  was  largely 
due  to  a  Song  of  the  Needlegun.  This 
was  followed  by  Nella  Luna;  II 
Guarany,  which  was  successful,  and 
was  performed  within  the  next  two 
years  at  Genoa,  Florence,  Rome  and 
London:  Fosca,  a  failure;  Salvator 
Rosa,  Maria  Tudor,  and  La  Schiavo, 
all  successful;  and  Condor,  which  was 
not  so  well  received.  He  also  wrote 
an  ode,  II  saluto  del  Brasile,  for  the 
Centennial  Exhibition  at  Philadelphia 
in  1876;  and  Colombo,  a  cantata,  for 
the  Columbus  Festival  in  1892.  In 
1895  he  was  appointed  director  of  the 
Conservatory  of  Para,  but  died  a  few 
months  after  his  arrival  in  Para.  II 
Guarany  is  considered  his  most  orig- 
inal work,^  and  the  fluctuating  for- 
tunes of  his  later  operas  are  due  to 
their  lack  in  this  respect,  "  being 
obviously  indebted  for  their  inspi- 
ration to  Verdi  and  Meyerbeer." 

Gompertz    (gom'-pertz) ,    Richard. 

1857- 
_  Excellent  German  violinist,  dis- 
tinguished especially  for  ensemble 
playing;  was  born  at  Cologne.  His 
mother  was  a  good  musician  and  his 
first    teacher.      At    seven    he    began 


308 


BIOGRAPHIES 


Gompertz 
violin  study  under  Derkum,  at  twelve 
played  with  orchestra,  and  continued 
his  studies  at  the  Conservatory  under 
the  head  professor,  Konigslow,  not 
neglecting  at  the  same  time  his  gen- 
eral education.  At  sixteen  he  became 
a  pupil  of  Joachim  at  Berlin,  where 
he  remained  till  1878,  making  his 
debut  at  Cologne,  and  afterward 
traveling  as  soloist  with  a  male  choral 
society  from  that  place.  In  1880  he 
went  to  Cambridge,  England,  where 
he  orgginized  the  Cambridge  String 
Quartet.  He  taught  in  the  Royal 
College  of  Music  from  its  beginning, 
in  1883,  and  in  1895  became  professor 
of  violin  there.  During  his  sojourn 
in  London  he  played  in  a  number  of 
prominent  concerts,  both  as  soloist 
and  ensemble  player,  but  from  1890 
to  1899  confined  his  public  appear- 
ances to  the  concerts  of  his  quartet, 
which  established  a  far  higher  stand- 
ard in  its  particular  field  than  had 
been  previously  known  in  London. 
Gompertz's  influence  as  a  teacher  was 
wide,  and  of  the  best.  From  1899  he 
has  lived  at  Dresden,  devoting  much 
time  to  composition.  He  has  pub- 
lished a  sonata  for  piano  and  violin, 
his  most  important  work;  and  a  book 
of  songs.  A  violin  concerto,  studies 
for  violin,  other  songs,  and  sonatas, 
remain  in  manuscript. 

*  Goodrich,  Alfred  John.    1847- 

American  musical  theorist  and 
teacher  of  music;  of  Scottish  ancestry 
on  his  mother's  side;  born  in  Chilo, 
Ohio.  Studied  piano  and  harmony  for 
a  year  with  his  father,  and  afterward 
studied  music  alone.  His  general  edu- 
cation was  received  in  the  public 
schools  of  San  Francisco  and  Sacra- 
mento, California.  In  1876  he  was 
teacher  of  singing,  piano  and  theory 
at  the  Fort  Wayne  Conservatory  of 
Music,  Ft.  Wayne,  Indiana,  succeed- 
ing the  well-known  instructor,  A.  K. 
Virgil,  in  the  two  latter  branches. 
Was  for  some  time,  from  1881,  di- 
rector of  the  vocal  department  and 
teacher  of  theory  at  the  Beethoven 
Conservatory,  St.  Louis,  Missouri, 
and  for  two  years  director  of  the  mu- 
sical department  of  Martha  Washing- 
ton College  at  Abingdon,  Virginia. 
He  moved  to  Chicago  in  1888,  where 
he  taught  music  and  wrote  regularly 
for  several  leading  periodicals,  par- 
ticularly the  ^  New  York  Musical 
Courier,  to  which  he  has  contributed 
important  articles  on  the  theory,  prac- 


Goodricb 

tise,  and  aesthetics  of  musical  art. 
He  now  conducts,  with  Mrs.  Good- 
rich, a  private  music  school  in  New 
York  City.  He  has  also  published 
the  following  works:  Music  as  a 
Language;  The  Art  of  Song;  Com- 
plete Music  Analysis;  Analytical  Har- 
mony; Theory  of  Interpretation; 
Guide  to  Memorizing;  Guide  to  Prac- 
tical Musicianship;  and  Synthetic 
Counterpoint.  He  also  has  a  work  in 
manuscript  entitled  System  of  Strict 
Counterpoint,  and  still  contributes  to 
the  leading  musical  journals.  A  series 
of  articles  entitled  Musical  Termi- 
nology ran  through  the  entire  twelve 
numbers  of  The  Musician  for  1900. 
Elson  considers  his  Analytical  Har- 
mony Goodrich's  chief  work.  His 
published  books  have  been  praised  by 
prominent  musicians  both  in  America 
and  Europe,  and  have  won  him  recog- 
nition from  scholars  abroad  as  one  of 
the  leading  spirits  of  his  time. 

Goodrich  composed  much  in  his 
youth  in  large  musical  forms,  but  the 
success  of  his  technical  works  has  to 
some  extent  thrown  his  compositions 
into  the  background.  After  hearing 
for  the  first  time  Tschaikowsky's  Fifth 
Symphony,  he  burned  his  early  com- 
positions, and  a  piano  suite  alone  was 
left.  He  has  written  a  patriotic  can- 
tata, many  songs,  fugues,  and  cham- 
ber-music in  his  mature  years,  and 
arranged  for  orchestra  various  works 
of  other  composers.  His  orchestral 
arrangement  of  Rheinberger's  Taran- 
tella was  performed  with  considerable 
success  at  the  St.  Louis  Exposition  of 
1904.  That  Mr.  Goodrich  is  recog- 
nized in  larger  executive  capacities  is 
evident  from  the  fact  that  he  has 
been  president  of  the  Indiana  Music 
Teachers'  Association,  chairman  of 
the  Music  Committee  of  the  New 
York  Manuscript  Society,  editor  of 
Brainard's  Musical  World,  Chicago, 
and  conductor  of  the  Mexican  Opera 
Company. 

*  Goodrich,  Wallace.     1871- 

Eminent  American  organist;  born 
in  Newton,  Mass.,  of  New  England 
parentage.  His  father,  a  distinguished 
lawyer,  at  first  wished  his  only  child 
to  follow  his  profession.  Although 
not  an  infant  prodigy,  Wallace  de- 
sired as  a  child  to  play  the  organ, 
and  after  a  few  lessons  from  Eugene 
Thayer  he  found  that  piano  study  was 
the  first  essential,  and  accordingly 
was  sent  to  Mr.  Clouston  for  lessons 


BIOGRAPHIES 


309 


Goodrich 

on  that  instrument.  After  three 
years  under  this  teacher  and  three 
under  Carlyle  Petersilea  he  was  con- 
sidered ready  to  take  up  organ  again, 
and  at  the  age  of  fourteen  accepted  a 
position  in  a  Newton  church.  Not  hav- 
ing touched  the  instrument  for  some 
years,  he  was  coached  by  George  C. 
Gow,  and  took  the  position  within  a 
week  after  it  was  offered  to  him. 
Meanwhile  he  attended  the  Newton 
High  School,  graduating  in  1888,  and 
while  there,  inspired  by  a  Wagner 
Festival,  directed  by  Theodore  Thomas 
in  Boston,  he  organized  a  small  or- 
chestra among  his  classmates.  After 
the  study  of  harmony  and  counter- 
point under  Chadwick,  organ  under 
Henry  M.  Dunham,  and  musical 
theory  under  Louis  C.  Elson  at  the 
New  England  Conservatory  of  Music, 
in  all  three  years,  during  which  time 
he  composed  some,  he  secured  a  bet- 
ter position  in  the  Eliot  Congrega- 
tional Church  at  Newton,  and  gave 
organ  recitals.  His  father  finally  be- 
coming reconciled  to  his  son's  choice 
of  a  musical  career,  young  Goodrich 
went  to  Europe  with  his  mother  in 
1894.  He  became  a  pupil  of  Rhein- 
berger  at  the  Royal  Academy  of 
Music  in  Munich,  and  also  studied 
conducting  under  Ludwig  Abel,  to 
such  purpose  that  at  the  annual  clos- 
ing exercises  of  the  school,  Goodrich 
conducted  an  Ave  Maria  of  his  own 
for  chorus  and  orchestra,  and  won  a 
medal  for  organ-playing  and  compo- 
sition. In  1895  he  went  to  Paris  and 
studied  organ  under  Wider.  The  next 
year  he  became  director  of  rehearsals 
at  the  Leipsic  City  Theatre,  received 
much  training  in  the  details  of  oper- 
atic conducting,  which  he  then  ex- 
pected to  follow;  but  an  offer  of  the 
professorship  of  organ  and  harmony 
in  the  New  England  Conservatory 
of  Music  brought  him  back  to  Amer- 
ica in  1897.  For  the  years  1905  and  1906 
he  was  acting  director  oi  the  Con- 
servatory, during  Chadwick's  absence 
in  Europe,  and  his  efficiency  was 
recognized  by  his  being  chosen  Dean 
of  the  faculty  the  following  year. 
Soon  after  his  return  to  this  country 
he  became  organist  and  choirmaster 
of  the  Church  of  the  Messiah  in  Bos- 
ton, resigning  this  position  in  1902  to 
accept  that  at  Trinity  Church,  where 
he  now  plays.  He  gave  a  series  of 
recitals  at  the  Arlington  Street 
Church,  Boston,  playing  a  high  class 
of  organ  music,  and  in  1901  ne  gave 


Goodson 
the  first  organ  recital  in  Boston  Sym- 
phony Halh  He  has  been  the  regular 
organist  of  the  Boston  Symphony 
Orchestra  since  1897,  and  has  also 
appeared  as  organ  soloist  at  sym- 
phony concerts  in  different  cities,  and 
is  considered  one  of  the  surest  en- 
semble players  in  America. 

While  in  Europe  he  made  a  special 
study  of  plain  song,  liturgy,  and 
mediaeval  church  music;  has  lectured 
on  these  subjects,  and  is  perhaps  the 
leading  authority  in  the  United  States 
on  the  subject  of  plain  song,  which 
he  has  introduced  into  the  church 
service  in  this  country.  This  prep- 
aration also  fitted  him  for  the  unique 
position  which  he  holds  as  conductor 
of  the  Choral  Art  Society  of  Boston, 
which  he  organized  in  1902.  This 
society  is  composed  chiefly  of  artists, 
and  performs  the  most  difficult  eccle- 
siastical works  without  accompani- 
ment. Goodrich  has  recently  founded 
a  series  of  concerts  known  as  the 
Jordan  Hall  Orchestral  concerts, 
which  he  conducts,  as  well  as  the 
Cecilia  Society  of  Boston,  and  the 
Worcester  County  Musical  Associ- 
ation. He  has  contributed  valuable 
articles  on  the  organ  to  musical  peri- 
odicals, and  has  upheld  legitimate 
organ  music,  i.  e.,  that  originally  writ- 
ten for  the  instrument  with  a  view 
to  its  individuality  in  contradistinc- 
tion to  the  use  of  transcription  and 
orchestral  imitation.  He  has  also 
translated  from  the  French,  A.  Pirro's 
L'Orgue  de  Bach,  as  J.  S.  Bach  the 
Organist;  and  Niedermeyer's  book  on 
Gregorian  accompaniment.  As  yet 
his  compositions  are  all  in  manuscript. 
A  Latin  hymn,  an  orchestral  overture, 
an  operetta,  an  Ave  Maria  for  chorus 
and  orchestra,  and  a  requiem,  in  Eng- 
lish, all  attest  his  industry  in  this 
direction. 

Goodson,  Katharine. 

This  gifted  English  pianist  was  a 
pupil  of  Leschetizky  for  four  years, 
and  has  been  mentioned  as  one  of  the 
best  of  that  famous  teacher.  After 
attaining  an  enviable  reputation  in 
London,  and  throughout  England,  she 
began  a  series  of  concert  tours,  play- 
ing first  at  Berlin,  where  she  was 
warmly  praised  by  the  critics.  She 
was  engaged  in  Paris  to  play  with 
the  Lamoureux  Orchestra,  and  since 
then  has  made  tours  through  Ger- 
many, Austria,  Holland,  France,  Bel- 
gium and  Italy,  besides  annual  journeys 


310 


BIOGRAPHIES 


Goodson 
over  Great  Britain.  She  has  appeared 
under  a  number  of  celebrated  conduc- 
tors, including  Richter,  at  his  London 
concerts;  Nikisch  at  the  Gewand- 
haus,  Leipsic;  and  with  the  Berlin 
Philharmonic  at  Hamburg.  Her 
American  debut  occurred  in  January, 
1907,  as  soloist  with  the  Boston  Sym- 
phony Orchestra,  on  which  occasion 
she  was  most  favorably  received. 
She  returned  to  America  in  October, 
1907,  to  play  at  the  fiftieth  anniversary 
of  the  Worcester  (Massachusetts) 
Festival,  her  concerto  being  a  new 
one  by  her  husband,  Arthur  Hinton, 
an  English  composer  and  violinist 
of  some  note.  Besides  her  many  ap- 
pearances in  recital  in  the  large  cities 
of  the  United  States  she  has  played 
with  all  of  the  leading  orchestras  of 
the  country.  She  has  especially  dis- 
tinguished herself  in  her  playing  of 
Grieg's  concerto.  Her  interpretations 
are  poetic  and  spontaneous,  and  are 
based  on  a  thorough  command  of 
both  technic  and  musical  effects. 
Personally,  Mme.  Goodson  is  tall  and 
slender,  with  movements  full  of  grace 
and  vitality,  possessing  a  charm  to 
which  none  of  her  pictures  do  justice. 

Goodwin,  Amina  Beatrice.    (Date  of 
birth  unknown.) 

English  concert  pianist;  born  at 
Manchester,  England;  showed  talent 
very  early.  She  received  instruction 
from  her  father,  and  played  in  public 
when  six  years  old.  She  studied  at 
Leipsic  under  Reinecke  and  Jadassohn, 
at  Paris  under  Delaborde,  and  later 
under  Liszt  and  Madame  Schumann. 
In  1895  she  founded  a  Piano  College 
for  ladies  at  London.  In  1892  she 
published  there  a  work  entitled  Prac- 
tical Hints  on  the  Technique  and 
Touch  of  Piano  Playing,  and  has  also 
composed  some  music  for  the  piano. 
Her  rank  as  a  pianist  is  high.  She 
married  Mr.  W.  Ingram-Adams,  an 
American. 

Goovaerts  (go'-varts),  Alphonse  Jean 

Marie  Andre.    1847- 

A  Flemish  musical  bibliographer, 
theorist  and  composer;  born  at  Ant- 
werp. Was  the  grandson  of  a  poet 
of  some  note,  the  son  of  an  able 
amateur  musician,  and  early  displayed 
musical  talent.  He  studied  for  a  time 
at  the  Jesuits'  College  in  Antwerp, 
but  financial  reverses  forced  him  into 
the  commercial  world  in  his  teens.  He 
kept  up  his  study  alone,  however,  and 


Gordigiani 
after  his  appointment  as  assistant  li- 
brarian  in  Antwerp  his  motets  became 
known  locally.  Seven  volumes  of 
Flemish  songs  for  school  use  were 
published  from  1868  on.  A  mass  in 
four  parts  with  organ  accompaniment 
followed,  and  in  1869  his  Messe  Solen- 
nelle  was  successfully  produced.  In 
addition  to  the  smaller  pieces  of 
church-music,  which  he  continued  to 
compose,  he  became  engaged  in  the 
study  of  church  and  musical  history, 
which  absorbed  more  and  more  of 
his  interest,  and  led  to  earnest  efforts 
for  the  reform  of  church-music.  In  1874 
he  established  and  trained  an  amateur 
choir  at  the  Antwerp  Cathedral.  His  La 
Musique  d'figlise,  published  in  1876, 
both  in  Flemish  and  French,  was  a 
defense  of  his  position  as  a  musical 
reformer,  which  had  been  attacked. 
He  traveled  in  Holland  and  Germany 
in  connection  with  his  historical 
studies,  and  in  1880  published  a  His- 
tory of  Music  Printing  in  the  Nether- 
lands, for  which  he  was  awarded  the 
gold  medal  of  the  Belgian  Academic. 
The  next  year,  on  the  formation  of 
the  Gregorian  Association,  he  became 
one  of  the  foremost  members,  and  his 
Adoramus  was  composed  for  that 
body.  Other  literary  works  followed, 
including  a  monograph  on  Pierre 
Phalese,  one  on  Netherland  Artists, 
and  one  on  the  origin  of  news  peri- 
odicals. These  appeared  originally  in 
French,  and  the  first  and  last  men- 
tioned of  this  group  were  translated 
into  Flemish.  His  lesser  composi- 
tions were  chiefly  church-music,  but 
include  some  songs  and  pieces  for 
violin  and  piano.  In  1887  he  was 
appointed  keeper  of  the  royal  archives 
at  Brussels. 

Gordigiani    (gor-ded-ja'-ne),   L  u  i  g  i. 

1806-1860. 

Sometimes  called  the  Italian  Schu- 
bert, and  famous  as  a  composer  of 
Tuscan  popular  songs.  Was  born  at 
Modena,  and  received  his  musical  edu- 
cation during  the  intervals  of  travel- 
ing and  singing  with  his  father,  taking 
a  few  lessons,  first  in  one  city  and 
then  in  another.  His  natural  talent 
was  strong,  however,  and  before  he 
was  twenty  he  had  composed  several 
cantatas.  After  his  father's  death  he 
supported  himself  for  a  time  by  his 
piano  pieces,  written  under  the  pseu- 
donyms of  Zenner  and  von  Fursten- 
burger.  _  Later  he  produced  several 
operas  in  various  Florentine  theatres. 


BIOGRAPHIES 


311 


Gordigiani 

and  wrote  also  an  oratorio  and  a 
ballet.  His  reputation  rests  on  his 
musical  setting  of  Tuscan  folk-songs, 
and  his  canzonnette  for  voice  and 
piano,  which  are  sentimental  and  often 
sad  in  tendency,  and  based  on  old 
Italian  national  airs.  They  number 
over  three  hundred  and  have  been 
translated  into  many  other  lan- 
guages. The  best  known,  perhaps, 
of  his  songs,  are  duets  for  female 
voices.  A  lighter  vein  is  apparent  in 
his  skilful  parodies  on  operas,  in- 
cluding Norma  and  Sonnambula. 

Goss,  Sir  John.     1800-1880. 

English  organist  and  church  com- 
poser; born  at  Fareham,  Hants;  was 
the  son  of  Joseph  Goss,  an  organist. 
He  entered  the  choir  of  the  Chapel 
Royal  under  John  Stafford  Smith  in 
1811,  but  afterward  became  a  pupil 
of  Attwood.  After  being  organist  at 
several  churches  he  went  to  St.  Paul's 
Cathedral,  as  Attwood's  successor  in 
1828,  a  position  he  held  for  thirty- 
four  years.  He  was  an  associate  of 
the  Philharmonic  Society  from  1822, 
becoming  a  member  in  1825.  In  1824 
he  became  a  member  of  the  Royal 
Society  of  Musicians,  and  in  1834  of 
the  Society  of  British  Musicians.  He 
was  professor  of  harmony  at  the 
Royal  Academy  of  Music  from  1827 
to  1874.  In  1856  he  succeeded 
Knyvett  as  one  of  the  composers  to 
the  Chapel  Royal  and  remained  in 
this  position  till  after  he  was  knighted 
in  1872.  He  received  the  degree  of 
Doctor  of  Music  from  Cambridge  in 
1876.  He  died  in  London,  highly  re- 
spected as  a  man  and  a  musician.  As 
a  boy  he  was  fond  of  the  stage,  and 
at  nineteen  wrote  a  negro  song  for 
three  voices  and  small  orchestra.  An 
overture  in  F  minor,  written  at  the 
age  of  twenty-five,  was  produced  at 
a  Philharmonic  concert  in  1827.  Still 
prior  to  this,  about  1820,  he  wrote 
an  opera.  The  Soldier's  Wife,  which 
ran  for  over  one  hundred  nights  with 
much  success,  but  was  never  pub- 
lished. He  was  a  good  extempore 
player  on  the  organ.  Sir  Arthur 
Sullivan  was  one  of  his  pupils.  It 
is  as  a  composer  of  church  music, 
however,  that  he  is  remembered.  His 
compositions  include  Church  Service 
in  A;  Burial  Service  in  E  minor; 
Magnificat  and  Nunc  dimittis  in  E; 
four  Te  Deums;  two  overtures  and 
other  pieces  for  orchestra;  anthems; 
glees;   madrigals;    songs;   and   organ 


Gossec 

voluntaries.  He  also  published  the 
following:  Parochial  Psalmody;  The 
Organist's  Companion,  in  four  vol- 
umns;  Collection  of  Chants,  ancient 
and  modern;  and  Introduction  to 
Harmony  and  Thorough-bass. 

Gossec    (gos'-sek),   Fransois   Joseph. 

1734-1829. 

Belgian  composer;  born  at  Vergnies, 
He  was  a  choir-boy  in  a  cathedral 
at  Antwerp  up  to  1749,  after  which 
he  studied  the  violin  and  composition. 
In  1751  he  went  to  Paris  and  became 
acquainted  with  Rameau,  who  assisted 
him  in  obtaining  the  directorship  of 
a  private  orchestra.  While  conduct- 
ing a  performance  of  Rameau's  works, 
Gossec  was  impressed  with  the  need 
of  a  greater  development  in  French 
orchestral  music.  He  set  to  work, 
and  in  1754  the  first  of  his  sym- 
phonies was  produced,  antedating 
Haydn's  first  by  five  years.  In  the 
course  of  a  few  years,  the  public, 
somewhat  indifferent  at  first  to  this 
new  instrumental  form,  began  to 
apprieciate  its  value  and  to  recognize 
its  superiority  to  the  overtures  of 
Lully  and  Rameau.  Gossec's  string 
quartets,  produced  in  1759,  and  his 
best  known  work,  The  Requiem,  1760, 
met  with  prompt  favor,  and  the  same 
year  he  produced  a  novel  work,  Messe 
des  Morts,  a  part  of  which  was  writ- 
ten for  two  orchestras,  one  of  wind- 
instruments  concealed,  which  carried 
the  melody,  accompanied  by  the 
visible  orchestra  of  strings,  played 
very  softly  in  the  higher  octaves. 
The  same  effect  is  indicated  in  his 
oratorio.  La  Nativite,  by  dividing  the 
choir  into  two  parts,  one  representing 
an  angels'  chorus.  In  1762  he  be- 
came director  of  the  orchestra  of 
Prince  Conti  at  Chantilly,  where  he 
had  still  more  time  to  compose,  and 
in  1764  he  brought  out  an  opera,  Le 
Faux  Lord,  with  indifferent  success. 
Les  Pecheurs  was  an  entire  success, 
and  was  followed  by  about  fifteen 
more,  produced  at  intervals  up  to 
1803.  His  dramatic  works,  though  of 
less  musical  import  than  his  instru- 
mental, indicate  his  standing  at  that 
time.  In  1770  he  founded  the  Con- 
cert des  Amateurs,  said  to  be  the 
first  step  toward  a  high  standard  of 
orchestral  playing  in  France;  and 
reorganized  the  Concerts  Spirituels  in 
1773,  of  which  he  was  conductor  for 
a  time.  From  1780  to  1782  he  was 
assistant  conductor  at  the  Academic 


312 


BIOGRAPHIES 


Gossec 

de  Musique,  and  in  1784  founded  the 
ficole  Royale  de  Chant,  later  de- 
veloped into  the  conservatory,  of 
which  he  was  appointed  an  inspector 
on  its  organization  in  1795,  and  also 
professor  of  composition,  a  post 
which  he  held  till  his  eightieth  year. 
He  was  made  a  member  of  the  In- 
stitut  in  1795,  and  a  Chevalier  of  the 
Legion  of  Honor  in  1812.  During  the 
Revolution  he  was  band-conductor  of 
the  National  Guard  and  composed 
considerable  music  for  the  patriotic 
festivals.  Beside  the  works  already 
mentioned,  he  composed  church 
music,  including  masses  with  orches- 
tra, motets,  and  a  Te  Deum;  two 
oratorios,  L'Arche  d'AUiance,  and 
Saul;  overtures;  concert  symphony 
for  eleven  instruments;  twenty-six 
symphonies  for  full  orchestra;  three 
for  wind-instruments;  choruses  to 
Racine's  Athalie  and  Rochefort's 
Electre;  eighteen  string  quartets; 
trios;  and  other  chamber-music.  He 
died  at  Passy,  near  Paris,  aged  ninety- 
five. 

Gottschalk      (gots'-cholk),      Louis 
Moreau.     1829-1869. 

Gottschalk  was  the  first  American- 
born  pianist  to  win  renown.  He  was 
born  in  New  Orleans,  of  an  Angli- 
cized German  father  and  a  French 
mother,  and  his  youth  was  spent  in 
ease  and  prosperity.  As  early  as  his 
fourth  year  he  showed  musical  talent, 
which  was  cultivated  with  such  re- 
sults, that  by  the  time  he  was  thirteen, 
he  had  made  quite  a  local  reputation. 
In  this  year,  1842,  he  was  sent  to 
Paris  for  further  study,  first  under 
Charles  Halle  and  later  under  Stamaty, 
at  the  same  time  learning  harmony  of 
Maleden.  His  talent  for  improvisa- 
tion distinguished  him  even  among 
the  many  gifted  artists  of  Paris.  Ber- 
lioz, whose  pupil  he  became,  was 
much  interested  in  the  young  Ameri- 
can, and  arranged  to  have  him  give 
a  number  of  concerts  at  the  Italian 
Opera,  the  winter  of  1846-1847,  which 
proved  a  brilliant  success.  After  a 
long  and  triumphant  tour  through 
France,  Switzerland  and  Spain,  he 
returned  to  New  Orleans  in  1853.  He 
now^  began  his  first  American^  tour, 
playing^  his  own  piano  compositions, 
and  directing  his  own  orchestral 
works  at  large  festivals.  In  this  way 
were  brought  out  a  symphony.  La 
nuit  des  tropiques;  an  overture;  a 
triumphal   cantata;   and   parts   of   an 


Gottschalk 

unpublished  opera.  His  music  evoked 
great  enthusiasm  from  the  general 
public,  and  extravagant  praise  from 
some  of  the  large  periodicals.  The 
calmer  verdict  of  later  musicians  was 
anticipated  by  a  Boston  critic,  who 
while  admitting  the  superior  beauty 
of  Gottschalk's  touch  and  the  bril- 
liancy of  his  execution,  noticed  a  lack 
of  depth  and  of  intellect  beneath  all 
the  charm  of  his  playing.  Gottschalk 
played  almost  exclusively  his  own 
works,  which  have  been  characterized 
as  "  brilliant,  charming,  tender,  melo- 
dious .  .  .  but  bright  with  the 
flash  of  fancy  rather  than  strong  with 
the  power  of  imagination."  For  five 
years  of  concert  giving  Gottschalk 
retained  the  admiration  of  the  United 
States,  and  then  began  a  tour  through 
Cuba  and  Spanish  America,  where  he 
was  received  with  the  warmest  dem- 
onstration. His  southern  origin,  with 
the  predominance  in  his  music  of  the 
melodies  and  rhythms  peculiar  to  the 
negro  and  Creole  songs  formed  an 
instinctive  bond  between  him  and  the 
children  of  Spain.  His  stay  was  pro- 
longed to  five  years,  partly  by  illness, 
but  chiefly  by  the  enervating  influ- 
ences of  the  tropics  on  his  susceptible 
nature  and  somewhat  indolent  as  con- 
fessed in  his  Notes  of  a  Pianist, 
published  later.  After  his  return  to 
New  York  in  1862  he  was  engaged  by 
Max  Strakosch  for  a  still  greater 
American  tour,  from  the  Atlantic  to 
California;  and  in  1865  he  went  to 
South  America.  Here,  after  years  of 
concertising,  during  which  he  played 
in  almost  every  town  of  any  impor- 
tance, and  received  extraordinary 
adulation,  he  succumbed  to  a  relapse 
of  fever  at  the  early  age  of  forty. 

Beside  the  compositions  mentioned 
he  wrote  for  full  orchestra,  Monte- 
video; Grand  triumphal  march;  Gran 
marcha  solemne,  dedicated  to  the  Em- 
peror of  Brazil;  Escenas  campestres 
cubanos;  and  Gran  Tarantella.  Be- 
sides these,  he  wrote  about  twelve 
songs  and  ninety  piano  pieces,  now 
forgotten  with  but  few  exceptions,  of 
which  The  Last  Hope  is  a  notable 
one;  the  piece  as  written  has  retained 
some  popularity,  and  the  exquisite 
melody  of  the  main  part  has  been 
used  with  appropriate  effect  as  the 
setting  for  a  well-known  hymn. 
W.  S.  B.  Mathews  states  that  "  there 
is  a  disposition  at  the  present  time  to 
undervalue  the  work  of  Gottschalk," 
and  that  as  compared  with  the  French 


BIOGRAPHIES 


313 


Gottschalk 

composers  of  his  day  "  he  has  nothing 
to  apologize  for."  George  T.  Ferris 
pronounces  Gottschalk  a  "  native 
genius  of  the  highest  order  whose 
gifts  were  never  more  than  half  de- 
veloped .  .  .  which,  had  they  been 
assisted  by  greater  industry  and  am- 
bition, might  easily  have  won  him  a' 
very  eminent  rank  in  Europe  as  well 
as  in  his  own  country." 

Gotze  (get'-ze),  Heinrich.    1836- 

Vocal  teacher  and  composer;  born 
at  Wartha,  Silesia;  was  the  son  of  a 
school-teacher;  studied  singing  under 
Franz  Gotze  at  the  Leipsic  Conserv- 
atory, but  subsequently  lost  his  voice, 
and  then  became  a  teacher  of  music 
successively  in  Russia  and  Breslau,  in 
the  latter  place  studying  further  under 
Mosewms  and  Baumgart.  In  1871  he 
became  director  and  teacher  at  the 
Liebenthal  State  Normal  School,  and 
later  became  Royal  musical  director 
at  Ziegenhals,  Silesia.  He  composed 
a  mass  in  four  parts  with  orchestral 
accompaniment;  many  pieces  for 
organ  and  for  piano;  songs;  choruses; 
and  several  works  for  various  com- 
binations of  stringed  instruments.  He 
was  also  the  author  of  two  didactic 
works;  one  of  these  is  considered  the 
first  important  German  work  on  the 
subject  of  musical  dictation;  the  other 
is  entitled  The  Practical  Application 
of  Harmony  in  Connection  with 
Organ-playing. 

Gotze,  Karl.    1836-1887. 

Composer;  born  at  Weimar;  studied 
under  Topfer  and  Gebhardi,  and  after- 
wards Liszt.  In  1855  he  was  chorus- 
master  of  the  Weimar  opera,  and  next 
leader  of  the  theatre  orchestra  at 
Magdeburg,  and  successively  held 
similar  positions  at  Berlin,  Breslau 
and  Chemnitz.  In  addition  to  his 
well-known  ability  as  a  conductor,  his 
compositions  are  considered  meritori- 
ous. His  operas  were  Eine  Abschieds- 
rolle.  Die  Korsen;  Gustav  Wasa;  and 
Judith.  Besides  these  he  composed 
a  symphonic  poem,  Eine  Sommer- 
nacht  and  various  pieces  for  orchestra, 
voice  and  piano,  respectively. 

Goudimel  (goo-di-mel),  Claude.  About 

1505-1572. 

Authorities  diflfer  as  to  the  birth- 
place of  this  famous  composer;  Grove 
and  Riemann  name  Besangon,  while 
others  give  it  as  Vaison,  near  Avi- 
gnon.    He  was  said  to  have  been  a 


Goudimel 
pupil  of  Josquin  Despres,  and  to  have 
founded  a  school  in  Rome  before 
1540,  at  which  Palestrina  and  other 
noted  musicians  became  his  pupils. 
From  this  circumstance  he  is  some- 
times called  the  founder  of  the  Roman 
school  of  composition.  The  French 
authority,  Brenet,  has  contradicted 
this  supposition  and  it  is  also  earlier 
denied  in  Bingley's  Musical  Biog- 
raphy, and  Hawkins'  History  and 
Practice  of  Music.  An  alleged  resem- 
blance between  Goudimel's  style  of 
composition  and  that  of  Palestrma, 
together  with  the  fact  that  the  latter 
sometimes  borrowed  his  elder  con- 
temporary's themes,  may  have  given 
rise  to  the  supposition  that  he  was 
also  his  pupil;  but  in  consideration  of 
other  similar  instances,  it  cannot  be 
urged  as  evidence.  Another  disputed 
point  is  his  conversion  to  Protestant- 
ism. According  to  the  majority  of 
biographers,  Goudimel's  settings  of 
the  Psalms,  the  work  by  which  he  is 
best  known,  were  used  by  the  Catholic 
as  well  as  the  Protestant  Church,  and 
approved  by  the  Sorbonne,  at  that 
time  the  Catholic  Theological  depart- 
ment of  the  University  of  Paris;  and 
from  this  the  inference  has  been 
drawn  that  his  being  killed  during 
the  massacre  of  St.  Bartholomew  at 
Lyons,  was  not  due  to  his  religious 
faith,  but  to  "  the  machinations  of 
envious  rivals."  One  writer,  however, 
states  that  Goudimel  lived  in  close 
association  with  the  Huguenots  at 
Metz  in  1557,  and  that  the  Catholics 
used  the  Huguenot  psalter  for  some 
time,  later  discarding  it;  and  also- 
quotes  another  French  authority  as 
disputing  their  authorship.  Brown 
names  Claude  le  Jeune  as  a  collabora- 
tor with  Goudimel  in  the  harmoniza- 
tion and  arrangement  of  these  psalms, 
which  were  translated  by  Marot  and 
de  Beze.  Goudimel's  first  known  com- 
positions were  published  by  Du 
Chemin  at  Paris,  in  a  book  of  songs, 
and  in  1553  and  1555  his  name  appears 
as  joint  publisher  with  Du  Chemin. 
Much  of  his  music  was  written  for 
four  voices,  and  some  of  his  composi- 
tions appear  in  most  of  the  collections 
of  psalms  published  in  different  lan- 
guages during  the  Seventeenth  and 
Eighteenth  Centuries,  and  in  books  of 
chansons  in  Paris  from  1549  on.  Some 
of  his  music  is  used  today  in  the 
church  services  of  Scotland  and 
England. 


314 


BIOGRAPHIES 


Gounod 
Gounod   (goo-no),   Charles  Francois. 
1818-1893. 

Heredity  did  much  for  this  eminent 
French  composer.  Gounod's  father, 
Francois  Louis  Gounod,  a  talented 
and  highly  esteemed  painter,  trans- 
mitted to  him  a  love  of  color  and  a 
sensitiveness  to  artistic  form  that  ex- 
pressed Itself  at  one  time  in  a  desire 
to  follow  the  same  calling,  but  was 
diverted  into  another  channel,  more 
familiar  through  early  training;  for 
the  elder  Gounod  died  when  Charles 
was  a  small  boy,  leaving  the  support 
of  two  sons  to  the  highly  gifted  and 
cultivated  mother,  an  accomplished 
musician,  who  continued  to  teach  her 
husband's  pupils  in  drawing,  and  also 
began  giving  music  lessons. 

The  generally  accepted  date  of  Gou- 
nod's birth,  1818,  has  been  disputed 
by  an  old  friend  and  pupil  of  his 
mother,  who  states  it  must  have  been 
as  early  as  1811  or  1812.  At  the 
early  age  of  two  he  exhibited  a  keen 
musical  ear,  and  at  eleven  he  was 
sent  to  the  Lycee  St.  Louis  to  enter 
upon  a  course  of  general  study.  Here 
the  chapelmaster,  Monpou,  discovered 
that  the  child  had  a  good  voice  and 
could  read  at  sight,  and  at  once  ap- 
pointed him  soprano  soloist  among 
the  choir-boys;  but  at  the  age  when 
his  voice  was  changing  and  needed 
rest,  this  unwise  musician  kept  him 
singing,  and  ruined  his  voice  for  the 
future.  Meanwhile,  an  intense  love 
of  music,  coupled  with  secret  ambi- 
tion, was  growing  in  the  child's  mind, 
and  distracting  his  attention  from  his 
studies  at  school.  An  opera  was  a  rare 
treat,  but  gave  him  enough  to  think 
and  dream  about  for  days.  The  boy 
now  began  to  "  scribble  "  music  dur- 
ing school  hours,  which  when  dis- 
covered, drew  down  punishment  upon 
him.  This  only  strengthened  his  re- 
solve to  continue  musical  work  in 
addition  to  his  studies,  and  to  this 
end  he  wrote  to  his  mother  a  formal 
announcement  of  his  determination 
to  follow  music  as  a  profession, 
which  was  a  source  of  great  dis- 
turbance to  her,  knowing  as  she  did, 
from  bitter  experience,  the  varying 
fortunes  of  an  artist's  life.  She  con- 
sulted the  principal  of  the  school,  who 
sought  to  dissuade  Gounod  from  his 
purpose,  but  to  no  effect.  The  teacher 
then  gave  him  a  few  stanzas  to  set  to 
music,  with  which  Gounod  succeeded 
so  well  that  he  won  over  the  enemy, 
and   a   compromise   was   effected   by 


Gounod 
which  he  began  lessons  in  musical 
theory  under  Anton  Reicha.  The  boy 
made  rapid  progress;  but  before  long 
Reicha  died,  and  he  then  obtained 
admission  to  the  Paris  Conservatory, 
continuing  his  study  of  counterpoint 
and  fugue  under  Halevy  and  com- 
position under  Lesueur,  whose  strong 
bent  toward  religious  music  was  an 
influence  to  which  this  gifted  and 
susceptible  pupil  fully  responded. 
About  this  time  the  first  hearing  of 
Mozart's  Don  Giovanni  and  two  of 
Beethoven's  symphonies  made  a  life- 
long impression  upon  Gounod,  and  he 
resolved  to  make  a  complete  triumph 
of  this  period  of  probation,  and  secure 
his  mother's  final  consent  to  his  pur- 
pose, by  winning  the  Prize  of  Rome, 
which  would  exempt  him  from  the  term 
of  military  service,  looming  up  in  the 
near  future  as  a  barrier  to  his  plans. 
In  1837  Gounod  obtained  the  second 
prize  for  his  cantata,  Marie  Stuart 
et  Rizzio,  which  was  performed  in 
pubHc  that  year.  This  was  not  suffi- 
cient to  gain  the  longed-for  freedom, 
but  it  gave  him  another  year's  grace, 
and  on  the  third  competition  he  won 
the  grand  prize  with  his  cantata, 
Fernand.  Before  he  left  for  Rome, 
however,  he  composed,  at  the  request 
of  the  chapelmaster  of  St.  Eustache, 
an  orchestral  mass  for  that  church, 
which  was  directed  by  the  young 
composer,  and  won  cheering  encour- 
agement just  before  his  departure. 
The  three  years  of  study  that  fol- 
lowed made  many  and  varied  im- 
pressions upon  Gounod's  keen  artistic 
sensibilities;  the  paintings  of  the  old 
Italian  masters,  and  the  music  of 
Palestrina,  whom  he  ever  afterward 
connected  in  thought  with  Michel- 
angelo, alike  quickened  his  religious 
instincts;  but  the  degenerate  ItaHan 
theatres  jarred  upon  him,  and  instead 
of  studying  dramatic  music  by  hear- 
ing operas,  he  had  recourse  to  the 
scores  of  his  favorite  composers  in 
that  line,  Gluck,  Lully,  Mozart,  and 
Rossini.  A  product  of  this  period 
was  a  mediaeval  mass  without  accom- 
panirnent,  given  at  the  Church  of  San 
Luigi  dei  Francesi  in  Rome,  1841, 
for  which  he  was  given  the  title  of 
Honorary  Chapelmaster  for  life. 

During  the  winter  of  1840  and  1841 
the  composer  met  and  played  an  ac- 
companiment for  Pauline  Viardot,  who 
was  to  be  so  influential  later  in  the 
beginning  of  his  public  career.  He 
also  made  the  acquaintance  of  Fanny 


BIOGRAPHIES 


315 


Gounod 

Mendelssohn  Henzel,  and  was  deeply 
impressed  with  her  musical  gifts. 
Mme.  Henzel,  on  the  other  hand, 
writes  of  Gounod  thus:  "Gounod 
has  a  passion  for  music;  it  is  a  pleas- 
ure to  have  such  a  listener.  His 
nature  is  passionate  and  romantic  to 
excess.  Our  German  music  produces 
upon  him  the  effect  of  a  bomb  burst- 
ing inside  a  house."  From  Italy, 
where  the  germ  of  Faust  was  con- 
ceived, he  went  to  Austria  and  Ger- 
many, and  in  Vienna,  in  1842,  his 
Requiem  Mass  was  performed.  As 
he  had  but  six  weeks  in  which  to 
complete  this  work,  he  kept  at  it 
night  and  day,  according  to  his  own 
account,  and  brought  on  a  severe 
illness,  which  fortunately  proved 
brief.  In  Berlin  he  renewed  his 
acquaintance  with  the  Henzels,  and 
through  them  was  admitted  to  the 
favor  of  Mendelssohn,  who  showed 
him  every  possible  courtesy.  During 
his  sojourn  in  Germany,  Gounod 
heard  for  the  first  time  the  composi- 
tions of  Robert  Schumann.  Re- 
freshed, encouraged,  and  inspired  by 
these  years  of  travel  and  study,  he 
set  about  finding  a  publisher  in  Paris 
for  his  works,  but  the  time  had  not 
yet  come.  He  became  organist  and 
musical  director  of  the  chapel  of  the 
Seminary  of  Foreign  Missions,  and 
there  remained  in  seclusion  for  nearly 
five  years;  during  this  time  he  studied 
theology,  and  was  so  near  the  point 
of  taking  orders  that  he  was  referred 
to  in  an  1846  issue  of  a  musical 
periodical,  as  the  Abbe  Gounod,  a 
name  which  clung  to  him  persistently. 
In  February,  1848,  he  left  his  post  at 
the  chapel,  which  had  allowed  him 
much  leisure  to  employ  in  composi- 
tion, chiefly  of  religious  music,  and  in 
study  of  the  scores  of  Schumann  and 
Berlioz.  The  composer's  thoughts 
were  turning  toward  the  stage  as  the 
best  available  medium  for  becoming 
known;  but  several  years  elapsed 
before  he  could  fulfill  this  desire.  In 
1851  an  article  appeared  in  the  London 
Athenaeum  calling  attention  to  Gou- 
nod as  a  "  poet  and  musician  of  a 
very  high  order;"  his  Messe  Solen- 
nelle,  first  given  in  Paris  two  years  be- 
fore, having  just  been  produced  in  the 
British  capital.  This  article,  attributed 
to  Louis  Viardot,  did  for  Gounod  in 
France  what  his  own  efforts  had 
hitherto  failed  to  accomplish.^  It  was 
copied  by  various  journals  in  Paris 
and  other  cities.     Through  the  kind 


Gounod 
offices  of  Mme.  Viardot  he  secured  a 
celebrated  librettist  for  his  first  opera, 
Sapho,  for  the  principal  part  in  which 
the  singer,  then  in  her  prime,  had 
ofiered  her  services.  Sapho  was  pro- 
duced at  the  Grand  Opera  in  1851, 
and  while  it  did  not  create  a  sensation, 
it  won  the  praise  of  Berlioz  and  the 
recognition  of  other  discriminating 
musicians  and  critics. 

The  next  year  Gounod  married  a 
Miss  Zimmermann,  the  daughter  of  a 
well-known  teacher  in  the  Paris  Con- 
servatory. Shortly  after  this  event 
Ulysse  was  produced,  a  drama  by 
Ponsard,  to  which  Gounod  wrote  the 
choruses.  It  was  during  this  year 
that  he  became  director  of  the 
Orpheon,  an  organized  union  of  the 
numerous  choral  societies  of  the  city, 
a  position  bringing  with  it  the  super- 
intendency  of  vocal  instruction  in  the 
public  schools.  Gounod  filled  this 
with  honor  until  1860,  producing 
works  of  Palestrina  and  Bach,  and 
considerable  choral  music  of  his  own; 
and  in  the  meantime  he  was  steadily 
working  toward  the  goal  of  a  dra- 
matic composer.  He  did  not,  indeed, 
reach  fame  at  a  single  bound;  be- 
side the  works  mentioned,  and  some 
vocal  and  instrumental  compositions, 
which  were  successfully  performed 
at  the  Association  des  Jeunes  Ar- 
tistes, he  brought  out  La  Nonne 
Sanglante  (The  Bleeding  Nun)  in 
1854.  This  proved  a  failure,  due  in 
great  part  to  the  ineffective  libretto. 
In  1855  one  of  his  most  important 
compositions,  the  Mass  to  St.  Cecilia, 
was  produced  at  the  Church  of  St. 
Eustache,  in  Paris,  and  in  1858  a 
comic  opera,  Le  Medecin  Malgre  Lui, 
founded  on  Moliere's  play  of  the  same 
name.  The  next  year  saw  the  pro- 
duction of  the  work  which  has  made 
this  composer  world-famous  in  a 
degree  that  no  other  single  opera 
has  ever  done  for  its  author.  Yet,  at 
the  time  that  Faust  was  first  per- 
formed, it  made  no  especial  stir, 
unless  one  excepts  the  attitude  of  the 
conservative  German  critics,  who 
were  shocked  at^  the  daring  of  a 
Frenchman  in  using  their  immortal 
Goethe's  poem  as  a  ^  stage  subject. 
Three  years  before  its  initial  per- 
formance at  the  Theatre  Lyrique  the 
libretto  of  Faust  had  been  commenced 
by  Jules  Barbier  and  Michel  Carre  in 
collaboration.  For  no  less  than 
eighteen  years,  however,  the  project 
had  been  in  Gounod's  mind.     Consid- 


316 


BIOGRAPHIES 


Gounod 

ering  the  other  drawbacks  attendingf 
its  production,  he  was  fortunate  in 
having  the  part  of  Marguerite  created 
by  a  popular  singer,  the  wife  of  his 
manager,  Carvalho,  who  was  con- 
sidered in  her  time  an  unrivaled 
interpreter  of  light  lyric  roles.  The 
manager  himself  exacted  many  changes 
from  the  composer,  ending  with  a  de- 
mand for  the  omission  of  the  garden 
scene,  on  the  ground  that  it  was  not 
showy  enough.  This  Gounod  firmly 
refused,  saying  he  would  omit  the 
whole  opera  first;  and  time  has  en- 
dorsed his  judgment.  Gounod's  set- 
ting of  the  Faust  story  is  today  con- 
ceded to  be  superior  to  all  others  of 
the  same  subject,  of  which  there  exist 
a  dozen  or  more.  It  has  been  pro- 
duced on  German,  Italian  and  French 
stages,  from  Great  Britain  and  St. 
Petersburg  to  Spain,  Spanish  America, 
and  the  chief  cities  of  the  United 
States.  Yet  it  brought  the  composer 
only  about  $400,  while  Mireille  later 
secured  him  nearly  $7000  for  the 
English  rights  alone*  a  rtriking  proof 
of  the  financial  value  of  established 
reputation.  The  first  performance  of 
Faust  in  Germany  was  at  Darmstadt, 
and  in  spite  of  the  critics'  denunci- 
ations, it  spread  over  the  country  in 
a  short  time.  By  the  year  1892  it  had 
reached  its  600th  performance.  It 
received  its  warmest  v^olcome  at  first 
from  Italy,  and  more  strangely  from 
Germany,  even  in  Munich  and  Dres- 
den, the  strongholds  of  national  prej- 
udice. The  wide  variety  of  scenes 
and  emotions  depicted  in  Faust  seems 
most  obviously  responsible  for  its 
great  popularity;  it  appeals  to  almost 
every  class  of  humanity.  The  various 
scenes  present  such  contrasts  that  the 
opera  has  been  criticized  as  lacking 
proper  development;  yet  there  is  a 
subtle  spiritual  and  emotional  unity 
underlying  the  whole  that  constitutes 
its  truest  claim  to  a  place  among  the 
masterpieces  of  musical  drama.  It 
has  been  well  said  that  Faust  con- 
tains the  very  essence  of  Gounod's 
genius.  The  next  work  brought  out, 
Philemon  and  Baucis,  called  his  first 
lyrical  venture,  was  based  on  a  sub- 
ject undramatic  itself,  and  appearing 
as  it  did,  the  year  after  Faust,  at- 
tracted little  attention,  although  sev- 
eral performances  were  given  at 
Covent  Garden.  La  Reine  de  Saba 
(The  Queen  of  Sheba),  given  at  the 
Academic  in  Paris,  1862,  was  a  work 
of  considerable  scenic  pretension,  but 


Gounod 
on  the  whole  a  disappointment  both 
to  the  composer  and  the  public,  here 
also  the  libretto  was  at  fault.  It  met 
with  more  success,  however,  in 
Darmstadt  and  Brussels  than  in 
Paris.  Mireille,  1864,  based  on  a  pas- 
toral poem  by  Mistral,  is  said  to  have 
possessed  much  original  beauty,  but 
to  have  suffered  damaging  alterations 
in  adapting  it  to  the  stage.  Saint- 
Saens,  to  whom  the  first  score  was 
submitted,  has  deplored  these  changes, 
and  says  that  the  composer  just 
missed  a  great  success  with  it.  La 
Colombe,  1866,  was  less  noticed  than 
Mireille,  but  the  next  year  brought 
Romeo  and  Juliet,  considered  the  best 
of  the  many  operatic  settings  of 
Shakespeare's  tragedy.  It  won  im- 
mediate success,  which  later  proved 
second  only  to  that  of  Faust,  in  the 
year  1870  Gounod  removed  to  Lou- 
don to  escape  the  confusion  of  war 
in  France,  and  there  resided  for  about 
five  years,  when  he  returned  to  Paris. 
Already  his  earlier  tendency  toward 
the  church  was  reasserting  itself,  and 
the  operas  which  followed,  Cinq- 
Mars,  1877,  Polyeucte,  1878,  and  Le 
Tribut  de  Zamora,  1881,  all  failed. 
Gounod  had  centered  many  hopes  in 
Polyeucte,  and  spoke  of  the  baptis- 
mal scene  as  the  finest  thing  he  had 
ever  written;  but  he  could  not  find  a 
tenor  really  capable  of  creating  the 
title  role.  The  work  contains  some 
excellent  passages  and  is  permeated 
with  the  deep  religious  fervor  so 
characteristic  of  Gounod's  strongest 
moments.  According  to  Saint-Saens, 
who  was  an  intimate  friend  of  the 
composer,  the  failure  was  due  largely 
to  the  superiority  of  the  singers 
assigned  to  the  pagan  roles,  which 
overshadowed  the  Christians  in  a  con- 
trast planned  to  be  effective,  but 
short  of  the  composer's  purpose. 

From  this  time  Gounod  renounced 
the  world  and  paganism  as  sources 
of  inspiration,  and  devoted  his  ener- 
gies to  sacred  music.  While  his  Mass 
to  St.  Cecilia  is  estimated  by  Pagnerre 
as  holding  the  same  position  among 
the  remainder  of  his  sacred  works 
that  Faust  does  among  his  operas. 
The  Redemption,  1882,  and  Mors  et 
Vita  (Life  and  Death),  1885,  are  the 
fruits  of  his  ripened  genius  in  this 
direction.  Gounod  wrote  the  librettos 
of  both  oratorios,  which  were  in  the 
form  of^  trilogies.  The  former  work 
was  dedicated  to  Queen  Victoria,  who 
greatly   admired    the   composer,    and 


BIOGRAPHIES 


317 


Gounod 

was  performed  first  at  Birmingham, 
where  he  himself  conducted  it,  and  in 
1884  at  Paris.  Mors  et  Vita  forms  a 
sequel  to  The  Redemption,  and  is  said 
to  be  more  melodious,  although, 
owing  to  the  Latin  libretto,  it  has  not 
attained  the  same  general  favor.  Of 
The  Redemption  the  composer  is 
quoted  as  saying,  "  I  did  not  set 
myself  to  create  a  musical  symbol  of 
the  Christian  religion,  but  to  depict 
the  treasures  of  love,  of  unspeakable 
tenderness  .  .  which  the  Son  of 
God  carried  in  his  heart.  I  aimed  at 
affecting  the  world  with  the  sight  of 
a  human  drama,  the  most  pathetic, 
most  magnificent  of  all." 

Gounod  left  two  posthumous  operas 
that  were  never  performed,  Maitre 
Pierre,  and  Georges  Dandin,  the  lat- 
ter having  a  prose  libretto,  after 
Moliere,  verbatim.  Beside  the  works 
mentioned  are  the  followmg-.  Inci- 
dental music  to  Legouve's  drama,  Les 
Deux  Reines  de  France,  and  to  Bar- 
bier's  Jeanne  d'Arc;  a  Mass  for  St. 
Peter's  (posthumous);  an  oratorio, 
Tobie;  a  mass  to  the  Sacred  Heart  of 
Jesus;  Gallia,  a  "biblical  elegy;"  a 
Stabat  Mater;  and  an  O  Salutaris. 
Among  his  less  important  works  are 
a  Missa  brevis;  a  Paternoster;  a  De 
Profundis;  an  Ave  verum;  a  Te 
Deum;  a  Magnificat,  Jesus  sur  de 
lac  de  Tiberiade,  and  a  cantata,  A  la 
frontiere.  His  songs,  as_  one  writer 
says,  are  minor  works  in  quantity, 
not  in  quality.  Some  of  the  best 
known  are  O  That  We  Two  Were 
Maying,  Maid  of  Athens,  the  serenade, 
Sing,  Smile,  Slumber;  all  secular; 
There  is  a  Green  Hill,  Nazareth,  and 
Repentance,  representative  of  his 
sacred  songs.  His  instrumental  music 
includes  two  symphonies;  a  march 
pontificale;  a  march  Romaine;  waltzes; 
songs  without  words;  and  other  small 
pieces  for  piano;  but  this  was  not 
Gounod's  natural  vein.  A  few  or- 
chestral works  are  left:  A  Saltarello 
in  A;  an  arrangement  of  a  Bach 
prelude;  and  the  popular  Funeral 
March  of  a  Marionette,  a  unique  hu- 
morous sketch,  which  has  also  been 
arranged  for  piano  and  for  organ. 
The  famous  Ave  Maria  was  written 
originally  for  Wely,  and  the  part  now 
used  for  organ  was  composed  for 
the  humbler  harmonium.  Gounod's 
essays  on  works  by  Saint-Saens  have 
already  been  mentioned;  there  are 
also  autobiographical  memoirs,  which 
have  been  translated  into  English,  but 


Gounod 

are  incomplete,  as  they  extend  only 
to  the  time  of  Faust's  production. 
There  is  also  a  "  rhapsodical  effusion" 
on  Don  Giovanni,  which  has  been 
slurringly  criticized  as  probably  in- 
sincere. From  Gounod's  intense  ad- 
miration of  Mozart,  however,  we  can 
hardly  believe  this;  it  was  simply  his 
way  of  recording  an  overpowering 
impression.  This  was  translated  and 
published  in  English  in  1895.  Gounod 
also  wrote  a  method  for  the  cornet 
a  pistons. 

Wilhelm  Heinrich  states  that  "  Gou- 
nod is  almost  the  only  French  com- 
poser who  possessed  a  deep  religious 
nature  and  gave  vent  to  it  in  many 
beautiful  sacred  melodies."  Of  these 
the  one  best  known  is  the  Ave  Maria, 
in  which  he  superimposed  a  melody 
for  the  voice  to  Bach's  First  Prelude. 

Notwithstanding  the  fact  that  mu- 
sical expression  took  precedence  of 
form  in  Gounod's  work,  he  composed 
with  care,  and  the  effects  he  pro- 
duced are  no  more  the  result  of  emo- 
tional inspiration  than  they  are  of 
close  analysis  and  refined  perception. 
He  is  a  master  of  the  beautiful,  the 
poetic,  the  tender,  rather  than  of  the 
tragic  or  the  sublime.  Every  one 
who  writes  of  him  calls  attention  to 
the  presence  of  two  widely  opposite 
characteristics  in  his  compositions, 
sensuousness  and  mysticism.  His 
sense  of  color  in  painting  was  evi- 
dent in  his  writing  for  the  orchestra; 
in  this  he  is  said  to  have  produced 
his  most  effective  results  with  the 
minimum  of  means.  Unlike  Wagner, 
he  identified  characters  in  his  oper- 
atic music,  not  by  certain  set  phrases, 
but  by  the  intrinsic  fitness  of  the 
musical  expression  at  the  moment. 

Gounod  was  not  addicted  to  the 
use  of  counterpoint,  even  in  his 
larger  church  works;  but  there  are 
several  noteworthy  instances  in  them 
which  show  that  this  was  not  due  to 
lack  of  ability  in  that  line.  He  has 
been  called  an  eclectic,  a  French 
genius  grafted  on  a  German  trunk; 
and  his  chief  models  were  avowedly 
the  great  German  composers.  The 
deterioration  of  his  later  operatic 
works  has  been  regretted,  but  the 
transfer  of  his  most  intense  interest 
to  sacred  composition  offsets  the 
charge  of  a  decline  in  power  toward 
the  latter  part  of  his  life.  No  one 
denies  him  real  genius,  but  his  exact 
place  among  the  immortals  is  not  so 
definitely    named    as    that    of    some 


318 


Gounod 

others  of  the  Nineteenth  Century. 
The  fact  that  for  more  than  twenty- 
five  years  a  large  number  of  young 
French  musicians  tried  to  imitate  him 
is  evidence  of  a  strong  individuality; 
only  the  really  great  exercise  such  an 
influence  In  1880  Gounod  was  made 
a  grand  officer  of  the  Legion  of 
Honor.  His  last  years  were  pros- 
perous and  his  residence  in  the  Place 
Malesherbes,  Paris,  was  famed  foi  its 
beauty  and  magnificence  Here  he 
reserved  a  regular  part  of  his  time 
for  writing  and  composing,  although 
permitting  himself  more  social  relax- 
ation than  he  had  enjoyed  in  middle 
life.  He  recognized  and  openly  ex- 
pressed appreciation  of  many  con- 
temporary works  that  had  evoked 
harsh  criticism  from  the  majority  of 
listeners  and  critics;  among  these 
were  Wagner's  Tannhauser  and 
Bizet's  Carmen,  both  so  universally 
popular  in  later  years,  as  Gounod  had 
predicted.  In  time,  however,  Wag- 
ner's music  affected  him  differently, 
and  he  kept  silence  in  regard  to  what 
he  could  not  sincerely  praise.  He  is 
said  to  have  exclaimed,  "  Heaven  pre- 
serve us  from  'interesting'  music! 
If  it  is  not  beautiful,  it  is  not  music." 

Gounod's  death  took  place  at  his 
house  in  St.  Cloud,  1893,  after  a 
period  of  declining  health  following  a 
paralytic  stroke.  At  the  time  he  was 
in  the  act  of  putting  away  a  requiem 
to  which  he  had  just  added  some 
finishing  touches,  and  which  was  to 
be  performed  that  winter  in  Paris.  In 
this  respect  his  end  has  been  com- 
pared to  that  of  his  adored  Mozart. 
All  France  paid  the  highest  tribute 
to  his  remains,  and  Queen  Victoria 
telegraphed  a  message  of  sorrow  and 
sympathy  to  the  composer's  wife.  In 
June,  1907,  a  bronze  bust  of  Gounod 
was  unveiled  at  St.  Cloud  with  ap- 
propriate speeches,  including  one  by 
Saint-Saens,  and  also  music  selected 
from  the  composer's  works,  given  by 
various  singers  from  the  Grand 
Opera. 

As  a  man,  Gounod  was  warmly 
affectionate,  winning  many  friends; 
enthusiastic  rather  than  critical,  fond 
of  admiration  and  not  entirely  exempt 
from  vanity,  although  his  suavity  and 
diplomacy  prevented  the  foible  from 
becoming  obtrusive.  He  was  a  bril- 
liant conversationalist,  especially  in 
his  own  tongue,  although  well  versed 
in  other  languages,  in  literature,  and 
many  subjects  beside  music.     In  per- 


BIOGRAPHIES 

Gouvy 

sonal  appearance  his  strong,  compact 
figure  and  light  hair  resembled  a  Ger- 
man type,  but  his  dark,  keen  eyes 
were  unmistakably  French.  The  por- 
traits most  frequently  seen  of  him 
show  a  large,  broad  forehead,  strongly 
marked  features,  softened  by  a  kindly 
and  intelligent  expression,  and  a  full 
white  beard.  Though  nothing  in  his 
appearance  would  suggest  a  nervous 
organization,  he  was  sensitive  to  an 
extreme,  with  a  certain  proportion  of 
the  feminine  that  is  often  found  in 
men  with  the  finest  artistic  natures- 
Hermann  Klein  says,  "  Gounod  was 
one  of  the  most  fascinating  men  I 
have  ever  met.  His  manner  had  a 
charm  that  was  irresistible,  and  his 
kin41y  eyes  would  light  up  with  a 
smile  now  tender,  now  humorous,  that 
fixed  itself  ineffaceably  upon  the 
memory." 


Gouvy     (goo-ve),     Louis    Theodore. 

1819-1898. 

Prussian  pianist  and  composer;  born 
at  Goffontaine,  near  Saarbriick,  Rhen- 
ish Prussia.  Went  to  Paris  in  1840  to 
study  law,  but  on  hearing  a  perform- 
ance of  one  of  Beethoven's  sympho- 
nies, decided  to  change  his  course  For 
the  next  three  years  he  studied  com- 
position under  Elwart,  then  in  Berlin, 
and  later  for  over  a  year  in  Italy.  In 
1846  he  returned  to  Paris,  and  the  next 
year  gave  a  concert  at  which  his 
second  symphony  was  played  by  the 
orchestra  of  the  Theatre  Italien.  His 
compositions,  principally  orchestral 
and  chamber-music,  were  performed 
frequently  by  various  musical  socie- 
ties in  Paris,  especially  the  Ste.  Cecile, 
and  annually  at  the  Conservatory 
students'  society  musicales.  They 
were  also  very  well  received  in  Ger- 
many, and  after  teaching  and  compos- 
ing in  Paris  for  over  forty  years  he 
removed  to  Oberhomburg.  He  was 
honored  in  Germany  by  a  member- 
ship in  the  Berlin  Academy,  1895,  and 
was  also  made  a  Chevalier  of  The 
Legion  of  Honor  the  next  year.  He 
died  at  Leipsic  in  1898.  His  composi- 
tions include  seven  symphonies;  two 
concert  overtures;  a  cantata,  Gol 
gotha;  _  a  Stabat  Mater;  an  opera, 
Der  Cid,  accepted  at  Dresden,  but 
never  produced.  For  solos,  chorus, 
and  orchestra,  he  has  written  a  missa 
brevis;  a  requiem;  dramatic  scenas, 
Oidipus  auf  Kolonus,  Iphigenie  en 
Tauride,  Aslega,  Electra;  two  works, 
Friihlings    Erwachen,    and    Polyxena, 


BIOGRAPHIES 


319 


Gouvy 

for  soprano,  male  chorus  and  orches- 
tra. His  chamber-music  includes  an 
octet  for  wind-instruments,  a  sextet 
for  flute  and  strings,  a  qumtet  for 
piano  and  strings,  a  serenade  for 
strings,  five  string  quartets,  trios  and 
sonatas,  etc.,  for  cello  and  piano,  and 
violin  and  piano.  A  number  of  com- 
positions for  piano,  songs  and  duets 
complete  a  list  of  over  two  hundred 
works. 

Gow,  George  Coleman.    1860- 

American  teacher  of  music  and  song- 
composer;  was  born  at  Ayer  Junction, 
Mass.;  was  a  pupil  of  B.  C.  Blodgett, 
Pittslield,  and  of  E.  B.  Story,  Worces- 
ter. He  graduated  with  the  degree 
A.  B.  from  Brown  University  in  1884, 
and  from  Newton  Theological  Semi- 
nary in  1889.  Was  instructor  of  piano 
and  harmony  in  Smith  College.  He 
spent  1892  and  1893  studying  in 
Berlin,  Ludwig  Bussler  being  his  prin- 
cipal teacher.  In  1895  he  became  pro- 
fessor of  music  at  Vassar  College, 
Poughkeepsie,  N.  Y.  He  has  published 
several  sets  of  songs  and  duets,  part- 
songs  and  other  compositions;  his 
text-book  on  harmony  and  notation, 
The  Structure  of  Music,  was  published 
in  New  York,  1895.  He  received  the 
honorary  degree  of  Doctor  of  Music 
from  Brown  University,  Providence, 
R.  I.,  in   1903. 

Gow,  Nathaniel.    1763-1831. 

Scotch  violinist  and  composer,  the 
most  noted  son  of  Niel  Gow;  was 
born  at  Inver,  near  Dunkeld.  He 
studied  under  his  father,  and  in  Edin- 
burgh under  the  best  Scotch  violin- 
ists. He  was  a  violinist  in  the 
Edinburgh  concerts  while  his  brother 
William  was  leader,  and  in  1791  suc- 
ceeded him  in  that  capacity.  In  1796 
he  started  a  music  publishing  busi- 
ness in  partnership  with  William 
Shepherd  at  Edinburgh,  retiring  in 
1813,  but  afterward  resumed  business 
with  his  son  as  partner,  and  continued 
in  it  till  1827,  when  he  became  bank- 
rupt. He  was  pensioned  by  George 
IV.  He  made  collections  as  follows: 
One  of  his  father's  dance  music;  two 
of  Scotch  airs  for  piano  or  harp, 
violin  and  violoncello;  a  collection  of 
dance  music  for  piano  and  harp,  con- 
taining many  of  his  own  composi- 
tions, etc.  He  is  best  remembered  as 
the  composer  of  Caller  Herrin',  a 
"  piece  written  to  illustrate  the  musi- 
cal street  cries  of  Edinburgh." 


Gradener 
Gow,  Niel.    1727-1807. 

Scotch  violinist  and  composer;  born 
at  Inver,  near  Dunkeld;  began  at 
nine  years  of  age  to  learn  the  violin 
without  a  teacher,  and  persisting  till 
he  was  thirteen,  he  then  took  some 
lessons  from  John  Cameron,  a  re- 
tainer in  the  Grandtully  family. 
While  he  never  became  an  educated 
musician,  his  natural  gifts  lent  to  his 
performance  of  Scotch  airs  and  dance- 
music  an  individual  charm  which 
brought  him  into  great  repute.  His 
four  sons  inherited  their  father's 
talents,  and  the  compositions  of  all 
the  family  were  included  in  various 
collections,  some  edited  by  Niel, 
others  by  his  son  Nathaniel.  Six  of 
these  collections,  principally  of 
strathspey  reels,  with  other  dances, 
are  ascribed  to  the  elder  Gow. 

Grathen-HofFman  (gra'-ben  hof-man), 

Gustav.    1820- 

Vocal  teacher  and  song-composer; 
born  at  Bnin,  near  Posen;  attended  a 
school  at  Bromberg,  and  afterwards 
taught  in  Posen.  Being  fond  of 
music,  he  went  to  Berlin  and  studied 
singing  under  Stumer.  He  taught 
first  at  Potsdam,  establishing  there  a 
singing  academy  for  women;  then 
after  further  study  in  composition 
under  Hauptmann  at  Leipsic,  he 
taught  in  Dresden  from  1858  to  1868. 
In  the  latter  year  he  removed  to 
Schwerin,  and  the  year  after  to  Ber- 
lin. He  has  written  several  works 
on  vocal  instruction,  as  follows:  Die 
Pflege  der  Singstimme;  Das  Studium 
des  Gesanges;  and  Practische  Methode 
als  Grundlage  fiir  den  Kunstgesang. 
He  composed  a  great  many  songs, 
one  of  which,  500,000  Teufel,  became 
extremely  popular,  and  was  translated 
into  other  languages.  He  also  wrote 
duets,  part-songs,  vocal  exercises,  and 
some  piano-music. 

Gradener  (gra'-de-ner),  Hermann. 

1844- 

Composer;  son  of  Karl  Georg  Peter 
Gradener;  born  at  Kiel.  Was  first  a 
pupil  of  his  father,  and  from  1862 
studied  in  the  Vienna  Conservatory. 
In  1864  he  became  organist  at  Gum- 
pendorf,  and  a  violinist  in  the  Court 
Orchestra  at  Vienna.  In  1873  he 
taught  harmony  in  Horak's  ^  Piano 
School,  and  the  next  year  in  the 
Vienna  Conservatory,  receiving  the 
title  of  professor  some  years  later. 
In  1877  he  was  also  director  of  the 


320 


BIOGRAPHIES 


Gradener 

Society  for  Classical  Music  in  Vienna, 
and  from  1886  of  a  singing  society.  In 
1899  he  succeeded  to  Bruckner's  for- 
mer position  as  lecturer  on  harmony 
and  counterpoint  in  the  Vienna  Uni- 
versity. As  a  composer  he  was 
original  but  not  prolific,  and  his 
chamber-music  is  most  fairly  repre- 
sentative of  his  ability.  His  works 
include  a  Lustspiel-ouvertiire;  a  ca- 
priccio  and  a  sinfonietta  for  orches- 
tra; an  octet  and  a  quintet  for  strings; 
impromptus,  quintet  and  trios  for 
piano  and  strings;  a  violin  concerto; 
five  intermezzos  for  violin  and  piano; 
sonata  for  two  pianos,  and  other 
music  for  piano;  variations  for  organ, 
trumpet  and  strings;  and  a  number 
of  songs. 

Gradener,    Karl    Georg   Peter.    1812- 

1883. 

Violoncellist,  composer  and  con- 
ductor; born  at  Rostock.  After  study- 
ing at  the  universities  of  Halle  and 
Gottingen  he  determined  upon  a  mu- 
sical career,  which  began  at  Hel- 
singfors,  where  he  played  the  cello 
both  in  solo  and  quartet  work.  Three 
years  later  he  became  the  musical 
director  of  Kiel  University,  where  he 
remained  for  ten  years,  conducting  a 
choral  society  and  composing.  In 
1851  he  founded  a  singing  academy  at 
Hamburg,  which  he  directed  until 
1861,  bringing  out  occasionally  his 
own  compositions.  From  1862  to 
1865  he  was  teacher  of  theory  and 
vocal  music  at  the  Vienna  Conserv- 
atory, and  then  returned  to  Hamburg, 
where  he  lived  as  teacher  in  the  Con- 
servatory of  that  place,  and  spent  the 
rest  of  his  life.  His  works  include 
two  symphonies;  an  overture  to 
Schiller's  Fiesco;  a  piano  concerto;  a 
sonata  and  various  other  pieces  and 
studies  for  piano;  a  romanza  for  vio- 
lin and  orchestra;  three  violin  so- 
natas; a  sonata  for  piano  and  violin; 
one  for  cello;  an  oratorio,  Johannes 
der  Taufer;  an  octet,  three  quartets, 
and  a  trio  for  strings;  and  several 
trios  and  quintets  for  piano  and 
strings.  He  wrote  a  Harmonielehre, 
published  in  1877,  and  a  number  of 
musical  essays  originally  for  peri- 
odicals, collected  and  published  in 
1872.  His  compositions  are  consid- 
ered much  above  the  average,  and  are 
characterized  by  command  of  form, 
and  originality  in  harmonic  treat- 
ment; his  choral  works  have  received 
especial  mention. 


Grandval 
Grammann  (gram'-man),  Karl.    1844- 
1897. 

Dramatic  composer;  born  at  Lii- 
beck;  entered  the  Leipsic  Conserv- 
atory in  1867,  and  in  1871  went  to 
Vienna,  where  he  lived  till  1885,  and 
then  removed  to  Dresden.  He  was 
exclusively  a  composer,  and  evinced 
considerable  talent  in  that  line;  was, 
moreover,  an  admirer  and  follower  of 
Wagner.  Two  operas,  Der  Schatz- 
graber  and  Die  Eisjungfrau,  were 
composed  during  his  student  days. 
His  first  produced  opera  was  Me- 
lusine,  brought  out  at  Wiesbaden  in 
1875,  and  afterward  revived.  This 
was  followed,  in  1881,  by  Thusnelda 
und  der  Triumphzug  des  Germanicus, 
and  in  1882  by  Das  Andreasfest. 
Ingrid,  an  opera  in  two  acts,  and  Das 
Irrlicht,  in  one  act,  were  produced 
the  same  evening  in  Dresden  in  1894, 
but  they  do  not  seem  to  rank  with 
his  previous  works.  He  also  wrote 
another  opera  called  Neutraler 
Boden  (Neutral  Ground).  Gram- 
mann also  wrote  two  symphonies;  an 
elegiac  cantata;  several  trios  and 
quartets  for  strings;  a  violin  sonata; 
songs,  and  piano-pieces. 

Grandval  (grah-val),  Mme.  Marie 
Felicie  Clemence  de  Reiset,  Vicom- 
tesse  de.    1830-1907. 

Noted  French  composer;  born  near 
Sarthe,  France;  studied  composition 
under  Flotow,  and  afterward  became 
a  pupil  of  Saint-Saens.  Her  earliest 
music  was  sacred,  a  mass  and  a  Stabat 
Mater,performed  in  different  churches, 
being  her  first  works  produced.  Her 
operas  number  nine  in  all.  Those 
that  have  been  produced  are  as  fol- 
lows; Le  Son  de  Lise;  Les  Fiances 
de  Rosa;  Piccolino;  Atala;  and 
Mazeppa,  given  with  marked  success. 
She  won  the  Rossini  Prize  with  an 
oratorio.  La  Fille  de  Jaire  (The 
Daughter  of  Jairus).  A  number  of 
her  songs,  and  several  symphonies 
have  also  been  produced;  an  opera, 
Le  bouclier  de  diamant,  and  a  sacred 
drama,  Sainte-Agnes,  are  in  manu- 
script. Beside  these  works  she  com- 
posed music  for  orchestra,  for  piano, 
and  for  wood  wind-instruments.  Her 
concerto  for  oboe  was  performed  at 
a  Thomas  concert,  Chicago,  1908. 
Mme.  De  Grandval  died  in  Paris, 
January  15,  1907.  She  had  used  the 
pseudonyms  Tesier,  Valgrand,  Jasper, 
Banger  and  others. 


BIOGRAPHIES 


321 


Grassini 
Grassini  (gras-se'-ne),  Josephina. 

1773-1850. 

Distinguished  Italian  contralto;  born 
at  Varese;  studied  with  the  best 
teachers  in  Milan,  and  in  1794  made 
her  debut  in  that  city,  after  which  she 
was  quickly  recognized  as  the  best 
singer  of  that  time  in  Italy.  When 
she  had  appeared  on  the  principal 
Italian  stages,  inciting  the  greatest 
applause,  she  was  invited  by  Na- 
poleon, then  chief  consul  of  France, 
to  sing  at  the  National  Festival  in 
Paris  in  1800,  after  which  she  also 
appeared  in  opera  in  that  city.  The 
next  year  she  went  to  London,  where 
she  succeeded  Banti,  and  was  paid, 
according  to  report,  three  thousand 
pounds  for  the  season.  In  a  short 
time  she  had  conquered  the  London 
public  by  her  exceptional  gifts  as  an 
actress  and  the  unusual  power  and 
beauty  of  her  voice,  and  said  to  have 
been  the  first  female  contralto  heard 
in  Italian  opera.  Though  its  range 
was  necessarily  limited,  her  artistic 
execution  was  superior  to  that  of  most 
contraltos. 
Graun     (grown),     Johann     Gottlieb. 

About  1698-1771. 

Eminent  German  violinist,  con- 
ductor and  composer;  born  at 
Wahrenbruck,  a  brother  of  Karl  Hein- 
rich.  He  attended  the  Kreuzschule, 
studying  violin  under  Pisendel,  and 
afterward  under  Tartini  at  Padua. 
He  first  played  in  the  Dresden  band, 
leaving  it  in  1726  to  become  a  con- 
certmaster  at  Merseburg,  where  he 
was  the  teacher  of  Friedemann  Bach. 
In  1728  he  was  orchestra  conductor 
at  Rheinsberg  to  Frederick  the  Great, 
then  the  Crown  Prince,  and  on  Fred- 
erick's accession  to  the  Prussian 
throne,  in  1740,  was  made  leader  of  the 
Royal  band  at  Berlin,  the  playing  of 
which  he  brought  to  a  high  standard. 
He  died  at  Berlin.  His  works  were 
chiefly  instrumental,  including  forty 
symphonies,  twenty  violin  concertos, 
twenty-four  string  quartets,  and  other 
chamber-music,  of  which,  however, 
but  little  was  published. 
Graun,  Karl  Heinrich.    1701-1759. 

Celebrated  German  composer  for 
church  and  stage;  born  at  Wahren- 
bruck; studied  at  the  Kreuzschule  in 
Dresden,  under  Petzold  for  organ 
and  piano,  and  Grundig  for  voice,  and 
at  twelve  was  appointed  soprano 
singer  to  the  Rathskapelle,  or  town 
council.     When    his    voice    began    to 


Graun 
change  he  took  up  composition  under 
Schmidt  in  place  of  vocal  work,  and 
attended  the  opera  performances  di- 
rected by  Lotti.  He  also  studied  the 
vocal  works  of  Keiser  of  Hamburg, 
at  that  time  a  noted  composer.  Dur- 
ing these  years  he  composed  con- 
siderable music  for  the  choir  of  the 
Kreuzschule,  including  a  passion- 
cantata,  written  at  the  age  of  fifteen, 
said  to  be  truly  remarkable  for  one 
so  young.  In  1725,  having  developed 
into  a  tenor,  he  was  engaged  for  the 
opera  at  Brunswick.  He  soon  became 
known  also  as  a  dramatic  composer; 
Pollidoro,  produced  the  next  year, 
being  his  first  operatic  success.  Five 
others  followed  within  the  next  nine 
or  ten  years,  Sancio;  Iphigenia  en 
Aulis;  Scipio  Africano;  Timareta;and 
Pharao.  In  1735  Graun  went  to 
Rheinsberg  at  the  request  of  the 
Crown  Prince  Frederick,  whose  verses 
he  used  as  librettos  for  numerous  can- 
tatas, and  who,  on  his  succession  to 
the  throne  in  1740,  made  Graun  musi- 
cal director  and  commissioned  him  to 
establish  Italian  Opera  at  Berlin.  For 
this  purpose  Graun  went  to  Italy  in 
search  of  singers.  He  remained  there 
for  over  a  year,  appearing  as  vocalist 
in  the  chief  cities  and  much  applauded 
for  his  singing.  On  his  return  with 
the  company  he  had  rare  opportuni- 
ties for  the  production  of  his  com- 
positions, Hasse  being  the  only  other 
dramatic  composer  in  the  field  for 
years.  Of  his  twenty-eight  operas 
performed  during  this  period,  a  fairly 
representative  group  comprises  Rode- 
linda;  Artaserse;  Catone  in  Utica; 
Alessandro  nell'  Indie;  Adriano  in 
Siria;  Galatea,  in  collaboration  with 
others;  Mitridate;  Semiramide;  Ezio; 
and  Merope. 

Though  prominent  in  his  day  as  an 
operatic  composer,  Graun's  works  in 
that  line  are  now  of  historical  in- 
terest only,  while  his  church-music 
is  the  basis  of  his  present  reputation. 
The  passion-music  of  his  youth  fore- 
shadowed the  best  work  of  his  riper 
years,  Der  Tod  Jesu  (The  Death  of 
Jesus),  which  is  said  to  stand  in  Ger- 
man oratorio  where  Handel's  Messiah 
ranks  in  English.  Since  its  first  pro- 
duction at  Berlin  in  1755  it  has  been 
given  every  year,  a  strong  test  of  its 
classic  worth.  A  Te  Deum,  written 
for  King  Frederick's  victory  at  Prague, 
in  1756,  stands  second  of  his  sacred 
works,  which  include  about  twenty- 
five      other     contatas,      mostly     for 


322 


BIOGRAPHIES 


Graun 
the  orchestra;  motets  for  four  voices 
without  accompaniment;  funeral  music 
for  Duke  August  Wilhelm  of  Bruns- 
wick, and  King  Friedrich  Wilhelm  of 
Prussia;  and  two  sets  of  church  melo- 
dies for  every  day  in  the  year.  His 
instrumental  music,  comprising  organ 
fugues;  trios;  flute-concertos;  and 
concertos  for  other  instruments,  re- 
mains in  manuscript  and  is  considered 
of  little  importance. 

Graupner  (growp'-ner),  Christoph. 

1683-1760. 

German  composer;  born  at  Kirch- 
berg,  Saxony;  was  a  pupil  of  Kuhnau 
at  St.  Thomas's  School  in  Leipsic  for 
nine  years.  After  a  period  of  law 
study,  was  forced,  in  1706,  by  the 
Swedish  invasion,  to  flee  to  Hamburg, 
where  he  became  accompanist  to  the 
opera  under  Keiser,  and  several  years 
after  was  appointed  vice-conductor  to 
the  Court  at  Darmstadt,  succeeding 
to  the  principal  conductorship  later, 
in  which  connection  he  actively  pro- 
moted a  higher  standard  of  music, 
both  in  church  and  in  opera.  He  was 
an  indefatigable  worker,  turning  night 
into  day  at  times,  and  engraving  many 
of  his  own  compositions.  He  lost 
the  use  of  his  eyes  in  1750.  His 
operas  were  produced  as  follows: 
Dido;  Die  lustige  Hochzeit;  Herkules 
and  Theseus;  Simson;  Berenice  and 
Lucio;  Telemach;  and  Bestandigkeit 
besiegt  Betrug.  After  1719  he  de- 
voted himself  to  church  and  chamber- 
music,  composing,  it  is  said,  before 
1745,  over  thirteen  hundred  figured 
chorals  and  other  pieces  for  the 
Schlosskirch  in  Darmstadt.  Five 
works  for  clavier  were  published  prior 
to  1733j  and  a  prodigious  number  of 
works  in  manuscript,  mostly  instru- 
mental, and  including  fifty  concertos 
for  different  instruments,  eighty  over- 
tures, and  more  than  one  hundred 
syrnphonies,  sonatas  and  trios  for 
various  combinations  of  instruments, 
remain  in  the  Court  Library  at 
Darmstadt. 

Graupner,  Gottlieb. 

This  early  pioneer  in  music  is  called 
by  Elson  the  "  father  of  the  Amer- 
ican orchestra."  Born  a  German,  he 
was  when  young  an  oboe-player  in 
the  army,  and  after  an  honorable  dis- 
charge from  his  regiment,  in  1788, 
went  to  London.  Here  he  played  the 
oboe  in  Salamon's  large  orchestra 
during   its    performance    of   Haydn's 


Gray 

symphonies  in  1791,  under  that  com- 
poser's direction.  Within  the  next 
few  years  Graupner  wtnt  to  Charles- 
ton, South  Carolina,  where,  in  1797 
he  married  an  able  musician,  who 
later  sang  in  Boston  concerts;  for  the 
next  year  they  removed  to  that  city, 
where  they  were  a  welcome  addition 
to  the  musical  society  of  the  town, 
which  boasted  at  that  time  about  half 
a  dozen  professional  musicians.  In 
addition  to  the  oboe,  Graupner  played 
the  doublebass,  clarinet  and  piano, 
and  he  immediately  organized  an  or- 
chestra, pressing  into  service  a  num- 
ber of  amateurs,  including  the  Russian 
consul,  as  well  as  the  limited  supply 
of  professional  performers.  This 
developed  into  the  Philharmonic  So- 
ciety, of  which  Graupner  was  the 
president  during  its  entire  existence, 
and  by  which  the  simpler  classical 
works  were  attempted.  The  now  for- 
gotten symphonies  of  Gyrowetz,  and 
at  intervals  those  of  Haydn,  were 
among  the  standbys  of  this  orchestra. 
Graupner  became  the  most  actively 
influential  musician  of  Boston  in  his 
time,  teaching,  playing  in  concerts, 
and  conducting  a  business  in  music- 
selling  and  music-printing. 

Gray,  Alan.    1855- 

English  composer;  born  at  York. 
Being  intended  for  the  law,  he  studied 
at  St.  Peter's  School,  York,  and  Trin- 
ity College,  Cambridge,  where  he 
took  the  degree  of  LL.M.  in  1883. 
After  beginning  musical  studies  with 
Dr.  E.  G.  Monk  he  dropped  the  law, 
and  in  1883  became  director  of  music 
at  Wellington  College,  receiving  the 
degree  of  Doctor  of  Music  from  Cam- 
bridge in  1889.  In  1892  he  left  this 
position  to  take  those  of  organist  of 
Trinity  College,  Cambridge,  and  con- 
ductor of  the  Cambridge  University 
Musical  Society.  Among  his  works 
are  The  Widow  of  Zarephath,  a  read- 
ing with  choral  exposition;  a  cantata, 
Arethusa,  based  on  Shelley's  poem; 
The  Legend  of  the  Rock  Buoy  Bell; 
The  Vision  of  Belshazzar;  A  Song 
of  Redemption;  four  sonatas  and 
other  pieces  for  organ;  album  of  four 
songs;  and  part-songs.  In  manu- 
script are  an  Easter  Ode,  for  solos, 
chorus  and  orchestra;  Festival  Te 
Deum,  with  orchestra;  orchestral 
overture;  quartet  for  piano  and 
strings,  and  string  quartet.  His  last 
large  work  was  a  cantata,  Odysseus 
among  the  Phoenicians. 


BIOGRAPHIES 


323 


Grazzini 
Grazzini  (grad-ze'-ne),  Reginald o. 

1848-1907. 

Florentine  conductor  and  composer; 
studied  under  Mabellini  at  the  Royal 
Conservatory  in  his  native  city,  later 
becoming  conductor  of  opera  there.. 
In  1881  he  became  director  of  the 
Civic  School  of  Music,  and  also  of 
the  theatre  at  Reggio  d'Emilia.  In 
1882  he  went  to  Venice  in  the  capacity 
of  artistic  director  and  professor  of 
musical  theory  at  the  Liceo  Bene- 
detto Marcello.  At  the  time  of  his 
death  he  was  still  in  this  position, 
and  also  was  professor  of  counter- 
point at  the  Royal  Institute  of  Music 
of  Florence.  He  was  a  composer  of 
some  note;  his  works  including  a 
sacred  cantata;  a  mass  in  three  parts 
with  orchestra;  Marcia  solenne;  sym- 
phonies; piano  music;  and  an  opera 
in  manuscript.  His  reputation,  how- 
ever, is  that  of  a  church  composer, 
his  masses  especially  being  highly 
esteemed.  His  death  occurred  at 
Venice,  either  very  early  in  1907,  or 
very  late  in  1906,  as  the  Paris  period- 
ical, Le  Guide  Musical,  in  the  January 
6,  1907,  issue,  records  his  death  as 
having  just   been   announced. 

Greatorex,  Thomas.    1758-1831. 

English  organist,  composer  and  con- 
ductor; born  at  North  Wingfield, 
Derbyshire.  He  studied  with  Dr. 
Benjamin  Cooke,  and  in  1774  found 
a  helpful  patron  in  the  Earl  of  Sand- 
wich, who  invited  him  to  stay  at  his 
house  near  Huntingdon,  where  the 
young  musician  had  opportunities  of 
singing  in  oratorios  and  later  in  the 
Concert  of  Ancient  Music.  From 
about  1781  to  1784  he  was  organist 
of  Carlisle  Cathedral,  and  next  lived 
in  Newcastle,  teaching  till  1786.  After 
a  tour  through  Italy  and  Holland  he 
settled  in  London,  where  he  became 
prominent  as  a  teacher  of  music.  In 
1793  he  succeeded  Bates  as  conductor 
of  the  Concerts  of  Ancient  Music, 
and  in  1801  co-operated  in  the  revival 
of  the  Vocal  concerts.  In  1819  he 
was  appointed  organist  at  Westmin- 
ster Abbey,  and  for  a  number  of  years 
was  conductor  of  the  musical  festivals 
at  Birmingham  and  other  towns.^  He 
was  the  foremost  English  organist  of 
his  day,  and  second  only  to  Sir 
George  Smart  as  conductor.  He  com- 
posed a  few  glees,  psalms  and  chants, 
and  arranged  a  number  of  selections 
for  orchestra,  the  latter  being  unpub- 
lished. 


Greene 
Grechaninov,  Alexander  Tikhonovitch. 

1864- 

Russian  composer;  born  in  Moscow; 
studied  at  his  home  conservatory 
under  Safonov  until  1890,  when  he 
entered  the  St.  Petersburg  Conserv- 
atory, becoming  a  pupil  of  Rimsky- 
Korsakow  in  theory  and  composition. 
He  has  published  nineteen  songs; 
twelve  choruses;  solos  for  violin  and 
piano;  several  sacred  works;  and  a 
string  quartet  which  won  a  prize 
given  in  1894  by  the  St.  Petersburg 
Chamber  Music  Society.  Several 
works  are  still  in  manuscript,  includ- 
ing another  string  quartet,  a  sym- 
phony, and  an  elegy  for  orchestra. 
He  is  the  author  of  an  opera,  Dobinya 
Nikitch,  and  the  incidental  music  to 
several  plays.  Elson  mentions  his 
choruses  without  accompaniment  as 
excellent. 

Green,  Samuel.    1740-1796. 

The  most  celebrated  organ-builder 
of  his  time;  was  for  a  while  in  part- 
nership with  a  man  named  Byfield, 
under  whose  father  and  others  he  had 
learned  organ-building.  He  later  car- 
ried on  the  business  alone.  His 
organs  were  famous,  not  only  in  Eng- 
land but  elsewhere,  for  their  superior 
quality  of  tone  and  the  important  im- 
provement in  their  mechanism,  in- 
troduced by  Green.  This  is  known 
as  the  Venetian  swell,  and  though 
crude  in  comparison  with  the  modern 
means  of  securing  a  real  crescendo, 
the  basic  principle  is  the  same;  and 
the  organ  tone  was  for  the  first  time 
relieved  from  monotony,  and  made 
more  expressive.  One  writer  states 
that  Green  erected  more  organs  for 
cathedrals  than  any  other  builder  be- 
fore or  since,  and  mentions  seven 
cathedrals,  including  Canterbury  and 
Salisbury,  twelve  London  churches 
and  chapels,  and  more  than  twenty 
provincial  towns  in  which  they  stand. 
He  also  exported  some  instruments, 
notably,  one  to  St.  Petersburg,  and 
one  to  Kingston,  Jamaica. 

Greene,  Harry  Plunket.    1865- 

Irish  basso,  son  of  a  Dublin  gentle- 
man; was  born  at  Old  Connaught 
House,  Wicklow,  Ireland.  He  was 
intended  for  the  law,  but  gave  it  up 
for  music,  and  had  his  voice  cultivated 
under  Hromada  and  Goetschius  in 
Stuttgart  from  1883  to  1886,  and  for 
six  months  under  Vannuccini  in  Flor- 
ence,    finishing     in     London     under 


324 


BIOGRAPHIES 


Greene 

Welsh  and  Alfred  Blume.  He  ap- 
peared first  in  Handel's  Messiah,  1888, 
after  which  he  became  prominent  as  a 
concert  singer  in  London,  and  sang 
in  opera  at  Covent  Garden,  1890.  He 
afterward  made  recital  tours  in  Ger- 
many and  America,  with  much  suc- 
cess. His  voice  is  said  to  be  an 
unusually  beautiful  bass,  and  his  in- 
terpretation of  the  songs  of  Brahms 
and  Schumann  has  been  especially 
admired. 

Greene,  Maurice.    About  1695-1755. 

English  organist  and  composer; 
born  in  London;  was  a  choir-boy  in 
St.  Paul's  Cathedral  under  Charles 
King,  and  also  studied  with  the  or- 
ganist, Richard  Brind,  whom  he  suc- 
ceeded in  1718,  having  been  organist 
of  St.  Andrew's  at  Holborn  the  pre- 
ceding year,  and  of  St.  Dunstan's 
from  1716.  In  1727  he  succeeded  Dr. 
Croft  as  organist  and  composer  to 
the  Chapel  Royal,  and  in  1730  became 
professor  of  music  at  Cambridge.  In 
1735  he  became  master  of  the  King's 
band.  He  founded  the  Apollo  Club, 
and  was  one  of  the  founders  of  the 
Society  of  Musicians;  he  was  also 
friendly  with  both  Handel  and  Buo- 
noncini.  In  1750,  on  receipt  of  a 
considerable  legacy,  he  began  a  col- 
lection of  English  sacred  music,  which 
he  had  long  desired  to  publish  in 
score;  but,  dying  before  the  comple- 
tion of  the  work,  he  entrusted  it  to 
Dr.  Boyce,  who  afterward  edited  the 
collection.  His  works  include  ora- 
torios, Jephthah,  and  The  Force  of 
Truth;  Florimel,  a  pastoral;  The 
Judgment  of  Hercules,  a  masque; 
Phoebe,  an  opera;  Forty  Select  An- 
thems in  Score,  his  principal  work; 
odes;  canons;  songs;  settings  of 
twenty-five  sonnets  from  Spenser; 
several  collections  of  vocal  music; 
compositions  for  organ  and  for  harp- 
sichord, and  a  Te  Deum. 

Gregoir  (grug-war),  fidouard  Georges 

Jacques.  1822-1890. 

Belgian  pianist,  composer  and 
writer,  brother  of  the  following;  was 
born  at  Turnhout,  near  Antwerp.  On 
completing  his  studies  under  Rummel, 
he  made  a  successful  debut  in  concert 
at  London,  and  traveled  the  next  year. 
After  a  short  time  as  professor  of 
music  in  a  school  at  Lierre  he  settled 
at  Antwerp,  where  beside  composing 
and  writing,  he  was  active  as  a  re- 
former in  methods  of  music  teaching 


Grell 

as  they  existed  in  the  Belgian  gov- 
ernmental institutions.  He  was  a 
prolific  composer.  Noteworthy  among 
his  works  are  Les  Croisades,  his- 
torical symphony;  La  Vie,  oratorio; 
Le  Deluge,  symphonic  oratorio;  Mar- 
guerite de'  Autriche,  grand  opera;  De 
Belgen  in  1848,  drama  with  overture, 
airs  and  choruses;  Leicester,  drama 
with  incidental  music;  Willem 
Beukels,  Flemish  comic  opera;  La 
Belle  Bourbonnaise,  comic  opera;  two 
overtures;  part-songs  for  male  chorus; 
and  pieces  for  piano,  violin,  organ  and 
harrnonium.  He  also  wrote  a  number 
of  historical  and  biographical  essays 
which  are  still  valuable,  though  not 
considered  entirely  reliable,  and  con- 
tributed largely  to  musical  periodi- 
cals. His  Histoire  de  I'Orgue,  Brussels, 
1865,  contains  biographical  sketches 
of  Dutch  and  Belgian  organists  and 
organ-builders. 

Gregoir,     Jacques     Mathieu    Joseph. 

1817-1876. 

Successful  Belgian  pianist  and  piano 
composer;  brother  of  preceding;  born 
at  Antwerp.  He  appeared  at  the  age 
of  eight,  playing  a  concerto  by 
Dussek.  Studied  under  Herz  at  the 
Paris  Conservatory  after  the  Revolu- 
tion of  1830,  and  later  went  to  Bi- 
berach  with  his  brother,  where  both 
studied  under  Rummel.  He  returned 
to  Antwerp  in  1847,  and  succeeded 
both  as  pianist  and  composer,  pro- 
ducing the  same  year  a  cantata, 
Faust,  and  a  Lauda  Sion  for  chorus 
and  orchestra.  The  next  year  his 
opera,  Le  gondolier  de  Venise,  was 
produced,  and  he  went  to  Brussels, 
finally  settling  there  as  a  teacher  in 
1850,  after  a  year's  work  in  an  Eng- 
lish school  at  Bruges.  He  traveled  in 
concert  at  times  in  various  European 
countries  and  died  at  Brussels.  His 
works  for  piano  are  numerous,  and 
largely  of  the  parlor  type,  though 
they  include  a  concerto  and  studies. 

Grell,  Eduard  August.    1800-1886. 

German  organist  and  composer  of 
repute;  born  in  Berlin.  Was  a  son 
and  pupil  of  the  organist  of  the 
Parochial  Church,  and  afterwards 
studied  under  Kaufmann,  Ritschl  and 
Zelter.  In  1816  he  was  appointed 
organist  of  the  St.  Nicholas  Church, 
and  in  1839  he  became  Court  cathe- 
dral organist.  In  1841  was  made  a 
member  of  the  Berlin  Academy  of 
Arts,   and    from    1843    to    1845    was 


BIOGRAPHIES 


325 


Grell 

choirmaster  at  the  Cathedral.  After 
1851  he  was  teacher  of  composition 
at  the  academy,  a  member  of  the 
senate  of  that  institution,  and  prin- 
cipal director  of  the  Singing  Society, 
resigning  the  last  named  position  in 
1876.  In  1858  he  was  made  professor; 
six  years  later  the  distinguishing 
order  pour  la  merite,  and,  in  1883,  the 
honorary  degree  of  Doctor  of  Theol- 
ogy from  the  Berlin  University,  were 
conferred  upon  him.  He  was  much 
esteemed  in  his  day  as  a  teacher  and 
conductor,  and  still  more  for  his 
theoretical  and  historical  learning.  He 
also  composed  works  of  merit,  espe- 
cially in  the  larger  forms  of  choral 
music.  His  only  instrumental  com- 
positions were  organ  pieces  and  an 
overture  for  orchestra.  His  most  im- 
portant work  is  a  mass  in  sixteen 
parts  without  accompaniment.  Others 
are  an  oratorio.  Die  Israeliten  in  der 
Wiiste;  psalms  in  eight  and  eleven 
parts;  cantatas;  motets;  hymns; 
songs;  duets;  a  Te  Deum,  and  a  four- 
part  arrangement  of  the  choral  melo- 
dies of  the  Evangelical  Gesangbuch, 
for  male  chorus,  published  about  1883. 
His  Aufsatze  und  Gutachten,  pub- 
lished 1887  at  Berlin,  is  an  exposition 
of  his  eccentric  opinions  on  the  rela- 
tive value  of  vocal  and  instrumental 
music,  his  particular  tenet  being  that 
only  vocal  music  is  of  real  worth. 

Gresnich  (gren-ish),  Antoine  Frede- 
ric. About  1763-1799. 
Dramatic  composer;  was  born  at 
Liege,  and  received  his  fundamental 
education  in  music  at  the  Liege  Col- 
lege in  Rome,  finishing  under  Sala  in 
Naples.  By  1780  he  had  produced 
several  operas  in  the  latter  city;  in 
1785  was  in  London,  where  the  suc- 
cess of  his  opera,  La  donna  di  cattiva 
umore,  was  the  means  of  his  obtain- 
ing the  position  of  musical  director 
to  the  Prince  of  Wales.  In  1793  his 
I'Amour  exile  de  Cythere  met  with  a 
pronounced  success  at  the  Grand 
Theatre  in  Lyons,  and  from  that  time 
the  Paris  theatres  produced  his  works 
in  rapid  succession.  From  1795  to 
1799  he  brought  out  sixteen  operas; 
in  the  latter  year  his  Leonidas  ou 
les  Spartiates  was  performed  at  the 
Grand  Opera,  but  failed.  This,  to- 
gether with  the  criticisms  made  on 
the  score  of  La  foret  de  Brahma, 
which  was  returned  to  him  for  re- 
vision, was  a  severe  humiliation, 
which    is    said     to     have     caused    his 


Gretry 

death.  Among  his  operas,  over 
twenty  in  all,  were  II  Francese  bi- 
zarro;  Demetrio;  Alessandro  nell' 
Indie;  and  Alceste.  He  also  wrote 
chamber-music   and  songs. 

Gretry  (gra-trwe),  Andre  Ernest  Mo- 

deste.    1741-1813. 

Dramatic  composer;  born  at  Liege; 
was  the  son  of  a  violinist  in  the  St. 
Denis  Collegiate  Church,  and  be- 
came a  choir-boy  there.  The  choir- 
master was  so  severe  that  Gretry 
received  but  little  benefit  from  his 
instruction,  and  after  five  years  was 
taken  from  the  choir  by  his  father 
and  became  a  pupil  of  Renekin  in 
harmony,  and  of  Leclerc,  under  whom 
he  grew  into  a  skilled  reader.  During 
this  time  he  heard  the  performances 
of  a  traveling  Italian  company  then 
in  Liege,  and  the  operas  of  Pergolesi, 
Jommelli  and  others,  fired  him  with  a 
desire  to  compose.  His  first  works 
were  six  symphonies  and  a  four-part 
mass  which,  though  never  published, 
were  produced  at  Liege,  in  1758  and 
1759,  and  interested  the  Canon  du 
Hariez  to  the  extent  of  furnishing 
Gretry  with  the  means  for  study  in 
Rome,  where  he  journeyed  on  foot. 
For  five  years  thereafter  he  was  a 
pupil  of  Casali  in  counterpoint  and 
composition,  but  strict  musical  theory 
was  so  foreign  to  his  nature  that  he 
received  but  little  benefit  from  his 
teachers,  and  from  this  time  he  fol- 
lowed his  own  will  as  a  composer. 
Although  he  made  several  attempts 
at  church  music,  he  soon  dropped 
that  form  of  composition.  He  re- 
ceived some  encouragement,  however, 
from  the  success  of  his  intermezzo 
La  Vendemmiatrice,  produced  at 
Rome  in  1765,  and  from  the  approval 
of  Piccinni.  About  this  time  he  read 
the  score  of  the  comic  opera.  Rose  et 
Colas,  by  Monsigny,  and  at  once  felt 
that  he  had  found  his  niche  in  the 
musical  world.  With  Paris  as  his 
ultimate  objective  point,  he  departed 
from  Rome  in  1767,  going  first  to 
Voltaire  at  Geneva,  with  the  modest 
request  for  a  libretto  to  be  used  in 
a  comic  opera,  which  was  denied,  it 
is  stated,  out  of  conscious  incom- 
petency on  the  part  of  the  great 
Frenchman.  However,  Gretry  was 
undaunted;  he  taught  for  a  year  in 
Geneva  and  wrote  new  music  for 
Favart's  Isabelle  et  Gertrude,  which 
was  most  favorably  received  on  its 
production   at    the    Geneva   Theatre. 


326 


BIOGRAPHIES 


Gretry 
Voltaire  then  advised  him  to  go  to 
Paris,  where  for  two  years  he  sought 
in  vain  for  the  new  libretto,  finally 
beginning  with  Les  Mariages  Sam- 
nites,  an  amateur  work  which,  though 
it  stopped  short  of  performance,  at- 
tracted at  rehearsal  the  favorable 
attention  of  the  Swedish  Ambassador, 
who  secured  for  Gretry  the  longed  for 
libretto,  the  comedy  Le  Huron,  by 
Marmontel.  This  was  produced  at 
the  Opera  Comique  in  1768  with  "  the 
most  overwhelming  success,"  and  was 
followed  by  Lucile  and  Le  Tableau 
parlant,  pronounced  a  masterpiece  of 
comic  opera.  From  this  time  forth 
Gretry's  reputation  was  established  as 
one  of  the  first  dramatic  composers  in 
France.  Between  fifty  and  sixty 
operas  from  his  pen  appeared  at  dif- 
ferent theatres  in  Paris,  out  of  which 
Le  Tableau  parlant,  mentioned  above, 
Zemire  et  Azor,  L'amant  jaloux,  and 
L'epreuve  villageoise,  are  considered 
the  best;  and  more  especially,  Richard 
Coeur  de  Lion,  which  has  survived 
the  others  as  a  favorite  in  Paris. 

Gretry  is  considered  an  epoch-mak- 
ing genius  in  French  comic  opera.  His 
ability  was  confined,  however,  to 
melody  and  a  vivid  sense  of  theat- 
rical expression^  particularly  in 
comedy,  for  serious  drama  was  be- 
yond his  powers.  He  knew  his  own 
limitations,  however,  and  had  the 
sincerity  which  atones  for  many 
defects.  He  paid  especial  attention  to 
detail  and  proportion  m  his  work  and 
followed  the  text  of  his  librettos  with 
a  scrupulousness  that  lessened  the 
purely  musical  eflfect,  provoking  the 
remark  from  his  contemporary  Mehul 
that  his  compositions  were  "  very 
clever,  but  .  .  .  not  music."  Gretry's 
influence  remains,  however,  in  the 
French  school  of  comic  opera,  no- 
tably in  the  works  of  Adam,  Auber 
and  Boieldieu,  and  his  admirers  called 
him  the  "  Moliere  of  music."  Prior 
to  his  retirement  in  1803  he  was  the 
recipient  of  many  honors.  He  was 
appointed  to  several  noteworthy  posi- 
tions, including  that  of  an  inspector 
of  the  Paris  Conservatory  in  1795.  In 
1784  he  had  been  made  privy-coun- 
cillor by  the  Prince-Bishop  of  his 
native  place,  and  on  the  establishment 
of  the  Institut  he  was  chosen  one  of 
the  three  representatives  of  musical 
composition.  A  bust  of  him  was 
placed  in  the  foyer  of  the  Grand 
Opera,  and  a  marble  statue  in  the 
vestibule  of  the  Opera  Comique.     In 


Grieg 

1802  Napoleon  entitled  him  a  Cheval- 
ier of  the  Legion  of  Honor  and 
granted  him  a  munificent  pension  in 
consideration  of  his  services  to  French 
music,  and  the  losses  he  had  suffered 
during  the  Revolution.  The  last  ten 
years  of  his  life  were  spent  at 
I'Ermitage,  a  country  house  formerly 
belonging  to  Rousseau,  near  Mont- 
morency. Gretry  had  previously 
published  two  theoretical  works  Me- 
moires  ou  Essais  sur  la  musique,  based 
on  his  peculiar  views  of  the  relation 
of  music  to  declamation,  and  Methode 
simple  d'harmonie.  In  addition  to  the 
works  previously  mentioned,  he  com- 
posed a  requiem;  six  motets;  a  de 
profundis;  a  number  of  quartets; 
sonatas;  and  orchestral  works.  He 
died  at  I'Ermitage,  and  his  funeral  in 
Paris  was  a  fitting  close  to  his  life 
in  that  city.  In  1842  a  statue  was 
erected  to  his  memory  in  Liege. 

Grieg  (greg),  Edvard  Hagerup.    1843- 

1907. 

"  The  most  familiarly  known  and 
affectionately  regarded  of  living  com- 
posers," wrote  Lawrence  Gilman  of 
Grieg.  Four  months  later  this  com- 
poser was  no  more,  and  all  music- 
lovers  felt  an  almost  personal  loss  in 
the  death  of  the  gifted  man  who  was 
recognized  everywhere  as  the  chief 
exponent  of  Norway's  national  spirit 
in  music.  His  great  grandfather  was 
a  Scotchman,  Greig  by  name,  who 
settled  at  Bergen,  Norway,  and  in  a 
generation  or  two  the  spelling  of  his 
name  had  changed  to  suit  the  adopted 
nationality.  Edvard  Grieg  was  born 
at  Bergen  in  1843.  His  father  was 
the  British  consul  there;  his  mother, 
formerly  Gesine  Hagerup,  came  of  a 
prominent  Norwegian  family,  and  was 
an  accomplished  pianist.  From  the  age 
of  six  Edvard  received  piano  lessons 
from  her  and  attempted  composition 
at  nine  in  the  form  of  variations  on 
a  German  melody.  A  journey  with 
his  father  at  the  age  of  fifteen  through 
the  beautiful  scenery  of  his  native 
land  made  such  an  impression  on  him 
that  he  desired  to  become  a  painter; 
but  by  the  advice  of  Ole  Bull,  then 
visiting  Bergen,  to  whom  Edvard's 
mother  showed  some  of  the  boy's 
work,  he  received  instead  the  educa- 
tion which  was  to  make  him  a  master 
of  painting  in  tones.  In  1858  he  en- 
tered the  Conservatory  at  Leipsic, 
where  he  was  placed  under  the  in- 
struction of  Moscheles  and  Wenzel  in 


BIOGRAPHIES 


327 


Grieg 


piano,  Richter  and  Moritz  Hauptmann 
in  harmony,  and  Rietz  and  Reinecke 
in  composition.  The  restrictions  of 
Moscheles,  who  had  no  admiration 
for  Chopin,  Schumann  or  the  Roman- 
tic school  of  music  in  general,  were 
chafing  to  the  young  enthusiast,  who 
was  in  thorough  sympathy  with  the 
objects  of  this  master's  dislike.  How- 
ever, in  spite  of  discouragement  he 
worked  on,  graduating  in  1862  and 
winning  a  moderate  commendation 
for  some  small  compositions  per- 
formed during  the  school's  closing 
exercises.  The  next  year  Grieg  went 
to  Copenhagen,  attracted  chiefly  by 
his  admiration  for  Gade,  then  living 
in  that  city,  which  was  at  that  time 
the  musical  center  of  Scandinavia. 
Here  he  soon  met  Gade,  who  was  an 
exponent  of  the  school  of  Mendels- 
sohn, and  later  Hartmann,  and  was 
influenced  by  them  to  some  extent, 
though,  contrary  to  the  usual  state- 
ment, he  never  became  a  pupil  of  the 
former.  An  intimate  friendship  sprang 
up  between  Grieg  and  Rikard  Nord- 
raak,  a  rising  young  composer,  who 
infused  into  his  comrade  an  enthu- 
siasm for  the  formation  of  a  new 
Scandinavian  school  of  music,  and 
brought  him  to  a  clearer  understand- 
ing of  his  own  ability.  Nordraakdied 
in  1866,  before  he  had  had  time  to 
make  his  own  mark,  and  his  mantle 
fell  upon  Grieg.  In  1866  Grieg  re- 
moved to  Christiania,  where  in  1867 
he  married  his  cousin,  Nina  Hagerup, 
to  whom  he  had  been  engaged  some 
three  years,  and  the  same  year 
founded  a  choral  society,  which  he 
conducted    alone    until   about    1874. 

Grieg's  first  effort  to  arouse  an  in- 
terest in  national  music  was  by  giving 
concerts  with  programs  made  up  ex- 
clusively of  Norwegian  compositions, 
but  it  took  several  years  and  a  cer- 
tain amount  of  recognition  from  out- 
side to  win  the  prophet  any  honor  in 
his  own  country.  The  honor  did 
come,  however,  and  more  quickly 
than  it  has  done  in  the  life  of  many 
other  gifted  composers;  for  in  1874, 
eight  years  after  his  settlement  in 
Christiania,  the  Norwegian  govern- 
ment allotted  him  a  pension  ample 
enough  to  enable  him  to  devote  his 
entire  time  to  composition.  In  1870 
he  had  visited  Italy  for  the  second 
time,  at  the  invitation  of  Liszt,  then 
in  Rome,  and  enjoyed  rnuch  of  the 
great  pianist's  society,  which  not  only 
stimulated  him  to  still  more  earnest 


Grieg 

endeavor  but  increased  his  reputa- 
tion. About  this  time,  too,  his  ac- 
quaintance with  Bjornsen  and  Ibsen 
was  of  great  benefit,  and  his  music 
to  the  latter's  Peer  Gynt  elicited  an 
expressed  desire  from  the  writer  for 
music  to  an  opera,  the  libretto  of 
which  he  promised  to  furnish.  Bjorn- 
sen began  the  libretto  to  Olaf  Tryg- 
vason,  which  he  himself  had  proposed 
to  Grieg  with  enthusiasm;  but  after 
the  first  act  was  completed  he,  like 
Ibsen,  failed  to  keep  his  word.  This 
first  act  was  produced  three  years  later 
as  a  concert  number,  and  the  fickle 
Bjornsen,  excited  with  admiration  of 
the  music,  seized  the  opportunity  to 
end  the  estrangement  which  had  re- 
sulted from  his  conduct.  Grieg  never 
therefore  wrote  an  opera.  From  1874 
to  1880  he  traveled  much,  playing  his 
own  piano  concerto  at  a  Gewandhaus 
concert  in  1879,  and  visiting  France, 
Holland  and  Denmark,  as  well  as 
Germany.  In  1888  he  visited  London, 
where  he  played  his  piano  concerto 
at  a  Philharmonic  concert,  and  con- 
ducted his  Zwein  Melodien  for  string 
orchestra.  He  also  appeared  in  a 
private  recital  with  his  wife,  who 
was  the  first  to  interpret  his  songs 
to  the  world,  and  so  charmed  the 
listeners  that  the  two  were  induced 
to  appear  again  in  joint  public  recital, 
and  also  in  the  Popular  concerts. 
Grieg  thus  appeared  in  the  "  quadruple 
capacity  of  composer,  conductor,  solo- 
ist and  accompanist."  His  reception 
by  the  English  was  scarcely  less 
warm  than  that  of  his  own  country- 
men; it  would  seem  that  they  felt 
something  akin  to  their  own  national 
spirit  in  the  straightforward,  hardy 
little  Norseman.  He  visited  England 
again  in  1889,  1894,  1896,  and  finally 
in  1906.  The  honorary  degree  of 
Doctor  of  Music  was  conferred  upon 
him  by  Cambridge  in  1894,  and  by 
Oxford  on  his  last  visit  in  1906.  It 
was  his  intention  to  be  present  at  the 
Leeds  Festival  in  the  autumn  of  1907, 
but  death  frustrated  his  plans.  In 
1880  he  had  again  settled  near  Bergen 
in  the  villa  of  Troldhangen.  This 
lovely  mountain  home  of  his  later 
years  was  a  quiet  and  happy  one.  He 
had  no  children,  his  only  daughter 
having  died  in  infancy,  but  his  wife 
was  a  perfect  helpmate  for  him.  The 
damp  climate  was,  however,  hard  on 
Grieg's  health;  he  had  only  one  lung, 
and  three  years  before  his  death 
friends  became  alarmed  at  his  condi- 


328 


BIOGRAPHIES 


Grieg 
tion.  As  late  as  1904  he  played  in 
chamber  concerts  at  Stockholm, 
Sweden.  He  was  always  greeted  with 
enthusiastic  applause  at  such  appear- 
ances, although  prevented  by  his 
health  from  frequent  playing  in  public. 
American  managers  besieged  Grieg 
with  lucrative  offers,  but  the  dread  of 
an  Atlantic  voyage  and  of  the  effects 
of  a  New  World  tour  upon  his  health 
led  him  to  decline  them  all.  In  1906, 
on  his  way  to  England,  he  conducted 
the  Bohemian  Orchestra  at  Prague, 
and  the  Concert  Gebouw  Orchestra  at 
Amsterdam;  and  in  London  a  pro- 
gram of  his  compositions  was  per- 
formed under  his  own  baton  by  the 
Queen's  Hall  Orchestra. 

It  is  a  melancholy  fact,  now  gen- 
erally recognized  by  writers  on 
Grieg's  work  in  composition,  that  the 
peculiar  condition  of  his  health  was 
the  most  important  reason  for  his 
not  producing  music  in  the  larger 
forms.  His  best  work  was  done  be- 
tween the  ages  of  twenty  and  thirty; 
and  this,  as  has  been  observed,  was 
enough  to  make  the  world  indebted 
to  him.  In  his  thirty-first  year  he 
received  the  government  pension,  but 
it  was  then^  too  late  for  the  results 
hoped  for.  From  that  time  the  qual- 
ity of  his  work  never  reached  the 
freshness  and  vigor  of  his  earlier  and 
more  original  compositions.  While 
his  music  reflects  the  natural  char- 
acteristics of  his  native  land  to  such 
an  extent  that  Finck  has  compared 
"  a  trip  through  Grieg's  music  "  to  a 
first  tour  through  the  scenery  of  Nor- 
way, the  same  writer  calls  our  atten- 
tion to  the  fact  that  his  actual  use 
of  ready-made  folk-tunes  is  limited. 
He  states  that  out  of  seventy  of 
Grieg's  works  there  are  only  three 
in  which  the  composer  has  incor- 
porated Norwegian  melodies,  and  that 
a  study  of  the  country's  folk-song  and 
of  Grieg's  predecessors  in  composition 
will  convince  one  that  he  is  a  genius 
of  genuine  originality.  Of  Grieg's 
failure  to  compose  in  the  larger  forms 
and  the  consequent  denial  of  his  right 
to  a  place  in  the  first  rank  by  some 
critics,  he  says,  after  ridiculing  the 
idea  of  "  measuring  genius  with  a 
yardstick,"  —  "  A  painter  can  give  us 
his  best  quite  as  well  in  a  canvas  a 
foot  wide  as  in  one  that  covers  a 
whole  wall."  Von  Biilow's  well-known 
comparison  of  Grieg  to  Chopin  has 
been  much  discussed  by  various 
writers.     He  is   most  nearly  akin  to 


Grieg 

the  Polish  tone-poet  in  these  re- 
spects: that  he  embodied  in  tones 
most  faithfully  the  national  spirit, 
and  that  his  music  has  made  for 
itself,  even  during  his  lifetime,  an 
especial  place  in  the  hearts  of  the 
world  of  music-lovers.  This,  with  the 
predominance  of  the  poetic  and 
imaginative  over  the  purely  intellec- 
tual, constitutes  the  chief  resemblance 
between  two  composers  of  very  dif- 
ferent temperaments  and  modes  of 
living.  As  a  song-writer,  Finck,  whose 
statements  are  rendered  more  authori- 
tative by  his  personal  correspondence 
with  the  composer,  wavers  between 
Grieg  or  Franz  as  being  entitled  to 
the  place  second  to  Schubert.  As  a 
writer  for  orchestra,  also,  his  horizon 
is  wider  than  that  of  Chopin.  As  to 
his  originality,  when  his  works  first 
began  to  be  performed,  his  modula- 
tions and  harmonies  were  considered 
bold  and  striking  in  the  extreme,  but 
in  the  present  state  of  modern  com- 
position, the  qualities  in  hiis  music 
which  impress  the  intelligent  listener 
are  more  especially  delicacy  and  re- 
finement. Grieg  himself  was  fully 
conscious  of  the  combination  of 
strongly  contrasting  elements  which 
his  music  presents  —  grace,  melan- 
choly, grotesque  humor,  a  roughness 
which  is  almost  brutal  at  times,  and 
in  some  of  his  works,  mystery.  This 
last  is  noticeable  in  the  melodrama 
Bergliot,  and  in  the  Peer  Gynt  suite, 
probably  most  widely  known  of  all 
his  works. 

The  composer's  wife  accompanied 
him  on  his  concert  trips,  and  gave 
with  him  a  limited  number  of  recitals 
of  his  songs  in  Christiania,  Copen- 
hagen, Rome,  Leipsic  and  Paris,  as 
well  as  in  London;  but  she  was  not 
classed  as  a  professional  singer,  and 
it  would  seem  that  Grieg  himself  did 
not  realize  that  her  talent  was  of 
such  a  high  order  till  she  had  passed 
her  prime.  Although,  had  her  appear- 
ances been  more  frequent,  she  could 
have  made  her  husband's  songs  much 
more  widely  known;  yet  perhaps  her 
most  important  contribution  to  music 
was  that  she  inspired  him  to  his  best 
efforts,  as  h  was  for  her  that  the 
finest  of  his  songs  were  composed. 
Death  came  to  Grieg  unexpectedly. 
He  was_  in  Bergen,  intending  to  sail 
for  Christiania  on  the  third  of  Sep- 
tember, and  had  already  had  his 
baggage  placed  on  board  the  steamer, 
when  he  was  seized  with  sudden  ill- 


BIOGRAPHIES 


32^ 


Grieg 

ness  and  taken  to  a  hospital,  where  he 
passed  away  the  following  day.  The 
world-wide  esteem  in  which  the  com- 
poser was  held  was  attested  by  many 
memorial  concerts  of  his  works  which 
were  given  after  his  death  in  the 
United  States  as  well  as  in  Europe. 
As  to  Grieg's  personal  appearance,  we 
quote  the  description  taken  from  the 
diary  of  Tschaikowsky,  written  when 
the  composer  was  about  forty-five 
years  of  age:  "A  very  short,  middle- 
aged  man  exceedingly  fragile  in  ap- 
pearance, with  shoulders  of  unequal 
height,  fair  hair,  brushed  back  from 
his  forehead  and  a  very  straight,  al- 
most boyish  beard  and  mustache. 
There  was  nothing  very  striking 
about  the  features  ...  it  would 
be  impossible  to  call  them  handsome 
or  regular,  but  he  had  an  uncommon 
charm,  and  blue  eyes,  not  very  large, 
but  irresistibly  fascinating,  recalling 
the  glance  of  a  charming  and  candid 
child."  Another  writer  has  said: 
"  Grieg's  face  is  intelligent  and  very 
handsome,  with  long  grayish  hair, 
thrown  back,  smooth  shaven  chin, 
short,  thick  mustache,  small,  full 
nosCj,  and  eyes  superb,  green-gray,  in 
which  one  can  fancy  one  catches  a 
glimpse  of  Norway  with  its  melan- 
choly fjords  and  its  luminous  mists. 
His  gaze  is  serious,  wonderfully  soft, 
with  a  peculiar  expression,  at  once 
worn,  tentative  and  childishly  naive. 
The  entire  effect  is  of  kindness,  gen- 
tleness, candor  and  sincere  modesty." 
Among  Grieg's  principal  composi- 
tions are  Autumn  Overture;  piano 
concerto;  the  melodrama,  Bergliot; 
music  to  Sigurd  Jorsalfar;  the  Peer 
Gynt  music;  the  violin  sonata,  in  F 
major,  holding  a  position  among  the 
few  great  violin  sonatas;  the  piano 
sonata;  many  lyric  pieces,  including 
To  Spring,  The  Butterfly  and  the 
Erotik  poem;  and  the  characteris- 
tically Norwegian  pieces,  spring 
dances,  March  of  the  Dwarfs,  Kobold, 
Evening  in  the  Mountains,  Nor- 
wegian dances  and  folk-songs,  and 
peasants'  dances.  Other  representa- 
tive works  of  Grieg's  are  the  Holberg 
suite  for  piano,  which  is  also  scored 
for  orchestra;  the  Aus  dem  Folks- 
leben,  or  Sketches  of  Norwegian 
Life,  comprising  On  the  Mountain, 
Norwegian  Bridal  Song,  Carnival,  and 
the  well-known  Bridal  Procession; 
the  cello  sonata;  and  numerous  songs, 
among  which  may  be  named  The 
First    Primrose;    The    Princess;    The 


Griesbach 

Odalisk,  possessing  a  genuine  Orien- 
tal character;  The  Youth;  The 
Wounded  Heart;  The  Minstrel's 
Song;  Solvejg's  Lied,  a  distinctly 
Norwegian  work;  By  the  Riverside; 
A  Fair  Vision;  Springtide;  On  the 
Way  Home;  The  Old  Mother;  Friend- 
ship; I  Love  Thee;  The  Mountain 
Maid;  The  Tryst;  Love;  An  Evil 
Day;  Cradle  Song;  and  the  Wood 
Wanderer.  Grieg's  numbered  works 
are  seventy-four  in  all;  twenty  of 
these  are  made  up  of  numerous  lyric 
pieces,  romanzas,  ballades,  tone- 
pictures,  album-leaves,  humoresques, 
etc.,  for  piano,  exclusive  of  the 
sonata  and  the  concerto  already 
mentioned,  the  many  transcriptions  of 
Norwegian  melodies,  of  Grieg's  own 
songs  and  others,  and  the  four-hand 
arrangements  of  orchestral  music  and 
other  duets.  There  is  also  a  romance 
and  variations  for  two  pianos.  The 
songs  comprise  nineteen  works,  be- 
sides a  song  cycle,  Haugtussa, 
choruses  for  mixed  and  male  voices, 
and  three  single  songs,  two  of  which, 
The  Princess  and  The  Odalisk,  have 
been  named,  the  third,  an  Ave  in  B 
flat.  Four  of  the  songs  are  set  to 
words  by  Hans  Christian  Andersen, 
and  one  set  consists  of  seven  chil- 
dren's songs.  There  is  a  cantata.  At 
the  Convent  Door;  a  string  quartet, 
and  several  melodies  and  dances  for 
string  orchestra;  beside  some  Nor- 
wegian dances  for  orchestra;  the 
funeral  march  and  others  already  men- 
tioned. An  album  leaf  in  E  minor 
for  piano,  a  second  piano  part  to  four 
of  Mozart's  sonatas,  and  some  of  the 
song  transcriptions  for  piano,  are 
without    numbers. 

Griesbach   (gres-bakh),  John   Henry. 
1798-1875. 

English  pianist,  composer  and  vio- 
loncellist; born  at  Windsor;  was  the 
son  of  a  violoncellist  in  Queen  Char- 
lotte's band.  His  uncle,  George  Leo- 
pold Griesbach,  was  his  first  teacher, 
and  at  twelve  he  became  a  cellist  in 
the  band  mentioned.  He  later  studied 
under  Kalkbrenner,  and  played  at 
London  as  a  pianist  in  concerts.  From 
1822  he  taught  and  composed  and  for 
a  time  directed  the  Philharmonic  So- 
ciety. His  compositions  are  Daniel, 
an  oratorio;  overture  and  incidental 
music  to  The  Tempest;  an  operetta, 
James  I.,  or  the  Royal  Captive;  two 
unfinished  operas.  The  Goldsmith  of 
West    Cheap,   and    Eblis;    a   niusical 


330 


BIOGRAPHIES 


Griesbach 
drama,  Raby  Ruins;  several  overtures 
and  other  numbers  for  orchestra; 
anthems;  songs;  and  cantatas.  He 
wrote  also  An  Analysis  of  Musical 
Sounds;  Elements  of  Musical  Nota- 
tion; Pianoforte  Student's  Compan- 
ion; and  other  works  on  acoustics  and 
musical  theory. 

Grisar  (gre-zar),  Albert.    1808-1869. 

A  prolific  Belgian  dramatic  com- 
poser; born  at  Antwerp.  Had  been 
placed  by  his  family  in  the  employ  of 
a  Liverpool  merchant,  and  in  his  early 
twenties  ran  away  to  Paris,  where  he 
went  to  Reicha  for  lessons  in  com- 
position, which  did  not  continue  long. 
The  Revolution  forced  him  to  return 
to  Antwerp,  but  a  musical  start  having 
been  made,  he  composed  during  the 
siege  a  dramatic  romance,  La  folle, 
and  in  1833  produced  a  drama,  Le 
Manage  Impossible,  at  Brussels,  the 
success  of  which  was  the  means  of 
procuring  him  a  grant  from  the  gov- 
ernment that  enabled  him  to  return 
to  Paris  for  further  musical  work. 
Within  the  next  seven  years  he  pro- 
.duced  there  six  or  seven  operas  with 
success;  but  feeling  the  need  of  addi- 
tional study  he  went  to  Naples  in 
1840,  where  he  secured  instruction 
in  composition  from  Mercadante.  In 
1848  he  returned  to  Paris,  and  there 
spent  the  rest  of  his  life,  bringing  out 
nineteen  comic  operas,  and  leaving 
eleven  or  twelve  others  in  manu- 
script. He  also  published  more  than 
fifty  melodies  and  romances.  He  was 
a  favorite  in  France,  and  possessed 
undoubted  talent.  His  statue,  modeled 
by  Brackeleer,  was  placed  in  the 
vestibule  of  the  Antwerp  Theatre  in 
'1870.  Among  his  most  important 
operas  are  Gilles  Ravisseur;  Les 
Porcherons;  Le  Carilloneur  de 
Bruges;  Les  Amours  du  Diable;  Le 
Chien  du  Jardinier;  Voyage  autour 
de  ma  Chambre;  La  Chatte  merveil- 
leuse;  Begaiements  d'amour;  and 
Douze   innocentes. 

Grisi  (gre-ze),  Giulia.    1811-1869. 

Illustrious  dramatic  soprano;  born 
in  Milan;  the  daughter  of  an  officer 
in  Napoleon's  army.  She  came  from 
a  family  of  singers,  Josephina  Grassini 
being  her  mother's  sister,  while  her 
sister  Giuditta,  six  years  her  senior, 
was  a  _  celebrated  mezzosoprano. 
From  this  sister  Giulia  probably  re- 
ceived her  first  lessons,  but  she  was 
soon  placed  in   the   Conservatory  of 


Grisi 

Milan,  under  Marliani.  For  three 
years  she  studied  at  Bologna  under 
Giacomo  Guglielmi,  and  later  under 
Celli,  with  whom  she  remained  only 
three  months,  but  from  whom  she 
gained  much.  At  the  age  of  seven- 
teen she  made  her  debut  at  Milan  in 
Rossini's  Zelmina,  an  unimportant 
part,  but  so  well  sung  as  to  delight  all 
concerned,  including  Rossini,  who 
prophesied  for  her  a  remarkable 
career,  and  also  procured  for  her  an 
immediate  engagement  for  the  season. 
She  appeared  within  the  year  as  the 
prima  donna  in  several  operas,  one 
written  especially  for  her.  Her 
youth  and  inexperience  led  her  to 
accept  a  six  years'  engagement  with 
a  shrewd  and  unprincipled  manager 
at  a  figure  far  below  her  real  worth. 
After  two  years  of  singing  under 
these  conditions  she  became  dissatis- 
fied with  the  terms  and  urged  in  vain 
a  release  from  her  contract.  She 
escaped  to  Paris,  where  her  sister 
and  aunt  were  then  stationed,  and  at 
once  secured  an  engagement,  Rossini 
offering  her  the  place  just  left  vacant 
by  Malibran,  a  most  unusual  compli- 
ment; and  her  first  Parisian  appear- 
ance was  made  in  the  title  role  of  his 
Semiramide.  From  this  time  forth 
her  triumph  was  complete. 

From  1832  to  1849  she  was  engaged 
almost  constantly  at  the  Theatre  des 
Italiens,  alternating  from  1834  with 
the  London  season,  where  she  ap- 
peared first  as  Ninetta  in  La  Gazza 
Ladra,  at  once  winning  the  enthusi- 
astic admiration  of  the  usually  cold 
English  opera-goers  and  critics.  She 
was  said  to  be  unapproachable  in  her 
dramatic  portrayal  of  Norma.  Her 
voice  was  sweet,  rich,  and  even 
through  its  compass  of  two  octaves, 
and  her  execution  was  faultless.  Her 
personal  beauty  and  charm  were  such 
that,  combined  with  her  voice  and 
great  dramatic  gifts,  she  retained  for 
years  the  admiration  she  at  first 
inspired.  Her  marriage  in  1836  to 
Count  de  Melcy  proved  unhappy,  but 
did  not  long  interrupt  her  career;  a 
divorce  took  place  and  some  years 
after  she  married  the  tenor,  Mario, 
with  whom  she  had  long  been  asso- 
ciated in  opera.  She  did  not  retire 
from  London  opera  until  1861,  and 
five  years  later  reappeared  at  Her 
Majesty's  Theatre,  greatly  to  the  sur 
prise  of  her  audience.  After  this  she 
occasionally  appeared  in  concert,  to 
which    she   was   entirely   equal.     She 


BIOGRAPHIES 


331 


Grisi 
died  while  on  a  visit  to  Berlin.     She 
had    delisfhted    the    public    for    about 
thirty-five    years,    an    unusually    long 
career  for  a  vocalist. 

Grosheim    (gros'-him),   Georg   Chris- 

toph.    1764-1847. 

German  composer  and  writer;  born 
at  Cassel.  Lived  there  an  uneventful 
life  in  cramped  circumstances,  and 
died  at  the  age  of  eighty-three  years. 
His  published  works  include  two 
operas,  Titania,  and  Das  heilige  Klee- 
blatt;  Hector's  Abschied,  for  two 
solo  voices  with  orchestra;  Die  ten 
Gebote,  in  one  to  four  parts,  with 
orchestra;  preludes  for  organ;  vari- 
ations and  fantasias  for  piano;  school 
songs;  a  collection  of  popular  airs; 
and  an  arrangement  for  piano  of  the 
score  of  Gluck's  Iphigenia  en  Aulis, 
with  German  text.  Most  of  his 
works  were  never  published.  He  edited 
for  a  year,  1797  to  1798,  a  musical 
paper,  Euterpe.  He  also  published 
the  following  treatises:  Das  Leben 
der  Kiinstlerin  Mara;  t)ber  Pflege 
und  Anwendung  der  Stimme;  Chron- 
ologische  Verzeichnis  vorziiglicher 
Beforderer  and  Meister  der  Ton- 
kunst;  Fragmente  aus  der  Geschichte 
der  Musik,  and  a  Generalbass-Ka- 
techismus. 

Grove,  Sir  George.    1820-1900. 

Eminent  writer  on  music,  famous 
as  the  editor-in-chief  of  Grove's  Dic- 
tionary of  Music  and  Musicians;  was 
born  at  Clapham,  Surrey,  England. 
His  mother  was  a  skilled  amateur 
musician,  and  from  her  he  inherited 
a  love  for  the  art,  though  his  musical 
studies  were  pursued  only  as  a  side 
issue,  their  sole  outcome  being  the 
development  of  an  appreciative  intelli- 
gence. He  was  a  most  versatile  man, 
and  displayed  equal  energy  in  several 
different  lines  of  work.  At  sixteen  he 
entered  upon  an  apprenticeship  in  his 
profession,  that  of  a  civil  engineer, 
becoming  a  graduate  of  the  Institu- 
tion of  Civil  Engineers  three  years 
later,  and  practising  this  profession 
in  various  provinces  up  to  1850,  when 
he  was  appointed  secretary  of  the 
Society  of  Arts.  Two  years  later  he 
accepted  the  secretaryship  of  the 
Crystal  Palace,  from  which  time  forth 
he  resided  at  Sydenham,  near  London. 
This  post  brought  him  in  contact  with 
musical  affairs;  he  attended  concerts 
in  London,  studied  the  scores  of  the 
masters,   and   from    1856   on,   at   the 


Grove 

instance  of  August  Manns,  the  con- 
ductor of  the  Crystal  Palace  Or- 
chestra, contributed  analyses  to  the 
programs  of  the  Saturday  concerts, 
especially  for  the  works  of  Beethoven, 
Schubert,  Mendelssohn,  and  Schu- 
mann; and  the  notes  of  Beethoven's 
symphonies  were  ultimately  pub- 
lished, somewhat  amplified,  under 
the  title  of  Beethoven  and  his  Nine 
Symphonies,  in  1896.  In  1860  his 
account  of  the  Passion  Play  at 
Oberammergau  was  published  in  the 
London  Times.  This  was  new  to 
London  newspaper  readers,  and  at- 
tracted attention.  Other  articles  were 
in  demand,  and  although  he  wrote  on 
other  subjects,  the  musical  field 
claimed  the  largest  share  of  his  work 
from  about  1869.  In  1868  he  became 
the  editor  of  Macmillan's  Magazine, 
and  continued  his  work  for  fifteen 
years.  In  1873  he  was  asked  to  edit 
the  dictionary  which  bears  his  name, 
and  resigned  his  secretaryship  to  do 
this,  but  maintained  his  association 
with. the  Crystal  Palace  as  a  member 
of  the  Board  of  Directors,  and  con- 
tinued to  edit  the  Saturday  concert 
programs.  Honors  now  came  quickly; 
he  received  the  honorary  degree  of 
D.C.L.  from  the  University  of  Dur- 
harn,  and  later  of  LL.D.  from  the 
University  of  Glasgow.  He  visited 
America  in  1878,  meeting  many  of  the 
most  prominent  literary  men  and 
scholars  of  out  country,  and  the  next 
year  went  to  Germany,  visiting  Berlin 
and  Leipsic  chiefly  with  a  view  to 
obtaining  the  most  authentic  infor- 
mation possible  for  his  article  on 
Mendelssohn  for  the  dictionary;  and 
in  1887  he  was  elected  to  a  member- 
ship in  the  Bach  Society  of  Leipsic. 
Prior  to  this,  however,  he  had  re- 
ceived other  honors  in  England. 
Early  in  1882  he  became  active  in 
the  work  of  organizing  the  Royal 
College  of  Music,  and  before  the  close 
of  the  year  had  been  appointed  the  di- 
rector of  that  institution  by  the  Prince 
of  Wales.  During  the  opening  cere- 
monies, in  1883,  he  was  knighted  by 
Queen  Victoria.  This  position  he 
held  until  his  retirement  in  1894;  and 
his  enthusiasm,  energy,  and  sympathy 
with  earnest  effort  made  him  at  once 
an  eflficient  official  and  the  personal 
friend  of  the  students  under  him.  He 
continued  to  contribute  to  various 
periodicals,  and  wrote  prefaces  to  a 
number  of  musical  works  by  others. 
He  died  at  Sydenham. 


332 


BIOGRAPHIES 


Gruenberg 
Gruenberg    (griin-berkh),   Eugene. 
1854- 

Violinist,  teacher  and  writer;  born 
at  Lemberg,  Galicia;  was  a  pupil  of 
the  Vienna  Conservatory,  studying 
violin  under  Heissler,  composition 
under  Bruckner  and  Dessoff,  and  or- 
chestral and  chamber-music  under 
Hellmesberger.  Soon  after  his  grad- 
uation he  played  in  the  Vienna  Court 
Orchestra,  and  about  1881  became  a 
member  of  the  Gewandhaus  Orches- 
tra in  Leipsic,  where  he  lived  till 
1891.  He  then  came  to  America, 
where  he  played  in  the  Boston  Sym- 
phony Orchestra  for  seven  years,  and 
succeeded  Eichberg  at  the  Boston 
Conservatory  of  Music,  where  he 
taught  violin  for  several  years.  Upon 
his  resignation  from  the  Boston  Sym- 
phony Orchestra  he  became  teacher 
of  violin,  viola,  and  ensemble-playing 
at  the  New  England  Conservatory. 
His  work  as  a  violin-player  covers  a 
quarter  of  a  century  under  the  best 
conductors  of  Germany  and  Amer- 
ica. At  the  City  Theatre  in  Leipsic 
he  conducted  the  performance  of  his 
ballet,  Tanzbilder,  and  at  the  Ge- 
wandhaus, of  his  syrnphony  in  A 
minor.  Other  compositions  are  a  so 
nata  for  violin  and  piano;  a  suite 
for  violin  and  piano;  two  ballet 
scenes;  a  cadenza  to  Brahms'  violin 
concerto;  a  number  of  dances  and 
songs;  and  studies  for  violin.  He  has 
also  written  articles  for  various  peri- 
odicals; The  Violinist's  Manual;  and 
a  Theory  of  Violin-Playing.  In  con- 
junction with  Adamowsky  he  was  con- 
ductor of  summer  popular  concerts 
in  the  Boston  Music  Hall.  Gruen- 
berg is  said  to  be  agreeable  in  per- 
sonality, inclined  to  be  a  society  man, 
but  serious  in  his  art,  nevertheless. 

*  Gruenfeld  (grun'-felt),  Alfred.    1852- 

Pianist  and  composer;  was  born  at 
Prague,  and  gave  his  first  concert  at 
the  age  of  twelve.  He  studied  first 
under  Hoger  and  Krejci,  and  after- 
ward entered  Kullak's  Academy  in 
Berlin,  where  he  became  a  teacher  at 
the  age  of  seventeen.  He  was  also  a 
pupil  of  Liszt.  From  1873  he  has 
lived  in  Vienna,  where  he  is  a  cham- 
ber-virtuoso. He  has  made  long 
tours  in  Europe,  particularly  in  Rus- 
sia and  France,  and  in  the  United 
States.  He  was  appointed  Court 
pianist  to  the  Emperor  of  Austria 
and  to  the  King  of  Prussia.  He  is 
said   to  be   especially  clever  at   imi- 


Grund 
tating  the  style  of  almost  every 
famous  composer,  from  Bach  to  the 
moderns;  taking  a  given  theme  and 
developing  it  in  various  ways,  and 
sinking  his  own  personality  in  that 
of  each  successive  composer.  It  is 
also  told  of  his  endurance  that  he  can 
play  six  hours  at  a  sitting.  His 
octave-playing  is  said  to  be  unsur- 
passed since  the  death  of  Carl 
Tausig.  He  has  received  many 
badges  and  honors.  His  composi- 
tions are  chiefly  for  piano,  including 
a  minuet;  humoresque;  octave-study; 
barcarolle;  impromptu;  and  a  Spanish 
serenade.  His  comic  operas  are  at 
present  succeeding  in  Europe.  So  far 
these  operas  are  only  two  in  number, 
Der  Lebemann  (The  Rounder),  and 
Die  Schonen  von  Fogaras  (The 
Belles  of  Fogaras).  The  latter  was 
recently  produced  in  Dresden.  He 
has  also  composed  numerous  songs. 

Gruenfeld,  Heinrich.    1855- 

Excellent  violoncellist,  brother  of 
Alfred;  was  born  at  Prague,  and  was 
a  pupil  of  the  Conservatory  there. 
In  1873  he  became  solo  cellist  of  the 
Comic  Opera,  Vienna;  in  1876  he  went 
to  Berlin,  where  he  taught  in  Kul- 
lak's Academy  for  eight  years,  and 
was  also  first  cellist  in  the  Symphony 
Orchestra.  In  company  with  Xavier 
Scharwenka  and  Gustav  Hollander  he 
gave  a  number  of  concerts,  and  in 
1886  was  appointed  cellist  to  the  Ger- 
man Emperor.  He  enjoys  a  high 
reputation  as  a  solo  player,  and  is 
inclined  to  the  modern  school  of  com- 
positions, although  not  deficient  in 
the  classics.  He  has  made  professional 
tours  through  Europe  and  America, 
and  has  met  with  perhaps  his  greatest 
successes  in  Italy  and  France.  He  is 
the  recipient  of  a  number  of  honors 
and  badges  from  various  foreign  dig- 
nitaries and  societies,  and  is  said  to 
be  most  generous  in  giving  his  serv- 
ices for  charitable  purposes. 

Grund    (groont),   Friedrich  Wilhelm. 

1791-1874. 

German  composer,  conductor  and 
teacher  of  music;  born  at  Hamburg. 
Was  a  pupil  of  his  father,  and  studied 
with  a  view  to  public  performance; 
but  his  right  hand  becoming  crippled, 
he  turned  his  attention  to  other  lines 
of  musical  effort,  and  in  1819  was  in- 
strumental in  establishing  the  Sing- 
ing Society  of  his  native  place,  of 
which  he  was  director  until  1862,  also 


BIOGRAPHIES 


333 


Grand 

conducting  the  Philharmonic  concerts 
from  1828  till  the  date  of  his  retire- 
ment. He  assisted  Gradener  in  1867 
to  organize  the  Hamburg  Musicians' 
Union,  and  was  much  in  demand  as  a 
teacher  in  Hamburg,  where  he  died 
at  the  age  of  eighty-three.  He  was  a 
prolific  composer;  his  works  including 
a  cantata.  Die  Auferstehung  und 
Himmelfahrt  Christi;  a  mass  for 
eight  voices  without  accompaniment; 
symphonies;  overtures;  songs;  cham- 
ber-music; and  two  unperformed 
operas,  Mathilde,  and  Die  Burg  Falk- 
enstein.  His  studies  for  piano  were 
commended  by  Schumann. 

Griitzmacher  (griits'-makh-er),  Fried- 
rich  Wilhelm  Ludwig.    1832-1903. 

Distinguished  violoncellist  and  com- 
poser; born  at  Dessau;  was  the  son  of 
a  musician,  and  showed  talent  at  an 
early  age.  At  Dessau  he  studied 
cello  under  Drechsler,  and  theory 
under  F.  Schneider,  and  at  sixteen 
went  to  Leipsic,  where  he  was 
fortunate  enough  to  attract  the  atten- 
tion of  David,  and  the  next  year  was 
appointed  first  cellist  and  soloist  of 
the  Gewandhaus  Orchestra,  and  a 
teacher  in  the  Conservatory.  In  1860 
he  became  chamber-virtuoso  to  the 
King  of  Saxony  in  Dresden,  and  after- 
ward made  many  concert  tours,  play- 
ing in  most  of  the  large  cities  of 
Northern  Europe  and  appearing  a 
number  of  times  in  London.  His 
compositions  are  chiefly  for  cello,  in- 
cluding concertos,  variations,  solos, 
and  studies,  the  last  of  especial  value, 
being  used  in  the  Conservatory  of 
Leipsic;  also  orchestral  and  chamber- 
music;  and  songs.  Besides,  he  had 
edited  numerous  collections  of  stand- 
ard works,  such  as  Beethoven's  So- 
natas for  Violoncello  and  Piano,  and 
revived  some  works  of  worth  that  had 
been  shelved.  Among  his  pupils  were 
several  cellists  of  note,  including 
Briickner,  Fitzenhagen,  and  his 
younger  brother,  Leopold  Griitz- 
macher, for  years  first  cello  of  the 
Court  Orchestra  at  Meiningen,  and 
later  at  Weimar. 

Guadapmi    (goo-a-dan'-ye),    Gaetano. 

About  1725-1785. 

Italian  male  contralto;  first  heard 
of  in  Parma,  at  about  twenty-two 
years  of  age.  The  next  year  he  carne 
to  London,  where  Handel  noticed  his 
voice,  and  assigned  him  parts  in  the 
Messiah  and  Samson.     He  left  Lon- 


Guadagnini 
don  about  1753,  singing  the  next  year 
in  Paris,  Versailles,  and  Lisbon, 
where  he  sang  under  Gizziello,  and 
had  a  narrow  escape  from  the  earth- 
quake of  1755.  He  accompanied  Giz- 
ziello into  retirement  after  the 
upheaval,  and  owed  much  to  the  older 
singer's  painstaking  instruction  and 
warm  interest,  as  well  as  to  the  actor, 
Garrick,  who  had  previously  proved 
his  friend,  and  from  whom  he  had 
received  many  valuable  ideas.  On 
leaving  Portugal  he  sang  in  all  the 
foremost  theatres  of  Italy  with  great 
success.  He  is  said  to  have  been  a 
superior  actor,  handsome  and  elegant 
in  person,  and  refined  in  his  style  of 
singing,  although  his  voice  was  said 
by  critics  to  be  inferior  in  quality, 
and  to  depend  more  on  clever  man- 
agement than  intrinsic  beauty  for  the 
effects  produced. 

Guadagnini  (goo-a-dan-ye'-ne,)  family. 

Lived  about  1690  to  1760, 

Italian  violin-makers  of  the  Cre- 
mona school,  who  worked  for  several 
generations  in  Italy.  The  oldest  two 
of  this  family,  probably  brothers,  were 
Lorenzo  and  John  Baptist,  or  Gio- 
vanni. They  seem  to  have  been 
pupils  of  the  renowned  Stradivarius, 
and  the  violins  made  by  Giovanni  are 
said  to  resemble  the  genuine  Strad- 
ivarius violins,  both  in  form  and 
cellence  of  tone,  and  to  be  distin- 
guished from  the  works  of  the  other 
members  of  the  family  by  the  rich 
dark  red  varnish  of  the  case.  Lo- 
renzo's violins  were  shaped  quite  dif- 
ferently from  those  of  his  brother, 
being  heavier  and  less  graceful,  with 
a  duller  varnish,  but  equally  valuable 
and  musical  in  tone.  Their  instru- 
ments within  the  last  few  years  were 
said  to  sell  for  from  two  hundred 
to  five  hundred  dollars.  Another 
John  Baptist  seems  to  have  been 
a  son  of  Lorenzo.  His  violins  are 
shaped  after  the  Stradivarius,  of  good 
material,  and  varnished  with  a  bright 
scarlet.  They  are  commonly  used 
by  orchestra  players,  but  less  val- 
uable than  the  preceding.  Joseph, 
probably  his  brother,  made  a  heavy 
violin  with  brownish  yellow  varnish. 
Although  succeeding  members  ^  of 
the  family  continued  to  make  violins, 
it  became  a  trade  with  them  rather 
than  an  art,  and  though  they  turned 
out  fairly  good  instruments,  the 
standard  of  their  forefathers  was  not 
maintained. 


334 


BIOGRAPHIES 


Guamerius 
Guamerius    (goo-ar-na-re-oos),    Giu- 
seppe Antonio.    1683-1745.     (Called 
Joseph  del  Gesu.) 

Was  one  of  a  celebrated  family  of 
violin-makers  of  Cremona.  His  uncle, 
Andreas  or  Andrea,  was  a  pupil  of 
Nicolo  Amati  and  a  fellow  workman 
of  Stradivarius;  his  violins  bearing 
dates  from  1650  to  1695.  Andrea's 
sons,  Peter  and  Joseph,  and  his  grand- 
son Peter,  all  made  very  fifood  mstru- 
ments,  each  one's  work  having  some 
different  individuality;  but  in  the 
case  of  Giuseppe  the  excellence  and 
the  originality  of  his  workmanship 
amounted  to  genius,  which  is  scarcely 
surpassed  by  that  of  the  renowned 
Stradivarius,  of  whom  it  has  been 
stated  that  Giuseppe  was  a  pupil.  The 
latter's  violins,  however,  are  unlike 
the  Stradivarius  model,  and  show  the 
influence  of  an  earlier  worker,  Gaspar 
di  Salo.  The  great  variety  of  shape 
and  size  in  the  instruments  of  Giu- 
seppe Antonio,  indicates  that  he  made 
many  experiments  in  order  to  obtain 
the  depth  of  tone,  which  was  his  main 
object,  rather  than  elegance  of  form; 
and  in  this  power  and  richness  of  tone 
his  instruments  excel.  The  sobriquet 
del  Gesu  is  given  him  from  the  ap- 
pearance of  the  letters  I.  H.  S.  on  his 
labels.  Many  of  his  instruments  are 
marked  with  a  sap  stain  along  the 
belly,  parallel  with  the  finger-board, 
and  these  bellies  are  thought  to  have 
been  made  from  one  huge  piece  of 
pine  of  especial  acoustic  value.  The 
best  of  his  violins  are  attributed  to  a 
middle  period  in  his  life,  and  show 
the  most  finished  workmanship,  al- 
though different  ones  were  so  unlike 
that  their  appearance  or  modeling  is 
in  no  way  a  sign  of  their  origin;  and 
those  ascribed  to  his  later  period  are 
decidedly  inferior  and  may  or  may 
not  have  been  his  work.  So  far  as 
known  he  made  no  violoncellos. 
Paganini  used  one  of  Giuseppe's  in- 
struments, and  restored  them  to 
favor,  whereas  prior  to  his  career  the 
softer  toned  Strads  and  Amatis  had 
been  more  widely  used  by  violinists. 
Martin  Roeder  states  that  Joachim 
was  presented  with  a  Guamerius 
worth  over  six  thousand  dollars,  and 
that  Sarasate  used  one  worth  fifteen 
thousand  dollars. 

Gudehus     (goo'-de-hoos),     Heinrich. 
1845- 

Distinguished  dramatic  tenor;  bom 
at  Altenhagen,  Hanover;  was  the  son 


Guerrero 
of  a  schoolmaster  in  his  native  vil- 
lage, and  began  life  in  the  same 
vocation,  later  becoming  organist  at 
Goslar.  His  first  singing-teacher 
recognized  his  talent  and  sent  him  to 
Berlin,  where  he  immediately  pro- 
cured an  engagement  at  the  Court 
Opera  under  Von  Hiilsen.  After  some 
study  under  Gustav  Engel  he  made 
his  debut  as  Nadori  in  Jessonda,  1871, 
but  after  about  a  year  retired  for 
further  study  under  Louise  Ress  at 
Dresden.  In  1875  he  reappeared; 
from  1880  to  1890  he  was  a  member 
of  the  Court  Opera  at  Dresden,  and 
the  next  season  sang  in  German 
Opera  in  New  York.  On  his  return 
to  Europe  he  was  engaged  as  a  mem- 
ber of  the  Court  Opera  in  Berlin, 
but  has  since  retired.  He  created  the 
part  of  Parsifal  at  the  second  per- 
formance, in  Bayreuth,  of  that  re- 
nowned opera.  On  leave  of  absence 
in  1882  he  sang  at  Frankfort  and 
Vienna,  and  in  1884  at  Covent_  Gar- 
den as  Walther  in  Die  Meistersinger. 
His  interpretation  of  Wagnerian  roles 
has  been  particularly  successful. 

Guenin    (ga-nan),    Marie    Alexandre. 
1744-1819. 

French  violinist  and  prolific  com- 
poser; was  born  at  Maubeuge,  France. 
He  studied  the  violin  under  Capron, 
and  composition  under  Gossec  at 
Paris.  In  1777  he  became  musical 
intendant  to  Prince  Conde;  in  1778  a 
member  of  the  Royal  Orchestra,  and 
from  1780  to  1800  was  solo  violinist 
at  the  Grand  Opera.  His  works  in- 
clude fourteen  symphonies  for  a  com- 
bination of  orchestral  instruments; 
also  eighteen  violin  duets,  six  sonatas 
for  a  solo  violin  and  an  accompanying 
violin,  six  string  quartets,  one  con- 
certo for  viola,  three  cello  duets,  and 
three  sonatas  for  clavecin  and  violin. 

Guerrero   (ger-ra'-ro),  Francisco. 

About  1528-1599. 

Noted  representative  of  the  early 
Spanish  School  of  composers;  was 
born  at  Seville,  and  after  some  les- 
sons from  his  elder  brother  studied 
under  Morales.  About  1546  he  was 
appointed  chapelmaster  of  the  Cathe- 
dral of  Jaen.  It  is  said  that  he  became 
a  singer  in  the  Cathedral  at  Seville 
about  1550,  where  he  was  finally  made 
chapelmaster,  in  1554.  In  1558  he 
made  a  journey  to  Jerusalem,  an  ac- 
count of  which  was  published  after 
his  death,  in   1611.     He  lived  to  be 


BIOGRAPHIES 


335 


Guerrero 

eighty-one  years  of  age.  His  works 
include  Sacrse  Cantiones;  a  Magnifi- 
cat; a  collection,  Liber  I  Missarum, 
containing  nine  masses,  and  many 
motets.  Less  important  works  were 
some  motet  collections  published  in 
Venice;  a  book  of  Masses;  the  Passion 
according  to  St.  Matthew,  for  Palm 
Sunday,  and  the  Passion  according  to 
St.  John,  for  Good  Friday.  His  works 
are  well  known  in  his  native  country, 
but  are  seldom  heard  elsewhere. 

Guglielmi    (gool-yer-me),    Pietro. 
About  1720-1804. 

Celebrated  dramatic  composer;  born 
at  Massa-Carrara,  Italy;  the  son  and 
pupil  of  Joachim  Guglielmi,  the  chapel- 
master  to  the  Duke  of  Modena.  He 
studied  later  under  Durante  at  the 
Conservatory  of  San  Loreto,  Naples, 
where  his  opera,  Chichibio,  was  com- 
posed in  1739,  and  remains  in  the 
royal  archives  at  Naples.  He  made 
his  debut  at  Turin  in  1755  with  an 
opera  the  name  of  which  is  unknown, 
and  thereafter  "  the  principal  cities  of 
Italy  disputed  the  privilege  of  pro- 
ducing his  operas."  From  Venice  he 
went,  in  1762,  to  Dresden  and  Bruns- 
wick, and  in  1768  to  London.  On  his 
return  to  Italy,  after  an  absence  of 
fifteen  years,  he  found  that  Cmiarosa 
and  Paisiello  had  superseded  him; 
this  aroused  him  to  unwonted  exei^- 
tion,  and  he  so  far  regained  his  for- 
mer prestige  as  to  bring  his  rivals  to 
terms  of  agreement.  However,  he 
tired  of  dramatic  composition,  and  in 
1793  accepted  the  post  of  chapel- 
master  at  the  Vatican,  and  thereafter 
composed  only  sacred  music,  includ- 
ing masses;  motets;  psalms;  hymns; 
and  several  oratorios,  of  which  De- 
bora  e  Sisera  was  his  masterpiece. 
He  also  wrote  considerable  chamber- 
music  for  vioHn,  violoncello,  and 
harpsichord.  Some  of  his  comic 
operas  are  still  given  in  Italy.  Al- 
together he  wrote  from  one  to  two 
hundred  operas,  most  of  which  are 
forgotten.  Those  of  'historical  im- 
portance include  I  due  Gemelli, 
La  Bella  Pescatrice,  La  Didone,  La 
Pastorella  Nobile,  Enea  e  Lavinia, 
I  Viaggiatori,  and  La  Serva  inna- 
morata. 

Guido  d'Arezzo  (goo-e-do  dar-red-z5) 

990-1050. 

Italian  theorist,  noted  as  a  re- 
former of  musical  notation  and  vocal 
instruction.     Because   of   the   remote 


Guido 

period  in  which  he  lived,  it  is  diffi- 
cult to  separate  fact  from  tradition, 
and  determine  the  exact  extent  of  his 
individual  work.  He  is  known  as 
Guido  of  Arezzo  from  his  supposed 
birthplace.  Reared  as  a  Benedictine 
monk,  he  was  familiar  with  music 
as  a  part  of  his  religious  train- 
ing. He  greatly  simplified  the  mu- 
sical notation  of  his  day,  introduc- 
ing a  four-line  staff  with  lines  and 
spaces,  and  with  the  F  and  C  clefs, 
out  of  which  our  modern  staff  has 
been  gradually  developed.  Prior  to 
his  invention  musical  notes  were  rep- 
resented by  the  letters  of  the  alphabel, 
placed  upon  a  single  line;  by  the  use 
of  points  on  several  lines,  the  pitch 
of  a  tone  could  be  determined  without 
employing  different  letters;  hence, 
according  to  J.  W.  Moore's  Encyclo- 
paedia, the  term  counterpoint.  Pos- 
sibly this  gave  rise  to  the  supposition 
that  Guido  invented  counterpoint  in 
the  now  known  sense  of  the  word, 
which  is  denied  by  Grove  on  other 
historical  evidence.  Brown  states  that 
he^  "  invented  or  gave  a  basis  for  the 
science  of  counterpoint,"  which  latter 
seems  the  more  rational  view.  An- 
other improvement  made  by  Guido, 
an  idea  not  unlike  the  modern  tonic 
sol-fa  system,  was  that  of  represent- 
ing six  respective  tones  of  the  scale 
by  corresponding  syllables  in  a  fixed 
order  that  could  be  applied  in  any  key. 
These  syllables  were  simply  the  ac- 
cented ones  of  three  lines  of  a  Latin 
hymn  to  St.  John  sung  in  the  mon- 
asteries, and  five  of  them  are  used  in 
the  modern  "  Do,  re,  mi,"  etc.  This 
method  is  known  technically  as  sol- 
mization.  The  practical  application  of 
these  methods  in  teaching  the  boys  to 
sing  at  sight  proved  their  usefulness. 
In  Hawkins'  History  of  the  Science 
and  Practice  of  Music,  1853,  it  is 
stated  that  by  the  use  of  Guido's 
method,  "a  boy  in  a  few  months 
might  learn  what  no  man,  though  of 
great  ingenuity,  could  before  that 
attain  in  several  years."  His  fame 
traveled  fast,  and  he  was  summoned 
to  Rome  by  Pope  John  XIX.,  who 
insisted  on  learning  to  sing  by  Guido's 
new  method. 

At  some  time  in  his  life,  Guido 
was  in  the  monastery  of  Pomposa, 
near  Ferrara.  Some  historians  say 
that  he  was  driven  hence  by  the  jeal- 
ousy of  the  other  monks;  that  he 
traveled,  taught,  and  finally  settled 
as   abbot    of   a   monastery   at   Avel- 


336 


BIOGRAPHIES 


Guido 

lano,  near  Arezzo.  The  account 
would  seem  more  probable  that  as- 
cribes his  connection  with  the  mon- 
astery of  Pomposa  to  an  invitation 
from  the  abbot  to  come  and  teach 
his  method  of  singing  to  the  monks 
and  choir-boys. 

The  most  important  of  his  theoreti- 
cal works,  the  Micrologus,  is  said  to 
have  been  written  in  1024,  about 
Guido's  thirty  -  fourth  year.  This 
treatise,  according  to  Grove,  contains 
no  mention  of  the  inventions  previ- 
ously named,  and  Guido's  claim  to 
them  rests  on  the  general  agreement 
of  the  statements  of  a  number  of  early 
musical  theorists,  including  Gafori, 
Glareanus,  Galilei,  and  Zarlino.  Copies 
of  this  work  in  manuscript  exist  in 
the  Vatican  Library,  in  the  Bibli- 
otheque  Nationale,  Paris,  and  other 
similar  collections  in  Europe.  It  de- 
scribes a  method  of  teaching  choris- 
ters to  sing  in  tune,  and  presents  rules 
for  the  composition  and  performance 
of  the  Plain  Chant.  The  Harmonic 
or  Guidonian  Hand,  was  still  another 
practical  method  used  by  this  clear- 
headed monk  to  simplify  the  relation 
of  notes  to  each  other,  and  was  noth- 
ing more  noi  less  than  the  use  of  the 
human  hand  as  an  imaginary  diagram 
from  which  the  position  of  notes 
might  be  quickly  recognized  by  asso- 
ciating each  one  with  a  separate  joint 
of  a  respective  finger 

*  Guilmant   (gel-man),  Felix  Alexan- 
dra.   1837- 

Eminent  French  organist  and  com- 
poser, born  at  Boulogne,  March  12, 
1837;  the  son  of  Jean  Baptiste  Guil- 
mant, who  was  for  about  fifty  years 
organist  of  the  Church  of  St  Nich- 
olas After  receiving  his  early  musi- 
cal education  from  his  father,  young 
Guilmant  studied  harmony,  counter- 
point and  fugue  under  G  Carulli  in 
his  native  city,  also  reading  every 
work  on  musical  theory  which  he 
could  find.  At  the  age  of  twelve  he 
began  to  act  as  his  father's  substitute, 
and  practiced  at  St  Nicholas  eight  or 
ten  hours  every  day,  tiring  out  sev- 
eral organ  blowers.  At  sixteen  he 
entered  on  the  duties  of  his  first  posi- 
tion as  organist  at  the  Church  of  St. 
Joseph,  and  two  years  later  a  mass 
of  his  composition  was  performed  at 
St.  Nicholas.  Of  this  church  he  was 
appointed  choirmaster  in  1857,  and  the 
same  year  became  professor  of  sol- 
feggio in  the  communal  school,  and 


Guilmant 
conductor  of  a  musical  society,  the 
Orpheonique,  shortly  after  which  he 
was  elected  a  member  of  the  Phil- 
harmonic. Some  years  later  he  went 
to  the  Conservatory  of  Brussels  to 
study  under  the  celebrated  organist, 
Jacques  Lemmens.  He  remained 
there  for  some  months,  becoming 
Lemmens'  favorite  pupil  because  of 
his  combined  genius  and  energy.  It 
is  said  that  he  mastered  one  of  Bach's 
organ  fugues  every  day  while  at  Brus- 
sels. On  his  return  to  France  his 
added  knowledge  and  growing  repu- 
tation brought  him  into  demand  to 
open  new  organs,  those  of  Arras,  St. 
Sulpice,  and  Notre  Dame  were  inaug- 
urated by  Guilmant,  and  for  the  last 
named  occasion  he  composed  his 
Marche  Funebre  et  Chant  Seraphique. 
In  1871  he  was  appointed  to  the  im- 
portant position  of  chief  organist  at 
La  Trinite,  Paris  At  this  time  Guil- 
mant was  thirty-four  years  old,  and 
he  remained  in  this  position  for  nearly 
thirty  years,  but  resigned  about  the 
beginning  of  the  present  decade.  In 
1878,  during  the  Paris  Exposition,  he 
began  the  noted  series  of  organ  re- 
citals at  the  Trocadero,  which  con- 
tinued annually  for  a  number  of  years. 
Clarence  Eddy,  who  knew  Guilmant 
well  both  as  a  man  and  a  musician, 
said,  in  an  article  published  some 
years  ago,  "  Guilmant  is  today  the 
most  popular  organist  in  France. 
During  the  past  ten  years  he  has  done 
more  than  all  other  French  organists 
together  to  elevate  the  standard  of 
organ-music  in  that  country  and  to 
make  it  better  understood  and  better 
liked  He  is  not  only  a  virtuoso  of 
the  first  rank  but  a  profound  musi- 
cian and  artist  of  the  very  highest 
type "  The  fact  that  Guilmant  con- 
descends to  play  nothing  trivial  or 
unworthy  the  dignity  of  his  instru- 
ment and  is  unreservedly  opposed  to 
the  use  of  orchestral  works  arranged 
for  the  organ,  is  evidence  that  his 
popularity  is  the  result  of  a  power  to 
cultivate  a  taste  for  the  best  organ- 
music  by  virtue  of  his  gifts  as  an 
interpreter  a  composer  and  an  ex- 
tempore player  Not  only  in  his  own 
country  has  this  influence  been  ex- 
erted Guilmant  has  given  many  con- 
certs in  England,  Italy,  Russia,  and 
America;  his  first  appearance  in  the 
United  States  being  at  the  Columbian 
Exposition  in  1893,  in  Chicago,  where 
he  represented  the  French  School  of 
organ -playing.     He  was  immediately 


the    Vv. 


^     ,     York 
among    the    gucr' 
representative     n^^ 
over  America, 
appeared  on 


u& 


337 

Qttiraud 

natas,  of  which  the 
tv,,.  niost  original 

■;■  ,.ns  in- 
V  col- 


\um    he    iia=  ^''^IVt 

uty   pieces.     He   nas 

numerous  works  by 

as  well  as  by  Saint- 

ROBERT  FRANZ.     1815-1892. 

One  of  the  great  triumvirate  of  song  composers ; 

the    other    two    being   Robert    Schumann   and    Franz 

Schubert      He    was    deaf    for   twenty-five   years,   and 

was   almost   completely   ignored   by   his   countrymen, 

whose  music  he  had  done  so  mtich   to  enrich.     His 

best  praise  and  encouragement  came  from  America. 

After  his  death,  however,  a  monument  was  erected  to 

his  memory  by  the  people  :6'£  Halle. 

iicinor     m  -  -Fran±, ^-'as'  a  very   painstaking  and  careful  artist 
nrtran  recitals  ai  •i-'iJ^7'lV^;_£_,    _._.^,     „_.i.-_..   ,     .    ,•     , ./r__^_ 


the^auspicS^  tW^^lSatisfied  with  nothing  but  his  best  efforts. 
Arts,  ther^JHsi'^^^r^istic  career  has  been  compared  to  that  of 
private  n..   (^jjopj^i^  ^g   i-,ig   success   was  achieved   in  one  field  of 


composition,  German  song. 


■,ii  on 
con- 


i  and  benevolent   i.ice, 
e   like   an    Englishman 


mant   »fe 
time   thoiK. 
himself  to  ttie  f 
As  a  composer  i 

eivrng  them  to  the  pu»>^'c-  ,  ^ 

f^,^?J    all  copyrights    and 

^  •    ,  ataloging  hi^ 
^^'  ^st  important 

hill 


;  giaaoqrno:;  ;gno2*io   o^mi'  .  arlJ  ^o  anO 

sriBi'5    bxiB    ni!  oo>i    yijnjo    o^n    larUo    aril 

LlH  .riDhna  oj  rfDum  o--^.  snob  bsri  arl  olaum  aaoriv; 
.BohamA  rnoTl  arnBO  Ju  jfaa^Btwoona  briB  aaifiiq  :t83d 
oJ  bstoais  ^rv/  jfiarnnnonr  r  ,-io7awori  jIlBab  aifl  laiiA 
.oIIbH  ^o  alqooq  oflt  ^d  viomam  eirf 
jgi:riB  lubiBCi  bxiB  -oaWBianiBq  ^^lav   b   sbv/   shbiH  — 

.8Jio^3   jsad  giri  Jwd'-snirilon  riJiv/  bafiabfig  gBW   briB  » 

5o   iBriJ    ol    baiBqraoo    riaad    asri    i9t)iB3    aii-.friB    aiH 
lo  bbft  ario  ni  bavairioB  &bv/  aasoona  aid  aB  jiiqoriO 

.■§noa  nBfrnaO  .rioiJiaoqrnoD 


fl 


BIOGRAPHIES 


337 


Guilmant 
offered  engagements  to  play  in  over 
twenty  towns  in  the  United  States 
and  Canada,  and  before  his  return 
to  Europe  was  given  a  banquet  by 
the  New  York  Manuscript  Society, 
among  the  guests  of  which  were 
representative  musicians  from  all 
over  America.  In  1897-1898  he  again 
appeared  on  this  side  of  the  Atlantic, 
and  besides  numerous  concerts  in  our 
larger  cities  played  twice  with  the 
Thomas  Orchestra.  His  last  visit  to 
us  was  in  1904,  when  he  gave  a 
series  of  thirty  recitals  on  the  mam- 
moth organ  in  St.  Louis  at  the  time 
of  the  World's  Fair  there,  also  play- 
ing twice  in  Chicago.  In  1894,  to- 
gether with  d'Indy,  Bordes,  and  de 
la  Tombelle,  who  was  one  of  his 
pupils,  he  organized  a  musical  school, 
the  Schola  Cantorum,  and  in  addition 
to  his  work  as  teacher  there,  has 
been  since  1896  professor  of  organ 
in  the  Paris  Conservatory.  His  play- 
ing has  been  much  admired  and  ap- 
preciated. For  twenty  years  or  more 
he  made  annual  and  sometimes  semi- 
annual trips  to  England,  where  Queen 
Victoria  invited  him  to  give  a  recital 
at  St.  George's  Chapel,  Windsor;  and 
in  Rome,  after  inaugurating  the  organ 
at  the  Church  of  St.  Louis  of  France, 
Pope  Leo  XIII.  bestowed  upon  him, 
at  a  private  audience,  the  order  of  St. 
Gregory  the  Great.  In  1893  he  was 
made  a  Chevalier  of  the  Legion  of 
Honor  In  1902  he  began  a  series  of 
organ  recitals  at  the  Trocadero,  under 
the  auspices  of  the  Ministry  of  Fine 
Arts,  these  have  been  of  a  semi- 
private  nature,  only  a  limited  number 
being  admitted. 

In  his  beautiful  home  at  Meudon 
on  the  Seine,  a  suburban  village  sev- 
eral miles  from  Pans,  is  a  concert 
hall  of  small  dimensions,  containing 
a  magnificent  three-manual  organ  on 
which  Guilmant  gives  private  con- 
certs, and  where  his  pupils  from 
abroad  receive  their  lessons.  Guil- 
mant is  also  a  pianist,  and  at  one 
time  thought  seriously  of  devoting 
himself  to  the  piano. 

As  a  composer  Guilmant  works  with 
extreme  rapidity,  having  written  some 
of  his  greatest  sonatas  in  two  or  three 
days.  On  the  other  hand,  he  has  pub- 
lished his  works  slowly,  subjecting 
them  to  strict  examination  before 
giving  them  to  the  public.  He  has 
retained  all  copyrights  and  plates, 
publishing  and  cataloging  his  music 
himself.     His  most  important  works 


Guiraud 
are  the  organ  sonatas,  of  which  the 
first  is  considered  the  most  original 
and  masterly.  His  compositions  in- 
clude The  Practical  Organist,  a  col- 
lection in  twelve  parts,  of  pieces  for 
church  and  for  concert  use;  four 
books  of  organ  numbers,  based  on 
Christmas  carols;  eighteen  books  of 
organ-pieces  in  various  styles,  mostly 
for  concert  use;  The  Liturgical  Or- 
ganist, a  series  of  organ-pieces  based 
on  the  Gregorian  chant;  seven  books 
of  later  works  for  organ;  and  eight 
numbers  for  organ  and  orchestra. 
For  the  piano  he  has  written  a  few 
short  pieces  and  made  a  dozen  ar- 
rangements of  favorite  compositions 
from  his  own  works  for  organ;  and 
for  the  harmonium  he  has  written 
more  than  twenty  pieces.  He  has 
also  transcribed  numerous  works  by 
the  old  masters,  as  well  as  by  Saint- 
Saens  and  other  modern  composers; 
but  only  such  works  as  are  intrinsic- 
ally suited  to  the  nature  of  the  organ. 
His  chamber-music  comprises  about 
two  dozen  works  for  various  combi- 
nations of  instruments,  many  of  these 
containing  the  harmonium,  an  instru- 
ment that  few  musicians  of  impor- 
tance have  given  any  attention.  His 
choral  and  vocal  works  include 
choruses  for  male  voices;  masses; 
motets;  and  cantatas;  Balthazar,  a 
lyrical  scene;  and  Christus  Vincit,  a 
hymn  for  chorus,  orchestra,  harps  and 
organ.  Some  special  works  that  ex- 
hibit Guilmant's  versatility  in  com- 
position are  the  Marche  religieuse; 
the  Fugue  in  D;  First  Meditation; 
Lamentation;  and  Scherzo  Sym- 
phonique. 

In  personal  appearance  Guilmant 
has  been  described  thus:  "  Below  the 
middle  height,  with  bushy,  grayish 
hair  and  beard  and  benevolent  face, 
he  looks  more  like  an  Englishman 
than  a  Frenchman."  More  recent  pic- 
tures of  Guilmant  show  the  hair  and 
beard  as  it  is  now,  white,  and  the  face 
showing  the  traces  of  additional 
years,  but  kindly  in  its  expression  as 
ever.  He  has  one  son,  a  talented 
artist,  and  three  daughters.  Guil- 
mant's standing  as  the  chief  represen- 
tative of  the  French  School  of  organ- 
playing,  of  which  he  may  be  said  to 
be  the  founder,  is  unquestioned. 

Guiraud  (ge-ro),  Ernest.    1837-1892. 

French  composer;  born  in  New  Or- 
leans; was  the  son  of  Jean  Baptiste 
Guiraud,  who  in    1827  had  won   the 


338 


BIOGRAPHIES 


Guiraud 
Grand  Prize  of  Rome,  and  was  an 
intimate  friend  of  Bizet.  Ernest's  first 
opera,  Le  Roi  David,  was  produced 
when  the  young  composer  was  but 
fifteen,  after  which  he  entered  the 
Paris  Conservatory,  studying  piano 
under  Marmontel,  harmony  under 
Barbereau,  and  composition  under 
Hslevy  He  took  the  second  prize  for 
piano  in  1857,  and  first  prize  the  next 
year,  and  in  1859  the  Grand  Prize  of 
Rome  with  a  cantata,  Bajazet  et  le 
joueur  de  fliite.  From  1860  to  1863 
he  was  in  Rome,  and  on  his  return 
his  opera,  Sylvie,  was  produced  at 
the  Opera  Comique,  1864.  The  next 
was  En  Prison,  followed  by  Le  Ko- 
bold;  Madame  Turpulin;  Gretna 
Green,  a  ballet;  and  Piccolino.  In 
1872  he  brought  out  a  suite  for  or- 
chestra at  the  Concerts  Populaires,  a 
work  which  established  his  position 
as  one  of  the  leading  composers  of 
the  French  School.  In  1876  Guiraud 
was  appointed  professor  of  harmony 
and  accompaniment  at  the  Paris  Con- 
servatory, and  in  1880  professor  of 
composition.  In  1878  he  was  decorated 
with  the  Cross  of  the  Legion  of  Honor. 
The  last  opera  of  his  composition  pro- 
duced during  his  lifetime,  Galante 
Aventure,  Opera  Comique,  1882,  was 
a  failure;  his  Brunhilde,  however, 
was  re-edited  by  Saint-Saens  under 
the  title  Fredegonde,  and  performed 
at  the  Grand  Opera  in  1895,  with 
some  measure  of  success.  Parts  of 
an  unpublished  opera,  Le  Feu,  were 
also  produced  at  the  Concerts  du 
Chatelet  in  1879,  where  his  overture, 
Arteveld,  and  several  other  orchestral 
works  were  performed  at  different 
times.  He  also  wrote  a  work  on 
orchestration. 

Gumbert     (goom'  -  bert),    Ferdinand. 

1818-1896. 

German  tenor,  _  composer,  teacher 
and  critic;  born  in  Berlin,  where  he 
was  a  pupil  of  E.  Fischer  and  Clap- 
ius,  and  in  1839  was  engaged  as  tenor 
singer  at  the  Sondershausen  Theatre. 
The  next  year  he  changed  to  a  bary- 
tone and  sang  in  the  Cologne  Theatre 
until  1842,  when,  on  the  advice  of 
Constantin  Kreutzer,  of  whom  he  had 
been  receivmg  lessons  in  composi- 
tion, he  left  the  stage  to  devote  him- 
self to  the  work  of  composer  and 
vocal  teacher,  in  which  double  ca- 
pacity he  again  settled  in  Berlin. 
Here  he  composed  about  five  hundred 
songs,    which    brought   him   extreme 


Gunn 

popularity,  and  a  number  of  operettas, 
produced  in  Berlin,  but  secondary  in 
success  to  his  songs.  These  operettas 
include  Die  schone  Schusterin;  Die 
Kunst,  geliebt  zer  werden;  Der  kleine 
Ziegenhirt;  Bis  der  Rechte  kommt; 
and  Karolina.  He  also  translated 
into  German  a  number  of  French  and 
Italian  operas  and  songs.  He  then 
entered  the  field  of  musical  criticism, 
contributing  to  various  musical  peri- 
odicals, and  published  in  1860  a  work 
enitled  Alusik,  Gelesenes  und  Gesam- 
meltes. 

Gung'l  (goong'-l),  Joseph.    1810-1889. 

Popular  Hungarian  composer  of 
marches  and  dance-music;  was  born 
at  Zsambek,  Hungary.  He  began  as 
a  school-teacher,  but  being  apt  at 
music,  and  receiving  some  lessons 
from  Semann  at  Buda,  he  was  at- 
tracted to  a  military  life  and  became 
oboist  and  later  bandmaster  in  the 
Austrian  army,  and  toured  Germany 
with  his  band,  performing  for  the 
most  part  his  own  compositions.  In 
1843  he  gathered  together  an  orches- 
tra or  band  at  Berlin,  and  traveled 
with  it,  visiting  America  in  1849.  On 
his  return  he  was  appointed  music- 
director  for  the  King  of  Prussia,  and 
in  1858  bandmaster  to  a  regiment  of 
Austrian  infantry.  From  1864  to 
1876  he  lived  in  Munich,  and  in  the 
latter  year  removed  to  Frankfort. 
With  his  band  he  visited  almost  every 
large  city  in  Europe.  His  dance- 
music  rivaled  that  of  Strauss  m  popu- 
larity. After  the  Hungarian  March, 
his  first  work,  he  wrote  over  three 
hundred  marches  and  dances.  Gung'l 
is  said  to  have  been  the  pioneer  in 
his  particular  field,  his  band  being  the 
first  to  travel  for  the  purpose  of  giv- 
ing concerts  and  to  exhibit  the  here- 
tofore latent  possibilities  of  the 
military  band  as  a  dispenser  of 
pleasure,  aside  from  its  place  in  the 
army. 

Gunn,  John.    About  1764-about  1824. 

Writer  and  teacher  of  music;  born 
at  Edinburgh;  taught  violoncello  for 
a  time  in  Cambridge,  and  about  1790 
settled  in  London,  where  he  taught 
cello  and  flute,  and  published  works 
as  follows:  Forty  Scotch  airs  ar- 
ranged as  Trios  for  Flute,  Violin  and 
Violoncello;  The  Theory  and  Prac- 
tice of  Fingering  the  Violoncello;  and 
The  Art  of  Playing  the  German  Flute 
on  New  Principles.     After  his  return 


BIOGRAPHIES 


339 


Gunn 

to  Edinburgh  he  published:  An  Essay, 
Theoretical  and  Practical,  on  the  Ap- 
plication of  Harmony,  Thorough-Bass, 
and  Modulation  to  the  Violoncello; 
and  An  Historical  Inquiry  Respecting 
the  Performance  on  the  Harp  in  the 
Highlands  of  Scotland.  His  last  work 
was  written  at  the  request  of  the  Na- 
tional Society  of  Scotland,  and  is  said 
to  have  been  the  most  important  of 
his  writings.  In  1804  he  married  Miss 
Anne  Young,  a  well-known  pianist, 
who  had  just  published  An  Introduc- 
tion to  Music,  Illustrated  by  Musical 
Games  and  Apparatus,  which  has 
since  been  republished  twice.  She 
was  also  the  inventor  of  the  games 
and  apparatus  mentioned  in  this 
book. 

Gura  (goo-ra),  Eugen.    1842-1906. 

Eminent  Bohemian  dramatic  bary- 
tone; born  at  Pressern,  near  Saatz. 
Was  intended  first  for  a  scientist, 
and  accordingly  studied  first  at 
the  Polytechnic,  Vienna;  next  took 
up  art  at  the  Vienna  Academy, 
and  later  at  a  school  of  paint- 
ing in  Munich.  Here  he  decided 
to  follow  a  musical  career,  and,  after 
a  course  in  the  Munich  Conservatory 
under  Joseph  Herger,  made  his  debut 
as  Count  Liebenau,  in  WafTenschmied, 
and  was  at  once  engaged  for  two 
years.  Other  engagements  followed; 
from  1867  to  1870  he  sang  at  Breslau, 
and  from  1870  to  1876  at  Leipsic, 
attaining  the  reputation  of  being  one 
of  the  best  barytones  in  Germany. 
In  1876  he  sang  at  Bayreuth,  and  later 
was  engaged  at  Hamburg,  where  he 
sang  till  1883,  and  in  1882  in  German 
opera  at  London.  From  1883  he  was 
engaged  at  Munich  until  his  retire- 
ment from  the  stage  in  1895,  after  a 
career  of  nearly  thirty  years.  He  con- 
tinued, however,  to  sing  in  concert, 
and  was  known  as  a  fine  interpreter 
of  German  songs.  His  impersona- 
tion of  Hans  Sachs  in  Die  Meister- 
singer  was  considered  a  remarkable 
performance,  and  he  appeared  in  this 
role  once  or  twice  after  his  retire- 
ment. 

Gurlitt    (goor'-lit),    Cornelius.     1820- 

1901. 

German  composer;  born  at  Altona; 
was  a  pupil  of  Reinecke,  senior,  and 
later  of  Weyse  at  Copenhagen.  In 
1846  he  visited  Rome;  in  1864  became 
organist  of  the  principal  church  in  his 
native  town.    He  was  appointed  Royal 


Gyrowetz 
musical  director  in  1874,  and  was  for 
a  time  professor  in  the  Conservatory 
at  Hamburg.  During  the  Schleswig- 
Holstein  campaign  he  was  also  musi- 
cal director  of  the  army.  His  works 
include  an  opera,  Scheik  Hassan;  two 
operettas;  a  string  quartet;  three  sona- 
tas for  violin;  sonata  for  violoncello; 
two  sonatinas  for  cello;  and  songs. 
He  is  best  known,  however,  as  a 
composer  of  numerous  piano  pieces, 
suitable  for  teaching  purposes,  and 
widely  used  by  teachers  and  schools 
of  music. 

Gyrowetz  (ge'-ro-vets),  Adelbert. 

1763-1850. 

Bohemian  conductor  and  prolific 
composer;  born  at  Budweis,  Bohemia, 
and  received  some  musical  instruction 
from  his  father,  a  choirmaster.  He 
studied  law,  still  working  at  music  in 
the  meantime.  In  a  financial  strait, 
he  became  the  private  secretary  of 
Count  Fiinfkirchen,  which  proved  a 
fortunate  move,  as  his  employer  was 
a  patron  of  music,  and  assisted  Gyro- 
wetz to  have  his  compositions 
produced.  On  going  to  Vienna  he  be- 
came acquainted  with  Mozart,  who 
furthered  the  performance  of  his  sym- 
phonies in  that  city;  and  for  the  en- 
suing two  years  he  studied  under  Sala 
at  Naples,  composing  meanwhile.  His 
style  resembled  that  of  Haydn,  of 
whom  he  was  more  or  less  con- 
sciously an  imitator;  and  this  led  to 
a  confusion  of  authorship,  several  of 
his  works  having  been  attributed  to 
Haydn.  Going  to  Paris,  he  proved  his 
right  to  these,  and  this  gave  the 
necessary  touch  of  distinction  to  his 
reputation.  His  compositions  were 
now  in  demand  by  publishers,  and  on 
his  arrival  in  London  he  was  engaged 
by  Salomon  as  composer,  simulta- 
neously with  his  model,  Haydn.  Here 
he  wrote  the  opera,  Semiramide  (or 
Semiramis),  rehearsed  for  perform- 
ance in  1792,  but  destroyed  by  fire  in 
the  building  in  which  it  was  to  have 
been  given.  He  left  London,  and  on 
his  return  to  Germany  was  appointed 
Secretary  of  Legation,  holding  that 
post  in  several  cities.  From  1804  to 
1831  he  was  music-director  at  the 
Court  Opera  in  Vienna.  His  numer- 
ous compositions,  though  popular  in 
their  time,  were  so  far  neglected  dur- 
ing the  latter  part  of  his  life  as  to 
necessitate  a  benefit  concert,  for 
which  his  friends  secured  the  pro- 
duction   of    his    cantata,     Die    Dorf- 


340 


BIOGRAPHIES 


Gyrowetz 
schule,  and  thus  supplemented  his 
small  pension.  His  most  successful 
work  was  Der  Augenarzt,  one  of 
about  thirty  operas  and  operettas.  He 
also  composed  forty  ballets;  over 
sixty   symphonies;   forty  sonatas  for 


Haberbier 

piano  and  violin;  a  dozen  nocturnes 
and  other  piano  music,  serenades, 
overtures,  marches  and  dances;  can- 
tatas; songs;  choruses;  and  about 
sixty  string  quartets  and  other  chamv 
ber-music. 


H 


•Haas    (has),    Alma    (HoUaender). 
1847- 

Well-known  pianist;  born  in  Rati- 
bor,  Silesia.  When  ten  years  old  she 
attended  Herr  Wandelt's  music  school. 
Her  first  public  appearance  was  made 
when  she  was  fourteen  years  old,  but 
she  soon  afterwards  went  to  Berlin 
to  continue  her  studies.  There  her 
instructer  was  Kullak,  from  1862  to 
1867.  In  this  latter  year  she  played 
at  a  Gewandhaus  concert  at  Leipsic. 
She  made  a  tour  of  the  principal  Ger- 
man cities,  and  in  1870  played  for  the 
season  in  London.  She  visited  Eng- 
land again  in  1871,  and  in  1872  mar- 
ried Dr.  Ernst  Haas,  professor  of 
Sanskrit  at  University  College,  Lon- 
don. Her  husband  died  in  1882,  and 
Mme.  Haas  again  took  up  her  pro- 
fession, playing  with  the  Heckmann 
Quartet  in  England  and  elsewhere. 
She  took  part  with  Gompertz  and 
Patti  at  the  first  of  Henschel's  Lon- 
don Symphony  concerts,  in  1886.  This 
year  finished  a  ten-years'  position  as 
teacher  at  Bedford  College.  She  also 
taught  a  short  time  at  the  Royal  Col- 
lege of  Music.  In  1886  she  becarne 
the  head  of  the  musical  department  in 
King's  College,  London.  She  has 
played  at  the  Popular  concerts,  at 
Franke's  Chamber  concerts,  with  the 
Elderhorst  and  other  organizations, 
besides  recitals  and  chamber  concerts 
of  her  own.  Recently  she  and  Mrs. 
Hutchinson  have  given  recitals  for 
voice  and  piano.  Her  playing  is  ad- 
mired by  musicians,  and  she  excels  as 
an  interpreter. 

Habeneck    (ab-e-nek),  Frangois  An- 
toine.     1781-1849. 

Habeneck,  as  a  boy,  received  in- 
struction on  the  violin  from  his  father, 
who  could  play  almost  every  musi- 
cal   instrument.      Later,    he    studied 


under  Baillot  at  the  Paris  Conserva- 
tory. He  obtained  first  prize  in  1804, 
and  developed  an  aptitude  as  a  con- 
ductor, which  became  his  real  life 
work.  The  Empress  Josephine  was 
much  pleased  with  his  playing  and 
granted  him  a  pension  of  1200  francs. 
He  was  solo  violin  at  the  Opera,  and 
held  the  position  of  leader  of  orches- 
tra at  the  Conservatory  until  1815. 
From  1821  to  1824,  he  was  conductor 
of  the  Theatre  de  I'Opera,  and  from 
1825  to  1848  he  taught  a  special  violin 
class  at  the  Conservatory,  among  his 
pupils  being  Cuvillon,  Alard,  Clapisson 
and  Leonard.  Habeneck  succeeded 
in  doing  away  with  the  prejudice 
against  the  works  of  Beethoven,  and 
made  his  symphonies  so  popular 
that  the  room  could  not  hold  the  peo- 
ple who  came  to  hear  them.  He  com- 
posed for  violin,  two  concertos,  three 
duos,  a  nocturne,  caprices  and  a  po- 
lonaise; variations  for  string  quartet 
and  for  orchestra;  several  pieces  for 
Aladin;  and  a  ballet,  Le  Page  incon- 
stant. In  1882  the  Cross  of  the  Legion 
of  Honor  was  bestowed  upon  him. 

Haberbier  (ha'-ber-ber),  Ernst.    1813- 
1869. 

Distinguished  pianist  and  composer 
of  fitudes  poesies.  He  was  born  in 
Konigsberg,  where  his  father  was  an 
organist.  He  received  his  first  in- 
struction from  him,  going,  in  1832, 
to  St.  Petersburg.  Here  he  was 
successful  as  concert-player  and 
teacher,  being  appointed  Court  pianist. 
In  1850  he  began  extended  tours,  play- 
ing in  London  with  much  success. 
He  perfected  a  peculiar  technicality 
which  had  been  used  by  Scarlatti  and 
Bach,  that  of  dividing  difficult  pas- 
sages between  the  two  hands.  After 
brilliant  concerts  in  Copenhagen,  Kiel 
and  Hamburg,  he  played  in  1852  in 
Paris,  where  he  was  enthusiastically 


BIOGRAPHIES 


341 


Haberbier 

received.  He  later  appeared  in  Rus- 
sia and  Germany,  and  in  1866  settled 
at  Bergen,  Norway.  He  died  very 
suddenly  in  1869,  while  playing  at  a 
concert  in  Bergen. 

*  Haberl  (ha'-berl),  Franz  Xaver.  1840- 

Eminent  "heorist  and  musical  edi- 
tor; born  at  Ober  Ellenbach,  Bavaria, 
and  educated  at  Passau  in  the  Epis- 
copal training  school  for  boys,  where 
he  was  ordained  priest  in  1862.  He 
became  chapelmaster  at  the  cathe- 
dral and  musical  director  at  the 
school.  From  1867  to  1870  he  was  an 
organist  in  Rome,  going  thence  to 
Ratisbon  to  be  cathedral  chapelmaster, 
where  he  founded  a  school  for  church 
music.  He  was  a  thorough  student 
of  Catholic  Church  music  and  its  his- 
tory, both  past  and  present,  spend- 
ing much  time  in  its  study.  He  com- 
pleted a  thirty-two  volume  edition  of 
Palestrina's  works,  commenced  in  1862 
by  T.  de  Witt  and  others,  whereby 
much  of  the  music  of  that  Roman 
writer  was  preserved.  Pius  IX.  ap- 
pointed him  Honorary  Canon  of  the 
Cathedral  of  Palestrina  in  1879.  Doc- 
tor Haberl  has  contributed  much  to 
musical  editions,  having  edited  many 
himself.  He  received  the  honorary 
degree  of  Doctor  of  Theology  from 
the  University  of  Wiirzburg  in  1889. 
He  was  a  member  of  the  Papal  Com- 
mission, appointed  by  Pius  IX.,  for 
the  revision  of  the  official  choral 
books,  and  is  a  member  of  many 
learned  societies,  being  president  of 
the  Cacilien-Verein  of  Germany,  Aus- 
tria and  Switzerland. 

Hackh  (hak).  Otto  Christoph.     1852- 

Pianist  and  composer;  born  at  Stutt- 
gart. He  studied  in  the  Conservatory 
there,  under  Pruckner  and  Speidel  for 
piano,  and  Seifriz  for  harmony 
and  composition.  From  1872  to  1875 
he  was  first  assistant  teacher  to  Spei- 
del, and  from  1877  to  1878  he  toured 
southern  Germany,  Tyrol  and  Swit- 
zerland. During  1878  he  gave  concerts 
and  taught  in  London.  He  again 
toured  in  1879,  and  the  next  year 
went  to  New  York,  where  he  remained 
until  1889  as  head  of  the  piano 
department  in  the  Grand  Conserva- 
tory. In  1888  he  studied  under  A.  de 
Kontski.  After  two  years  of  private 
teaching,  and  three  years  spent  in 
Europe,  he  became  a  teacher  in  New 
York  and  Brooklyn,  where  he  still 
remains.    Hackh  has  composed  about 


Hadley 

two  hundred  pieces  for  solo  piano, 
for  four  hands,  and  for  piano  with 
orchestra.  He  has  written  much 
dance-music  and  many  songs. 

♦Haddock^  Edgar  A.     1859- 

Son  of  George  Haddock,  violinist 
and  composer;  was  born  at  Leeds, 
and  received  his  musical  instruction 
from  his  father.  In  1885  he  com- 
menced with  his  brother,  George 
Percy,  a  series  of  Musical  Evenings, 
which  have  become  events.  In  1898 
they  established  the  Leeds  Orchestra; 
later  founded  the  Leeds  College  of 
Music,  one  of  the  most  important  mu- 
sical institutions  in  northern  England. 
Edgar  has  written  a  number  of  tech- 
nical studies,  compositions  and  ar- 
rangements for  the  violin.  His  uncle, 
Thomas  Haddock,  was  for  years  prin- 
cipal violoncellist  of  the  Philharmonic 
Society  of  Liverpool. 

*  Haddock,  George.    1824- 

Violinist;  born  at  Killingbeck,  near 
Leeds.  He  studied  violin  under  Joseph 
Bywater,  at  Leeds,  in  1846  going  to 
London,  where  he  studied  under  Vieux- 
temps  and  Mohque.  He  taught  and 
organized  concerts  at  Bradford,  then 
went  to  Leeds,  where  he  became  a 
very  popular  teacher.  He  wrote  Pop- 
ular School  for  the  Violin,  and  other 
technical  works.  His  collection  of 
old  violins  and  violoncellos  is  very 
fine. 

Hadley,  Henry  K.    1871- 

American  composer;  born  in  Somer- 
ville,  Mass.,  where  his  father  was  a 
teacher  of  music.  He  went  to  Bos- 
ton, studying  harmony  there  with 
Stephen  A.  Emery,  counterpoint 
with  G.  W.  Chadwick  and  violin  with 
Henry  Heindl  and  Charles  N.  Allen. 
Before  coming  of  age  he  had  com- 
posed a  dramatic  overture,  a  string 
quartet,  a  trio  and  many  songs  and 
choruses.  In  1894  he  went  to  Vienna 
to  study  composition  under  Mandyc- 
zewski.  Returning  to  America,  he 
was  appointed  instructor  of  music  at 
St.  Paul's  School,  Garden  City,  L.  I. 
His  concert  overture.  Hector  and  An- 
dromache, had  already  been  per- 
formed by  Damrosch's  Orchestra,  and, 
in  1897,  his  first  symphony.  Youth  and 
Life,  was  performed  by  the  New  York 
Philharmonic  Society,  under  the  lead- 
ership of  Anton  Seidl.  This  work 
is  one  of  the  few  American  sym- 
phonies of  first  rank.    Hadley's  second 


342 


BIOGRAPHIES 


Hadley 

symphony,  The  Four  Seasons,  re- 
ceived a  prize  from  the  New  England 
Conservatory  of  Music  and  the  Pade- 
rewski  Fund,  and  was  played  by  the 
New  York  Philharmonic  Society  m 
1901.  His  cantata,  Lelewala,  a  legend 
of  Niagara,  is  not  so  successful,  the 
subject  being  too  heavy.  He  has  pro- 
duced over  one  hundred  and  fifty 
excellent  songs  and  piano  compo- 
sitions, orchestral  suites,  trios,  quar- 
tets, etc.  His  setting  of  Heine's  Wenn 
ich  in  deine  Augen  seh;  his  Sapphire 
sind  die  Augen  dein;  and  Der  Schmet- 
terling  ist  in  die  Rose  verliebt,  are 
especially  good.  One  of  his  most 
popular  song^  is  I  Plucked  a  Quill 
from  Cupid's  Wing. 

Hadow,  William  Henry.    1859- 

English  composer  and  teacher;  born 
in  Ebrington,  Gloucester;  educated  in 
Malvern  College  and  Worcester  Col- 
lege, Oxford.  In  1882  he  took  the  de- 
gree of  B.A.  and  in  1885  of  M.A.  and 
was  appointed  lecturer  at  Worcester 
College,  where  he  was  elected  a  fel- 
low and  tutor  in  1888  In  1890  he 
took  the  degree  of  Bachelor  of  Music, 
and  in  the  same  year  lectured  on  mu- 
sical form  for  the  professor  of  music, 
Sir  John  Stainer,  these  lectures  be- 
coming a  feature  of  the  musical  life  of 
Oxford  until  1899.  At  that  time  Sir 
John  Stainer  was  succeeded  by  Sir 
Hubert  Parry,  and  Hadow  was  made 
University  Examiner  in  Litt.  Hum. 
until  1901.  His  own  musical  education 
had  begun  in  1882,  at  Darmstadt,  con- 
tinuing under  Dr.  C.  H.  Lloyd  in  1884 
and  1885.  The  next  year  he  published 
a  cantata,  The  Soul's  Pilgrimage. 
Among  his  compositions  are:  Who 
are  These?,  a  hymn  for  solos,  chorus, 
strings  and  organ;  When  I  was  in 
Trouble,  an  anthem;  string  quartet  in 
E  flat,  played  by  the  Heckmann  Quar- 
tet at  Cologne  in  1887;  trio  for  piano 
and  strings  in  G  minor,  played 
at  the  Musical  Artists'  Society  in  Lon- 
don, 1900;  violin  sonatas  in  A  minor 
and  F,  the  latter  played  by  L.  Strauss 
and  the  composer  at  the  Musical  Ar- 
tists' Society  in  1892;  sonata  in  B 
minor  for  piano  and  viola;  andante 
and  allegro  for  violin  and  piano;  and 
two_  piano  sonatas.  Most  of  this 
music  was  written  for  and  originally 
performed  by  one  or  other  of  the 
Oxford  societies  for  chamber-music. 
He  later  published  two  albums  of 
songs.  He  is  famous  for  his  writings 
on  music  and  its  history,  being  editor 


Hahn 

of  the  Oxford  History  of  Music,  the 
fifth  volume  of  which  (the  Viennese 
Period)  he  wrote  himself.  Other  lit- 
erary works  are  a  series  of  studies 
in  Modern  Music;  A  Primer  of  So- 
nata Form;  and  a  small  volume  on 
Haydn,  under  the  title  of  A  Croatian 
Composer. 

Haessler  (hes'-ler),  Johann  Wilhelm. 

1747-1822. 

Director  of  music  and  organist  at 
Erfurt,  where  he  was  born.  His  first 
musical  instruction  was  given  him  by 
his  uncle,  Kittel,  an  organist  who  had 
been  a  pupil  of  Sebastian  Bach's.  His 
father  wished  him  to  follow  his  trade 
of  capmaker,  but  in  1780  he  gave  up 
this  work  and  started  winter  concerts. 
From  1790  to  1794  he  made  concert- 
tours,  playing  before  the  royalty  of 
England  in  1792.  He  then  located  in 
Moscow,  where  he  spent  the  remain- 
der of  his  Hfe.  After  having  published 
many  works  in  Germany,  he  began 
using  opus-numbers  for  the  works 
published  after  he  lived  in  Moscow, 
and  the  number  reaches  forty-nine. 
He  is  best  known  to  modern  pianists 
by  a  grande  gigue  in  D  minor.  He 
also  wrote  many  compositions  for  the 
organ  and  piano  and  numerous  songs. 

Haflfner   (hef'-ner),  Johann  Christian 

Fricdrich.     1759-1833. 

German  organist  and  composer, 
born  at  Oberschonau,  in  Prussia. 
Vierling  was  his  first  teacher,  and,  in 
1776,  he  entered  Leipsic  University, 
supporting  himself  as  a  proofreader. 
He  became  the  leader  of  a  traveling 
opera  troupe,  but,  in  1830,  was  ap- 
pointed organist  in  Stockholm  and 
also  accompanist  at  the  theatre.  The 
success  of  his  three  operas,  Elektra, 
Alcides  and  Rinaldo,  in  the  style  of 
Gluck,  earned  for  him  the  position 
of  chapelmaster  at  the  Court  Theatre. 
In  1808  he  was  made  Cathedral  or- 
ganist at  Upsala,  and  1820  musical  di- 
rector of  the  University.  He  revised 
the  melodies  of  the  Geijer-Atzelius 
collection  and  edited  a  Svensk  Choral- 
bok,  containing  many  choral  melo- 
dies of  the  Seventeenth  Century  and 
added  preludes.  He  also  arranged  a 
collection  of  old  Swedish  songs  in 
four  parts,  but  only  completed  two 
books  before  his  death. 

Hahn  (han),  Regnaldo.     1874- 

Born  at  Caracas,  in  Venezuela;  en- 
tered the  Conservatory  in  Paris  when 


BJOGRAPHIES 


343 


Hahn 

eleven  years  old.  Studied  solfeggio 
under  Grandjouy,  piano  under  Des- 
combes,  harmony  under  Theodore 
Dubois  and  Lavignac  and  composition 
under  Massenet.  In  1888  he  published 
his  first  composition,  and  ten  years 
later  his  first  opera  appeared,  L'lle  de 
Reve  and  his  symphonic  poem,  Nuit 
d'Amour  Bergamesque.  His  opera, 
La  Carmelite,  was  given  in  1902  at 
the  Opera  Comique,  and  in  1905  he 
wrote  some  elaborate  music  for  the 
drama  Esther,  given  at  the  Theatre 
Sara  Bernhardt.  He  has  published 
many  charming  songs. 

Haitzinger  (hi'-tsing-er),  Anton.    1796- 

1869. 

Tenor  opera-singer;  born  in  Wil- 
fersdorf,  Lichtenstein,  Austria.  At 
fourteen  he  entered  the  College  of 
Cornenburg,  where  he  obtained  the 
degree  of  licentiate;  after  which  he 
became  a  professor  in  Vienna.  He 
studied  harmony  under  Wolkert,  and, 
while  studying  voice  under  Mozatti, 
he  decided  to  become  a  public  singer. 
Obtaining  an  engagement  at  the  The- 
atre "  an  der  Wien,"  he  made  a  suc- 
cessful debut.  He  continued  his 
studies  under  Salieri.  For  several 
years  he  toured  through  Germany, 
eventually  locating  in  Carlsruhe, 
where  he  had  a  life  appointment  at 
the  Court  Theatre.  He  made  suc- 
cessful appearances  in  both  Paris  and 
London.  In  1850  he  retired  to  Vien- 
na, where  he  died 

*  Hale,  Irene  (Baumgras). 

American  composer;  born  at  Syra- 
cuse, New  York.  Studied  piano  at 
the  Cincinnati  Conservatory  of  Music, 
taking  the  Springer  gold  medal  in 
1881.  Later  studied  in  Berlin  under 
Moskowski  and  Oscar  Raif.  Was 
married  in  Berlin,  in  1884,  to  Philip 
Hale,  the  distinguished  Boston  musi- 
cal critic.  Her  health  was  undermined 
and  she  was  obliged  to  give  up  her 
work.  After  her  marriage  she  became 
a  resident  of  Boston,  and  has  pro- 
duced a  number  of  songs  and  piano 
works,  the  latter  under  the  pseudo- 
nym of  Victor  Rene.  Among  her 
songs  are  Mystery;  Maisie,  An  Opal 
Heart;  and  We'll  Go  no  More  A- 
roving. 

♦Hale,  Philip.     1854- 

Born  in  Norwich,  Vt.  He  was  re- 
markable as  a  child  for  his  musical 
talent,  as  a  boy  playing  the  organ  of 


Halevy 

the  Unitarian  Church,  Northampton, 
Mass.  He  studied  law  at  Yale,  grad- 
uating in  1876,  and  was  admitted  to 
the  Albany  bar  in  1880.  He  also 
studied  music  with  Dudley  Buck,  later 
going  to  Europe,  where  he  studied 
organ  under  Haupt,  Faizst,  Rheinber- 
ger  and  Guilmant;  composition  under 
Rheinberger,  Guilmant,  Urban  and 
Bargiel;  piano  with  Raif  and  Scholz, 
He  was  married  in  1884,  at  Berlin, 
to  Irene  Baumgras,  of  Washing- 
ton, the  celebrated  pianist  and 
composer.  Returning  to  America,  he 
held  the  following  appointments: 
1879  to  1882,  organist  of  St.  Peter's. 
Albany,  1887  to  1889,  at  St.  John's, 
Troy,  1889,  of  First  Religious  Society 
of  Roxbury,  Mass;  and  1887  to  1889, 
conductor  of  the  Schubert  Male  Cho- 
rus Club.  He  was  musical  critic  for 
the  Boston  Home  Journal,  Boston 
Post,  Boston  Journal,  has  been,  since 
1897,  editor  of  the  Boston  Musical 
Record;  and  from  1892  to  1898,  Bos- 
ton correspondent  of  the  Musical 
Courier,  New  York.  He  has  given 
lectures  on  musical  subjects  at  Colum- 
bia University,  New  York,  and  in 
other  cities.  Hale  is  known  as  one 
of  the  most  forceful  and  brilliant 
writers  for  the  American  musical 
press;  his  articles  in  the  Looker-on, 
Musical  Review,  Music  Herald,  etc., 
are  valuable  contributions  to  musical 
literature,  as  well  as  being  mteresting 
for  the  humor  they  contain. 

Halevy  (a-la-ve)  Jacques  Fransois 
Fromenthal  Elie.  1799-1862. 
Born  in  Paris  of  Jewish  parents, 
whose  family  name  was  Levi.  His 
father  was  a  Bavarian  by  birth,  and 
was  greatly  honored  by  the  French 
Hebrews  for  his  fine  character  and 
learning.  His  mother  was  born  in 
Lorraine.  He  was  sent  to  the  Con- 
servatory when  only  ten  years  old. 
He  studied  under  Cazot,  piano  from 
Lambert,  harmony  under  Berton  and 
composition  under  Cherubim.  Halevy 
was  a  hard  worker  and  very  am- 
bitious, taking  a  prize  in  sol- 
feggio and  the  second  prize  in 
harmony.  At  seventeen  he  took  the 
second  Grand  Prize  of  Rome  for 
his  cantata,  Les  Dernieres  mo- 
ments de  Tasse.  In  1819  he  suc- 
ceeded in  getting  the  Grand  Prize 
itself  for  his  cantata,  Herminie.  He 
then  spent  four  years  m  Rome.  Be- 
fore going  to  Rome  he  set  to  music 
the  Hebrew  text  of  De  Profundis  for 


344 


BIOGRAPHIES 


Halevy 

the  funeral  ot  the  Due  de  Berri.  Upon 
his  return  from  Italy  he  tried  again 
and  again  to  gain  recognition  from 
the  stage.  Finally  his  L' Artisan  was 
accepted  and  produced,  but  was  re- 
ceived with  scarcely  any  enthusiasm. 
Later  appeared  Clari,  a  three-act 
opera,  his  best  work  up  to  this  time. 
He  was  appointed,  in  1829,  to  share 
Herold's  duties  at  the  Theatre  Italien, 
and  the  same  year  produced  his  Le 
Dilettante  d'Avigon,  a  parody  on 
Italian  opera  librettos,  which  became 
very  popular,  especially  the  Vive,  vive 
ritalie  of  the  chorus,  which  was 
hummed   and   whistled  everywhere. 

He  strove  almost  desperately  for 
recognition,  but  opera  after  opera 
gained  only  partial  success.  Sud- 
denly, in  1835,  La  Juive,  a  grand 
opera  in  five  acts,  was  given  at  the 
Grand  Opera,  and  Halevy,  like  Byron, 
awoke  to  find  himself  famous.  Every 
opera  house  in  Europe  was  opened 
to  him,  and  he  was  hailed  with  wild 
enthusiasm.  In  the  same  year  ap- 
peared L'ficlair,  a  musical  comedy  for 
two  tenors  and  two  sopranos,  without 
choruses.  He  never  again  produced 
the  equal  of  these  two  works,  though 
many  of  his  works  are  meritorious, 
among  his  best  being  La  Reine  de 
Chypre,  Charles  VI.  and  Les  Mous- 
quetaires  de  la  Reine.  His  music 
is  characterized  by  a  fondness 
for  a  soft  pianissimo  effect,  long 
held,  to  be  regularly  and  sud- 
denly opposed  by  a  loud  crash,  but 
in  all  his  scores  his  fine  genius  is  man- 
ifested. He  held  an  ifnportant  profes- 
sorship at  the  Conservatory.  His 
book  of  instruction,  Leqons  de  lec- 
ture musicale,  published  in  1857, 
remains  (revised)  the  accepted  text- 
book for  teaching  solfeggio  in  the  pri- 
mary schools  of  Paris.  His  daughter 
married  Bizet,  one  of  his  pupils, 
Others  among  his  distinguished  pupils 
were  Gounod,  Victor  Masse  and  Bazin. 
In  1854  he  was  made  permanent  sec- 
retary of  the  Academic  des  Beaux 
Arts.  In  spite  of  his  genius  and  the 
number  of  works  produced  by  Halevy, 
he  made  no  lasting  impression  on  the 
music  of  the  day.  Heavy  work  un- 
dermined his  strength,  and,  in  1861, 
he  went  to  Nice.  He  did  not  improve, 
and  died  March  17,  1862,  and  was  bur- 
ied in  Paris  with  much  pomp.  La 
Juive  was  given  at  the  Grand  Opera 
in  honor  of  his  memory,  and  his  bust, 
modeled  by  his  widow,  was  crowned 
on  the  stage. 


Hall 
Halir  (ha'-ler),  Karl.    1859- 

A  violinist  of  remarkable  ability; 
born  at  Hohenelbe,  in  Bohemia.  His 
father  gave  him  his  first  lessons  and 
later  he  studied  under  Bennewitz  at 
the  Prague  Conservatory.  He  studied 
under  Joachim  at  Berlin  for  two 
years,  and  from  1876  to  1879  he  held 
the  position  of  first  violin  in  Bilse's 
orchestra.  He  then  went  to  Konigs- 
berg  as  concertmaster  in  1879,  holding 
the  same  position  at  Mannheim  in 
1881  and  at  Weimar  from  1884  to 
1894.  His  first  appearance  at  the 
Bach  Festival  at  Eisenach  in  1884 
was  a  great  triumph,  and  his  playing, 
with  Joachim,  of  the  Bach  double 
concerto,  was  immensely  successful. 
In  1888  he  married  Theresa  Zerbst,  a 
distinguished  singer.  In  1894  he  suc- 
ceeded De  Ahna  as  leader  of  the 
Berlin  Court  Opera  and  professor  at 
the  High  School.  He  visited  the 
United  States  in  1896-1897  and, 
when  he  returned  to  Berlin,  became 
a  member  of  the  Joachim  Quartet. 
Since  1869  the  annual  series  of  con- 
certs given  by  this  quartet  has  been 
one  of  the  features  of  the  musical  life 
of  Berlin.  Halir  also  leads  a  quartet 
of  his  own,  and  is  well  known  for 
his  artistic  playing.  He  helped  to 
win  favor  for  the  Tschaikowsky  Con- 
certo and  has  introduced  a  number  of 
violin  compositions.  He  is  best  known 
in  England  as  a  member  of  the  Joa- 
chim Quartet,  being  very  popular 
there.  Halir  is  one  of  the  best  German 
interpreters  of  the  works  of  con- 
temporary German  composers,  rank- 
ing second  to  Joachim.  He  is  much 
respected  as  an  artist  and  as  a  man, 
and  he  has  reached  a  high  plane  in 
his  profession. 

Hall,  Charles  King.     1845-1895. 

English  composer  and  organist; 
born  in  London.  His  first  position 
as  organist  was  at  St.  Paul's,  Camden 
Square,  afterwards  at  St.  Luke's,  then 
at  Christ  Church.  He  wrote  School  for 
the  Harmonium  and  the  Harmonium 
Prirner.  He  composed  much  church- 
music,  many  songs  and  piano-pieces 
and  operettas.  Among  these  are 
Foster-brothers;  Doubleday's  Will; 
A  Tremendous  Mystery;  The  Artful 
Automaton;  Grimstone  Grange;  The 
Naturalist,  and  others. 

*  Hall,  Henry  Walter.     1862- 

An  unusually  successful  choral  con- 
ductor and  trainer  of  choir-boys;  was 


BIOGRAPHIES 


345 


Hall 


born  in  London,  England.  After  four 
years'  study  at  the  Royal  Academy  of 
Music,  he  came  to  America  in  1883, 
and  became  identified  with  the  boy 
choir  movement  in  this  country.  He 
has  been  organist  successively  at  St. 
Luke's  Church,  Gcrmantown,  Fa.,  St. 
Peter's  Church,  Albany,  N.  Y.,  and 
St.  James'  Church,  New  York,  which 
last  position  he  still  holds.  He  is 
also  organist  and  choirmaster  of  the 
Cathedral  of  St.  John  the  Divine, 
where  the  Musurgia,  which  he  has 
conducted  for  the  past  seven  years, 
has  recently  been  merged  in  the  Ca- 
thedral Festival  Choir.  He  founded 
the  Brooklyn  Oratorio  Society  in  1893, 
and  has  led  this  organization  in  per- 
formances of  Bach's  St.  Matthew  Pas- 
sion, Liszt's  St.  Elizabeth  and  other 
oratorios.  As  a  composer,  he  is  rep- 
resented by  a  Magnificat  and  Nunc 
dimittis  in  B  flat,  a  service  in  G;  a 
festival  communion;  and  a  Te  Deum 
and  Jubilate  in  C.  He  wrote  Essen- 
tials of   Choir-Boy  Training. 

Hall,  Marie.    1884- 

Born  at  Newcastle-on-Tyne.  She 
began  her  career  as  a  harpist,  play- 
ing in  the  streets  of  English  towns. 
Her  first  instruction  was  from  her 
father,  who  wished  her  to  continue 
with  the  harp,  but  she  showed  a 
marked  preference  for  violin.  She 
studied  under  Edward  Elgar  in  Mal- 
vern in  1894;  Professor  Wilhelmj  for 
a  short  time  in  London;  Max  Mossel 
at  the  Midland  Institute  in  Birming- 
ham in  1898  and  Professor  Kruse 
in  1900.  In  1899  she  won  a  scholarship 
at  the  Royal  Academy  of  Music,  but 
was  too  poor  to  avail  herself  of  it. 
Through  Kubelik's  influence  she  went 
to  Prague  to  study  under  Professor 
Sevcik.  Her  first  appearance  was  in 
Prague  in  1902,  and  the  next  year 
she  played  in  Vienna  and  in  London, 
making  a  great  success.  In  1906  she 
was  booked  for  a  series  of  thirty  con- 
certs in  the  United  States  and  Canada. 
Her  technique  is  wonderful  and  sur- 
passes anything  done  yet  by  a  British 
subject.  She  possesses  a  beautiful 
Stradivarius  violin,  formerly  owned 
by  Viotto,  and  which  has  been  played 
upon  by  Paganini. 

Halle  (al-la).  Sir  Charles.     1819-1895. 

Was  born  at  Hagen  in  Westphalia, 
though  the  greater  part  of  his  life 
was  spent  in  England.  Not  very 
strong  in   infancy,  he   was   carefully 


Halle 

guarded  by  his  mother  and  early  in- 
fluenced by  her  toward  music,  she  be- 
ing talented  as  a  singer  and  pianist. 
He  understood  much  of  the  value  of 
notes  at  three  and  at  five  played  in 
public  a  simple  piece  written  by  his 
father.  His  progress  was  so  rapid 
that,  at  seven,  his  father  received 
many  offers  to  tour  him.  He  learned 
to  play  the  flute,  violin  and  the  little- 
used  tympani.  In  subscription  con- 
certs, being  either  at  the  piano  or  in 
the  orchestra,  he  became  familiar  with 
a  number  of  classical  and  sacred 
works,  and  so  became  a  thorough  mu- 
sician. He  also  made  much  progress 
on  the  organ.  Composing  each  year 
a  little  piece  for  his  father's  birth- 
day, these  grew  in  importance  to  a 
concert  overture.  In  1834  at  the  age 
of  fifteen,  he  went  to  Darmstadt  to 
study  with  Rinck  and  Gottfried 
Weber.  He  went  to  Paris  in  1836,  and 
spent  much  of  his  time  with  Chopin, 
Liszt,  Thalberg,  Berlioz  and  Cher- 
ubini.  In  1843  he  played  at  a  con- 
cert given  by  Sivori  in  Hanover 
Square  Rooms,  London,  but  he  re- 
turned to  Paris,  and  in  1846  began  a 
series  of  concerts  with  Alard  and 
Franchomme,  at  that  time  the  great- 
est violinist  and  cellist  of  France. 
Here  he  accidentally  met  Habeneck 
and  was  invited  to  play  Beethoven's  E 
flat  Concerto  at  one  of  the  concerts  ot 
the  Conservatory,  thereby  gaining  his 
"artistic  baptism  of  Paris."  When 
Queen  Victoria  visited  Louis  Philippe 
at  the  Chateau  d'Eu,  the  court  invited 
Halle  to  play.  In  1848  Halle  sought 
a  quieter  sphere  in  London,  shortly 
afterwards  making  his  headquarters 
at  Manchester.  From  1850  he  con- 
ducted the  Gentlemen's  concerts 
there,  founded  the  St.  Cecilia  Society, 
and  from  1857  onward  gave  regular 
concerts  with  the  Manchester  Orches- 
tra. In  London  he  was  best  known 
as  a  pianist,  appearing  at  Convent 
Garden,  at  the  Musical  Union,  and,  in 
1852,  at  the  Philharmonic.  He  had 
been  giving  piano  recitals  at  his  own 
home  and  in  1861  these  became  pub- 
lic, being  given  at  St.  James*  Hall. 
These  introduced  the  literature  of  the 
piano  in  a  thoroughly  systematic 
way  and  gave  a  feast  of  the  works 
of  great  piano  composers.  He 
occasionally  brought  the  Manchester 
Orchestra  to  London,  especially  to 
perform  important  works  of  Berlioz; 
but  these  series  of  concerts  from 
1889  to  1891  were  so  poorly  supported 


346 


BIOGRAPHIES 


Halle 

that  he  was  obliged  to  give  them  up. 
In  1888  Queen  Victoria  knighted 
him,  and  in  the  same  year  he  married 
his  second  wife,  Mme.  Norman  Neruda, 
the  eminent  violinist.  Together  they 
visited  Australia  in  1890-1891,  and 
in  1895  they  went  to  South  Africa. 
The  coldness  displayed  by  Halle, 
when  performing  in  public  disap- 
peared in  private,  and  it  was  then 
that  he  showed  himself  so  completely 
in  sympathy  with  the  composer.  He 
ranks  high  as  a  conductor  and  has  had 
a  great  influence  upon  musical  edu- 
cation, having  compiled  a  Piano 
School  and  Musical  Library.  His 
death  occurred  at  his  home  in  Green- 
heys  Lane,  Manchester,  in  1895. 

*  Hallen  (hal'-len),  Andreas.     1846- 

Swedish  dramatic  composer;  born 
at  Gotenburg.  He  studied  under 
Reinecke  at  Leipsic,  Rheinberger  at 
Munich  and  Rietz  at  Dresden.  From 
1872  to  1878  he  directed  the  concerts 
of  the  Musical  Union  of  Gotenburg, 
returning  in  1883  to  the  same  position. 
He  spent  most  of  his  time  during  the 
interval  at  Berlin.  Thus  far  he  has 
published  Harold  der  Viking;  two 
Swedish  rhapsodies;  Vom  Pagen  und 
der  Konigstochter,  a  song-cycle  for 
solo,  chorus  and  orchestra;  Traum- 
konig  und  sein  Lieb;  Das  Ahrenfeld, 
for  female  chorus,  with  piano;  Vineta, 
choral  rhapsody,  with  piano;  Romance 
for  violin,  with  orchestra;  and  Ger- 
man and  Swedish  songs.  His  latest 
opera  is  Waldemar,  1899.  Though 
Hallen's  music  is  not  generally  known 
outside  of  Sweden  and  Germany,  it 
is  very  popular  among  the  Swedish 
singing  socities  of  the  United  States. 

Haller  (hal'-Ier),  Michael.    1840- 

Esteemed  composer  of  sacred  music. 
Born  at  Meusaat  (Upper  Palatinate), 
he  received  his  education  at  the  Mat- 
ten  monastery  and  at  the  Ratisbon 
seminary,  where  he  took  holy  orders 
in  1864.  He  had  included  music  in 
his  studies,  eventually  taking  up 
sacred  music  with  Schrems.  He  was 
appointed  prefect  of  the  Ratisbon 
Cathedral  Choristers'  Institute;  suc- 
ceeded Wasselack,  in  1866,  as  chapel- 
master  at  the  Realinstitut,  and  also 
became  teacher  of  counterpoint  and 
vocal  composition  at  the  school  of 
church  music.  Among  his  composi- 
tions of  sacred  music  are  fourteen 
masses;  motets  a  3-8,  psalms,  litanies, 
a  Te  Deum;  melodramas,  string  quar- 


Hambourg 
tets,  etc.     He  has  also  been  very  ac- 
tive as   an   historical   and   pedagogic 
writer. 

Hallstrom    (hal'-stram),    Ivar.     1826- 
1901. 

Swedish  dramatic  composer  whose 
fame  has  become  wide-spread.  Was 
born  in  Stockholm  and  studied  law, 
holding  the  position  of  private  libra- 
rian to  the  Crown  Prince,  now  King 
of  Sweden.  He  gained  a  prize  from 
the  Musical  Union  at  Stockholm  in 
1860,  for  The  Flowers,  an  idyl  for 
solos,  chorus  and  orchestra.  His  first 
two  operas  received  only  slight  atten- 
tion, but  in  1874  his  Mountain  King 
made  a  decided  success.  Equally 
fortunate  were  The  Bride  of  the 
Gnome;  The  Vikings'  Voyage; 
Nyaga;  and  the  romantic  opera, 
Granada's  Daughter. 

♦Hambourg,  Mark.    1879- 

Eminent  pianist;  born  at  Bozutchar, 
in  the  province  of  Vorenez,  South 
Russia.  His  decided  talent  developed 
very  early,  and  his  father,  who  was  a 
professor  at  the  Moscow  Conserv- 
atory, decided  to  give  him  a  thorough 
musical  training.  His  progress  was 
so  rapid  that  at  the  age  of  ten  he 
made  his  first  public  appearance  with 
the  Mocero  Philharmonic  Society. 
After  this  he  made  a  successful  tour 
of  Great  Britain,  and  in  1891  at  the 
advice  of  Richter  and  Paderewski, 
went  to  Vienna,  where  he  studied  for 
three  years  with  Leschetizky,  and  won 
the  Liszt  Scholarship.  In  1894  Dr. 
Richter  invited  him  to  play  at  a 
Philharmonic  concert  in  Vienna,  on 
which  occasion  he  performed  Chopin's 
Concerto  in  E  minor,  and  proved 
himself  fully  matured  in  his  art.  The 
following  year  he  played  at  a  Phil- 
harmonic concert  in  London  and 
afterward  made  extensive  tours 
through  Europe,  and  to  Australia 
and  South  Africa.  In  1899  he  made 
his  American  debut  with  the  Boston 
Symphony  Orchestra,  afterward  mak- 
ing a  successful  tour  of  the  United 
States  and  Canada.  He  made  a  sec- 
ond American  tour  in  1902.  His 
technique  is  admirable  and  he  is 
imaginative  and  intellectual,  bringing 
to  the  interpretation  of  the  great 
masters  a  rare  insight  and  sympathy 
to  which  in  large  measure  his  success 
is  due.  He  is  a  man  of  wide  culture 
and  in  spite  of  constant  travel  is 
deeply    interested    in    many    lines    of 


BIOGRAPHIES 


347 


Hambourg 

study,  being  familiar  with  the  litera- 
tures of  France,  Germany,  England 
and  Russia,  with  printing,  sculpture 
and  science.  His  repertory  is  exten- 
sive, including  about  twenty  con- 
certos and  almost  six  hundred  other 
compositions.  He  has  composed  sev- 
eral pieces  for  piano  and  violin. 

Hamel  (a-mel),  Marie  Pierre.     1786- 
1870. 

Organ  expert;  born  at  Auneuil, 
Oise,  France.  He  studied  music  and 
violin  when  quite  young,  but  he  ob- 
tained his  knowledge  of  organ  con- 
struction alone,  when  quite  a  youth 
restoring  the  organ  of  his  native 
village.  Later  he  reconstructed  the 
great  organ  of  Beauvais  Cathedral. 
He  was  the  founder  of  a  Philhar- 
monic Society  at  Beauvais,  one  of  the 
first  to  introduce  Beethoven's  sym- 
phonies in  France.  He  is  the  author 
of  a  history  of  the  organ  and  biog- 
raphies of  the  most  distinguished 
organists,  the  title  of  which  is  Nou- 
veau  Manuel  complet  du  facteur 
d'orgues. 

Hamerik,  Asger.     1843- 

Danish  composer;  born  in  Copen- 
hagen; later  made  his  home  in  Amer- 
ica. Determined  to  study  music, 
though  his  father,  a  professor  of 
theology,  disapproved,  he  applied  him- 
self with  such  diligence  that  at  fifteen 
he  produced  a  cantata  which  attracted 
the  attention  of  Gade  and  Haberbier. 
He  studied  under  these  two  and  in 
1860  under  von  Billow  at  Berlin  to 
perfect  himself  as  a  pianist.  His 
inclination,  however,  was  for  com- 
position and  going  to  Paris  he  re- 
ceived instruction  in  orchestration 
from  Berlioz,  who  had  great  confi- 
dence in  him,  even  allowing  him  to 
take  his  place  as  director  of  his  own 
productions.  Partly  through  Berlioz, 
he  obtained  the  appointment  as  a 
member  of  the  musical  jury  of  the 
Paris  Exhibition.  He  also  received  a 
gold  medal  for  his  richly  orchestrated 
Hymne  de  la  Paix.  From  1872  to 
1898  he  was  the  head  of  the  musical 
section  of  the  Peabody  Institute  at 
Baltimore,  where  he  gave  a  series  of 
fine  symphony  concerts!  In  1890  he 
was  knighted  by  the  King  of  Den- 
mark. His  works  consist  chiefly  of 
operas,  symphonies  and  vocal  pieces 
and  are  characterized  by  genuine 
musical  humor  and  original  orches- 
tration.    Four     of     his     operas     are 


Hammerschmidt 

Tovelille,  Hjalmar  and  Ingeborg,  La 
Vendetta,  and  Der  Reisende.  Noted 
among  his  productions  is  a  requiem 
and  two  choral  trilogies,  one  on  He- 
brew subjects  and  one  on  Christian. 

♦Hamlin,   George  John.     1868- 

One  of  the  most  successful  of 
American  concert  tenors;  born  at 
Elgin,  Illinois.  He  studied  at  private 
schools  in  Chicago  and  finished  his 
classical  education  at  Phillips  Acad- 
emy, Andover,  Massachusetts.  He 
made  his  debut  as  a  concert  singer 
with  the  Apollo  Club  under  the  lead- 
ership of  Mr.  Tomlins,  about  1893. 
He  has  since  sung  with  the  leading 
musical  organizations  all  over  Amer- 
ica. From  1904  to  1906  he  was  in 
Germany  and  France,  singing  in  all 
the  musical  centers  and  also  in  Lon- 
don. His  repertory  includes  all  the 
principal  oratorios  and  cantatas  and 
a  carefully  chosen  list  of  songs, 
among  them  the  songs  of  Richard 
Strauss,  which  Mr.  Hamlin  introduced 
to  the  American  public.  By  diligent 
and  conscientious  work  he  has  de- 
veloped himself  into  a  concert-singer 
of  the  first  rank. 

Hammerschmidt       (ham'-mer-shmit), 
Andreas.     1611-1675. 

Organist  and  composer,  who  was 
born  at  Briix,  Bohemia.  His  father 
moved  to  Freiberg  in  1826.  Here 
Andreas  received  musical  instruction 
from  Stephen  Otto.  His  first  known 
work,  a  Thanksgiving  piece  for  the 
victory  of  the  Saxon  army  at  Lieg- 
nitz,  1634,  was  published  while  he 
was  organist  in  the  service  of  Count 
von  Biinau  at  Schloss  Weesenstein. 
In  1635  he  became  organist  of  St. 
Peter's  in  Freiberg,  and  in  1639  went 
to  Zittau  as  organist  of  St.  John's, 
which  position  he  held  until  his  death. 
He  greatly  improved  the  sacred  music 
of  his  time  in  Germany.  His  com- 
positions show  the  originality  and 
pureness  of  style,  especially  his  devel- 
opment and  use  of  the  dialogue-form, 
his  works  being  chiefly  anthems  for 
four  or  more  voices.  In  1639  appeared 
two  sets  of  dance-pieces  for  violin. 
His  Musical  Devotions  appeared  in 
numerous  parts  from  time  to  time. 
Many  of  his  simple  chorale-tunes  are 
still  used  in  the  Lutheran  Church, 
such  as  Meinen  Jesum  lass  Ich 
Nicht;  Hosianna  David's  Sohn;  and 
others.  His  church  and  chamber- 
music  was  published  in  1662. 


348 


BIOGRAPHIES 


Handel 
(hent'-l),   George   Frederick. 


Handel 
1685-1759, 

One  of  the  world's  most  gifted 
musicians,  who  was  born  at  Halle, 
on  the  Saale,  Lower  Saxony,  of  a 
family  which  possessed  no  musical 
talent.  His  father,  a  surgeon-barber 
attached  to  the  ducal  court  of  Saxony 
at  Weissenfels,  was  sixty-three  years 
old  when  this  son  was  born.  His 
mother  was  the  daughter  of  a  pastor 
at  Geibichenstein,  near  Halle.  The 
family  name,  correctly  spelled,  is 
Handel,  and  is  always  so  written  by 
German  writers.  It  has  also  been 
spelled  Hendeler,  Handeler,  Hendtler, 
and  in  England,  Hendel.  His  father 
was  very  proud  of  him  and  though 
he  had  been  content  for  his  other 
sons  to  follow  humble  professions, 
George  was  destined  to  be  a  doctor 
of  laws.  Consequently  he  discouraged 
the  early  signs  of  an  aptitude  for 
music,  avoiding  the  homes  where  it 
might  be  heard  and  even  keeping  the 
boy  out  of  school,  lest  he  might  there 
learn  something  of  it.  When  he  was 
about  seven  years  old  his  father  had 
some  business  at  the  court  of  the 
Duke  of  Saxe-Weissenfels.  Deter- 
mined to  go,  though  his  father  for- 
bade, he  followed  the  carriage  at  a 
little  distance,  overtaking  it  at  the 
first  stop,  and  with  tears  and  entreat- 
ies prevailed  upon  his  father  to  allow 
him  to  proceed.  The  Duke  was  a 
great  patron  of  music  and  one  even- 
ing, hearing  the  little  fellow  at  the 
organ,  where  he  had  playfully  been 
placed,  he  was  astonished  at  his  won- 
derful talent.  Calling  to  him  the 
elder  Handel,  he  expostulated  with 
him,  that  so  much  evidence  of  ability 
should  not  receive  instruction,  and 
urged  the  surgeon  to  encourage  such 
extraordinary  genius.  Accordingly, 
upon  their  return  home,  George  was 
placed  under  the  organist  Zachau,  for 
instruction.  The  lad  made  fine  prog- 
ress, studying  singing,  the  organ, 
clavier,  violm  and  all  the  other  instru- 
ments then  used  in  orchestral  play- 
ing. When  about  eleven  he  composed 
six  sonatas  for  two  oboes  and  bass 
which  show  skill  and  feeling.  He 
was  also  very  diligent  on  the  clavi- 
chord. The  orean  was  his  favorite 
instrument,  its  grandness  and  majesty 
appealed  to  him,  and  he  was  great  in 
improvising. 

About  1696  he  went  to  Berlin  and 
there  met  Buononcini,  who  was  later 
to  become  his  rival  in  England,  and 


Handel 

Father  Ariosti,  a  distinguished  master 
of  the  clavier,  who  was  delighted 
with  the  boy  and  gave  him  many  good 
suggestions.  After  his  father's  death, 
in  1697,  he  continued  his  studies,  even 
entering  the  University  of  Halle  in 
1762  to  study  law,  thus  carrying  out 
his  father's  wishes.  He  also  held  a 
position  as  organist.  His  natural  in- 
clination conquered,  however,  and  the 
next  year  he  went  to  Hamburg,  which 
at  this  time  was  in  the  height  of  its 
musical  prosperity.  Here  he  wrote 
his  Passion  (Dratorio  which  was  com- 
posed for  Holy  Week.  It  disappeared 
for  a  long  time  but  was  discovered  a 
tew  years  ago,  and  published  by  the 
German  Handel  Society  in  1860.  In 
Hamburg  he  made  the  acquaintance 
of  Mattheson,  which  acquaintance 
ripened  into  friendship  which  was 
only  broken  once,  and  that  by  a  duel, 
when  a  broad  metal  button  on 
Handel's  coat  probably  saved  his  life. 
From  different  sources  he  had  ob- 
tained money  enough  to  save  two 
hundred  ducats,  besides  repaying 
money  he  had  borrowed  from  his 
mother.  With  his  savings  he  went 
to  Italy  and  spent  most  of  the  next 
thirteen  years  in  travel.  After  a  few 
months'  visit  in  Rome,  during  the 
opera  season,  he  went  to  Florence 
where  he  produced  his  first  Italian 
opera,  Rodrigo,  which  won  for  him 
immediate  popularity.  The  leading 
role  was  sung  by  the  famous  Vittoria 
Tesi  and  such  was  her  admiration  for 
the  composer  that  she  followed  him 
to  Venice,  appearing  in  his  opera 
Agrippina.  This  was  his  most  suc- 
cessful work  up  to  this  time  and  the 
audience  went  wild  over  it.  His  re- 
turn to  Rome  was  welcomed  by  the 
Arcadia,  a  society  for  the  promotion 
of  the  arts  and  sciences,  composed  of 
men  of  genius  from  all  over  Europe. 
Handel,  being  only  twenty-three,  was 
too  young  to  become  a  member.  The 
following  months  in  Rome  formed, 
probably,  the  happiest  period  of  his 
life.  He  was  enthusiastically  greeted, 
drawn  into  the  most  intellectual  and 
brilliant  society  in  Italy  and  devoted 
to  perfecting  himself  in  his  art.  His 
cornposition  shows  much  change, 
while  in  Italy,  from  being  dry  and 
stiff,  to  more  natural  musical  expres- 
sion and  the  spontaneous,  flowing 
melody,  typical  of  bright  sunshine 
and  southern  skies,  He  also  learned 
the  Italian  secret  of  effectively  writ- 
ing for  the  voice. 


BIOGRAPHIES 


349 


Handel 

Returning  to  Germany,  in  1710,  he 
visited  his  mother,  then  sixty  years 
old.  Reaching  Hanover,  he  was  ap- 
pointed chapelmaster  and  accepted 
the  position  on  condition  that  he  be 
granted  a  year's  leave  of  absence,  in 
order  to  visit  England.  His  first 
work  in  London  was  his  opera,  Ri- 
naldo,  composed  in  two  weeks'  time 
and  successfully  produced  at  the  Hay- 
market  Theatre,  appearing  night  after 
night  for  weeks.  It  was  with  much 
reluctance  that  he  returned  to  Han- 
over, where,  though  his  salary  was 
larcre,  the  field  was  limited  and  he 
longed  for  London  where  opportuni- 
ties and  musical  people  were  plentiful. 

In  1712  he  again  obtained  leave  of 
absence,  "  on  condition  that  he  en- 
gaged to  return  within  a  reasonable 
time."  Only  as  a  visitor  did  he  re- 
turn to  his  fatherland  again.  He 
found  favor  with  Queen  Anne  by  an 
ode  for  her  birthday  in  1713.  She 
commissioned  him  to  furnish  a  Te 
Deum  to  commemorate  the  Peace  of 
Utrecht.  This  work  made  a  great 
impression  and  he  was  rewarded  for 
it  by  a  life  pension  of  two  hundred 
pounds.  The  next  year  brought  the 
sudden  death  of  Queen  Anne  and 
made  the  Elector  of  Hanover  King 
of  England  as  George  I.  Naturally, 
he  did  not  feel  very  cordial  toward 
his  renegade  musician.  Handel,  how- 
ever, regained  his  favor  by  strategy: 
On  the  evening  of  August  22,  1715, 
as  the  royal  family  descended  the 
Thames  from  Limehouse  to  White- 
hall, a  barge  followed  them  which 
contained  an  orchestra  of  strings  and 
wind-instruments  playing  the  famous 
water  music,  composed  for  the  occa- 
sion. The  King  was  delighted,  and 
when  he  learned  who  the  composer 
was,  received  him  with  good  grace. 
Now  followed  a  life  of  ease  and 
happiness  among  his  friends,  the  dis- 
tinguished amateur,  M.  Andrews,  and 
the  Earl  of  Burlington,  as  whose 
guest  he  met  all  the  men  of  note  at 
that  time.  About  this  time  Handel 
returned  with  the  King  to  Hanover 
for  a  visit  and  he  also  went  to  Halle 
to  see  his  mother.  While  in  Hanover 
he  composed  his  one  German  ora- 
torio. The  Passion,  set  to  Brockes' 
words.  Upon  his  return  to  London 
he  spent  three  years  as  chapelmaster 
to  the  Duke  of  Chandos  and  com- 
posed the  twelve  Chandos  Anthems. 
He  also  wrote  two  Te  Deums,  his 
English    serenata,   Acis   and   Galatea, 


Handel 

and  his  first  English  oratorio,  Esther. 
In  1720  he  went  to  Dresden  looking 
for  singers,  by  the  King's  orders,  for 
the  Royal  Academy  of  Music,  for 
which  he  had  been  appointed  director. 
In  Dresden  he  played  at  court,  before 
Augustus,  Elector  of  Saxony,  receiv- 
ing one  hundred  ducats  for  the  per- 
formance. He  just  missed  seeing 
Bach,  who  arrived  in  Halle  just  after 
his   departure. 

Handel  was  associated  with  Ariosli 
and  with  his  former  rival  Buononcini 
as  composers  for  the  Royal  Academy, 
but  his  fourteen  operas  in  eight  years 
drove  the  Italians  from  the  field.  In 
December  his  Italian  opera  opened 
with  Lotario  and  during  the  next  four 
years  he  furnished  six  operas. 
Handel's  favor  at  court  created  much 
political  opposition  which  hurt  this 
second  operatic  enterprise.  He  made 
a  third  and  last  attempt  at  opera, 
leasing  Covent  Garden,  but  this  ven- 
ture also  proved  unsuccessful  and  in 
1738  he  closed  the  theatre,  broken 
financially  and  ailing  in  health.  A 
stroke  of  paralysis  lamed  one  of  his 
hands  and  indications  of  insanity  ap- 
peared. He  repaired  to  Aix-la- 
Chapelle,  where  the  baths,  in  a  few 
months,  restored  him  to  partially 
good  health.  Returning  he  com- 
posed, between  November  15  and  De- 
cember 25,  the  opera,  Faramondo,  and 
the  funeral  anthem  for  the  death  of 
Queen   Caroline. 

In  the  meantime,  Heidegger  had 
formed  an  opera  company  and  for  the 
sake  of  money,  with  the  debtor's 
prison  staring  at  him,  Handel  wrote 
six  more  operas,  of  which  Deidamia 
was  the  last.  He  also  reluctantly 
agreed  to  a  benefit  concert  though  he 
had  always  disapproved  of  that  sort 
of  begging.  It  was  a  great  success. 
The  house  was  crowded,  with  five 
hundred  people  of  distinction  upon 
the  stage,  and  the  receipts  netted 
about  eight  hundred  pounds.  This 
was  a  demonstration  but  was  eclipsed 
when,  a  month  later,  a  life-size  statue 
of  him  by  Roubilliac  was  erected  at 
Vauxhall  Gardens,  the  only  instance 
on  record  of  such  an  honor  being 
paid  an  artist  during  his  lifetime.  For 
the  Society  for  Indigent  Musicians  he 
performed,  in  1739,  his  Alexander's 
Feast,  in  1740,  Acis  and  Galatea,  and 
the  next  year  a  series  of  minor  com- 
positions. His  oratorio,  Esther,  had 
been  produced  by  Bernard  Gates,  the 
director  of  the  boys'  chorus  at  the 


350 


BIOGRAPHIES 


Handel 


Royal  chapel,  and  Handel  performed 
it  himself  later.  Under  this  new  im- 
pulse he  composed  Deborah  and 
Athaliah.  The  first  performance  of 
the  former  at  the  Haymarket  was 
given  to  an  empty  house,  but  it  was 
better  appreciated  when  given  later. 
The  latter  was  given  at  Oxford  Uni- 
versity Festival  and  the  title  of  Doc- 
tor was  conferred  upon  Handel.  It 
M'as  with  great  reluctance  that  he 
gave  up  writing  operas.  He  said  that 
"  sacred  music  was  best  suited  to 
a  man  descending  in  the  vale  of 
years." 

Now  approaches  the  greatest  period 
of  Handel's  life,  for  his  oratorios  not 
only  brought  back  his  fortune  but  are 
his  most  famous  compositions,  of 
which  Saul  commenced  a  long  series. 
It  was  performed  early  in  1739  and 
was  followed  by  Israel  in  Egypt  In 
1739  he  composed  the  music  to  Dry- 
den's  Ode  to  St.  Cecilia  and  the  next 
year  appeared  the  music  to  Milton's 
L'Allegro  and  II  Penseroso.  His 
efforts,  however,  seemed  no  longer 
appreciated  and  he  was  thinking  of 
leaving  England,  when  he  was  re- 
quested to  visit  Dublin  by  the  Duke 
of  Devonshire,  then  Lord  Lieutenant 
of  Ireland.  He  composed  the  Messiah 
in  the  incredibly  short  period  of 
twenty-one  days,  and  dedicated  it  to 
the  Irish  people.  Its  performance 
was  given  to  free  those  languishing  in 
the  debtors'  prison.  He  afterwards 
said  of  the  Hallelujah  Chorus,  "  I  did 
think  I  did  see  all  heaven  before  me, 
and  the  Great  God  himself."  His 
tears  fell  on  the  paper  as  he  wrote. 
Dublin  was  quite  a  musical  center 
at  this  time  and  Handel  was  received 
with  enthusiasm  and  given  one  ova- 
tion after  another.  The  Messiah  was 
given  in  April,  1842,  before  a  crowded 
audience.  After  nine  months  in  Dub- 
lin, Handel  returned  to  London, 
where  the  news  of  his  success  had 
preceded  him.  His  exquisite  music 
had  been  gradually  cultivating  the 
taste  of  the  English  people  and  now 
his  popularity  became  boundless.  The 
Messiah  was  first  performed  there  in 
March,  1743,  and  the  audience  was 
quite  carried  away  with  its  beauty  and 
when  the  Hallelujah  Chorus  began 
with  its  "  For  the  Lord  God  omnipo- 
tent reigneth,"  they  all,  the  King  in- 
cluded, sprang  to  their  feet  and 
remained  standing  until  the  chorus 
ended.  This  incident  originated  the 
custom     of     standing     during     this 


Handel 

chorus.  It  was  performed  annually 
for  years,  for  the  benefit  of  the 
Foundling  Hospital.  His  next  ora- 
torio, Samson,  appeared  the  same 
year,  and  it  received  almost  equal 
favor.  Of  later  oratorios,  Judas 
Maccabaeus  alone  had  equal  and  last- 
ing success.  The  oratorios,  Semele 
and  Joseph,  were  also  composed  in 
1743  The  next  year  appeared  Bel- 
shazzar  and  Heracles;  in  1746,  Occa- 
sional Oratorios;  in  1747,  Joshua  and 
Alexander  Balus;  in  1748,  Solomon 
and  Susannah;  in  1749,  Theodora;  in 

1750,  The  Choice  of  Hercules,  and  in 

1751,  Jephthah,  the  last  written  wholly 
with  his  own  hands.  Mozart  re- 
scored  the  Messiah,  Alexander's 
Feast,  Acis  and  Galatea,  and  Ode 
for  St.  Cecilia's  Day,  adding  the 
richer  coloring  of  the  modern  or- 
chestra. In  1752  Handel  was  attacked 
with  blindness  and  an  operation  was 
unsuccessful.  He  did  not  let  his  mis- 
fortune weigh  him  down  but  con- 
tinued to  direct  his  performances  with 
the  aid  of  his  pupil  and  protege,  John 
Christian  Smith.  In  1757  he  made 
the  final  arrangement  of  the  Italian 
oratorio.  The  Triumph  of  Time  and 
Peace.  There  is  a  deep  significance 
at  Handel's  closing  his  long  career 
with  the  same  work  which  stands  at 
its  beginning,  and  its  title  seems 
almost  to  symbolize  his  own  life.  His 
last  effort  was  to  assist  at  a  perform- 
ance of  the  Messiah  on  April  6,  1759. 
He  was  seized  with  a  deadly  faintness 
and  never  again  left  his  bed.  He  died 
on  Saturday,  April  14,  following  Good 
Friday.  He  was  conscious  to  the  last. 
One  of  his  friends  said:  "  He  died 
as  he  lived,  a  good  Christian,  with  a 
true  sense  of  his  duty  to  God,  and 
man,  and  in  perfect  charity  to  all  the 
world."  He  was  buried  in  the  south 
transept  of  Westminster  Abbey,  be- 
fore "a  vast  concourse  of  persons  of 
all  ranks,  not  fewer  than  three  thou- 
sand in  number."  He  left  his  score 
of  the  Messiah  to  the  Foundling 
Hospital  and  his  manuscript  to  his 
protege.  Smith,  who  in  turn,  presented 
them  all  to  George  III.  They  are 
now  in  the  Musical  Library  of  Buck- 
ingham Palace  and  consist  of  thirty- 
two  volumes  of  operas,  twenty-one 
volumes  of  oratorios,  seven  volumes 
of  odes  and  serenatas,  twelve  volumes 
of  sacred  music,  eleven  volumes  of 
cantatas  and  sketches,  and  five  vol- 
umes of  instrumental  music.  A 
smaller   collection   of  original   manu- 


BIOGRAPHIES 


351 


Handel 

scripts  is  in  the  FitzwiIIiam  Museum, 
Cambridge. 

Handel  never  married,  his  art  being 
all  in  all  to  him.  He  was  tall  and 
robust,  and  his  movements  somewhat 
clumsy.  His  features  were  animated 
and  dignified.  He  was  very  out- 
spoken, sometimes  profane,  and 
occasionally  his  temper  got  the  best 
of  him.  He  was  naturally  a  wit  and 
had  a  way  of  making  commonplace 
matters  interesting.  His  determina- 
tion was  unyielding,  he  was  sincerely 
devout  and  had  a  high  sense  of 
honor;  and  his  fidelity  to  his  mother 
was  beautiful  His  private  charities 
were  munificent  and  he  was  generous 
to  all  public  institutions,  his  philan- 
thropy being  of  the  kind  that  was 
always  ready  to  offer  help.  He  iden 
tified  himself  with  the  intellectuaj 
life  of  the  English  and  the  creations 
of  their  most  eminent  men.  His  life 
might  be  divided  into  three  parts:  up 
to  1720  was  preparatory,  from  that 
year  until  1737  he  was  devoted  to 
opera,  and  from  then  until  his  death 
he  was  occupied  with  his  real  life- 
work,  his  oratorios.  These  hold  the 
same  place  in  music  that  Shakespeare's 
plays  hold  in  English  drama.  It  is 
as  a  vocal  and,  above  all,  as  a  choral 
writer  that  Handel  is  supreme.  He 
developed  the  resources  of  the  chorus 
as  no  one  else  ever  did. 

Hanel    von    Cronenthal    (ha'-nel    fon 

kr5'-nen-tal),  Julia.     1839- 

Talented  French  composer;  was 
born  at  Graz  and  educated  in  Paris. 
She  was  a  pupil  of  Stamaty,  Fran- 
chomme  and  Demersemann.  She 
married  the  Marquis  d'Hericourt  de 
Valincourt.  She  wrote  four  sym- 
phonies; twenty-two  sonatas;  a  string 
quartet;  a  Romance  dramatique  for 
cello  and  piano  and  several  piano 
compositions.  Her  opera,  La  Nuit 
d'epreuve,  was  performed  at  the  Paris 
Exposition  in  1867  and  earned  for 
her  a  gold  medal.  This  opera  is  quite 
remarkable  for  the  arrangement  of 
original  Chinese  melodies  contained 
in   it. 

Hanscom,  E.  W.     1848- 

American  composer;  born  at  Dur- 
ham, Maine.  His  musical  education 
has  been  obtained  in  his  native  state 
and  in  London,  Berlin  and  Vienna. 
His  compositions  are  mostly  religious 
solos  and  part-songs.  He  has  pub- 
lished a  cycle  of  six  excellent  songs, 


Hanssens 
besides  a  beautiful  lyric  Among  his 
most  popular  songs  are  Go,  Rose; 
In  Her  Golden  Hair;  A  Lullaby;  and 
two  Christmas  Songs,  with  violin 
obbligato. 

Hansiick    (hans'-lik),   Eduard.     1825- 
1904. 

Celebrated  critic  and  writer  of 
musical  aesthetics  whose  work,  Vom 
musikalisch-Schonen,  pubhshed  in 
1854,  has  been  translated  into  five 
languages  and  in  Germany  reached 
its  ninth  edition.  Born  in  Prague, 
he  studied  law  and  philosophy  there 
and  also  in  Vienna  where  he  toofc 
his  Doctor's  degree  in  1849  and  was 
appointed  professor  of  music  to  the 
University  of  Vienna.  He  was  ap- 
pointed tutor  of  aesthetics  and  musi- 
cal history  in  1856;  in  1861,  professor 
extraordinary,  and  in  1870  became  a 
regular  professor.  He  received  his 
first  musical  training  under  Toma- 
schek  at  Prague.  Having  become  a 
musical  critic  at  Vienna,  he  wrote  for 
the  Wiener  Zeitung  in  1849  and  after- 
wards for  other  musical  papers,  the 
Presse,  and  the  Neue  Freie  Presse. 
As  a  member  of  the  musical  depart- 
ment of  the  Exhibitions  of  Pans, 
1867  and  1878  and  Vienna,  1873  and 
1892,  he  used  all  of  his  influence  to 
assist  the  musical  instrument-makers 
of  Austria.  In  1876  he  was  appointed 
a  member  of  the  Imperial  Council. 
Some  time  before  he  received  the 
order  of  the  Iron  Crown  and  the  title 
of  K.  K.  Hofrath  was  conferred  on 
him  in  1886.  He  gave  public  lectures 
on  the  history  of  music  in  Vienna. 
Between  the  years  1854  and  1900, 
Hansiick  produced  many  works  and 
in  1895  he  edited  Billroth's  Wer  ist 
musikalisch,  retiring  from  active  life 
the  same  year.  A  conservative  in 
music,  he  resisted  the  Liszt-Wagner 
movement,  but  was  a  supporter  of 
Schumann  and  a  strong  adherent  of 
Brahms.  He  died  at  Baden,  near 
Vienna. 

Hanssens  (bans-sens),  Charles  Louis. 

1802-1871. 

Distinguished  Belgian  composer  of 
modern  times,  who  has  produced  a 
large  number  of  works.  At  the  age  of 
ten  he  entered  the  National  Theatre  at 
Amsterdam  as  violoncellist,  at  twenty 
he  became  second  chapelmaster;  two 
years  later  holding  a  like  position  in 
Brussels.  In  1827  he  was  appointed 
professor   of   harmony  in   the    Royal 


352 


BIOGRAPHIES 


Hanssens 
School  of  Music,  returning  to  Holland 
in  1830  on  account  of  the  poHtical 
events  of  that  year.  Four  years  later 
he  played  the  cello  at  the  Theatre 
Ventadour  in  Paris,  afterwards  be- 
coming second  leader  of  the  orchestra 
and  composer.  He  was  director  of 
the  French  Opera  at  The  Hague  in 
1835,  again  in  Paris  and  Ghent,  and 
in  1848  became  leader  of  the  Theatre 
de  la  Monnaie,  Brussels,  where  he 
remained  until  1869.  He  was  a  mem- 
ber of  the  Royal  Academy  of  Belgium 
and  belonged  to  the  Order  of  Leo- 
pold. He  wrote  some  operas,  many 
ballets,  symphonies,  overtures,  or- 
chestral fantasias,  concertos  for  cello, 
for  violin,  and  for  piano,  two  con- 
certos for  clarinet,  a  symphony  con- 
certante  for  the  clarinet  and  vioHn; 
masses,  and  a  requiem. 

Hardelot   (dard'-l6),   Guy  d'.     (Mrs. 
Rhodes.) 

French  composer  of  songs,  of 
French  ancestry  and  birth,  being  born 
at  the  Chateau  d'Hardelot,  about 
seven  miles  from  Boulogne-sur-Mer. 
Her  childhood  was  spent  in  a  Nor- 
man castle  and  her  youth  in  Paris  and 
London,  studying  music.  She  studied 
composition  with  Clarence  Lucas,  to 
whom  she  gives  credit  for  developing 
individuality.  After  her  marriage  she 
became  a  resident  of  London,  where 
she  became  known  by  her  husband's 
name  (Rhodes),  though  her  composi- 
tions were  always  published  under 
the  signature  of  D'Hardelot.  Having 
met  with  reverses  she  was  forced  to 
earn  a  living  by  teaching.  She  has 
three  excellent  guiding  maxims, 
"Avoid  familiar  things,  choose  words 
so  clear  that  people  can  see  the 
picture,  and  be  sure  that  the  climax 
comes  at  the  end."  With  her  first 
publication,  the  melancholy  and  dra- 
matic Sans  toi,  her  reputation  was 
established,  and  Melba,  Pol  Plangon 
and  Calve  popularized  her  songs 
throughout  the  world,  particularly  in 
the  United  States  and  England.  She 
succeeds  in  combining  the  elegance 
and  lightness  of  the  French  School 
with  the  naivete  of  the  English  bal- 
lad. The  long  list  of  her  lyrics,  rang- 
ing from  gayest  humor  to  pathetic 
sentiment,  includes  the  widely  known 
Mignon;  Vos  Yeux;  Say  Yes;  Chan- 
son de  Ma  Vie;  La  Fermiere;  Valse 
des  Libellules  and  many  others.  Her 
only  attempt  at  something  larger  is 
the  operetta,  Elle  et  Lui.     She  has 


Harrison 

composed  some  acting  songs  for 
Calve,  as  The  Fan.  They  are  great 
friends,  having  toured  America  to- 
gether, also  appearing  together  be- 
fore Queen  Victoria,  at  Windsor. 
Mrs.  Rhodes  sings  herself  with  per- 
fect diction,  her  voice  being  attrac- 
tive, though  light. 
Harmston,  John  William.    1823-1881. 

Born  in  London  and  studied  with 
Sterndale  Bennett.  In  1848  he  set- 
tled in  Liibeck  as  a  music  teacher. 
As  a  composer  he  wrote  piano  music, 
Le  jet  d'eau,  Les  Naiades,  etc.;  also 
pieces  for  violin,  cello  and  songs.  He 
died  in  Liibeclc 
♦Harris,  William  Victor.    1869- 

American  musician  and  composer; 
born  in  New  York  and,  when  young, 
was  well-known  as  a  boy-soprano. 
He  attended  the  College  of  the  City 
of  New  York,  graduating  in  1888. 
Pupil  of  Charles  Blum  on  the  piano 
from  1879  to  1886;  of  Wm.  Courtney 
for  the  voice,  1887  to  1891;  of  Fred- 
erick Schilling  in  harmony  and  com- 
position, 1890  to  1892;  and  of  Anton 
Seidl,  conducting,  1895  to  1896.  De- 
veloping into  what  he  calls  the 
"usual  career"  of  organist,  pianist 
and  teacher  of  the  voice,  he  was 
organist  in  various  churches  in 
Tuxedo  Park,  Brooklyn  and  New 
York.  In  1895  and  1896  he  acted  as 
the  assistant  conductor  to  Anton 
Seidl  in  the  Brighton  Beach  summer 
conceits.  He  is  most  widely  known 
as  an  accompanist,  one  of  the  best  in 
the  country.  He  has  acted  as  con- 
ductor and  teacher  to  best  known 
artists  in  America.  His  A  Night- 
song  is  possibly  his  best  work;  A 
Song  of  Four  Seasons  is  delightful, 
and  Love  Within  the  Lover's  Breast 
is  superb.  He  published  more  than 
fifty  compositions,  mostly  songs, 
many  of  which  are  constantly  sung 
in  concerts. 

Harrison,  Samuel.    1760-1812. 

Well-known  English  tenor  concert 
singer;  born  at  Belper,  Derbyshire. 
As  a  boy  he  sang  soprano  solos  at 
the  Ancient  concerts  and  at  the  So- 
ciety of  Sacred  Music.  His  earliest 
instructor  was  Burton.  George  III., 
hearing  him  sing  at  one  of  Queen 
Charlotte's  musical  parties,  caused 
him  to  be  engaged  for  the  Handel 
Commemoration,  1784,  to  open  the 
Messiah.  This  brought  him  into 
prominence.     He  had  made  his  first 


BIOGRAPHIES 


353 


Harrison 

appearance  at  the  Three  Choirs  meet- 
ing, in  1781  at  Gloucester;  from  1786 
to  1808  he  sang  at  each  of  the  Here- 
ford meetings;  and  from  1801  to  1808 
was  a  principal  also  at  Gloucester 
and  Worcester.  He  was  a  member  of 
the  Catch  Club,  London,  and  filled 
many  appointments. 

Harrison,  William.     1813-1868 

Vocalist  and  operatic  manager;  born 
at  Marylebone  Parish,  London.  He 
studied  at  the  Royal  Academy  of 
Music.  He  appeared  as  a  professional 
singer  at  the  concerts  of  the  Academy 
and  the  Sacred  Harmonic  Society  in 
1837.  Two  years  later  he  went  on 
the  stage  at  Covent  Garden  and  after- 
wards at  Drury  Lane,  Princess  and 
Haymarket  Theatres.  In  August, 
1854,  he  left,_  with  Miss  Louisa  Pyne, 
for  the  United  States.  Returning, 
they,  with  others,  established  an  Eng- 
lish Opera  Company  which  intro- 
duced many  new  operas.  Harrison 
opened  Her  Majesty's  Theatre,  in 
1864,  as  sole  manager.  His  first  ap- 
pearance as  an  actor  was  as  Charles 
Surface,  in  School  of  Scandal.  He 
translated  Masse's  operetta,  Les 
Noces  de  Jeannette,  and  produced  it 
at  Covent  Garden  Theatre  in  1860. 
He  died  at  his  residence  in  Kentish 
Town  and  was  buried  at  Kensal 
Green  cemetery. 

Harriss,  Charles  Albert  Edwin.    1862- 

Organist  and  composer;  born  in 
London.  As  a  boy  he  was  chorister 
at  St.  Mark's,  Wrexham,  where  his 
father  was  organist.  Studied  at  St. 
Michael's  College,  Tenbury.  He  was 
assistant  organist  at  St.  Giles',  Read- 
ing, organist  at  Welshpool,  and,  in 
1881,  private  organist  to  the  Earl  of 
Powis.  Since  1883  he  has  lived  with 
his  father  at  Montreal,  Canada,  where 
he  at  first  was  organist  at  Christ 
Church  Cathedral,  then  at  the  Church 
of  St.  James  the  Apostle;  the  latter 
has  become  famous  for  its  excellent 
music.  He  has  founded  a  _  glee  and 
madrigal  society.  Among  his  compo- 
sitions are  an  opera,  Torquil;  a  can- 
tata, Daniel  before  the  King;  many 
anthems;  piano  and  organ-music  and 
songs. 

Hartmann,  Emil.     1836-1898. 

This  talented  composer  was  born 
in  Copenhagen,  where  he  studied  with 
his  father  and  also  with  his  brother- 
in-law,  Gade,  a  master  in  the  art.    He 


Hartog 

became  an  organist  in  1861  and  ten 
years  later  was  appointed  Court  or- 
ganist. His  health  faihng,  he  retired 
in  1873  to  Sollerod  and  devoted  most 
of  his  tune  to  composition.  In  1891 
he  succeeded  Gade  as  director  of  the 
Musical  Society  of  Copenhagen.  He 
is  best  known  in  Germany  by  his 
overture,  Ein  nordische  Heerfahrt; 
the  symphonic  noem,  Aus  der  Ritter- 
zeit,  and  the  symphony  in  E  flat 
major.  He  wrote  a  violin  and  vio- 
loncello concerto;  a  cantata,  Winter 
and  Spring,  and  much  chamber  and 
piano  music. 

Hartmann,     Johann     Peter     Emilius, 

1805-1900. 

An  emment  Danish  composer;  born 
in  Copenhagen.  He  received  his  first 
musical  instruction  from  his  father, 
who  was  an  organist.  He  also  studied 
law,  which  profession  he  practised 
for  a  time,  but  his  talent  as  a  com- 
poser drew  him  more  and  more  to 
music  and  in  1832  he  produced  his 
first  opera.  The  Raven.  This  was 
followed  by  The  Golden  Horns,  The 
Corsairs,  and  Liden  Kirsten.  In  1836 
he  visited  Germany  to  study  music 
and  while  at  Cassel  produced,  among 
other  things,  a  symphony,  dedicated 
to  Spohr.  In  1840  he  became  director 
of  the  Copenhagen  Conservatory,  and 
in  1849  was  made  Royal  chapelmas- 
ter.  The  fiftieth  anniversary  of  his 
musical  career  was  celebrated  in  1874 
by  a  grand  concert,  a  Hartmann 
scholarship  was  founded,  and  he  re- 
ceived the  Dannebrog  order.  The 
honorary  degree  of  Doctor  of  Philo- 
sophy, was  conferred  upon  him  by  the 
Copenhagen  University  on  its  jubilee. 

Hartog,   Edouard  de.     1826- 

Dramatic  composer;  born  in  Am- 
sterdam. He  studied  under  Mme. 
Dulcken,  Dohler,  Hoch  and  Bartel- 
mann,  afterwards  in  Paris  under 
Elwart  and  Litolfif  and  from  1849  to 
1852  under  Heinze  and  Damcke.  Pie 
took  up  his  residence  in  Paris  in  1852, 
where  he  taught  composition,  har- 
mony and  piano.  While  here  he  pro- 
duced his  music  to  Portia  at  _  the 
Societe  de  Sainte-Cecile.  He  is  a 
member  of  the  Netherland  Society 
for  the  Encouragement  of  Music,  and 
was  one  of  the  collaborators  of  Pou- 
gin's  Supplement  to  the  Biographic 
Universelle  des  Musiciens.  He  be- 
longs to  the  orders  of  the  Oaken 
Crown    and    of    Leopold.      His  first 


354 


BIOGRAPHIES 


Hartog 

comic  opera,  Le  Mariage  de  Don 
Lope,  was  produced  in  1865  at  the 
Lyric  Theatre,  Paris.  L' Amour  et  son 
Hote  appeared  in  Brussels  in  1873. 
Some  of  his  other  productions  are 
The  43d  Psalm,  for  solos,  chorus,  and 
orchestra;  La  Foret,  for  the  same; 
Prologue  symphonique  to  Schiller's 
Maid  of  Orleans;  mass  with  orches- 
tra; symphony  for  full  orchestra;  two 
concert  overtures  (Macbeth  and 
Pompee) 

*  Hartvigson  (hart'-vikh-zon),  Anton. 
1845- 

Pianist;  born  at  Aarhus,  Jylland, 
where  he  received  musical  instruction 
from  his  mother,  Tausig,  and  Edmund 
Neupert.  His  first  appearance  was  at 
Copenhagen,  later  in  England.  He 
settled  there  in  1882  upon  being 
appointed  a  professor  at  the  Normal 
College.  In  1893  he  returned  to 
Copenhagen,  where  he  taught  and 
lectured.  In  1900  he  was  given  the 
title  of  professor  by  the  King  of 
Denmark. 

Hartvigson,  Frits      1841- 

Pianist;  born  at  Grenaae,  Jutland, 
Denmark.  Received  his  first  instruc- 
tion from  his  mother  and  later  studied 
under  Gade.  Gebauer  and  Anton  Ree 
at  Copenhagen.  From  1859  to  1861 
he  studied  with  von  Biilow  at  Berlin, 
where  he  played  with  great  success. 
After  the  death  of  his  father  in  the 
Prusso-Danish  war  he  took  up  his 
residence  in  London  in  1864,  where 
he  still  lives  During  this  time  he 
spent  two  years  at  St.  Petersburg, 
from  1873  to  1875.  He  was  officially 
appointed  pianist  to  the  Princess  of 
Wales  (now  Queen  Alexandra),  and 
•was  professor  of  Music  at  the  Normal 
College  for  the  Blind  at  Norwood. 
In  1888  he  was  appointed  professor 
at  the  Royal  Academy  of  Music,  and 
in  1894  became  an  honorary  member 
of  that  institution.  The  King  of 
Denmark  knighted  him  in  1895  in  the 
order  of  the  Dannebrog.  In  1905  he 
became  professor  at  the  Royal  Col- 
lege of  Music. 

Hasler     (has'-ler),    Hans    Leo    von. 

1564-1612. 

He  received  his  first  instruction 
from  his  father.  Also  studied  with 
Andrea  Gabrieli,  in  Venice,  as  a  fel- 
low student  of  the  great  Giovanni 
Gabrieli.  He  was  the  first  noted  Ger- 
man composer  to  study  music  in 
Italy.     From    1585   to    1601    he   was 


Hasse 

organist  to  Count  Octavianus  Fugger, 
at  Augsburg.  Little  is  known  of  his 
life,  though  his  compositions  rank 
him  among  the  most  famous  com- 
posers of  his  time.  He  died  of 
phthisis,  while  traveling.  At  Augs- 
burg he  composed  his  famous  XXIV. 
Canzonetti,  a  four  voci,  and  his  Can- 
tiones  sacrae  de  festis  praecipuis 
totius  anni  4,  5,  8  et  plurium  vocum, 
twenty-eight  Latin  motets.  He  wrote 
many  masses,  four-part  psalms,  and 
songs;  five  collections  of  German  and 
Latin  secular  songs;  also  many  single 
pieces.  The  well-known  Chorale, 
Herzlich  thut  mich  verlangen,  or 
Befiehl  du  deine  Wege,  so  much  used 
by  Bach  in  the  Passion,. was  originally 
a  love-song,  Mein  G'muth  ist  mir 
verwirret  in  Hasler's  Lustgarten 
deutscher  Gesange. 

Hasse    (has'-se),    Faustina    Bordoni. 
1693-1783. 

Born  in  Venice;  she  became,  through 
her  wonderful  singing  the  idol  of 
the  Italian  people.  Of  noble  birth, 
she  possessed  a  charming  personality 
and  great  beauty.  Her  first  instruc- 
tion was  received  from  Gasparini,  of 
Lucca,  and  she  achieved  immediate 
fame  upon  her  debut  in  1716  in  Ario- 
dante  by  C.  F.  Pallarolo,  becoming 
well-known  as  The  Syren.  At  Flor- 
ence in  1722  a  gold  medal  was  struck 
in  her  honor  While  singing  at  the 
Court  Theatre,  Vienna,  in  1724,  she 
was  heard  by  Handel,  who  persuaded 
her  to  come  to  London.  She  made 
her  debut  in  1726  and  outrivaled 
Cuzzoni,  a  singer  who  had  reigned 
there  supreme  for  several  years. 
After  two  seasons  in  London  she  re- 
turned to  Venice,  where  she  was 
married,  in  1729,  to  Johann  Adolph 
Hasse,  a  dramatic  composer  In  1731 
they  went  to  Dresden,  where  she 
sang  the  principal  soprano  parts  of 
her  husband's  productions.  In  1763 
they  went  to  Vienna.  In  1775  they 
retired  to  Venice,  where  both  died  in 
1783,  Faustina  at  the  age  of  ninety. 

Hasse,  Johann  Adolph.    1699-1783. 

Popular  dramatic  composer,  who 
was  also  an  excellent  tenor  and 
skilled  pianist.  Born  at  Bergedorf, 
near  Hamburg;  he  received  his  first 
instruction  from  his  father,  who  was 
an  organist  and  schoolmaster.  In 
1717  he  went  to  Hamburg,  wnere  he 
obtained  a  position  as  tenor  in  the 
theatre,   going   thence   to   Brunswick 


BIOGRAPHIES 


Hasse 

to  sing.  Here  his  first  opera,  An- 
tigonus,  the  only  one  he  ever  wrote 
to  a  German  text,  appeared  in  1723. 
Going  to  Italy  the  next  year  he  stud- 
ied first  under  Porpora,  to  whom  he 
owed  much  of  his  success  as  a  singer. 
He  later  studied  composition  with 
Alessandro  Scarlatti.  In  1726  ap- 
peared his  Sesostrate,  which  made 
him  popular  and  brought  him  the 
name  of  "  II  caro  Sassone  "  (the  be- 
loved Saxon).  The  next  year  he  went 
to  Venice,  where  he  was  made  pro- 
fessor of  the  Scuola  degl'  Incurabili 
and  where  he  wrote  his  renowned 
Miserere.  This  work  made  him  the 
most  popular  composer  of  the  day 
and  his  fine  voice  and  agreeable  pres- 
ence caused  him  to  be  much  sought 
after.  In  1829  he  married  the  celebrated 
singer,  Faustina  Bordoni,  and  their 
careers  were  thereafter  bound  to- 
gether. He  was  appointed  chapel- 
master  and  director  of  the  Court 
Opera  in  Dresden,  where  his  wife 
sang  the  leading  soprano  parts  of  his 
works.  Here  he  found  Porpora  and 
his  pupil,  Regina  Mingotti,  established 
as  favorites  at  Court,  and  the  rivalry 
between  them  made  Hasse  leave  the 
city  for  a  time.  Pie  and  his  wife  went 
to  Venice,  where  they  scored  new 
success.  Returning  to  Dresden  they 
remained  until  1763.  On  the  evening 
of  Frederick  the  Great's  entrance  into 
the  city  in  1745,  Hasse's  opera, 
Arminio,  was  performed  by  his  com- 
mand and  he  highly  praised  both  the 
work  and  Faustina's  performance. 
During  his  stay  of  nine  days  he 
obliged  Hasse  to  attend  Court  every 
evening  and  conduct  the  music.  Most 
of  the  manuscript  prepared  for  a 
complete  edition  of  Hasse's  works 
was  destroyed  by  fire  at  the  siege  of 
1760,  and  after  the  war  he  and  Faus- 
tina went  to  live  in  Vienna.  The  last 
ten  years  of  his  life  were  spent  in 
Venice,  where  he  worked  hard,  com- 
posing several  new  operas.  His 
facility  in  composition  was  wonderful. 
He  wrote  more  than  a  hundred 
operas,  besides  oratorios,  masses,  can- 
tatas, psalms,  symphonies,  sonatas, 
concertos,  and  many  smaller  composi- 
tions. He  set  to  music  the  whole  of 
Metastasio's  dramatic  works.  Though 
none  more  popular  than  he  at  his 
time  he  is  almost  forgotten  now,  pos- 
sibly because  his  work  is  somewhat 
monotonous,  being  mostly  in  two 
parts  with  the  inevitable  repetition  of 
the  first  strain 


Hasselbrink 
1858- 


Hastings 
(has'-el-brink), 


355 


Carlos. 


Was  born  in  Colombia,  South 
America.  He  began  to  study  violin 
in  Havana  when  eight  years  old,  and 
at  the  age  of  nine  was  playing  in  con- 
certs. In  1875  he  went  to  Paris  and 
entered  the  Conservatory  of  that  city, 
and  afterwards  finished  his  studies 
under  Henry  Leonard.  Mr.  Hassel- 
brink came  to  the  United  States  in 
1880,  and  after  traveling  as  a  soloist 
through  this  country  and  Canada  was 
called  upon  by  Dr.  Leopold  Damrosch 
in  1884  to  take  the  position  of  con- 
certmaster  with  his  orchestra  at  the 
Symphony  Society,  Oratorio  Society 
and  at  the  Metropolitan  Opera  House, 
After  the  death  of  Dr.  Damrosch,  Mr. 
Hasselbrink  continued  as  concert- 
master  with  his  son,  Walter  Dam- 
rosch, then  with  Anton  Seidl,  and 
also  with  Max  Bruch  and  Hans  von 
Biilow  when  they  were  in  New  York, 
In  1889  Mr.  Hasselbrink  went  back 
to  Europe,  where  he  remained  for  five 
years,  giving  concerts  in  Paris,  Lon- 
don, Brussels,  and  other  cities.  He 
returned  to  New  York  in  1894,  and 
once  more  resumed  his  position  as 
concertmaster  at  the  Metropolitan 
Opera  House  and  with  Anton  Seidl, 
until  1899,  when  he  decided  to  retire 
from  all  solo  and  orchestra  work, 
since  when  he  has  formed  his  own 
quartet  and  is  devoting  himself  en- 
tirely to  quartet-playing  and  teaching. 
Besides  his  private  classes,  Mr  Has- 
selbrink is  one  of  the  principal  violin 
teachers  at  the  Institute  of  Musical 
Arts  of  New   York  City, 

Hastings,  Thomas.    1787-1872. 

American  musician,  composer  and 
editor.  He  was  born  at  Washington, 
Conn.,  and  died  in  New  York  City. 
While  quite  young  he  removed  to  Clin- 
ton, N.  Y,  He  gained  most  of  his  musi- 
cal knowledge  through  his  own 
efforts  and  study.  His  favorite  sub- 
ject was  sacred  music,  and  from  1823 
to  1832  he  edited  a  religious  paper. 
The  Recorder,  in  Utica  Going  to 
New  York  he  distinguished  himself 
as  a  musical  instructor  and  composer. 
He  worked  to  improve  church-music, 
composing  simple  hymn-tunes  and 
anthems.  Among  his  works  are 
Mother's  Hymn  Book,  History  of 
Forty  Choirs,  and  Dissertation  on 
Musical  Taste  His  writings  record 
much  of  the  development  of  music  in 
th'e  United  States. 


356 


BIOGRAPHIES 


Hatton 
Hatton,  John  Liptrot.    1809-1886. 

Born  in  Liverpool  and  early  showed 
talent  for  composition.  Though  he 
had  some  instruction,  he  may  be  said 
to  be  self-taught.  He  went  to  Lon- 
don in  1832,  and  while  conductor  of 
the  Drury  Lane  Theatre  produced  his 
first  operetta,  The  Queen  of  the 
Thames,  m  1844.  Going  to  Vienna 
the  same  year  he  produced  there  his 
Pascal  Bruno,  probably  his  greatest 
success.  Returning  to  England  he 
published  several  songs  under  the 
pen-name  of  Czapek,  and  these  met 
with  much  success.  He  was  for  some 
years  director  of  music  at  the  Prin- 
cess Theatre  under  Charles  Kean, 
and  while  there  composed  much  music 
incidental  to  plays.  He  also  com- 
posed two  Cathedral  services;  eight 
anthems  and  a  mass;  Rose,  or  Love's 
Ransom,  an  opera  produced  at  Cov- 
ent  Garden,  1864,  and  Robin  Hood,  a 
cantata.  One  of  his  latest  successes 
was  the  sacred  drama  of  Hezekiah, 
produced  at  the  Crystal  Palace,  1877. 
He  died  at  Margate. 

*  Hattstaedt  (hat'-shtet),  John  James. 

1851- 

American  pianist;  born  in  Monroe, 
Mich.  He  obtained  his  musical  edu- 
cation by  private  instruction  in  Bos- 
ton and  in  several  German  cities.  His 
teaching  of  piano  began  in  1870,  at 
Detroit;  afterwards  in  St.  Louis,  1872 
to  1873,  and  from  1875  to  1886  in  the 
Chicago  Musical  College  The  Amer- 
ican Conservatory  of  Music  in  Chicago 
was  founded  by  him  in  1886,  and  he  is 
still  its  president  and  director.  He 
also  conducts  a  Teachers'  Normal  De- 
partment. He  lectures  on  history  of 
music,  aesthetics,  pedagogics,  etc., 
writes  for  musical  magazines,  and  has 
published  a  Manual  of  Musical 
History. 

*  Hauck   (howk),  Minnie. 

A  dramatic  mezzosoprano,  whose 
early  life  was  spent  in  the  west.  She 
was  born  in  New  York,  the  authori- 
ties differing  as  to  the  date.  The 
family  moved  to  New  Orleans,  where 
she  lived  during  the  War  of  the  Re- 
bellion, but  through  all  the  disturb- 
ances Minnie  learned^  to  play  the 
banjo,  to  sing  plantation  songs  and 
to  organize  theatrical  performances 
among  her  playmates.  She  was 
placed  under  Signor  Errani,  of  New 
York,  to  begin  her  operatic  education, 
and  sang  in  Mr.  Leonard  Jones'  pri- 


Haupt 

vate'  theatre,  becoming  very  popular 
after  singing  in  La  Sonnambula  at  the 
Academy  of  Music  in  1868.  She  sang 
in  other  American  cities  and  received 
further  instruction  from  Maurice 
Strakosch.  She  appeared  in  1867  as 
Juliet  in  Gounod's  opera,  upon  its 
production,  and  in  1868  made  her 
debut  at  Covent  Garden  as  Amina, 
scoring  a  great  success.  Under  the 
management  of  Strakosch  she  made 
a  tour  through  Holland  and  Russia, 
also  singing  in  Paris.  In  Vienna,  in 
1870,  she  was  so  well  received  that 
she  was  given  a  three  years'  engage- 
ment. From  1874  to  1877  she  sang  in 
Berlin,  and  was  a  great  favorite.  She 
next  sang  in  Brussels,  returning  to 
America  in  1878.  Her  singing  of 
Carmen  caused  Mapleson  to  engage 
her  for  Her  Majesty's,  London,  and 
she  sang  there  on  alternate  nights 
with  Nilsson.  In  1881  she  married 
Baron  Ernest  von  Hesse-Wartegg,  an 
author  and  correspondent  of  the 
Neue  Freie  Presse,  and  made  three 
trips  around  the  world  with  him, 
being  everywhere  well  received.  She 
later  divided  her  time  between  Eng- 
land and  the  United  States,  appear- 
ing at  the_  Crystal  Palace  and  the 
Philharmonic  concerts,  in  opera,  1887- 
1888,  at  Covent  Garden  and  Drury 
Lane.  Her  final  appearances,  1894- 
1895,  were  in  the  Carl  Rosa  Opera  at 
Liverpool  and  at  the  Ballad  concerts, 
and  also  in  Germany  and  Italy.  Her 
repertory  contained  about  one  hun- 
dred parts.  Carmen  alone  sung  five 
hundred  times  in  French,  English, 
German  and  Italian.  She  was  the 
recipient  of  several  decorations,  such 
as  chamber-singer  to  the  Court  of 
Prussia,  officer  of  the  French  Acad- 
emy, the  Order  of  St.  Cecilia  at  Rome, 
etc.  Since  the  death  of  her  mother 
in  1896  she  sings  only  occasionally 
for  charitable  purposes.  She  lives 
with  her  husband  at  a  villa  near 
Lucerne. 

Haupt   (howpt),  Karl  August.    1810- 
1891. 

Organ  virtuoso;  born  in  Kuhnau, 
Silesia.  Studied  with  A.  W.  Bach, 
Klein  and  Dehn  in  Berlin,  was  organ- 
ist there  in  several  churches  succes- 
sively, and  in  1849  was  appointed  to  the 
parish  church.  In  1854he  was  appointed 
with  Donaldson,  Cuseley,  and  Willis 
to  draw  up  the  specifications  for  a 
huge  organ  at  the  Crystal  Palace, 
London.     He  succeeded  A.  W.  Bach, 


BIOGRAPHIES 


357 


Haupt 

in  1869,  as  director  of  the  Royal  In- 
stitute for  Church  Music,  at  which  he 
had  been  for  some  years  teacher  of 
theory  and  of  organ-playing.  He  re- 
ceived the  title  of  professor,  and  by 
virtue  of  his  position,  became  a 
member  of  the  musical  section  of  the 
senate  of  the  Academy.  Haupt  was 
remarkable  for  his  fine  extempore 
variations  in  the  style  of  J.  S.  Bach. 

Hauptmann     (howpt'-man),     Moritz. 
1792-1868. 

Famous  theorist  and  German  com- 
poser; born  at  Dresden.  His  father 
was  the  state  architect  and  wished 
his  son  to  follow  his  profession,  but 
recognizing  the  boy's  predilection  for 
music  he  allowed  him  to  include  it  in 
his  studies.  He  studied  under  Scholz 
for  violin,  Grosse  for  harmony  and 
piano,  and  Morlacchi  for  composition. 
When  at  seventeen  his  father  con- 
sented to  allow  him  to  devote  himself 
to  music  he  studied  under  Spohr  to 
perfect  himself  in  the  violin  and  com- 
position. These  two  formed  a  life- 
long friendship.  In  Dresden,  1812,  he 
entered  the  Court  band  as  violinist 
and  made  concert  tours.  Soon  after- 
wards he  became  a  teacher  in  the 
home  of  Prince  Repuin,  Russian  Gov- 
ernor of  Dresden,  and  in  1815  went 
with  him  to  Russia.  When  he  re- 
turned to  Germany,  1822,  he  became 
violinist  in  Spohr's  band  at  Cassel.  In 
1842  Mendelssohn,  who  had  become 
his  friend,  obtained  for  him  the  post 
of  cantor  at  the  Church  of  St.  Thomas 
at  Leipsic.  The  next  year  he  became 
chief  master  of  theory  at  the  Con- 
servatory which  Mendelssohn  had 
newly  established.  Hauptmann  is 
recognized  as  the  chief  theorist  of 
his  age  and  his  most  noted  work  is 
Nature  of  Harmony  and  Metre,  pub- 
lished in  1853.  His  works  are  not 
numerous,  but  are  characterized  by 
careful  study,  imagination,  and  a 
sense  of  humor.  He  wrote  sonatas 
for  piano  and  violin,  and  duos  for 
two  violins.  While  in  early  life  he 
wrote  chiefly  instrumental  music  he 
later  wrote  exclusively  for  the  voice. 
He  composed  an  opera,  Mathilde, 
1826,  which  was  popular  in  Cassel. 

Hauptner      (howpt'-ner),     Thuiskon. 

1825-1889. 

German  composer;  born  in  Berlin. 
He  was  a  student  at  the  Berlin  Royal 
Academy,  and  in  1850  became  chapel- 
master  at  the  Vorstadtisches  Theatre. 


Hausegger 

and  in  1852  of  the  Konigsstadtisches 
Theatre.  During  this  time  he  wrote 
many  vaudevilles,  operettas,  farces, 
etc.  He  went  to  Paris  in  1854,  re- 
maining there  for  four  years  studying 
a  method  of  singing  at  the  Conserv- 
atory. Returning  to  Berlin,  he  pub- 
lished a  Deutsche  Gesangschule  in 
1861,  two  years  later  becoming  a 
teacher  of  singing  in  the  Basle  School 
of  Music.  For  some  years  he  directed 
the  Singakademie  at  Potsdam.  He 
died  in  Berlin. 

*  Hausegger      (hows'-eg-ger),      Sieg- 

mund.    1872- 

[A  request  for  biographical  material 
brought  the  following  sketch  from 
Mr,  Hausegger,  which  is  so  interest- 
ing that  it  is  inserted  verbatim.] 

I  was  born  on  August  16,  1872,  at 
Graz  in  Styria,  that  lovely  province 
of  Austria,  which  has  sent  forth  such 
renowned  artists  as  Amalia  Materna, 
Scaria,  Busoni,  and  above  all  the  great 
and  unfortunate  composer,  Hugo 
Wolf,  so  that  to  be  born  there  would 
almost  seem  a  good  omen  for  a  young 
musician.  My  father,  Dr.  Friedrich 
von  Hausegger,  a  solicitor,  was  musi- 
cally highly  gifted,  and  from  his 
earhest  youth  had  the  ardent  wish  to 
devote  himself  entirely  to  this  art,  but 
instead  he  was  obliged  to  take  up  a 
more  lucrative  profession.  However, 
every  spare  hour  he  devoted  to  music, 
more  especially  to  scientific  studies 
as  to  the  origin  and  innermost  soul  of 
music.  He  made  himself  known  by 
several  works  on  sesthetics,  Die  Musik 
als  Ausdruck  Das  Jenseits  des 
Kiinstlers,  and  others,  and  is  regarded 
in  Germany  as  one  of  the  founders  of 
the  modern  school  of  musical  sesthetics, 
which  is  based  upon  the  theories  of 
Wagner  and  Schopenhauer.  But  al- 
though specially  attracted  by  the 
scientific  side  of  music,  it  never 
became  to  him  a  soulless  object  only 
to  be  dissected;  the  artist  in  him  was 
equal  to  the  scholar  and  so  he  was 
ever  ready  to  receive  new  impressions, 
new  rules  from  new  geniuses.  It  was 
his  special  pride  that  he  was  one  of 
the  first  in  Austria  to  recognize  the 
greatness  of  Richard  Wagner  and  to 
exert  himself  to  the  utmost  in  prop- 
agating his  music  and  his  ideas. 

It  is  easy  to  understand  what  such 
a  father  has  been  to  me;  nature  could 
not  have  given  me  a  more  precious 
gift.  He  very  soon  discovered  the 
signs    of   musical    talent   in    me,   and 


358 


BIOGRAPHIES 


Hausegger 

after  having  received  the  first  rudi- 
ments from  my  mother  my  educa- 
tion was  entirely  under  the  guidance 
of  my  father.  Very  soon  I  began  to 
improvise  and  every  new  reading- 
book  that  we  got  at  school  was  set 
into  music  the  same  day.  Of  course 
all  my  relations,  uncles  and  aunts, 
were  much  impressed  by  such  per- 
formances, and  my  mother  often  told 
me  afterwards  how  unhappy  she  had 
been  because  my  father  would  never 
allow  me  to  appear  in  public  as 
another  little  boy  of  my  age,  Fer- 
ruccio  Busoni,  did  at  the  same  time, 
as  her  motherly  pride  desired  for  me 
the  same  honors  as  he  received. 

At  the  age  of  nineteen  I  composed 
my  first  serious  composition  (pre- 
ceded only  by  a  series  of  overtures  to 
blood-stained  tragedies  which  I  wrote 
myself),  a  mass  for  chorus,  solos, 
orchestra  and  organ,  at  the  request 
of  the  rector  of  the  college,  who 
wished  to  have  it  performed  by  his 
pupils  at  a  festival  in  honor  of  the 
Emperor's  birthday.  Unfortunately  it 
proved  too  difficult  for  the  boys  to 
execute.  Great  was  my  disappoint- 
ment: so  that  my  good  father,  to  help 
and  to  encourage  me,  helped  me  to 
a  performance  of  the  work,  which  I 
had  to  conduct  myself.  It  took  place 
before  an  invited  audience,  and  this 
first  debut  as  conductor  and  com- 
poser was  a  great  success. 

At  eighteen  I  began  my  studies  in 
the  history  of  art,  literature,  phil- 
osophy and  history  at  the  University; 
but  they  were  often  somewhat  neg- 
lected, as  I  continued  to  work  at  the 
composition  of  my  first  opera,  Hel- 
frid,  which  was  performed  in  1890 
at  the  Landestheatre  in  Graz.  The 
succeeding  years  were  rich  in  musical 
work,  songs,  chamber-music,  sonatas, 
a  symphony,  and  lastly  a  new  fan- 
tastic comic  opera,  Zinnober.  Beside 
this  I  was  an  active  member  of  the 
Graz  Wagner  Society,  which  my 
father,  with  some  kindred  spirits,  had 
founded.  As  preparation  for  the 
festivals  at  Bayreuth  he  arranged  a 
complete  performance  of  the  Nibe- 
lungen  Ring  in  the  form  of  concerts. 
During  1895-1896  I  was  conductor  at 
the  opera  in  Graz,  and  these  years 
were  to  me  an  excellent  school, 
especially  as  I  had  to  bring  out  all 
novelties  in  a  very  short  time.  The 
year  1898  brought  me  the  first  great 
success  outside  of  my  native  town, 
when  Richard  Strauss  had  my  opera, 


Hausegger 

Zinnober,  performed  at  the  Royal 
Opera  in  Munich.  Of  all  modern 
German  artists,  Strauss  was  the  first 
who  actively  interested  himself  in  me 
and  my  work,  and  ever  since  he  has 
done  his  utmost  to  forward  me  in  my 
career  by  his  active  friendship.  The 
performance  at  Munich  was  an  ex- 
cellent one  and  brought  me  full 
honor,  both  from  the  public  and  the 
critics.  The  impressions  of  Munich 
altogether  were  pleasant,  as  it  is  an 
ideal  city  for  artists,  and  I  was  there- 
fore greatly  delighted  when  soon  after 
I  received  an  invitation  to  conduct 
one  of  the  Kaim  concerts  and  to  per- 
form on  that  occasion  my  first  sym- 
phony poem,  Dionysiche  Fantasie. 
Following  the  splendid  reception  I 
received  the  engagement  from  Dr. 
Kaim  as  colleague  of  Weingartner,  in 
conducting  his  orchestra.  I  was  to 
enter  my  new  appointment  in  the 
autumn  of  1899,  and  the  intervening 
months  were  occupied  in  finishing  a 
new  symphonic  poem,  the  composi- 
tion of  which  had  been  cruelly  inter- 
rupted by  the  death  of  my  father,  in 
February,  1899.  The  origin  of  this 
work  is  closely  connected  with  the 
political  events  of  that  year,  when 
the  Teutonic  population  in  Austria 
was  oppressed  by  the  Slav  party  and 
rose  in  furious  rebellion  against  the 
Badenja  ministry;  Graz  being  one  of 
the  most  Teutonic  towns  in  Austria, 
the  excitement  rose  high  and  a  revo- 
lution seemed  to  be  inevitable.  From 
the  windows  of  my  home  I  saw  the 
infuriated  populace  storming  the  police 
offices,  the  mounted  and  armed  soldiers 
charging  the  hurling  crowds,  the  erec- 
tion of  barricades,  and  I  felt  the  mis- 
ery of  my  people  as  my  own.  Then 
it  was  that  my  thoughts  turned  con- 
stantly to  the  wonderful  German 
legend  of  the  old  Emperor  Barba- 
rossa,  who  slumbers  in  the  depths  of 
a  huge  mountain  (some  say,  the  ma- 
jestic Untersberg  near  Salzburg), 
awaiting  the  day  of  greatest  need  to 
arise  and  save  his  people;  when  the 
rocks  will  burst  with  thunderous 
sound  and  the  Emperor  surrounded 
by  his  knights  will  appear  in  his  great 
array.  The  composition  of  the  sym- 
phony entitled  Barbarossa  was  begun 
in  1898  and  finished  before  I  left  for 
Munich  in  1899.  It  is  divided  into 
three  parts,  the  misery  of  the  people, 
the  enchanted  mountain,  the  awaken- 
ing; nevertheless  it  is  easy  to  recog- 
nize the   old   form   of   the   symphony 


BIOGRAPHIES 


359 


Hausegger 

suited  to  a  poetic  idea.  The  first  part 
is  allegro,  the  second  begins  with  a 
scherzo,  followed  by  an  adagio,  and 
ends  with  a  repetition  of  the  scherzo. 

I  spent  the  following  three  years  at 
Munich,  conducting  the  Volkssympho- 
nie-Konzerte  (popular  symphony  con- 
certs), which  soon  became  so  well 
patronized  that  their  number  was  to 
be  doubled,  and  the  Modern  Even- 
ings at  which  I  brought  out  a  quantity 
of  new  work.  Besides  this  I  under- 
took many  tours,  partly  with  the  or- 
chestra, partly  to  fulfil  invitations  to 
conduct  my  own  work.  "  Barbarossa  " 
was  performed  for  the  first  time  in 
Berlin  and  met  with  such  general 
appreciation  and  lively  enthusiasm 
that  it  soon  made  the  round  of  the 
concerts  all  over  Germany  and  sev- 
eral American  towns,  and  has  subse- 
quently become  the  most  popular  of 
my  works. 

In  1902  I  married  Hertha  Ritter, 
daughter  of  Alexander  Ritter,  the 
composer  and  intimate  friend  of  Rich- 
ard Strauss,  and  niece  of  Richard 
Wagner's,  and  some  months  after  I 
entered  upon  my  new  duties  in 
the  position  of  conductor  of  the 
Museumskonzerte  in  Frankfort-on-the- 
Main,  one  of  the  finest  and  most  im- 
portant orchestras  and  concert  unions 
in  Germany.  With  it  I  performed  for 
the  first  time  my  latest  symphonic 
poem,  Wieland  der  Schmied  (after 
the  plot  sketched  by  R.  Wagner),  at 
the  Musical  Festival  which,  in  1904, 
was  held  at  Frankfort.  During  six 
months  of  the  year  my  duties  as  con- 
ductor kept  me  at  Frankfort,  but  the 
whole  summer  is  spent  at  my  country 
house  in  Obergrainau  near  Garmisch 
in  the  Bavarian  Highland,  where 
nature  in  all  her  grandness  and  purity 
helps  to  restore  the  mind  and  body 
after  the  winter's  work  and  fatigue. 
I  left  Frankfort  in  1906  in  order  to 
have  entirely  free  time  for  composi- 
tion, which  I  consider  to  be  my  prin- 
cipal avocation. 

A  LIST  OP  MY  PUBLISHED  WORKS. 

1.  Zinnober,    romantic-comic    opera 
in  three  acts. 

2.  Dionysische  Fantasie,  symphonic 
poem. 

3.  Barbarossa,  a  symphonic  poem. 

4.  Wieland    der    Schmied,    a    sym- 
phonic poem. 

5.  Thirty-two  Songs. 

6.  Two    choruses    for    male    voices 
<vith  accompaniment  of  orchestra. 


Hausmann 

7.  Totenmarsch,  chorus  for  male 
voices  with  orchestral  accom- 
paniment. 

8.  Two  choruses  for  male  and  fe- 
male voices — (a)  Stimme  des 
Abends,     (b)     SchnitterHed. 

9.  Two  Songs  for  tenor  with  or- 
chestral accompaniment — (a) 
Schwiile.     (b)     O  war  es  doch. 

10.  Three  "  Hymnen  an  die  Nacht," 
for  barytone  and  orchestra  accom- 
paniment. 

11.  Seven  Songs  (Lieder  der  Liebe), 
for  tenor  and  orchestral  accom- 
paniment. 

12.  Three  Songs  for  a  medium  voice. 

Hauser  (how'-zer),  Miska.    1822-1887. 

Hauser,  a  famous  Hungarian  violin- 
ist and  composer,  was  born  in  Pres- 
burg.  The  greater  part  of  his  musical 
education  he  received  at  Vienna. 
Bohm,  Mayseder,  Kreutzer  and  Sech- 
ter  were  at  different  times  his  instruc- 
tors. While  still  a  lad  he  toured 
through  the  world;  in  1840  through 
Gerrnany,  Sweden,  Norway  and  Rus- 
sia; in  1850  London,  California  and 
South  America;  and  was  in  Australia 
from  1853  to  1858.  In  Italy,  in  1860, 
he  was  feted  by  King  Victor;  and  in 
Turkey  he  was  especially  triumphant. 
Hauser  appeared  in  public  for  the  last 
time  in  Cologne  in  1874,  and  died  in 
1887  in  Vienna.  His  composition, 
Song  without  words,  for  violin,  and 
some  ^Hungarian  rhapsodies  are  his 
most  important  works.  He  wrote,  in 
the  form  of  letters  for  a  Vienna 
paper,  an  account  of  his  tour  in 
America,  which  he  called  The  Wan- 
derings of  a  Virtuoso. 

Hausmann  (hows-man),  Robert.  1852- 

Distinguished  violoncellist;  born  at 
Rottleberode  in  the  Harz  Mountains; 
began  his  studies  at  the  age  of  eight 
in  the  Brunswick  Gymnasium.  He 
was  a  pupil  of  Theodore  Mitller, 
leader  of  the  famous  Miiller  Quartet. 
When  the  Hochschule  for  music  was 
opened  in  1869  he  became  a  pupil  of 
Wilhelm  Miiller,  under  Joachim's 
guidance.  He  was  desirous  of  study- 
ing with  Piatti,  and  finally,  through 
Joachim,  secured  an  introduction  and 
became  Piatti's  pupil,  both  in  London 
and  Italy.  From  1872  to  1876  Haus- 
mann was  cellist  in  the  Hochberg 
Quartet  in  Dresden,  was  then  ap- 
pointed professor  of  the  violoncello 
at  the  Flochschule,  and  when  Miiller 
resigned,    Hausmann    filled    his   posi- 


360 


BIOGRAPHIES 


Hausmann 
tion  at  the  head  of  the  school.  In 
1879  he  became  cellist  of  Joachim's 
well-known  quartet.  Hausmann  is 
one  of  the  musicians  connected  with 
the  development  of  music  during  the 
latter  part  of  the  Nineteenth  Cen- 
tury and  is  distinguished  as  an  ac- 
complished artist,  possessing  great 
command  over  the  technique  of  his 
instrument,  and  an  unusually  power- 
ful tone.  He  has  become  well  known 
in  London  for  his  rendering  of  some 
of  Brahms'  later  compositions. 

Havergal,  Rev.  William  Henry.    1793- 
1870. 

English  composer  of  sacred  music. 
Havergal  was  born  at  High  Wycombe, 
Buckinghamshire,  educated  at  Mer- 
chant Taylor's  School  and  St.  Edmund 
Hall,  Oxford.  Graduated  from  Ox- 
ford of  B.A.  in  1815  and  M.A.  in 
1819.  He  was  made  rector  of  Astley 
in  1829.  As  the  result  of  an  acci- 
dent, which  disabled  him  for  the 
duties  of  rector,  he  devoted  himself 
to  music.  In  1845  he  again  assumed 
his  ministerial  position,  becoming 
rector  of  St.  Nicholas,  Worcester,  and 
was  also  presented  to  an  Honorary 
Canonry  in  the  Cathedral.  From 
1860  to  1868  he  was  rector  of  Shares- 
hill,  near  Wolverhampton.  Rev. 
Havergal's  first  publication  was  a  set- 
ting of  Heber's  hymn,  From  Green- 
land's Icy  Mountains,  as  an  anthem. 
Other  published  compositions  are  an 
Evening  Service  in  E;  one  hundred 
antiphonal  chants;  an  Evening  Serv- 
ice in  A,  which  brought  him  -the 
Gresham  Prize  Medal  in  1837;  a  re- 
print of  Ravenscroft's  Psalter;  the  Old 
Church  Psalmody;  an  excellent  His- 
tory of  the  Old  Hundredth  Tune; 
and  a  Hundred  Psalm  and  Hymn 
Tunes,  his  own  compositions.  Haver- 
gal also  wrote  many  anthems,  songs 
and  rounds  published  separately; 
hymns,  sacred  songs  and  carols  for 
the  periodical  called  Our  Own  Fire- 
side; his  Worcester  chant;  song,  Sum- 
mer Tide  is  Coming,  and  the  psalm 
Evan  are  perhaps  best  known  of  his 
single  compositions.  His  daughter, 
Miss  Frances  Ridley  Havergal,  a 
popular  writer  of  religious  poems, 
edited  her  father's  works. 

Hawkins,  Sir  John.    1719-1789. 

Hawkins  was  born  in  London.  By 
profession  he  was  a  lawyer,  but  de- 
voted his  leisure  time  to  the  study  of 
literature  and  music.     He  was  never 


Hawley 

anything  more  than  an  amateur  musi- 
cian, but  served  the  musical  world  by 
the  publication  of  his  well-known  His- 
tory of  Music,  the  fruit  of  sixteen 
years'  work.  In  1776  he  published 
this  in  five  volumes.  In  1853  it  was 
reprinted  in  two  volumes.  It  is  of 
value  because  of  its  marvelous  accu- 
racy, though  its  style  is  heavy  and  it 
is  not  well  arranged.  Sir  John  Haw- 
kins was  one  of  the  founders  of  the 
Madrigal  Society,  1741,  a  frequent 
contributor  to  the  Gentleman's  Maga- 
zine, author  of  words  for  six  cantatas 
which  were  set  to  music  by  Stanley. 
In  1740  he  became  a  member  of  the 
Academy  of  Ancient  Music,  and  in 
1749,  upon  Samuel  Johnson's  invita- 
tion, a  member  of  the  Thursday  Even- 
ing Club  in  Ivy  Lane. 

Hawley,  Charles  B.     1858- 

Hawley  is  one  of  the  best  known 
American  musicians.  He  was  born 
in  Brookfield,  Conn.,  Feb.  14,  1858. 
Both  parents  were  skilled  musicians 
and  gave  their  son  an  early  musical 
education.  When  but  a  lad  he  was 
playing  a  church  organ,  and  was  con- 
ductor of  musical  affairs  in  the 
Cheshire  Military  Academy,  from 
which  school  he  graduated.  In  1875 
Hawley  went  to  New  York  for  study. 
His  teachers  in  voice  were  George 
James  Webb,  Rivarde  and  Foederlein, 
and  in  composition  Dudley  Buck,  Mos- 
enthal  and  Rutenber.  He  was  ap- 
pointed bass  soloist  in  Calvary  Epis- 
copal Church,  New  York,  in  1876,  and 
then  became  assistant  organist  at  St. 
Thomas'  Episcopal  Church,  and  in 
1883  he  was  appointed  organist  at  the 
Broadway  Tabernacle.  For  many 
years  he  has  been  director  of  the 
ummer  music  at  St.  James' Chapel  in 
Elberon.  Mr.  Hawley  is  a  successful 
teacher  of  voice,  and  a  member  of  the 
Mendelssohn  Glee  Club  and  the  Men- 
delssohn Quartet  Club.  With  his 
duties  as  organist,  teacher,  soloist, 
and  club-member,  he  has  had  but 
little  time  to  devote  to  composition, 
but  has  proven  himself  to  be  a  com- 
poser of  much  merit.  His  songs  have 
become  deservedly  popular  in  Amer- 
ica and  elsewhere.  Among  them  are 
The  Ring;  Because  I  Love  You,  Dear; 
My  Little  Love;  An  Echo;  Spring's 
Awakening;  Where  Love  Doth  Build 
His  Nest;  Oh,  Haste  Thee,  Sweet; 
Were  I  a  Star;  My  Luve's  Like  a  Red, 
Red  Rose;  Lady  Mine;  Ah,  'Tis  a 
Dream;   They   Kissed,   I   Saw   Them 


BIOGRAPHIES 


361 


Hawley 

Do  It,  the  last  being  a  vocal  scherzo 
for  men's  voices.  Hawley  has  also 
composed  considerable  church-music, 
one  work  of  much  merit  being  Trisa- 
gion  and  Sanctus.  His  compositions 
are  of  rare  excellence,  as  a  little  study 
will  convince  any  musician  While 
seemingly  so  unstudied,  so  spontane- 
ous a  pouring  forth  of  emotion  in 
melody,  there  is  always  a  beautiful 
blending  of  voice  and  accompaniment, 
and  show  throughout  the  work  of  a 
keen  intellect. 

Haydn  (hid'-'n),  Franz  Joseph.    1732- 
1809. 

The  Teutons  for  many  years  claimed 
Joseph  Haydn  as  one  of  their  gen- 
iuses, but  Dr.  Kuhac,  after  much  re- 
search, wrote,  in  1880,  a  pamphlet 
proving  to  the  satisfaction  of  most 
biographers  that  Haydn  was  by  birth 
a  Croatian.  Trstnk  was  originally  the 
name  of  the  village  where  he  was 
born,  March  31,  1732.  It  is  situated 
near  the  Leitha  River,  which  forms 
the  boundary  between  lower  Austria 
and  Hungary.  The  name  Hajden  is 
of  common  occurrence  throughout 
Croatia  and  was  undoubtedly  the 
original  form  of  Haydn,  which  name 
is  known  to  have  passed  through  sev- 
eral changes  in  spelling.  This  con- 
firms the  belief  that  on  his  father's 
side  he  belonged  to  the  Slavonic  race. 
His  mother,  a  native  of  Rohrau,  was 
the  daughter  of  Koller.  Roller  was 
undoubtedly  a  variant  of  the  Croatian 
Kolar,  meaning  wheelwright. 

Mathias  Haydn  was  a  master 
wheelwright  and  the  parish  sexton  of 
Rohrau.  He  married  Maria  Koller, 
the  daughter  of  a  market  inspector 
and  cook  in  the  house  of  Count  Har- 
rach.  To  them  were  born  twelve 
children,  three  of  whom  became  musi- 
cians; Johann  Evangelist,  a  singer  of 
no  great  merit;  Johann  Michael, 
famous  as  a  composer  of  church- 
music  and  as  an  organist,  and  Franz 
Joseph,  who  was  their  second  child. 
They  were  a  simple  people,  hard- 
working, full  of  religious  faith  and 
piety,  which  they  early  instilled  in 
their  children.  This  religious  influ- 
ence followed  Haydn  all  through  his 
life  and  was  a  part  of  his  music. 
Joseph  Haydn,  or  as  he  was  in  the 
Austrian  tongue  familiarly  called 
Sepperl  Haydn,  possessed  a  sweet 
soprano  voice,  and  when  Johann 
Mathias  Frankli,  a  relative,  came  to 
the    Haydn    home    on    a   visit    he    at 


Haydn 

once  recognized  the  boy's  talent  and 
offered  to  take  him  to  Hainburg, 
where  he  was  a  schoolmaster  and  mu- 
sician, and  to  educate  the  boy.  He 
was  but  six  years  old,  but  already 
his  mother  had  set  her  heart  upon 
making  of  him  a  priest.  His  father's 
and  Frankh's  persuasions,  however, 
overcame  her  objections,  and  the  lad 
left  his  home  for  Hainburg.  When 
he  was  eight  years  old,  Reutter,  pre- 
centor of  St.  Stephen's  Cathedral 
Vienna,  was  in  Hainburg  searching 
for  boy  singers.  Frankh  induced  him 
to  hear  Haydn  and  he  was  so  pleased 
with  the  ability  that  the  lad  showed, 
for  Haydn  had  learned  all  Frankh 
was  capable  of  teaching  him,  that  he 
at  once  offered  to  take  him  to 
Vienna.  The  school  which  he  entered 
in  Vienna,  1740,  was  supported  by  the 
city,  which  paid  for  board,  lodging 
and  clothes  of  the  six  scholars.  The 
remainder  of  the  household  consisted 
of  a  cantor,  a  subcantor,  and  two 
ushers.  The  instruction  was,  as  in 
Hainburg,  in  Latin,  reading,  writing 
and  arithmetic,  in  addition  to  music. 
Haydn  studied  singing,  violin  and 
clavier-playing.  Reutter  had  no  in- 
tention of  helping  his  pupils  to  an 
understanding  of  the  theory  of  music 
or  of  composition;  he  simply  gave 
them  such  instruction  as  was  neces- 
sary to  make  their  singing  in  the 
Cathedral  reflect  credit  upon  himself. 
However,  Haydn  was  determined  to 
learn  and  he  made  good  use  of  every 
book  he  could  find  on  the  theory  of 
music.  Music  had  become  his  pas- 
sion, it  was  his  work  and  his  recre- 
ation. He  even  composed  a  mass 
while  in  school,  but  Reutter  laughed 
at  his  work  and  in  no  way  encour- 
aged him. 

In  November,  1749,  Haydn  found 
himself  on  the  streets,  with  no  home 
to  turn  to,  no  money  and  only  the 
shabbiest  of  clothes.  Spangler,  a 
tenor  of  St.  Michael's  Cathedral  choir, 
found  the  boy,  took  him  home  and 
shared  his  attic  with  him.  By  play- 
ing in  the  street,  and  in  fact  putting 
his  music  to  use  whenever  and 
wherever  he  could,  and  by  finding  a 
friend  who  loaned  him  a  small  sum 
of  money,  he  was  soon  enabled,  in 
1750,  to  rent  his  own  attic.  His 
choice  of  homes,  the  old  Michaeler- 
Haus  in  the  Kohlmarket,  proved  a 
fortunate  one,  for  one  lodger  in  it 
was  Metastasio,  the  poet,  from  whom 
he    obtained    his    first    patronage    in 


362 


BIOGRAPHIES 


Haydn 

Vienna,  and  the  lower  floor  was  the 
town  residence  of  Prince  Paul 
Esterhazy,  who  twelve  years  later 
appointed  Haydn  to  his  office  at  Eisen- 
stadt.  There  was  in  the  Michaeler- 
Haus  a  publisher  who  loaned  Haydn 
music,  which  he  was  too  poor  to  buy, 
compositions  of  Werner  and  Bonno 
and  Wagenseil  and,  above  all,  the 
Frederick  and  Wiirtemberg  volume  of 
C.  P.  E.  Bach.  These  Haydn  read 
and  re-read,  copied  and  analyzed.  In 
1753,  through  Metastasio,  he  was  in- 
troduced to  the  famous  singing- 
master,  Porpora,  whose  constant  com- 
panion Haydn  became.  All  through 
Haydn's  life  his  one  object  was  to 
become  a  really  great  musician,  and 
no  duty  or  act  which  could  lead  to 
this  result  was  overlooked.  His  first 
mass  appeared  in  1751;  during  the 
same  year  he  wrote  instrumental 
music  for  a  serenade,  many  graceful 
minuets  for  pleasure  gardens  in 
Vienna,  and  his  first  opera. 

In  1755  came  the  first  great  oppor- 
tunity of  his  career.  Karl  Joseph 
Edler  von  Fiirnberg  invited  Haydn  to 
his  country  house  at  Weinzirl,  near 
Melk.  He  found  the  usual  country- 
house  orchestra,  consisting  of  a  few 
strings,  a  couple  of  horns  and  oboes. 
He  saw  his  opportunity,  made  use  of 
the  principles  gained  by  his  study  of 
Bach  and  applied  them  to  the  needs 
of  a  miniature  orchestra.  Here  he 
produced  his  quartets  which  are 
printed  in  the  Paris  and  London  edi- 
tions. After  his  year  with  yon  Fiirn- 
berg he  spent  some  time  in  Vienna 
teaching  and  composing  principally 
for  Countess  Thun,  an  enthusiastic 
amateur  musician,  who  had  earlier 
been  attracted  by  one  of  his  sonatas. 
She  sent  for  him  and  engaged  him 
to  give  her  harpsichord  and  singing 
lessons.  Through  Countess  Thun  and 
Fiirnberg  he  was  introduced  to  Count 
Ferdinand  Maximilian  Morzin,  a  very 
wealthy  Bohemian  nobleman  and  a 
lover  of  music.  He  appointed  Haydn 
his  music-director  and  composer  in 
1757.  He  went  to  Morzin's  home  at 
Lukavec,  near  Pilsen,  where  he  found 
a  very  fair  orchestra.  This  was  an 
important  stage  of  his  life.  ^  He  found 
opportunity  of  experimenting  in  or- 
chestral work.  Here  he  wrote  the 
symphony  in  D  which  reflects  Bach 
but  at  the  same  time  foreshadows  the 
future  style  of  the  composer,  and 
was  the  forerunner  of  one  hundred 
and  twenty-five  symphonies.    He  also 


Haydn 

at  this  period  composed  other  con- 
certed works,  among  them  diverti- 
menti. 

Prince  Paul  Esterhazy,  after  hear- 
ing some  of  Haydn's  compositions,  in- 
vited him  to  Eisenstadt  after  Morzin 
was  obliged  to  disband  his  orchestra. 
The  contract  between  Esterhazy  and 
Haydn  is  still  in  existence.  He  went 
to  Eisenstadt  in  1761  as  second  musi- 
cal director  to  the  great  princely 
family  of  Esterhazy,  one  of  the  most 
wealthy  and  influential  of  the  noble 
families  of  Hungary.  Prince  Paul  died 
after  Haydn's  residence  in  the  family 
of  one  year,  and  Prince  Nicholas  suc- 
ceeded him.  The  demands  upon 
Haydn  were  severe,  but  in  return  he 
had  many  advantages.  He  came  in 
contact  with  many  clever  people  who 
were  either  social  or  professional 
guests  of  Esterhazy.  He  had  a  good 
orchestra  at  his  command,  for  which 
he  was  obliged  to  compose  inces- 
santly. This  incited  him  to  close 
study,  and  it  was  during  the  thirty 
years  with  the  Esterhazys  that  he 
produced  many  of  his  masterpieces 
of  chamber  and  orchestral  music. 

From  1761  to  1776  Haydn  lived  at 
Eisenstadt  as  second  director,  and 
then  upon  the  death  of  Werner 
became  head  director  at  Eisenstadt, 
and  remained  until  1786.  While  a 
resident  there  many  honors  were  con- 
ferred upon  him.  In  1780  the  Phil- 
harmonic Society  of  Modena  elected 
him  a  member;  in  1784  Prince  Henry 
of  Prussia  sent  him  a  gold  medal  and 
his  portrait  m  return  for  six  quartets 
which  Haydn  had  dedicated  to  him. 
King  Frederick  William  II.  gave  him, 
in  1787,  a  diamond  ring  in  recognition 
of  his  merit  as  a  composer.  In  1785 
he  was  commissioned  by  the  chapter 
of  the  Cathedral  of  Cadiz  to  write 
music  appropriate  for  Good  Friday, 
The  result  was  The  Seven  Words  of 
Jesus  on  the  Cross,  sometimes  called 
The  Passion,  a  work  Haydn  declared 
to  be  one  of  his  most  successful 
efforts.  It  was  at  first  composed  as 
an  instrumental  work,  and  as  such 
was  produced  in  London  by  Haydn  as 
a  Passione  instrumental.  He  after- 
wards introduced  solos  and  choruses. 
In  1797  it  was  given  at  Eisenstadt 
and  four  years  later  published  in  the 
new  form  with  a  preface  by  the  com- 
poser. 

In  1790  Prince  Anton  Esterhazy, 
who  succeeded  Prince  Nicholas,  dis- 
missed his  entire  corps  of  musicians, 


BIOGRAPHIES 


363 


Haydn 

but  Prince  Nicholas  had  left  Haydn 
an  annual  pension  upon  the  condition 
that  he  retain  the  title  of  chapelmaster 
to  the  Esterhazys.  Salomon,  a  vio- 
linist and  conductor,  persuaded 
Haydn  to  go  to  London.  He  was 
now  nearly  sixty  years  old  and  had 
never  traveled  so  far  from  his  home. 
He  was  received  most  enthusiastically 
in  London.  He  was  the  object  of  the 
most  flattering  attentions  from  every 
one,  musicians  and  music-lovers, 
great  ladies  and  noble  families,  and 
was  the  guest  of  the  Prince  of  Wales. 
He  was  honored  by  the  degree  of 
Doctor  of  Music  from  Oxford  Uni- 
versity. His  compositions,  which  he 
was  under  contract  to  produce,  were 
waited  for  impatiently  and  greeted 
always  with  great  applause.  He  left 
London  in  1792  and  all  Vienna  wel- 
comed him  home  with  wild  enthusi- 
asm. While  in  Vienna  at  this  time 
Haydn  paid  a  visit  to  his  native  vil- 
lage, Rohrau,  to  be  present  at  the 
inauguration  of  a  monument  erected 
in  his  honor  by  Count  Harrach,  in 
whose  household  Haydn's  mother 
had  served.  It  was  m  1794  he  made 
his  second  London  visit  and  met  with 
even  greater  distinction  than  before. 
Haydn,  who  started  life  as  the  son  of 
a  poor  peasant,  who  for  years  had 
struggled  against  poverty  and  had 
won,  was  now  a  rich  man  and  could 
devote  himself  to  his  great  works, 
being  at  the  bidding  of  no  master.  In 
1797,  inspired  by  national  hymns  of 
other  countries,  he  wrote  the  cele- 
brated song,  God  Preserve  the  Em- 
peror, which  was  afterwards  adopted 
Ijy  the  Austrians  as  their  national 
hymn  In  1799,  March  19,  appeared 
The  Creation,  and  his  last  great  mas- 
terpiece. The  Seasons,  April  24,  1801, 
when  Haydn  had  reached  the  age  of 
sixty-nine  years. 

During  his  later  years  Haydn  was 
made  an  honorary  member  of  many 
institutions;  of  The  Academy  of  Arts 
and  Sciences  at  Stockholm,  of  the 
Philharmonic  Society  at  Laybach,  of 
the  Academy  of  Arts  at  Amsterdam, 
and  was  presented  with  gold  medals  by 
musicians  who  performed  The  Creation 
at  the  Opera  in  Paris,  and  the  pro- 
fessors of  the  Concert  des  Amateurs, 
Paris.  Haydn  was  married  in  1760  to 
Anna  Maria  Keller.  It  was  a  most 
deplorable  marriage  and  the  indiffer- 
ence and  petty  malignity  which  she 
showed  for  him  and  his  art,  her  bad 
temper  and  shrew-like  nature,  finally 


Haydn 

made  his  life  with  her  intolerable  and 
he  left  her  after  a  few  years,  though 
he  always  supported  her.  She  died 
in  1800.  In  1803  he  made  his  final 
appearance  as  conductor  and  in  1808 
was  seen  in  public  for  the  last  time. 
The  occasion  was  a  performance 
of  The  Creation  at  the  University  of 
Vienna.  All  of  the  great  artists  of 
Vienna,  among  them  Beethoven  and 
Hummel,  were  present,  and  princes, 
nobles  and  the  first  ladies  of  the  land. 
Prince  Esterhazy  sent  his  carriage  for 
him  and  as  he  was  being  carried  into 
the  hall  in  an  armchair  the  whole 
audience  rose  to  their  feet  in  testi- 
mony of  their  esteem.  When,  in  the 
concert,  the  magnificent  passage,  "And 
There  Was  Light,"  was  reached, 
Haydn  exclaimed,  "  Not  I,  but  a 
Power  from  above  created  that."  Be- 
fore the  performance  was  over  Haydn 
had  to  be  taken  from  the  hall,  and 
as  he  was  carried  out  many  crowded 
around  to  take  what  they  felt  to  be 
a  last  farewell,  Beethoven  fervently 
kissed  his  hand  and  forehead.  When 
he  reached  the  doorway  he  asked  his 
bearers  to  pause,  and,  turning  toward 
the  orchestra,  he  lifted  his  hand  as 
though  in  the  act  of  blessing.  On 
May  26  he  was  carried  to  his  piano 
and  played  over,  three  times,  his  Em- 
peror's Hymn  with  great  emotion. 
He  died  on  May  31,  1809.  As  soon 
as  his  death  was  known  services  were 
held  m  all  the  principal  cities  of  Eu- 
rope He  was  buried  in  a  small 
churchyard  just  outside  of  the  city  of 
Vienna,  but  in  1820  his  remains  were 
exhumed  by  command  of  Prince  Es- 
terhazy and  reinterred  in  the  upper 
parish  church  at  Eisenstadt. 

A  review  of  the  life  of  Joseph 
Haydn  would  hardly  be  complete 
without  mention  of  the  great  friend- 
ship which  existed  between  him  and 
Mozart,  Mozart  dedicated  his  six 
great  string  quartets  to  Haydn,  who 
said  to  Leopold  Mozart,  "  I  declare  to 
you  upon  my  honor  that  your  son  is 
the  greatest  composer  living"  He 
would  believe  nothing  ill  of  his  friend, 
for,  in  his  own  words,  he  "  loved  the 
man  so  dearly."  Beethoven's  relation 
to  Haydn  was  not  so  happly  a  one, 
though  he  admired  and  esteemed  the 
elder  composer.  Dies,  Haydn's  biog- 
rapher, says  in  describing  him,  ''  Be- 
low middle  height,  legs  too  short  for 
his  body,  a  defect  made  more  notice- 
able by  his  attire,  a  fashion  he  refused 
to  change,  features  regular;  expression 


364 


BIOGRAPHIES 


Haydn 

spirited,  at  the  same  time  temperate, 
amiable  and  winning;  face  stern  when 
in  repose,  smiling  and  cheerful  when 
he  conversed.  I  never  heard  him 
laugh.  In  build  firm,  but  lacking 
muscle."  We  know  that  he  was  fas- 
tidious about  his  dress;  that  he  ap- 
peared at  Esterhazy  clad  in  a  light 
blue  and  silver  uniform,  knee  breeches, 
white  stockings  and  white  neckcloth, 
and  that  he  always  wore  a  wig  from 
his  earliest  years,  "  for  the  sake  of 
cleanliness,"  he  said.  He  was  often 
playfully  called  The  Moor,  as  he  was 
very  dark.  He  had  a  large  aquiline 
nose,  and  was  heavily  pitted  with 
smallpox.  In  his  own  opinion  he  was 
ugly  and  he  tried  to  make  himself 
attractive  by  his  neat  attire  and  his 
manners. 

Nowhere  among  his  many  biogra- 
phies do  we  find  anything  disparaging 
concerning  Haydn  as  a  man.  He  was 
an  affectionate  and  devoted  son,  sup- 
porting his  parents,  caring  for  rela- 
tions and  friends  as  soon  as  he  was 
able,  making  good  a  loss  Michael 
Haydn  suffered  in  1801  when  the 
French  pillaged  Salzburg;  a  staunch 
friend,  remembering  in  his  will  all 
those  who  had  in  any  way  succored 
him.  His  religion  was  a  strong  in- 
fluence in  his  life;  he  possessed  great 
faith  in  the  goodness  and  greatness 
of  an  omnipotent  and  omnipresent 
Creator.  His  was  a  cheerful,  joyous 
religion,  whose  creed  seemed  to  be  to 
do  justice  and  kindness,  and  to  give 
to  mankind  the  best  expression  of  the 
Divine  in  man.  He  said  when  he 
was  composing  The  Creation,  "  I 
never  was  so  devout  as  then.  Daily 
I  prayed  for  strength  to  express  my- 
self in  accordance  with  His  will." 
His  most  marked  characteristic  was 
his  constant  aim  at  perfection  in  his 
art.  He  disliked  anything  unreal.  He 
knew  the  power  that  was  his,  and 
toward  the  end  of  his  life  said,  "  I 
know  that  God  has  bestowed  a  talent 
upon  me  and  thank  Him  for  it.  I 
think  I  have  done  my  duty  and  been 
of  use  in  my  generation  by  my 
works;  let  others  do  the  same." 

Haydn  was  first  among  the  great 
masters  to  make  himself  intelligible 
to  the  masses.  Father,  or  Papa 
Haydn  was  an  aflfectionate  term  of 
address  applied  to  him  by  his 
younger  contemporaries  and  is  sig- 
nificant. He  was  the  father  of  the 
sonata  form  and  of  the  modern  sym- 
phony, in  fact  the  father  of  modern 


Haydn 

instrumental  music  and  of  musical 
humor.  His  symphonies  are  known 
for  clearness  of  style,  grace  and  play- 
fulness; always  lucid,  finished  and 
free  from  technical  display,  serious 
and  profound  when  occasion  demands. 
He  gave  impulse  to  both  Mozart  and 
Beethoven  as  far  as  their  symphony 
writing   is    concerned. 

Haydn  was  really  the  originator  of 
the  quartet;  it  seemed  to  be  a  nat- 
ural means  of  expressing  himself,  and 
his  influence  on  music  through  it  has 
been  greater  than  that  exerted  by 
his  symphonies.  Although  Emanuel 
Bach  was  really  the  reformer  of  the 
sonata,  Haydn  left  his  impress  upon 
it.  He  wrote  many  graceful  and  del- 
icate songs,  but  they  do  not  display 
the  genius  of  his  other  works  and 
many  are  now  forgotten.  Of  his 
masses,  the  Mariazell  in  C  major,  and 
the  Cecilia  in  same  key,  will  always 
maintain  their  place  among  master- 
pieces of  their  kind.  His  operas  and 
other  light  vocal  works  seem  to  have 
passed  away,  obscured,  as  it  were, 
by  his  greater  works.  The  Creation 
and  The  Seasons,  which  have  been 
performed  all  over  the  world  and 
which  even  in  Haydn's  time  became 
immensely  popular,  are  the  culmina- 
tion of  a  long,  well-lived  life.  The 
following  is  a  partial  list  of  Haydn's 
compositions:  one  hundred  and 
twenty-five  symphonies;  thirty  trios 
for  strings  and  wind;  seventy-seven 
quartets  for  strings;  twenty  concertos 
for  clavier;  thirty-one  concertos  for 
various  instruments;  thirty-eight  trios 
for  piano  and  strings;  fifty-five  so- 
natas and  divertissements  for  clavier; 
four  sonatas  for  clavier  and  violin; 
fourteen  masses;  one  Stabat  Mater; 
eight  oratorios  and  cantatas,  nineteen 
operas;  forty-two  canons  for  voice  in 
two  or  more  parts;  one  hundred  and 
seventy-five  pieces  for  barytone;  and  a 
vast  collection  of  other  works,  num- 
bering over  three   hundred. 

Haydn,  Johann  Michael.    1737-1806. 

Brother  of  Joseph  Haydn.  Com- 
poser and  organist.  Began  his  edu- 
cation in  music  with  the  village 
schoolmaster,  and  had  no  thorough 
instruction  in  composition.  He  was 
first  known  as  a  boy  soprano,  then  as 
violinist  and  pianist  at  St.  Stephen's, 
Vienna,  where  in  1745  he  became 
chorister  and  in  1757  at  Grosswarden. 
He  was  appointed  concertmaster  to 
Archbishop  Sigismund  at  Salzburg  in 


BIOGRAPHIES 


365 


Haydn 

1762,  and  held  this  position  until  his 
death.  He  was  also  organist  of  St. 
Peter's,  Salzburg  and  in  1800  estab- 
lished a  school  of  composition. 
Michael  Haydn  was  a  man  of  talent, 
while  Joseph  was  a  genius,  so  that 
the  former's  compositions  ranked 
high  as  representing  the  style  of  his 
period,  marked  by  their  simplicity, 
austere  style  and  religious  pathos,  but 
lack  the  ideal  which  makes  Joseph 
Haydn's  works  that  of  a  world-musi- 
cian of  all  time.  His  works  are  varied, 
including  operas,  symphonies,  songs, 
quartets,  marches,  serenades,  etc.  The 
very  best  are  found  among  his  sacred 
compositions;  twenty  masses;  many 
offertories,  and  one  hundred  and  four- 
teen graduals. 

Hayes,  William.    1706-1777. 

A  distinguished  organist  and  com- 
poser; born  in  Hanbury,  Worcester- 
shire. Hayes  was  chorister  of  the 
Cathedral  in  Glasgow,  organist  of  St. 
Mary's  Church  at  Shrewsbury  and  of 
Worcester  Cathedral,  organist  and 
chorister  of  Magdalen  College.  In 
1735  he  graduated  at  Oxford  as 
Bachelor  of  Music,  became  Professor 
of  Music  and  in  1749  Doctor  of  Music. 
He  is  best  known  as  a  writer  of 
glees,  though  some  of  his  church- 
music  is  still  used  in  the  cathedrals  of 
England.  Doctor  Hayes  died  in  Ox- 
ford in  1777.  His  second  son,  Philip, 
1738  to  1797,  was  the  composer  of 
several  anthems;  organist  of  Magdalen 
College;  professor  of  music  at  the 
University,  and  Doctor  of  Music  in 
1777.  He  did  not  possess  the  talent 
of  his  father,  but  was  quite  distin- 
guished, as  a  musician,  in  Oxford. 
William,  junior,  third  son,  1741  to 
1790,  graduated  from  Magdalen  Hall 
as  B.A.,  became  minor  canon  of  St. 
Paul's  Cathedral,  and  then  vicar  of 
Tillingham,  Essex.  He  contributed  an 
article  on  Cathedral  Music  to  the 
Gentleman's  Magazine.  Dr.  Hayes 
and  his  sons  are  considered  typical 
musicians  of  the  Eighteenth  Century. 

Haym  (him),  Nicolo  Francesco.  About 

1679-1729. 

Exact  date  of  birth  is  not  known, 
but  it  was  probably  about  1679.  He 
was  born  in  Rome,  of  German  par- 
entage, and  the  latter  half  of  his  life 
was  spent  in  England.  In  1706  he 
played  the  principal  violoncello  in 
Clayton's  Orsinoe,  an  opera  adapted 
from    Buononcini    and    produced    at 


Hebenstreit 

Drury  Lane.  His  first  known  works 
as  composer  were  the  alteration  of 
Buononcini's  Thonryris  for  the  stage 
and  Scarlatti's  Pyrrhus  and  Deme- 
trius. The  last  he  often  claimed  as 
his  own,  as  he  added  the  libretto  and 
a  number  of  songs  of  much  merit. 
Haym  attempted  to  establish  Italian 
opera  in  London  and  Pyrrhus  and 
Demetrius  was  sung,  partly  in  Italian 
and  partly  in  English.  For  two  years, 
or  until  the  arrival  of  Handel,  the 
above  operas  continued  in  popularity. 
Haym  protested  strongly  against  the 
new  style  of  music,  but  was  finally 
won  over,  to  the  extent  of  writing 
the  libretto  for  Handel's  Teseo  and 
later  for  several  of  Handel's  other 
operas.  As  a  composer  he  never  re- 
ceived the  recognition  his  works 
seem  to  merit.  The  set  of  two 
sonatas  for  two  violins  and  bass  show 
a  truly  artistic  touch.  He  wrote  in 
Italian  a  History  of  Music  and  in- 
tended to  translate  it  into  English, 
but,  lacking  encouragement,  failed  to 
do  so  and  finally  abandoned  a  musi- 
cal career  and  became  a  collector  of 
pictures.  He  is  best  known  as  a 
cellist. 

Heap,  Charles  Swinnerton.   1847-1900. 

An  English  pianist  and  conductor. 
Born  in  Birmingham,  where  he  re- 
ceived his  education  in  the  Grammar 
School.  He  appeared  as  a  boy 
soprano  at  a  public  concert  in  Bir- 
mingham. Won  the  Mendelssohn 
scholarship  in  1865  for  a  two  years' 
course  in  Leipsic,  where  he  studied 
under  Moscheles  and  Reinecke.  At 
the  end  of  his  two  years  in  Leipsic 
he  became  an  organ  pupil  at  Best's 
in  Liverpool.  In  1870  he  was  given 
the  degree  of  Doctor  of  Music  in 
Cambridge,  where  he  later  became 
examiner  for  musical  degrees.  He 
conducted  at  various  times  festival 
concerts  in  Wolverhampton,  Hanley 
and  Birmingham.  His  compositions 
include  a  piano  trio,  a  sonata  for 
piano  and  clarinet;  a  quintet  for  piano 
and  wind-instruments;  two  overtures; 
cantatas;   songs;   and  organ  pieces. 

Hebenstreit     (hab'-'n-shtrit),     Panta- 

leon.    1669-1750. 

Hebenstreit,  a  violinist,  was  born 
in  Eisleben.  Authorities  differ  as  to 
the  date  of  birth,  but  it  was  probably 
near  the  year  1669.  He  was  Court 
violinist  at  Dresden,  but  is  perhaps 
better  known   as   the  inventor  of  an 


366 


BIOGRAPHIES 


Hebenstreit 

improved  dulcimer,  which  he  made  at 
Meresburg  and  exhibited  with  success 
in  Paris  in  1705.  Louis  XIV.  named 
the  instrument  pantaleon  after  its 
maker.  With  the  evolution  of  the 
piano,  his  instrument  disappeared.  In 
1706  Hebenstreit  was  appointed  Court 
chorister  at  Eisenbach,  and  in  1814 
chamber  musician  at  Dresden.  He 
became  celebrated  for  his  perform- 
ances on  the  pantaleon  but  finally 
gave  it  up  in  favor  of  his  pupil  Rich- 
ter.  Some  of  his  compositions  were 
commended  by  Telemann,  but  all  that 
is  now  in  existence  is  a  series  of  over- 
tures for  the  pantaleon  and  other  in- 
struments. Hebenstreit  died  in 
Dresden  in  1750. 

Hecht  (hekht),  Eduard.    1832-1887. 

Born  at  Diirkheim  in  Haardt.  An 
able  pianist,  composer  of  originality, 
and  successful  conductor  and  chorus- 
master.  He  received  his  early  train- 
ing in  Frankfort  from  his  father,  and 
later  studied  with  Rosenhain,  Hauff 
and  Messer.  He  sang  in  public  as  a 
boy  soprano.  In  1854  he  went  to 
England  and  made  Manchester  his 
home,  and  was  well  known  there  as 
pianist,  choral  conductor  and  teacher. 
Was  chorusmaster  and  subconductor 
of  Halle's  concerts,  and  conductor  of 
other  musical  societies  in  England. 
In  1875  became  professor  in  Owen's 
College  and  examiner  for  degrees  of 
music  at  Cambridge.  He  published 
his  first  compositions  in  Paris  in  1851. 
His  best  known  works  are  a  popular 
chorus,  The  Charge  of  the  Light 
Brigade;  Eric  the  Dane;  a  cantata; 
many  piano  pieces;  a  sonata  for  piano 
and  clarinet;  trios;  marches  for  mili- 
tary band;  a  quintet  for  piano  and 
wind-instruments;  two  overtures; 
songs;  and  part-songs,  Hecht  died  in 
Manchester  in  1887. 

Heckmann   (hek'-man),  Georg  Julius 

Robert.     1848-1891. 

A  gifted  violinist.  Born  at  Mann- 
heim. Began  his  musical  education 
on  the  piano  with  his  father.  Jean 
Becker  and  Ferdinand  David  in- 
structed him  on  the  violin  and  he 
studied  composition  with  Lachner 
and  Hauptmann.  At  the  age  of  four- 
teen he  played  in  the  Mannheim 
Orchestra.^  Later  he  studied  at  Leip- 
sic;  and  in  his  second  year  at  the 
Conservatory  he  received  a  prize  and 
was  appointed  leader  of  the  Euterpe 
Orchestra.     He  continued  his  studies 


Hegar 

in  Paris  and  Berlin,  and  in  1872  made 
his  reputation  as  leader  and  soloist 
of  the  Cologne  Orchestra.  His  inter- 
pretation of  Bruch  and  Svendsen  won 
him  merited  recognition.  It  was  in 
Cologne  he  founded  his  popular  Heck- 
mann Quartet,  and  with  it  he  traveled 
through  Europe  and  England  and  met 
with  success,  though  it  never  gained 
the  highest  rank.  His  wife,  Marie, 
was  an  accomplished  pianist,  a  pupil 
of  Moscheles  and  Wentzel.  While  on 
a  tour  through  England,  in  1891, 
Hackmann  died  in  Glasgow. 

♦Heermann  (har-man),  Hugo.    1844- 

Great  contemporary  German  violin- 
ist and  teacher.  He  was  born  at  Heil- 
bronn,  in  Wiirtemburg,  Germany. 
Studied  at  the  Brussels  Conservatory 
under  Meerts  for  five  years,  later 
studied  under  De  Beriot,  Leonard 
and  Vieuxtemps,  finished  work  under 
Joachim.  He  began  his  career  as 
concert  violinist;  his  unusual  talent 
was  recognized  everywhere.  He  won 
warm  appreciation  in  Germany,  Aus- 
tria, Russia  and  the  Netherlands. 
Notwithstanding  his  success  he  pre- 
ferred the  life  of  teacher,  orchestral 
player  and  chamber  musician.  In 
1878,  accepted  the  position  of  head 
of  the  violin  department  in  the  Hoch 
Conservatory  at  Frankfort-on-Main. 
At  the  Museum  Symphony  concerts 
in  Frankfort  he  was  the  regular  solo- 
ist, and  was  head  of  the  famous  Heer- 
mann String  Quartet.  His  fame  is 
world-wide.  He  has  played  in  every 
country  of  Europe,  toured  two  sea- 
sons in  the  United  States  and  recently 
made  a  concert  journey  around  the 
world.  He  is  now  head  of  the  violin 
department  of  the  Chicago  Musical 
College.  As  a  teacher  he  has  had 
distinguished  success;  many  of  the 
foremost  violinists  of  the  day  have 
been  his  pupils. 

*  Hegar  (ha-gar),  Friedrich.    1841- 

Violinist  and  conductor  of  orches- 
tra. Born  at  Basle;  was  a  pupil  at  the 
Leipsic  Conservatory  under  Haupt- 
mann, Richter,  Rietz,  David  and 
Plaidy.  For  a  short  time  he  was 
leader  of  the  Bilse  Orchestra  in 
Warsaw.  He  lived  awhile  in  Paris 
and  London  and  then  became  direc- 
tor of  music  at  Gebwiler,  Alsace. 
Since  1863  he  has  lived  in  Zurich  as 
a  conductor  of  orchestra  and  chorus. 
He  founded  a  Conservatory  of  Music 
at  Zurich  in  1875,  became  its  director 


BIOGRAPHIES 


367 


Hegar 

in  1876,  and  has  given  lessons  in  sing- 
ing at  the  Canton  School.  The  best 
of  his  compositions  are  an  oratorio, 
Manassa;  a  violin  concerto  in  D;  and 
effective  male  choruses. 

Heinichen  (hl'-mkh-en),  Johann  David. 

1683-1729. 

Born  at  Krossuin,  Weissenfels,  and 
was  a  pupil  of  Shelle  and  of  Kuhman 
at  St.  Thomas  School,  Leipsic.  His 
study  of  thorough-bass,  which  he 
called  Neu  erfundene  und  Grundliche 
Anweisung,  in  1711,  attracted  much 
attention,  and  because  of  its  merit 
Buchta,  Councillor  of  Zeitz,  sent  him 
to  Italy.  While  in  Venice  he  pro- 
duced several  operas.  He  traveled 
with  the  Prince  of  Anhalt-Kothen 
and  through  his  influence  was  ap- 
pointed musician  to  Augustus  the 
Strong,  of  Dresden.  A  quarrel  with 
Senisino,  former  Court  musician,  led 
to  the  disorganization  of  the  opera 
company  of  Dresden,  by  the  King, 
shortly  after  Heinichen  received  the 
appointment.  He  then  devoted  him- 
self to  the  sacred  music  of  the  court. 
In  the  Royal  Library  of  Berlin  are  a 
number  of  his  compositions  including 
Requiem  masses;  Gloria;  Te  Deum; 
and  cantatas.  In  the  Royal  Library 
of  Dresden  are  three  of  his  operas; 
fifty-seven  cantatas;  eleven  concertos, 
seven  masses;  two  requiems  and  six 
serenades.  He  was  celebrated  as  a 
contrapuntist. 

*  Heinrich  (hin'-rikh),  Julia.     1877- 

^  Contemporary  American  contralto 
singer,  specially  successful  in  concert 
and  recital  work.  She  was  born  at 
Philadelphia,  Pennsylvania;  daughter 
of  Max  Heinrich,  the  celebrated 
singer  and  teacher;  her  mother,  born 
Anna  Schubert,  was  also  a  professional 
singer.  She  received  most  of  her  in- 
struction from  her  parents  but  studied 
one  year  in  Berlin.  Her  first  public 
appearance  was  in  Boston  in  1897. 
She  has  toured  extensively  in  this 
country  in  recital  work.  She  sings 
principally  the  German  classics,  is 
heard  also  in  oratorio,  appears  in  re- 
citals with  her  father,  singing  with 
him  and  playing  accompaniments  to 
his    melodramas. 

♦  Heinrich,  Max.     1853- 

Contemporary  German  singer,  for 
many  years  has  resided  in  America. 
He  possesses  a  barytone  voice  of  wide 
range,    has    appeared    very   often   in 


Heinze 

oratorio,  having  sung  in  Elijah  more 
than  two  hundred  times.  He  has 
created  the  deepest  interest  in  the 
classics  of  Schubert,  Schumann,  Franz, 
Brahms,  Strauss,  MacDowell  and 
other  of  the  great  composers;  by  his 
fine  conceptions  of  the  compositions 
of  these  masters  he  has  inculcated  a 
love  for  classic  music  in  thousands  of 
students  and  music-lovers.  The  ac- 
companiments to  his  singing  he  plays 
himself,  the  only  professional  singer 
with  the  exception  of  George  Hen- 
schel  to  do  this.  Max  Heinrich  was 
born  in  Chemnitz,  Germany,  studied 
at  the  Dresden  Conservatory,  at  the 
age  of  twenty  came  to  America,  re- 
sided first  in  Philadelphia,  has  resided 
also  in  Boston,  New  York  and  Chi- 
cago. His  first  success  was  under 
Dr.  Leopold  Damrosch  in  New  York, 
in  Elijah.  He  sang  with  the  Metro- 
politan Grand  Opera  Company,  but 
has  been  especially  distinguished  in 
the  oratorio  and  concert  field.  At  the 
Auditorium,  Chicago,  when  Richard 
Strauss  played  his  own  composition, 
Enoch  Arden,  Mr.  Heinrich  recited 
the  poem.  At  recitals  he  presents 
the  melodramas,  Enoch  Arden,  Poe's 
Raven  and  Waller's  Magdalena  or  the 
Spanish  Duel,  the  last  two  set  to 
music  by  himself;  while  performing 
these  works  the  accompaniments  are 
played  by  his  daughter.  Miss  Julia 
Heinrich.  He  has  also  composed  a 
nurnber  of  songs.  He  has  toured  the 
United  States,  Canada  and  Europe 
for  a  number  of  years.  From  1888 
to  1893  was  professor  of  singing  at 
the  Royal  Academy  of  Music,  Lon- 
don. His  service  as  a  teacher  is 
notable,  various  distinguished  artists 
have  coached  under  him. 

Heinze  (hints'-e),  Gustav  Adolf.  1820- 

Clarinet  virtuoso.  Born  at  Leipsic, 
and  when  sixteen  years  old  was 
clarinettist  in  the  Gewandhaus  Orches- 
tra. His  teachers  were  his  father, 
Haake,  in  piano  and  Kotte  in  com- 
position. He  was  choirmaster  at  the 
Breslau  Theatre  in  1844,  conductor  of 
German  opera  in  Amsterdam  in  1850 
and  director  of  several  choral  socie- 
ties. He  produced  two  operas,  both 
written  by  his  wife,  Henriette  Heinze, 
and  made  concert  tours  as  a  virtuoso. 
His  compositions  include  several 
choral  works,  three  masses,  two  ora- 
tories, three  concert  overtures,  can- 
tatas and  songs. 


368 


BIOGRAPHIES 


Heiser 
Heiser  (hi-zer),  Wilhelm.  1816-1897. 
Best  known  as  a  composer  of  songs, 
over  five  hundred  of  which  were  pub- 
lished. Born  in  Berlin.  Began  musi- 
cal life  as  a  choir-boy  and  later 
became  an  opera  singer,  and  a  teacher 
of  singing  in  Stralsund,  Berlin  and 
Rostock.  In  1853  was  made  a  regi- 
mental bandmaster  in  Berlin.  His 
songs,  dances  and  marches  for  piano 
are  extremely  popular  in  Germany. 

Heller,  Stephen.     1815-1888. 

An  accomplished  pianist  and  com- 
poser of  merit.  Heller  was  born  in 
Budapest,  the  son  of  a  musician  of 
ability.  His  first  instructor  in  piano 
after  his  father  was  F.  Braiier.  At 
the  age  of  nine  years  he  played  in 
public  with  success;  was  sent  to 
Vienna  to  study  with  Czerny  and 
later  continued  his  study  under  Anton 
Halm.  In  1829  with  his  father  he 
toured  Hungary,  Poland  and  Ger- 
many, and  then  settled  in  Augsburg. 
He  was  adopted  by  a  wealthy  family 
of  Augsburg,  and  in  1838  went  to 
Paris,  making  that  city  his  permanent 
residence.  Heller  appeared  in  Eng- 
land in  1850  at  the  Beethoven  rooms 
and  again  in  1862  at  Crystal  Palace 
with  Halle  in  Mozart's  concerto  in  E 
flat  for  two  pianos.  He  died  in  Paris 
in  1888.  Heller  was  popular  both  in 
France  and  England.  His  thoughtful, 
refined  playing,  early  won  for  him 
recognition  as  a  pianist,  but  though 
his  studies  for  piano  are  among  the 
best  we  have  and  are  in  universal 
use,  as  a  composer  he  gained  ground 
more  slowly.  His  first  publication 
was  a  set  of  variations.  Other  publi- 
cations are  the  fitudes  and  Preludes, 
together  with  several  series  of  small 
pieces  under  quaint  titles,  which  give 
a  clue  to  the  poetic  treatment  of  the 
melodies.  Two  of  the  best  known  of 
these  are  Promenades  d'un  Solitaire; 
and  also  Blumen-Frucht-und-Dornen- 
Stiicke,  from  Jean  Paul.  The  set  of 
Pensees  fugitives  for  piano  and  vio- 
lin, which  have  merited  and  met  with 
success  among  amateur  players,  Hel- 
ler composed  with  the  assistance  of 
Ernst.  Heller's  compositions  are 
known  for  their  exquisite  finish,  orig- 
inal thematic  treatment,  fine  melody, 
forceful  rhythm  and  poetic  sentiment. 

Hellmesberger       (hel'-mes-berkh-er), 

Ceorg.    1800-1873. 

Born  in  Vienna;  the  son  of  a  school- 
master,    who     gave     him     his     first 


Hellmesberger 

musical  instruction.  Father  of  a  dis- 
tinguished family  of  musicians.  Hell- 
mesberger was  renowned  as  a  teacher 
of  violin  and  among  his  pupils  were 
such  well-known  artists  as  Ernst, 
Joachim,  Miska  Hauser,  Leopold 
Auer  and  his  sons  Georg  and  Joseph. 
He  was  assistant  instructor  at  the 
Conservatory  in  1821  and  in  1833 
became  professor;  conductor  of  the 
Imperial  Opera  in  1829;  member  of 
the  Court  chapel  in  1830.  His  pub- 
lished compositions  are  a  string 
quartet;  two  violin  concertos;  solos 
and  several  variations  for  violin. 

Hellmesberger,  Georg,  jr.     1830-1852. 

A  son  of  Georg  Hellmesberger. 
Studied  violin  with  his  father  and 
composition  with  Rotter.  In  1847 
made  a  successful  concert  tour 
through  Germany  and  England.  Was 
appointed  concertmaster  of  the  Royal 
Orchestra  at  Hanover  in  1849,  in  whch 
city  he  died  three  years  later.  He 
was  best  known  for  his  compositions; 
two  operas,  Die  Biirgschaft  and  Die 
beide  Koniginnen,  produced  in  Han- 
over, and  several  symphonies  and 
other  music,  left  in  manuscript. 

Hellmesberger,  Joseph,  sr.     1829-1893. 

Son  of  Georg  Hellmesberger,  sr. 
Born  in  Vienna.  The  most  distin- 
guished of  the  Hellmesberger  family. 
Was  a  brilliant  violinist  and  noted 
teacher.  He  was  educated  with  his 
younger  brother  Georg  by  his  father, 
and  early  gave  evidence  of  musical 
ability  appearing  as  an  infant  prodigy. 
When  eighteen  years  old  he  played 
in  concerts,  in  many  cities  of  Ger- 
many, with  his  father  and  brother 
Georg.  In  1849  he  founded  a  string 
quartet  with  Heissler,  Durst  and 
Schlesinger,  which  became  immensely 
popular  not  only  in  Austria  but 
throughout  the  musical  world.  Hell- 
mesberger, through  his  quartet,  was 
among  the  first  to  awaken  interest  in 
Beethoven's  later  quartets,  and  other 
works,  now  well-known,  were  brought 
from  oblivion  by  him.  In  1851  he 
■was  made  violin  professor  and  direc- 
tor of  the  Conservatory  of  Vienna 
and  professional  conductor  of  the 
Gesellschaft  concerts.  The  position 
of  director  he  held  as  long  as  he 
lived  but  resigned  the  professorship 
in  1859,  and  the  position  of  concert- 
master  in  1877.  Joseph  Hellmesber- 
ger received  great  distinction  in  his 
own  and  other  countries,  was  given 


BIOGRAPHIES 


369 


Hellmesberger 

the  Cross  of  the  Legion  of  Honor  when 
president  of  the  jury  for  musical  in- 
struments at  the  Paris  Exhibition  in 
1855.  On  his  twenty-fifth  anniversary 
as  director  of  the  Conservatory  he 
was  given  the  freedom  of  the  city 
of  Vienna.  His  compositions  are  all 
of  an   educational   character. 

Hellmesberger,  Joseph,  jr.    1855- 

Another  member  of  the  famous 
Hellmesberger  family,  son  of  Joseph, 
senior.  Born  in  Vienna.  Was  noted 
as  violinist  and  dramatic  composer. 
Played  second  violin  in  his  father's 
quartet  from  1875  and  succeeded  him 
as  leader  in  1887.  In  1878  he  be- 
came solo  violinist  in  the  Imperial 
and  in  the  Opera  orchestras  and  pro- 
fessor at  the  Conservatory.  He  was 
chorusmaster  at  the  Opera  Comique 
and  at  the  Karltheatre;  conductor  of 
the  ballet-music  and  leader  at  Court 
opera  in  1884.  Six  of  his  operettas 
were  produced  between  1880  and 
1890  at  Vienna,  Munich  and  Hamburg. 
They  are  Capitan  Ahlstrom;  Der 
Graf  von  Gleichen;  Der  schone  Kur- 
fiirst  Rikiki;  Das  Orakel  and  Der 
bleiche  Cast.  He  was  also  a  suc- 
cessful composer   of   many  ballets. 

Helmholtz  (helm'-holts),  Hermann 
Ludwig  Ferdinand.  1821-1894. 
Hermann  Helmholtz,  born  in  1821 
at  Potsdam,  was  the  son  of  a  pro- 
fessor at  the  Potsdam  Gymnasium, 
and  of  Caroline  Penn  Helmholtz,  an 
English  woman.  He  was  a  distin- 
guished physician,  physiologist  and 
physicist.  Helmholtz  began  the  study 
of  medicine  in  Berlin  in  1839.  In 
1843,  was  appointed  military  surgeon 
at  Potsdam;  in  1848,  teacher  of  anat- 
omy in  the  Academy  of  Fine  Arts, 
in  Berlin;  in  1849,  professor  of  physi- 
ology at  Hcidell)erg,  and  in  1871  he 
returned  to  Berlin  University  as  pro- 
fessor of  natural  philosophy.  Helm- 
holzt's  writings  have  also  won  a 
world-wide  reputation,  and  have  been 
translated  into  several  languages. 
That  with  which  we  are  most  con- 
cerned is  a  Treatise  on  the  Sensa- 
tions of  Tone  as  a  Physiological  Basis 
for  the  Theory  of  Music,  in  which  he 
gives  a  series  of  experiments,  by 
which  he  established  a  physical 
foundation  for  the  phenomena  mani- 
fested by  musical  tones,  single  or 
combined.  This  treatise  supplements 
and  completes  theories  of  Rameau, 
Tortine,  Wheatstone,  Corti  and  others 


Hennes 

and  establishes,  by  science,  what 
Hauptmann  and  his  school  sought  to 
prove  by  a  long  argumentative  proc- 
ess. Of  great  interest  to  musicians 
are  his  Survey  of  the  Musical  Sys- 
tems of  the  Ancients,  and  his  Physi- 
ological Optics,  suggesting  analogies 
between  color  spectrum  and  notes  of 
the  piano.  By  his  scientific  investi- 
gations he  opened  the  path  for  stu- 
dents and  established  a  scientific 
foundation  for  musical  laws. 

Hempson,  Denis.     1695-1807. 

Celebrated  Irish  harper;  born  at 
Craigmore,  County  Londonderry. 
Blind  from  the  age  of  three  years, 
his  harp  was  the  solace  of  a  long 
life.  His  first  teachers  were  Bridget 
O'Cahan,  and  Garragher,  a  blind 
harper.  Fanning  and  Patrick  Connor, 
all  from  Connaught,  well-known  for 
its  harpers.  He  traveled  through  Ire- 
land and  Scotland  and  played  before 
Charles  Edward  at  Edinburgh  in  1745. 
Was  one  of  the  ten  who  played  at 
the  great  meeting  of  harpers  at  Bel- 
fast in  1792.  His  manner  of  playing 
the  harp  was  like  that  described  by 
the  old  writers,  he  used  his  long 
crooked  nails  to  catch  the  strings. 
Hempson's  harp  is  still  preserved  at 
Downhill,  County  Londonderry.  Bunt- 
ing, in  his  Ancient  Music  of  Ireland, 
gives  an  account  of  Hempson  and  his 
wonderful  performances. 

Henderson,  William  James.     1855- 

Born  in  Newark,  New  Jersey.  In 
1876  Henderson  graduated  from 
Princeton  and  became  one  of  the  staff 
of  reporters  for  the  New  York  Trib- 
une. The  following  year  he  took  the 
post  of  musical  critic  for  the  New 
York  Times.  Published  the  Story  of 
Music;  Preludes  and  Studies;  What  is 
Good  Music?;  How  Music  Developed; 
Orchestra  and  Orchestral  Music;  and 
Richard  Wagner.  He  has  written  the 
libretti  for  a  number  of  light  operas 
and  is  a  frequent  contributor  to  the 
leading  magazines  and  reviews.  In 
music  he  has  been  chiefly  self-taught 
and  is  considered  one  of  the  most 
accomplished  scholars  in  that  art  in 
America. 

Hennes  (hen'-nes),  Aloys.    1827-1889. 

A  teacher  of  piano  and  composer  of 
educational  music;  born  at  Aix-la- 
Chapelle.  He  was  a  student  in  the 
Rhenish  School  of  Music  at  Cologne, 
where   he   began  his  studies  in    1844. 


370 


BIOGRAPHIES 


Hennes 


His  instructors  were  Heller  and 
Reinecke.  He  became  a  successful 
teacher  of  piano  and  was  known  as 
such  in  Kreuznach,  Alzey,  Mayence 
and  Wiesbaden.  He  settled  in  Berlin 
in  1872,  continued  teaching,  and  won 
a  reputation  as  an  educational  com- 
poser by  his  Klavierunterrichtsbriefe. 
Hennes'  daughter,  Therese,  a  pupil  of 
Kullak,  was  a  successful  pianist. 

Hennig  (hen'-nikh),  Karl  Rafael.   1845- 

Son  of  Karl  Hennig,  an  organist 
and  composer  of  Berlin.  At  first  a 
law  student  but  naturally  mclined  to 
music  and  became  a  pupil  of  Richter 
at  Leipsic  and  of  Kiel  in  Berlin.  Was 
a  teacher  in  the  Wandelt  Institute  of 
Music  in  Berlin  in  1868;  in  1869,  was 
appointed  organist  of  St.  Paul's 
Church  at  Posen,  which  position  he 
retained  until  1875.  In  1873,  founded 
the  Hennig  Vocal  Society.  He  next 
became  an  instructor  in  the  Institute 
for  Female  Teachers;  in  1883  Royal 
music-director,  and  in  1892  Royal 
professor.  He  is  known  not  only  as 
a  teacher  but  as  a  composer  of  a 
cantata,  the  190th  Psalm;  piano 
sonatas;  songs;  male  and  female 
choruses;  and  for  his  writings  on 
method  of  instruction  in  singing;  a 
treatise  on  song  register  from  a 
physiological  basis;  and  a  deep 
analytical  study  of  Beethoven's  Ninth 
Symphony  and  Missa  Solemnis. 

Henschel    (hen'-shel),   Georg.     1850- 

Well-known  singer,  teacher  and 
composer.  At  the  early  age  of  five 
years,  Henschel  began  his  musical 
studies  in  Breslau,  where  he  was  born. 
The  strong  sense  of  rhythm,  which 
is  noted  in  his  music,  was  perhaps 
largely  due  to  his  early  trainmg,  when 
the  eight  children  in  the  class  per- 
formed at  once  upon  eight  pianos. 
As  a  boy  soprano  he  appeared  at  the 
University  Choral  Society  in  1860,  and 
two  years  later  as  a  pianist  m  Berlin. 
He  was  a  pupil  of  Wandell  Institute  in 
Breslau.  His  instructors  were  Mosch- 
eles,  piano;  Reinecke  and  Richter, 
theory;  Gotze,  singing,  and  Papperitz, 
organ.  After  three  years  at  Leipsic 
Conservatory  he  studied  under  Kiel 
and  Adolph  Schulze.  Henschel  ap- 
peared at  a  Festival  concert  in 
Cologne  in  1874,  at  the  First  Popular 
concert  in  England  in  1877,  in  1878 
at  the  Bach  concert,  in  1879  at  the 
Philharmonic,  where  he  sang  with 
Lillian  Bailey,  who  later  became  his 


Hensel 

wife.  In  1881  he  became  leader  of 
the  Symphony  Orchestra  of  Boston. 
After  three  years  in  America  he  re- 
turned to  establish  the  London  Sym- 
phony concerts.  He  brought  out  many 
of  the  newer  compositions  and  revised 
forgotten  works  of  excellence.  From 
1886  to  1888  he  was  a  teacher  of 
music  in  the  Royal  Academy;  from 
1893  to  1895  conducted  the  Scottish 
Orchestra  in  Glasgow  and  gave  a 
command  performance  at  Windsor 
Castle.  His  compositions  include  a 
suite  in  canon  form  for  stringed 
orchestra;  the  130th  Psalm  for  chorus 
and  orchestra;  a  serenade  for  orches- 
tra, and  several  part-songs. 

Henschel,  Lillian.    1860-1901. 

Lillian  Bailey,  a  gifted  soprano,  was 
born  in  Ohio.  Her  first  teachers 
were  her  uncle,  C.  Haydn,  and  Mme. 
Rudersdorfif.  When  but  sixteen  years 
old  she  made  her  first  public  appear- 
ance in  Boston,  and  met  with  much 
success.  In  1878  she  went  to  Paris 
and  became  a  pupil  of  Mme.  Viardot- 
Garcia.  It  was  while  singing  at  the 
Philharmonic  in  London  that  she  met 
Georg  Henschel.  Later  she  became 
his  pupil,  and  in  1881  they  were  mar- 
ried in  Boston.  Wherever  Mrs.  Hen- 
schel sang  she  met  with  success; 
her  method  was  excellent  and  her 
voice  possessed  a  charm  which  merited 
the  applause  given  her.  She  appeared 
with  her  husband  in  song  recitals  in 
most  of  the  largest  cities  in  America, 
and  delighted  most  critical  audiences, 
as  well  as  the  public  at  large.  She 
died  in  London  in  1901. 

Hensel      (hen'-zel),     Fanny     Cecile. 
1805-1847. 

Eldest  child  of  the  Mendelssohn 
family;  born  Nov.  14,  1805,  in  Ham- 
burg. She  was  a  brilliant  pianist, 
and  a  composer  of  talent.  Her  in- 
structor in  piano  was  Berger.  Her 
brother,  Felix,  frequently  spoke  of 
her  as  being  a  better  player  than 
himself,  and,  as  is  shown  by  his  let- 
ters, placed  great  value  upon  her 
ability  and  judgment  as  musician  and 
critic.  She  was  married  to  W.  Hensel, 
a  painter  of  Berlin,  in  1829.  Her  best 
compositions  are  songs  and  piano- 
pieces,  several  of  which  were  pub- 
lished under  her  brother's  name.  In 
her  own  name  were  published  four 
books  of  melodies  and  songs  for 
piano  solo,  and  one  book  of  part- 
songs.     She   wrote   several   choruses 


BIOGRAPHIES 


371 


Hensel 

to  Goethe's  Faust;  a  number  of  songs 
and  piano-pieces,  and  a  trio  for  piano 
and  strings  in  D,  which  were  pub- 
lished after  her  death,  in  1847,  which 
was  very  sudden  and  undoubtedly 
largely  due  to  overstrain  of  mental 
powers  in  early  life.  The  attachment 
and  intellectual  understanding  be- 
tween her  and  her  brother  Felix  was 
so  great  that  it  is  thought  her  death 
hastened  his,  which  occurred  six 
months  later.  She  is  buried  in  the 
Mendelssohn  portion  of  the  Friedhof 
at  the  Hallettior,  Berlin,  and  a  line 
of  her  music  is  engraved  on  the 
tombstone. 

Henselt  (hen'-zelt),  Adolf  von.    1814- 
1889. 

Henselt,  a  Bavarian,  is  ranked  by 
critics  as  one  of  the  four  greatest 
musicians  of  his  time,  the  other  three 
being  Liszt,  Mendelssohn  and  Chopin, 
and  as  one  of  twelve  pianists  who  repre- 
sent the  highest  perfection  in  technical 
execution  between  the  years  of  1830 
and  1870.  Frau  von  Fladt  was  his 
first  teacher.  At  the  age  of  seven- 
teen he  won  the  regard  of  King  Lud- 
wig  of  Bavaria,  who  sent  him  to 
study  under  Hummel,  in  Weimar. 
Henselt  at  once  showed  his  marked 
individuality  by  opposing  Hummel's 
methods.  He  remained  under  his 
tuition  but  eight  months,  and  during 
the  next  two  years  pursued  his  own 
methods  and  studied  theory  with 
Sechter.  His  method  of  execution 
was  peculiar,  and  considered  by  many 
as  needlessly  awkward,  requiring 
powerful  hand  and  wrist  muscles;  but 
his  appearances  were  greeted  by  Schu- 
mann and  Herr  von  Lenz  as  those  of 
a  truly  great  pianist.  In  1838  he  went 
to  St.  Petersburg;  was  appointed 
Court  pianist  and  teacher  to  the  Im- 
perial children,  and  later  inspector 
of  all  Imperial  schools  of  music  of 
Russia.  His  success  was  phenom- 
enal, and  in  his  capacity  of  inspector 
his  influence  over  piano-music  in 
Russia  was  very  marked.  His  strong 
personality  showed  itself  in  all  his 
work  and  this,  coupled  with  the  most 
zealous  labor,  gained  for  him  his  high 
rank  as  virtuoso,  teacher  and  com- 
poser. Henselt  had  an  aversion  to 
public  performances  and  appeared  in 
concerts  but  three  times  in  thirty- 
three  years.  Among  his  compositions 
are  two  sets  of  twelve  etudes,  which, 
though  not  particularly  original,  pre- 
sent some  of  his  characteristic  difficult 


Herbert 

effects,  and  rank  high  as  true  lyrical 
effusions.  A  number  of  smaller  salon- 
pieces  like  FruhlingsHed  and  La  Gon- 
dola are  of  rare  finish.  Other  works 
of  merit  are  his  arrangement  for 
piano  and  clarinet  of  Weber's  duo  in 
E  flat,  and  of  selections  of  Cramer's 
etudes,  to  which  he  added  a  second- 
piano  part.  His  transcriptions  of 
Weber's  overtures,  parts  of  Weber's 
operas,  and  his  edition  of  Weber's 
principal  piano  works  with  variations 
show  the  touch  of  a  master  musician. 

Herbeck  (her-bek),  Johann  Franz  von. 

1831-1877. 

Herbeck  belongs  to  the  school  of 
modern  instrumental  musicians.  To 
his  great  ambition  and  untiring  labor 
Herbeck  largely  owes  his  fame.  Son 
of  a  poor  tailor,  with  but  a  few 
months'  tuition  in  composition  under 
Rotter  at  Vienna,  he  was  practically 
a  self-educated  man.  In  1852  he  was 
choirmaster  to  the  Piarists  in  the 
Josephstadt;  in  1856  to  the  first 
Miinnergesangverein;  in  1858  a  pro- 
fessor at  the  Conservatory  and  master 
of  the  Gesellschaft  der  Musikfreunde; 
in  1859  professional  conductor  of  the 
Gesellschaft^  concerts;  in  1866  chief 
Court  musician;  in  1871  director 
of  the  Court  Opera;  and  in  1875  he 
again  became  director  of  the  Gesell- 
schaft concerts.  Of  his  compositions, 
his  part-songs  were  most  successful, 
being  simple  and  effective.  Among 
them.  In  the  Forest;  Folk-songs;  and 
May  Time  have  become  well  known. 
His  published  works  include  songs 
for  single  voice,  part-songs  for  men's 
voices,  and  choruses;  symphony  in  D 
minor  for  full  orchestra;  and  string 
quartet  in  F.  He  wrote  a  grand 
mass  in  E,  and  a  Te  Deum,  but  they 
were  never  published.  Herbeck  pos- 
sessed the  order  of  Third  Division  of 
the  Iron  Crown,  which  raised  him  to 
knighthood.  A  memorial  was  erected 
to  him  at  Portschach. 

Herbert,  Victor.    1859- 

Orchestra  conductor,  bandmaster 
and  composer;  born  in  Dublin.  He 
is  a  grandson  of  Samuel  Lover,  the 
well-known  novelist,  playwright  and 
composer  of  characteristic  Irish  songs. 
Upon  the  death  of  his  father  his 
mother  took  him  to  Germany,  where 
he  received  his  musical  education, 
beginning  his  study  at  the  early  age 
of  seven  years.  Was  a  pupil  in  the 
Stuttgart  Conservatory  and  perfected 


zn 


BIOGRAPHIES 


Herbert 


himself  on  the  violoncello.  His  first 
important  appearance  was  as  first 
cellist  of  the  Court  Orchestra  at 
Stuttgart,  and  in  1886  he  held  a  similar 
position  with  the  Metropolitan  Or- 
chestra in  New  York.  He  has  played 
under  Thomas  in  many  American 
cities,  and  with  Seidl,  acting  as  cellist 
and  associate  conductor.  In  1890  he 
was  conductor  for  the  Indianapolis 
Musical  Festival,  and  for  several  years 
assistant  conductor  for  the  Worcester 
(Massachusetts)  Festivals.  Upon  the 
resignation  of  Gilmore,  leader  of  the 
famous  Twenty-second  Regiment  band 
of  New  York,  Herbert  was  chosen  as 
his  successor,  but  was  soon  called 
to  Pittsburg  as  leader  of  the  Pitts- 
burg Orchestra  He  undertook  the 
work  of  counteracting  the  disinte- 
grating effects  of  a  former  conductor, 
and  by  his  shrewd  and  sturdy  musi- 
cianship placed  the  Pittsburg  Orches- 
tra among  the  first  three  orchestras 
of  America  Herbert  remained  with 
this  orchestra  from  1898  to  1904,  when 
he  returned  to  New  York  and  founded 
the  Victor  Herbert  Orchestra,  and  has 
since  given  more  time  to  composi- 
tion. As  an  orchestra  leader  Herbert 
IS  one  of  the  most  popular  and  suc- 
cessful in  America,  esteemed  alike  by 
the  general  public  and  serious -minded 
musicians  He  was  chosen  star  con- 
ductor of  two  successful  concerts  for 
the  Philharmonic  Society  of  New 
York.  He  is  the  composer  of  some  of 
the  most  popular  American  comic 
operas  of  the  present  time.  Among 
them  are  The  Ameer;  Cyrano  de  Ber- 
gerac;  The  Singing  Girl;  The  Fortune 
Teller;  Babes  in  Toyland;  It  Hap- 
pened in  Nordland,  and  Babelte. 
Other  more  serious  compositions  are 
The  Captive,  which  he  wrote  for  the 
Worcester  Festival,  and  which  has 
won  much  praise  for  its  broad  dra- 
matic effects  and  intense  emotional 
themes;  a  serenade  for  strings;  a 
symphonic  poem.  Hero  and  Leander; 
a  suite.  Woodland  Fancies;  another 
entitled  Columbus.  He  has  adapted 
and  orchestrated  Mendelssohn's  Mid- 
summer Night's  Dream  and  has  also 
written  many  effective  songs  after 
the  German  style  In  1886  Victor 
Herbert  was  married  to  Therese 
Foerstei,  a  prima  donna. 

Herbst,  Johann  Andreas.    1588-1666. 

Born  at  Nuremberg.  In  1628  was 
chapelmaster  at  Frankfort,  where  he 
remained  for  thirteen  years,  and  then 


Herold 

took  the  same  position  at  Nurem- 
berg. Returned  to  Frankfort  in  1650, 
where  he  held  a  like  position  as  long 
as  he  lived.  Herbst  was  a  composer 
of  note,  a  deep  student  of  theory,  and 
an  organist  of  rare  judgment;  was 
author  of  several  books  upon  musical 
subjects;  two  of  these  are  a  tract  on 
Thorough-bass  and  a  Discourse  on 
Counterpart  Only  two  of  his  musical 
compositions,  printed  in  1619,  are  now 
in  existence. 

Hermann  (her-man),  Friednch.    1828- 

Royal  Saxon  professor  of  music, 
Leipsic  Conservatory.  Born  in  Frank- 
fort-on-the-Main.  Studied  violin  under 
Mohr,  and,  at  the  Leipsic  Conserv- 
atory, composition  under  Mendels- 
sohn and  Hauptmann,  and  violin 
under  David.  Became  violin-player 
in  Gewandhaus  and  Theatre  Orches- 
tras in  1846  In  1848  he  was  appointed 
teacher  of  violin  in  the  Conservatory. 
In  1875  he  resigned  the  positions  in 
the  orchestras  and  devoted  himself  to 
teaching  composition  and  the  editing 
of  classical  music.  Received  appoint- 
ment of  Royal  Professor  in  1883.  His 
compositions  include  a  symphony  ren- 
dered by  the  Gewandhaus  Orchestra 
in  1862;  quartet  for  wind-instruments; 
terzet  for  three  v'tolins;  duo  for  violin 
and  cello.  His  editions  of  classical 
works  for  stringed  instruments  are 
valuable  to  musicians,  especially  the 
Peters'  and  Augener's  editions. 

Hernando    (er-nan'-do),    Rafael   Jose 
Maria.     1822- 

A  modern  representative  musician 
of  Spain,  Born  in  Madrid;  educated 
at  the  Conservatory  under  R.  Carnicer, 
and  later  studied  in  Paris,  where  he 
produced  a  Stabat  Mater  at  the  St. 
Cecilia  Society,  but  failed  in  an 
effort  to  produce  a  four-act  Italian 
opera  in  the  Theatre  Italien.  Re- 
turned to  Madrid  and  became  com- 
poser and  director  for  a  Madrid 
theatre.  In  1852  he  was  appointed 
secretary  of  the  Madrid  Conservatory 
and  later  professor  of  harmony.  He 
was  the  founder  of  the  Mutual  Aid 
Musical  Society  in  Madrid,  and  became 
its  secretary.  Among  his  compositions 
are  a  number  of  operettas;  a  mass, 
performed  in  1867;  cantatas  and 
hymns. 

Herold   (a-rol),  Louis  Joseph  Ferdi- 
nand.    1791-1833. 

Son  of  FranQois  Joseph  Herold. 
Born    in    1791    in    Paris.     After    the 


BIOGRAPHIES 


373 


Herold 

death  of  his  father,  in  1806,  Herold 
decided  to  make  music  liis  profession. 
He  was  a  pupil  at  the  Institute  at 
Hix,  where  he  distinguished  himself 
and  attracted  the  attention  of  the 
celebrated  Fetis,  by  his  quickness  and 
musical  perception.  His  first  teacher 
of  piano  was  Louis  Adams,  his  god- 
father. He  studied  harmony  with 
Catel,  and  composition  with  Mehul. 
In  1812  he  received  the  Prize  of  Rome 
for  his  cantata,  Mile,  de  la  Valliere, 
an  unpublished  score  of  which  is  in 
the  library  of  the  Paris  Conservatory, 
together  with  the  other  compositions 
written  at  Naples,  where  he  became 
pianist  to  Queen  Caroline.  In  1815 
an  opera  bufTa  written  by  him,  and 
given  at  the  F'ondo,  in  Naples,  met 
with  great  success.  During  the  same 
year  Boieldieu  asked  him  to  complete 
his  score  of  Charles  de  France;  this 
work  won  for  him  much  favorable 
notice.  In  1817  his  own  opera,  Les 
Rosieres,  was  given  at  the  Feydeau, 
and  shortly  after  appeared  his  La 
Clochette.  From  1818  to  1825  he 
wrote  numberless  operas,  but  because 
of  poor  texts  their  production  did 
not  meet  with  success.  Herold  was 
accompanying  pianist  at  the  Theatre 
Italien  from  1820  to  1823,  and  during 
these  three  years  wrote  nothing  for 
the  stage.  His  next  works  were  five 
operas.  The  state  of  discouragement 
of  the  composer  was  evidenced  in 
them,  and  he  next  began  to  copy 
Rossini,  but  his  style  was  not  fitted 
to  Herold's  peculiar  genius.  In  1827 
he  was  made  director  of  the  opera 
and  for  three  years  wrote  but  four 
ballets.  In  1830  he  produced  £mme- 
line, 'which  was  a  failure,  but  in  1831 
his  opera,  Zampa,  made  his  success 
assured.  It  was  the  first  exclusively 
romantic  opera  of  the  period.  By 
German  critics,  Zampa  is  given  first 
place  among  his  works.  His  last 
great  composition  was  Le  pre  aux 
Clercs,  the  production  of  which  he 
personally  superintended.  The  French 
consider  Le  pre  aux  Clercs  rather 
than  Zampa  his  masterpiece,  as  there 
IS  greater  unity,  due  to  sympathy 
between  dramatist  and  composer. 
Herold  left  an  unfinished  opera,  Lu- 
dovic,  which  Halevy  completed  and 
produced  in  1834.  One  of  his  corriic 
operas.  La  Medecine  sans  Medecin, 
became,  by  1871,  so  popular  that  it  had 
been  presented  one  thousand  times, 
and  is  considered  by  many  to  have 
been  his  best  dramatic  effort.     While 


Hertz 

Herold  is  known  as  one  of  the  great- 
est French  writers  of  opera  comique, 
his  few  orchestral  compositions  are 
of  such  quality  as  to  show  that  he 
might  have  held  high  rank  with  mod- 
ern symphonists. 

In  his  opera,  Marie,  he  proves  his 
thorough  knowledge  of  the  stage;  his 
keen  judgment  and  graceful  and 
select  orchestration.  The  scene  of 
Marie's  despair  evinces  the  art  of  a 
true  poet  and  musician.  His  ballets 
are  also  of  rare  quality  and  his  in- 
fluence upon  French  ballet  composi- 
tion was  marked.  Though  Herold's 
work  became  at  times  almost  like 
drudgery,  and  failure  to  find  material 
for  his  operas  was  discouraging,  he 
never  lost  sight  of  his  one  high  ambi- 
tion, that  of  becoming  a  truly  great 
composer.  That  he  possessed  the 
modesty  of  all  real  masters  was 
shown  by  his  complaint  to  a  friend 
shortly  before  he  died,  that  he  was 
going  too  soon,  as  he  had  only  just 
begun  to  understand  the  stage.  He 
died  in  Les  Ternes  at  the  age  of 
forty-two.  Other  of  Herold's  com- 
positions not  mentioned  above  are 
Le  premier  venu;  Les  Troqueurs;  and 
L' Amour  platonique;  L'Anteur  mort 
et  vivant;  Le  Muletier;  and  Le  Lapin 
blanc,  all  operas,  only  one  of  which 
met  with  much  success,  Le  Muletier; 
and  a  series  of  ballets,  Astolphe  et 
Joconde,  La  Sonnambule,  La  Belle  au 
bois,  and  La  Fille  mal  gardee. 

*  Hertz  (hertz),  Alfred.    1872- 

Conductor  of  German  opera  for  the 
Conried  Metropolitan  Opera  Com- 
pany of  New  York;  was  born  in 
Frankfort  -  on  -  the  -  Main,  Germany. 
After  finishing  at  the  Gymnasium  he 
entered  the  Raff  Conservatory  in 
Frankfort,  where  his  principal  teach- 
ers were  Anton  Wespruch  and  Max 
Schwartz.  His  first  engagement  as 
musical  director  was  at  the  Ducal 
Court  Theatre  at  Altenburg,  Saxony, 
from  1892  to  1895,  where  the  order 
for  art  and  science  of  Saxony  was 
conferred  upon  him.  He  conducted 
Humperdinck's  Hansel  and  Gretel  at 
one  of  the  first  theatres  there.  From 
1895  until  the  spring  of  1899  he  was 
in  Barmen,  Elberfeld;  later  conducted 
concerts  at  St.  James  Hall,  London. 
From  1899  to  1902  he  was  first  musical 
director  at  Breslau,  where,  besides 
many  other  important  works,  he  pro- 
duced Charpentier's  Louise,  the  first 
time   it   was   given   in   Germany.     In 


374 


BIOGRAPHIES 


Hertz 

the  autumn  of  1902  he  was  engaged 
to  conduct  German  Opera  for  the 
Metropolitan  Opera  Company  of 
New  York  City,  in  which  position  he 
conducted  the  first  performance  of 
Parsifal  ever  given  outside  Bayreuth, 
in  1903,  and  during  1907  conducted 
the  first  American  performance  of 
Richard  Strauss'  Salome.  He  is  in 
charge  of  all  German  Opera  produced 
by  the  Metropolitan  Opera  Company. 

Herve  (er-va).     (Florimond  Ronger.) 

1825-1892. 

Dramatic  composer,  originator  of 
the  French  operette,  and  organist. 
JBorn  at  Houdain,  near  Arras;  re- 
ceived his  musical  education  at  the 
School  of  Saint  Roch.  Herve  was 
organist  in  several  churches  of  Paris, 
and  in  1848  produced  at  the  Opera 
National,  Don  Quixote  and  Sancho 
Panza,  in  which  he  appeared  as  a 
singer.  He  then  became  conductor  of 
the  orhcestra  in  the  Palais-Royal. 
In  1855  he  opened  a  small  theatre 
for  the  production  of  pantomimes,  and 
musical  comediettas  for  two  persons, 
and  from  these  developed  the  light 
French  operetta,  writing  both  libretto 
and  music,  and  often  appearing  in 
the  double  role  of  actor  and  orchestra 
conductor.  He  was  later  connected 
with  the  theatres  in  Paris,  Marseilles, 
Montpellier  and  Cairo;  in  1870  con- 
ducted the  Covent  Garden  Promenade 
concerts,  when  he  introduced  a 
Heroic  Symphony  for  solo  voices  and 
orchestra,  which  he  called  The 
Ashantee  War.  His  Frivoli  was  put 
on  at  Drury  Lane  in  1886,  and  the 
ballets,  Dilara  and  Sport,  were  pro- 
duced at  the  Empire  Theatre,  where 
for  three  years  he  was  musical  di- 
rector. Other  of  his  ballets  are  La 
Rose  d'Amour;  Cleopatra,  and  Les 
Bagatelles.  His  most  successful  opera 
has  been  Le  Petit  Faust,  which  was 
produced  in  English  at  the  Lyceum 
Theatre.  Another  three-act  opera  was 
produced,  in  English,  at  the  Olympic, 
as  Hit  or  Miss,  as  a  one-act  and  five- 
scene  opera  freely  adapted  by  Bour- 
nand.  Many  of  his  later  operas  were 
failures,  but  he  became  a  successful 
writer  of  songs,  which  were  intro- 
duced into  musical  comedies.  Herve 
has  also  composed,  for  the  English 
stage,  Aladdin  the  Second. 

•Hervey,  Arthur.    1855- 

Hervey  is  equally  well  known  as  a 
composer   and   musical   critic.     Born 


Herz 

in  Paris  of  Irish  parentage.  He  was 
educated  to  enter  the  diplomatic  serv- 
ice, but  in  1880  turned  his  attention 
to  music.  He  studied  violin  under 
Berthold  Tours.  Between  the  years 
of  1889  and  1892  he  held  the  position 
of  musical  critic  to  Vanity  Fair,  and 
resigned  to  fill  a  like  position  on  the 
Morning  Post.  His  compositions  are 
of  much  excellence  and  show  truly 
poetic  gifts.  Among  his  best  works 
are  Fairy's  Post-Box,  a  one-act  opera 
to  Pelgrave  Simpson's  words;  sev- 
eral sets  of  beautiful  songs;  Love  of 
My  Life;  May  Song;  and  Mine  All; 
a  dramatic  overture.  Love  and  Fate, 
which  shows  him  master  of  the  or- 
chestra; three  tone-poems,  On  the 
Heights,  On  the  ]\Iarch,  and  In  the 
East;  Youth,  an  overture;  a  graceful 
romance  for  violin;  and  other  popular 
violin-pieces.  Hervey  has  also  writ- 
ten two  books,  Masters  of  French 
Music,  and  French  Music  of  the 
Nineteenth  Century. 

Herz  (ers  or  herts),  Henri.    1806-1888. 

Popular  pianist;  born  in  Vienna. 
His  father  was  his  first  instructor. 
He  studied  under  Prahder  at  the  Paris 
Conservatory  and  won  the  prize  for 
piano-playing  in  his  first  year.  He 
toured  Germany  with  Lafont  in  1831 
and  visited  London  for  the  first  time 
in  1833,  playing  at  the  Philharmonic 
and  at  a  concert  of  his  own  with 
Moscheles  and  Cramer.  In  1842  he 
was  made  professor  of  piano  at  the 
Paris  Conservatory.  Returned  the 
following  year  to  London  to  again 
appear  at  the  Philharmonic,  and  then 
in  Edinburgh  and  Dublin.  He  at- 
tempted to  combine  art  and  business 
and  his  first  venture,  the  manufac- 
ture of  pianos,  was  a  failure.  He 
then  went  to  America,  touring  the 
United  States,  Mexico  and  the  West 
Indies.  For  six  years  he  gave  popu- 
lar concerts,  which  were  well  re- 
ceived. Financially  reimbursed,  he 
returned  to  Paris  and  with  his  larger 
capital  again  entered  the  business 
field.  At  the  Paris  Exposition,  in 
1855,  his  piano  carried  off  the  highest 
award  and  still  ranks  with  those  of 
Pleyel  and  firard. 

An  account  of  his  American  tour, 
written  by  Herz  in  Paris  in  1866,  won 
for  him  a  local  reputation  as  a  writer 
as  well  as  a  musician.  Until  1874  he 
held  the  chair  at  the  Conservatory 
and  was  distinguished  as  a  teacher. 
Herz   was   a   prolific    composer,   pro- 


BIOGRAPHIES 


375 


Herz 

ducing  over  two  hundred  pieces,  in- 
cluding concertos  for  piano  and  for 
piano  and  orchestra;  a  great  number 
of  variations;  and  several  etudes  and 
piano  methods.  Although  eminently 
successful  as  a  piano  virtuoso,  because 
of  his  brilliancy  and  power  of  ex- 
pression and  his  willingness  to  popu- 
larize his  music  to  please  the  public 
at  large,  Herz  was  never  distinguished 
among  the  great  artists.  He  died  in 
Paris  in  1888. 

Herz,  Jacques  Simon.    1794-1880. 

Born  in  Nice.  A  brother  of  Henri 
Herz.  He  was  educated  in  Paris, 
where  he  was  a  piano  pupil  of  Prahder 
at  the  Conservatory.  Was  known  in 
Paris  as  a  distinguished  pianist  and 
a  most  successful  teacher.  He  lived 
in  England  for  several  years  and 
taught  piano  in  London.  In  1857  he 
returned  to  the  Conservatory  at  Paris 
and  became  assistant  teacher  to  his 
brother  Henri.  He  was  the  com- 
poser of  a  number  of  piano-pieces, 
several  violin  sonatas  and  a  sonata 
for  horn. 

Herzog   (her'-tsokh),  Johann  Georg. 
1822- 

Organist  and  composer.  Born  in 
Schmolz,  Bavaria.  He  was  a  pupil 
in  a  school  of  music  at  Altdorf,  and 
later  of  Bodenschatz.  Was  organist 
in  Munich  in  1842,  cantor  in  1849;  in 
1850  professor  at  the  Conservatory, 
and  later  a  teacher  in  the  University 
at  Erlangen.  He  was  an  efficient 
organist  and  sound  composer.  His 
book  of  preludes  and  a  study  for 
organists  are  well  known.  He  retired 
from  public  life  in  1888. 

Herzogenberg     (her'-ts6kh-cn-berkh), 
Heinrich  von.     1843-1900. 

Pianist  and  composer.  Born  at 
Graz.  Among  modern  German  musi- 
cians he  is  given  first  place  by  lovers 
of  purely  classical  music.  In  early 
life  he  was  greatly  influenced  by 
Wagner,  but  later  came  more  and 
more  under  the  spell  of  Schumann 
and  Brahms.  His  piano  performances 
were  noted  for  rare  finish.  He  was 
one  of  the  founders  of  the  Leipsic 
Bach  Verein.  Was  professor  of  com- 
position at  the  Berlin  Hochschule  for 
Music,  as  successor  to  Kiel;  president 
of  the  Meisterschule  for  composition, 
and  a  member  of  the  Academy.  His 
compositions  are  marked  by  skilful 
and      artistic      workmanship.        Best 


Hesse 

known  among  them  are  the  settings 
of  the  94th  and  116th  Psalms  for  choir; 
two  piano  works  for  four  hands;  two 
string  trios;  two  odes,  and  requiem 
mass,  which  was  suggested  by  the 
death  of  his  wife,  Elizabeth  Stock- 
hausen  yon  Herzogenberg,  also  an 
accomplished  pianist  and  composer 
of  some  ability.  Ill  health  caused 
him  to  give  up  public  appearances, 
and  he  died  in  Italy  in  1900. 

Hess,  Willy.    1859- 

Violinist,  who  was  born  at  Mann- 
heim. His  father  was  his  first 
teacher.  He  later  studied  with  Spohr, 
and  from  1876  to  1878  was  a  pupil  of 
Joseph  Joachim.  As  soloist  and  in 
trio  with  his  brother  and  sister,  he 
successfully  toured  Germany,  Bel- 
gium, France,  England,  Holland  and 
America.  He  played  with  the  Thomas 
Orchestra  in  America;  was  leader  of 
Opera  and  Museum  concerts  at 
Frankfort;  founder  of  a  string  quar- 
tet; professor  at  Rotterdam  Conserv- 
atory; leader  of  Sir  Charles  Halle's 
Orchestra  in  Manchester  for  seven 
years,  and  of  the  Liverpool  Phil- 
harmonic Society.  Was  made  prin- 
cipal professor  of  violin  at  the  Royal 
Academy  of  Music,  London,  in  1903. 
In  1904  was  leader  of  the  Boston 
Symphony  Orchestra  and  Quartet. 
The  Emperor  of  Germany  conferred 
on  him  the  title  of  Royal  Prussian 
Professor.  Hess  was  one  of  the  many 
famous  violinists  to  play  at  the  cele- 
bration, in  Berlin,  of  the  jubilee  of 
Joachim's  life  as  a  violin-player. 

Hesse      (hes'-se),     Adolf     Friedrich. 
1809-1863. 

Great  organist  and  composer;  born 
at  Breslau;  the  son  of  an  organ- 
builder.  He  studied  piano,  organ  and 
composition  with  Berner,  E.  Kohler 
and  Hummel.  Went  to  Berlin,  Leip- 
zic,  Hamburg  and  Weimar,  where  he 
played  his  own  and  other  composi- 
tions. Met  Ruick  and  Spohr,  under 
whose  influence  he  composed  most  of 
his  best  works.  In  1831  he  was  ap- 
pointed organist  of  the  Church  of  the 
Bernhardins,  Breslau,  and  held  the 
post  as  long  as  he  lived.  Hesse  was 
given  the  title  of  The  Mozart  of  the 
organ.  He  astounded  Paris  in  1844 
by  his  unique  pedal-playing,  and  ap- 
peared in  London  in  1851,  where  he 
met  with  great  success.  His  best 
works  are  the  Hymn  Book  for  Silesia, 
preludes,  fugles,  studies  and  fantasias 


376 


BIOGRAPHIES 


Hesse 

for  the  organ.  One  of  his  well- 
known  variations  is  on  God  Save  the 
King.  His  compositions  for  organ 
have  been  edited  by  Steggall  and 
published  by  Boosey.  He  died  in 
Breslau  in  1863. 
Heuberger     (hoi'-berkh-er),     Richard 

Franz  Joseph.    1850- 

Austrian  composer  and  musical 
critic;  born  at  Gratz.  By  profession 
an  engineer.  In  1876  he  gave  his 
attention  entirely  to  music,  became 
choirmaster  of  the  Academical  Vienna 
Vocal  Society,  and  in  1878  conductor 
of  the  Singakademie  of  the  same  city. 
In  1881  he  took  the  position  of  critic 
for  a  Vienna  daily  paper  and  for  the 
New  Free  Press,  and  finally  became 
editor  of  a  paper  called  the  New 
Musical  Press.  Among  his  composi- 
tions are  numerous  voice  and  orches- 
tral works,  cantatas,  three  operas, 
which  were  produced  in  Leipsic,  sev- 
eral ballets  and  operettas. 

Heubner  (hoip'-ner),  Konrad.    1860- 

Talented  composer  of  overtures, 
symphony  in  A,  quintet  for  piano, 
two  violins,  viola  and  cello,  piano  and 
violin  sonata,  piano  trio,  songs,  etc. 
Heubner  was  born  in  Dresden,  and 
received  his  early  education  at  the 
Dresden  Kreuzschule.  For  two  years 
he  was  a  pupil  at  the  Leipzic  Con- 
servatory and  of  the  University  under 
Riemann.  Studied  with  Nottebohm  in 
Vienna,  and  in  1881  with  Wullner 
Nicode  and  Blassmann  at  Dresden. 
He  was  conductor  of  the  Singa- 
kademie at  Liegnitz,  and  in  1884  sec- 
ond conductor  of  the  Singakademie  of 
Berlin.  He  succeeded  Raphael  Masz- 
kowski  as  director  of  the  Musical 
Society  and  of  the  Conservatory  of 
Coblentz. 

Hey  (hi),  Julius.    1832- 

Teacher  of  singing.  Born  in 
Lower  Franconia.  He  at  first  began 
the  art  of  painting,  but  later  turned 
his  attention  to  music,  and  became  a 
pupil  of  Franz  Lachner  and  F. 
Schmitt,  studying  harmony  and  coun- 
terpoint with  the  former,  and  singing 
with  the  latter.  King  Ludwig  intro- 
duced Hey  to  Wagner,  and  he  became 
an  ardent  admirer  and  follower  of 
this  master.  When  von  Biilow  left  the 
Munich  School  of  Music  Hey  at- 
tempted to  reform  the  method  of 
voice  culture,  but  met  with  many 
obstacles,  and  upon  the  death  of 
Wagner  gave  himself  up  to  the  com- 


Hignard 
pletion  of  a  book,  setting  forth  Wag- 
ner's views  on  vocal  training.  This 
work,  called  German  Song  Instruc- 
tion, was  in  four  parts:  one  part 
relating  to  speech,  one  to  develop- 
ment of  tone  and  formation  of  wom- 
en's voices,  one,  formation  of  men's 
voices,  and  the  last,  an  index  of  ex- 
planation. This  he  published,  hoping 
it  would  ultimately  result  in  the 
opening  of  a  school  for  formation  of 
style.  Though  he  failed  to  overturn 
existing  methods  he  had  a  great  in- 
fluence on  contemporary  schools  of 
singing.  Wagner  considered  him  first 
among  all  teachers  of  singing.  His 
compositions  include  songs,  duets,  and 
sixteen  easy  songs  for  children. 

Heymann  (hl-man),  Karl.    1854- 

Piano  virtuoso.  Son  of  Isaac  Hey- 
mann, a  musician.  Heymann  was  a 
pupil  of  the  Conservatory  of  Cologne, 
and  of  Kiel  at  Berlin.  As  Kiel's 
pupil  he  first  gained  recognition  as  a 
pianist.  Ill  health  prevented  further 
public  appearance  until  1872,  when  he 
played  with  Wilhelmj.  Was  a  musi- 
cal director  at  Bingen;  Court  pianist 
to  the  Landgrave  of  Hesse;  teacher 
from  1877  to  1880  at  the  Hoch  Con- 
servatory at  Frankfort,  where  A.  E. 
MacDowell,  one  of  America's  great- 
est composers,  was  his  pupil.  He  again 
took  up  his  career  as  virtuoso,  but 
his  health  failed.  He  has  never 
become  well  known  outside  of  Eu- 
rope. His  compositions  are  marked 
by  their  brilliancy,  among  them  are 
Elfenspiel,  and  Mummenshanz  and 
Phantasiestiicke,  a  piano  concerto. 

Hientzsch  (hentsh),  Johann  Gottfried. 
1787-1856. 

German  composer;  born  at  Mo- 
krehna,  near  Torgan.  He  studied  at 
the  Thomas  School  and  the  University 
of  Leipzic.  He  lived  for  some  years 
in  Switzerland  as  a  teacher  in  order 
to  learn  Pestalozzi's  method.  He 
held  successive  positions  as  teacher 
at  the  Neuzelle  Seminary,  Breslau 
Seminary,  at  Potsdam,  and  in  the 
Berlin  Institute  for  the  Blind.  He 
published  church  melodies  for  school 
use,  also  treatises  on  singing.  From 
1828  to  1837  he  edited  an  educational 
musical  journal,  the  Eutonia. 

Hignard    (en-yar),   Jeon   Louis   Aris- 
tide.     1822-1898. 

Hignard  was  born  at  Nantes.  He 
was  a  pupil  of  Halevy  at  the  Paris 
Conservatory,  where   he   won   second 


BIOGRAPHIES 


377 


Hignard 


prize  for  composition.  He  was  a 
dramatic  composer,  and  in  1851  pro- 
duced his  lirst  opera,  Le  Visionnaire, 
at  Nantes.  This  was  followed  by  Le 
Colin  Maillard;  Les  Campagnons  de 
la  Marjolaine;  Les  Musiciens  de 
rOrchestre,  and  others.  He  was  also 
the  composer  of  a  number  of  songs 
and  choruses,  the  valse  concertantes 
and  valses  romantiques  for  piano. 
Though  Hignard  was  an  ambitious 
and  earnest  composer  he  never  suc- 
ceeded in  producing  any  very  im- 
portant or  lasting  work. 

Hiles  (hilz),  Henry.    1826-1904. 

English  organist,  composer,  con- 
ductor and  lecturer.  He  was  born  in 
Shrewsbury;  was  a  brother  and  pupil 
of  John  Hiles,  the  well-known  English 
organist.  Hiles  held  various  posi- 
tions as  organist,  at  Bury;  Bishop 
Wearmouth;  St.  Michaels,  London; 
Blind  Asylum,  Manchester;  Bowden; 
St.  Paul's,  Manchester.  He  became 
lecturer  on  harmony  and  composition 
at  Owens  College,  Manchester,  in 
1876,  and  at  Victoria  University  in 
1879.  He  was  co-founder  of  the  Na- 
tional Society  of  Professional  Musi- 
cians in  1882;  later  professor  of 
harmony  and  composition  at  Royal 
Manchester  College  of  Music.  He 
was  conductor  of  several  musical 
societies  in  Lancashire  and  Yorkshire. 
In  1893  he  was  made  professor  at  the 
Manchester  College,  retired  in  1904 
and  died  the  latter  part  of  that  year. 
His  compositions  include  two  ora- 
torios, David  and  The  Patriarchs;  an 
overture,  Harold;  three  cantatas, 
Watchfulness,  Fayre  Pastoral  and  The 
Crusaders;  several  anthems,  services, 
and  part-songs;  a  glee;  an  ode;  and 
choral  works.  Hiles  was  editor  and 
proprietor  of  the  Quarterly  Musical 
Review  from  1885  to  1888,  and  wrote 
a  number  of  books  on  music. 

Hill,  Junius  Welch.     1840- 

Concert  director,  organist  and  com- 
poser. Born  in  Hingham,  Mass.  He 
began  his  studies  in  Boston  with 
J.  C.  D.  Parker,  and  for  three  years 
continued  in  the  Lcipsic  Conserv- 
atory under  Moscheles,  Plaidy,  Rich- 
ter,  Reinecke  and  Hauptmann.  He 
was  appointed  organist  at  Tremont 
Temple,  Shawmut  Church,  Tremont 
Street  Methodist  Church,  and  in 
Brookline,  Harvard  Church.  As  pro- 
fessor of  music  at  Wellesley  College, 
to  which  position  he  was  appomted  in 


Hillemacher 
1884,  he  made  his  reputation  as  a 
teacher  and  as  a  concert  leader.  Pie 
gave  over  two  hundred  artistic  con- 
certs with  soloists,  quartets  and 
orchestra.  After  thirteen  years'  work 
at  Wellesley  he  resigned  his  position. 
His  compositions  are  not  numerous, 
but  his  female  choruses  have  met  with 
success,  and  he  has  edited  valuable 
collections  for  the  piano,  character- 
istic piano-pieces,  and  Treasures  of 
Lyric  Art. 

Hill,    Thomas    Henry    Weist.    1828- 
1891. 

Was  born  in  London  in  1828;  he 
studied  violin  in  the  Royal  Academy 
of  Music  under  Sainton.  His  first 
appearance  was  at  an  Academy  con- 
cert in  1847.  He  later  toured  America 
and  then  Europe.  He  was  a  member 
of  Costa's  band  in  1849,  director  of 
the  ballet  music  at  Drury  Lane,  con- 
ductor at  the  Alexandra  Palace  in 
1875-1876,  conductor  of  English  Opera 
at  Her  Majesty's  Theatre,  and  then 
of  Madame  Viard-Louis'  Orchestral 
concerts  from  1878  to  1879.  Hill  in- 
troduced important  musical  composi- 
tions both  in  Europe  and  America. 
He  brought  out  Goetz's  symphony, 
Cherubini's  AH  Baba  Ballet,  Berlioz's 
selections,  Svendsen's  first  symphony, 
and  Bizet's  Roma.  In  1880  he  was 
appointed  principal  of  the  Guildhall 
School,  where  he  was  very  successful 
as  a  teacher,  and  raised  a  new  school 
to  a  high  standard.  He  died  in  Lon- 
don in  1891. 

*  Hillemacher     (hil'-le-makh-er),    Lu- 

cien  Joseph  fidouard.  1860- 
Brother  of  Paul  Hillemacher.  Born 
in  Paris;  educated  with  his  brother  at 
the  Conservatory.  He  took  the  Grand 
Prize  of  Rome  in  1880.  Like  his 
brother,  he  is  a  pianist  and  composer. 
His  works  are  all  collaborations,  and 
are  listed  with  his  brother  Paul's. 

*  Hillemacher,   Paul  Joseph  William. 

1852- 

Distinguished  French  composer  and 
pianist.  He  was  born  in  Paris,  Nov. 
25,  1852,  and  received  his  musical 
education  at  the  Paris  Conservatory 
under  Bazin.  Hillemacher  won  a 
second  prize  for  harmony  in  1870,  a 
first  accessit  for  fugue  in  1872,  and 
the  Grand  Prize  of  Rome  in  1876  for 
his  cantata,  Judith.  Paul  and  Lucien 
Hillemacher,  his  brother,  wrote  all 
their   scores   in   collaboration.     They 


378 


BIOGRAPHIES 


Hillemacher 
include  Loreley,  a  symphonic  legend; 
an  opera,  St.  Megrin;  comic  operas, 
Une  aventure  d'Arlequin,  and  Le 
Regiment  qui  passe;  music  to  Haran- 
court's  Hero  and  Leander;  a  lyric 
drama,  Le  Drac;  and  songs. 

Hiller  (hil'-ler),  Ferdinand  von.    1811- 

1855. 

Killer's  life  and  works  were  inti- 
mately associated  with  and  influenced 
by  Mendelssohn,  whom  he  knew  from 
boyhood,  Rossini,  Cherubini,  Chopin, 
Liszt,  Meyerbeer,  Berlioz,  Heine, 
Joachim,  Nournt  and  other  famous 
musicians,  whose  friendship  and 
esteem  he  always  held.  He  was  born 
of  Jewish  parentage  at  Frankfort-on- 
the-Main  in  1811.  His  first  musical 
instruction  was  from  Hoffman,  a  vio- 
linist, and  this  was  followed  by  piano 
instruction  from  Aloys  Schmidt,  and 
harmony  and  counterpoint  from  VoU- 
weiler.  His  first  public  appearance  as 
a  pianist  was  in  1821,  when  he  played 
a  concerto  of  Mozart's;  and  two  years 
later  began  his  work  as  composer 
At  Weimar  he  studied  with  Hummel, 
whose  criticisms  of  his  compositions 
were  very  severe-  but  the  boy  showed 
a  determination  to  succeed  and  won 
the  regard  of  Hummel,  who  took 
him  on  a  professional  tour  to  Vienna. 
While  in  Vienna  Hiller  published  a 
piano  quartet  which  he  had  written  at 
Weimar  He  went  to'  Paris  in  1828 
and  was  for  a  short  time  professor  in 
Choron's  School  of  Music  Here  he 
met  many  distinguished  musicians, 
and  helped  by  his  performances  to 
make  better  known  the  works  of 
Bach  and  Beethoven.  He  remained  in 
Paris  for  seven  years  and  then  went 
to  Frankfort,  and  for  a  year  was  con- 
ductor for  a  musical  society  there. 
He  next  went  to  Milan,  where  he 
began  his  most  important  work,  The 
Destruction  of  Jerusalem,  an  oratorio. 
Mendelssohn  pronounced  this  work  an 
inspiration  and  induced  Hiller  to  go 
to  Leipsic  and  personally  superintend 
its  production  in  1840.  It  proved  a 
great  success  and  was  later  produced 
in  Frankfort,  Berlin,  Dresden  Vienna, 
Amsterdam  and  other  musical  cen- 
ters. To  further  perfect  himself,  Hil- 
ler went  to  Rome  and  studied  old 
Italian  church  music  under  Raine. 
He  returned  to  Germany,  living  first 
in  Frankfort,  then  in  Leipsic  as  con- 
ductor of  the  Gewandhaus  concerts 
from  1843  to  1844,  and  next  in  Dres- 
den,   where    he    produced    two    more 


HUler 

operas,  Traum  in  der  Christnacht  and 
Conradin.  He  was  chorusmaster  at 
Diisseldorf  in  1847,  and  in  1850  held  a 
like  position  in  Cologne,  where  he 
founded  and  directed  a  conservatory. 
He  held  the  directorship  as  long  as 
he  lived.  From  1852  to  1853  Hiller 
was  conductor  of  Italian  Opera  in 
Paris;  from  1850  conductor  of  -all  the 
Lower  Rhine  Festival  concerts  held 
at  Cologne,  and  here  gained  much  dis- 
tinction. He  also  conducted  a  series 
of  concerts  by  the  Russian  Musical 
Society,  and  gave  successful  concerts 
in  Liverpool  and  Manchester.  In  1849 
he  was  elected  a  member  of  the  Royal 
Academy  of  Fine  Arts,  Berlin;  in 
1868  he  was  given  honorary  title  of 
Doctor,  by  Bonn  University;  and  in 
1877  the  King  of  Wiirtemberg  con- 
ferred on  him  a  patent  of  nobility 

Hiller's  published  compositions  in- 
clude chamber-music,  piano  quartets, 
trios,  string  quartets,  sonatas  for 
piano,  and  for  piano,  violin  and  vio- 
loncello, serenade  for  piano,  etudes, 
studies  in  rhythms,  four  overtures  for 
orchestra,  a  festival  march,  three 
symphonies,  four  operas,  choruses  and 
a  number  of  cantatas.  His  two  great 
oratorios,  The  Destruction  of  Jeru- 
salem, and  Saul,  are  by  many  critics 
thought  worthy  of  a  place  beside 
Mendelssohn's  oratorios.  Hiller  is  re- 
membered not  only  as  a  pianist,  con 
ductor  and  composer  but  also  as  a 
clever  writei  on  musical  subjects.  His 
literary  works  are  of  a  biographica' 
and  critical  nature.  While  on  tour 
with  Humme)  he  saw  Beethoven  on 
his  death-bed-  and  years  later  recorded 
the  scene  and  memories  of  that  mas- 
ter. His  Recollections  of  Mendels- 
sohn he  dedicated  to  Queen  Victoria. 
He  edited  a  volume  of  letters  by 
Hauptmann  to  Spohr  and  other  mu 
sicians  Hillei  was  the  chief  exponent 
of  the  modern  classical  school  and  to 
him  is  given  first  place  among  the 
masters  influenced  by   Mendelssohn. 

Hiller,  Johann  Adam.     1728-1804. 

The  origmator  of  the  German  oper- 
etta or  singspiel.  He  was  born  in 
Wendisch-Ossig,  near  Gorlitz  in  Prus- 
sia, son  of  a  schoolmaster  and  parish 
clerk.  It  was  due  to  his  beautiful  so- 
prano voice  that  he  won  a  scholarship 
in  the  Gymnasium  at  Gorlitz.  At  the 
Kreuz  School  in  Dresden  he  studied 
the  harpsichord  and  thorough-bass 
under  Homilius.  In  1751  he  entered 
for  a  course  of  law  at  Leipsic  Con- 


BIOGRAPHIES 


379 


HiUer 

servatory,  where  he  earned  his  way 
by  teaching  music  and  by  taking  part 
in  concerts  as  flutist  or  singer,  and 
here  he  began  his  work  as  an  authoi 
and  composer.  He  next  became  a  tu- 
tor in  the  home  of  Count  Bruhl,  going 
with  his  pupil  to  Leipsic,  where  he 
resigned  his  position  as  tutor  and  gave 
his  time  to  concert  music  and  to  Ht- 
erature.  In  1763  he  was  director 
of  the  Liehaber  concerts,  and  in 
1771  he  founded  a  school  which 
aided  in  the  formation  of  good 
choir  for  concerts;  to  support  this 
institution  he  gave  performances  of 
Handel's  and  Graun's  oratorios.  Hil- 
ler  was,  in  1789,  precentor  ot  St. 
Thomas  School,  retained  this  posi- 
tion until  1801  and  also  gave  private 
instruction.  Well  known  among  his 
pupils  were  Corona  Schroter  and  the 
Podleski  sisters,  who  induced  him  to 
go  to  Mitau  in  1782.  Here  he  won  the 
esteem  of  the  Duke  of  Courland,  who 
established  a  band,  made  Hiller  leader, 
and  pensioned  him. 

His  compositions  show  the  influ- 
ence of  Hasse  and  Graun,  whose  operas 
and  sacred  compositions  he  studied 
thoroughly  and  even  copied  scores  of 
several  of  Hasse's  operas,  but  his 
originality  was  shown  in  the  series  of 
operetta  or  singspiel  he  wrote.  While 
an  outgrowth  of  the  French  operetta, 
he  put  the  stamp  of  his  own  individ- 
uality and  of  the  German  style  upon 
them,  and  will  always  hold  his  place 
in  history  as  the  originator  of  the 
German  Singspiel.  They  were  The 
Village  Barber;  The  Harvest  Wreath; 
Love  in  the  Country;  Lottie  at  Court; 
and  The  Chase.  They  combine  Italian 
beauty  and  German  solidity.  Others 
of  his  compositions  are  a  setting  of 
the  100th  Psalm;  a  Passion  cantata; 
funeral  music  in  honor  of  Hasse;  sym- 
phonies, and  partitas.  He  edited 
Weisse's  Songs  for  Children;  a  choral 
book;  and  cantatas. 

Himmel,    Friedrich    Heinrich.      1765- 
1814. 

Born  at  Treuenbriezen,  Branden- 
burg. Though  he  gave  some  time  to 
the  cultivation  of  music,  he  was  edu- 
cated at  Halle  for  the  church.  When 
Frederick  William  II.  heard  him  play 
upon  the  piano  he  encouraged  and 
aided  his  further  musical  study.  He 
studied  for  three  years  with  Nau- 
mann,  and  at  the  end  of  that  time 
returned  to  Berlin,  where  by  his  com- 
positions he  again  won  the  esteem  of 


Hinton 

the  King,  who  made  him  his  chamber- 
composer,  and  gave  him  two  years' 
study  in  Italy.  In  1795  he  returned 
to  assume  the  duties  of  chapelmaster 
at  Berlin.  He  visited  Stockholm  and 
St.  Petersburg,  where  the  Emperor 
commissioned  him  to  write  an  opera, 
Alessandro;  lived  a  while  at  Riga,  and 
in  1800  returned  to  Berlin.  His  works 
include  many  songs  which  were  pop- 
ular in  his  day;  several  operas,  Fan- 
chon,  perhaps,  best  known  of  them; 
an  oratorio;  a  cantata;  a  mass;  ves- 
pers; a  concerto;  and  sonatas. 

*  Hinrichs,  Gustave.     1850- 

Opera  conductor  and  dramatic  com- 
poser; born  at  Ludwigshist,  Mecklen- 
burg, Germany.  After  being  graduated 
from  the  Ludwigshist  Gymnasium, 
he  went  to  Hamburg,  where  he 
studied  music  under  Angelo  Reiss- 
land  and  Edward  Marxen,  the  teacher 
of  Brahms.  He  came  to  America  in 
1870,  and  for  two  years  was  associate 
conductor  with  Theodore  Thomas  at 
the  National  Opera  in  New  York 
City.  For  several  years  he  was  a 
professor  at  the  National  Conserva- 
tory of  Music  in  New  York  and  direc- 
tor at  Columbia  University  and  the 
Metropolitan  Opera  Company.  For 
ten  years  he  managed  his  own  opera 
company  in  Philadelphia,  during  that 
time  introducing  Cavalleria  Rusticana 
and  Pagliacci  to  the  American  public. 
He  has  composed  operas,  symphonies, 
choruses  and  songs,  notably  the  ro- 
mantic grand  opera  in  three  acts, 
Onti-Ora,  which  was  performed  by 
his  own  company  in  Philadelphia. 

Hinton,    Arthur.      1869- 

A  well  known  EngHsh  composer 
of  orchestral  work.  Hinton  was  born 
at  Beckenham,  and  educated  at 
Shrewsbury  for  a  commercial  career, 
but  he  inclined  to  music  and  took 
a  three  years'  course  in  the  Royal 
Academy.  He  also  studied  violin 
and  composition,  and  became  sub- 
professor  of  violin.  He  later  con- 
tinued his  study  in  Munich  with 
Rheinberger.  After  some  months 
spent  abroad,  during  which  time  he 
wrote  an  opera,  an  orchestral  fantasia 
and  a  symphony,  he  returned  to  Lon- 
don, where  he  has  conducted  theatre 
orchestras  and  has  been  connected 
with  various  musical  societies  in  dif- 
ferent capacities.  Hinton's  piano 
pieces  are  of  great  beauty;  his 
orchestral     work,    The    Triumph    of 


380 


BIOGRAPHIES 


Hinton 

Caesar,  was  played  in  1896  at  Queen's 
Hall,  where  only  the  finest  of  classical 
compositions  are  produced.  Other  of 
his  works  are  the  opera,  Tamara;  a 
symphony  in  C;  a  sonata  in  B  flat  for 
violin  and  piano;  a  suite  in  D  for 
same;  a  trio  in  D  minor;  a  scherzo 
for  piano,  violin  and  violoncello; 
two  operettas  for  children,  The  Dis- 
agreeable Princess,  and  St.  Eliza- 
beth's Rose;  and  a  number  of 
songs. 

Hinton,  Mrs.  Arthur.    1872- 

Born  at  Watfords,  Herts,  in  1872 
and  became  the  wife  of  Arthur  Hinton 
the  composer,  in  1903.  Mrs.  Hinton 
is  more  generally  known  ^  as  Miss 
Katharine  Goodson,  and  is  distin- 
guished as  a  pianist  of  fine  technique, 
great  musical  taste  and  originality  of 
style.  While  still  a  child  she  appeared 
in  public,  and  in  1884  went  to  London 
to  study  with  Oscar  Beringer  at  the 
Royal  Academy  of  Music,  and  later 
to  Vienna,  where  she  was  a  pupil  of 
Leschetizky  for  four  years.  She  then 
appeared  at  the  Popular  concerts  in 
London  and  in  a  series  of  recitals 
through  England.  Her  first  appear- 
ance in  Berlin  was  in  1899,  and  the 
next  year  she  played  at  the  New  Phil- 
harmonic concerts  in  Vienna.  With 
Kubelik  she  toured  America  in  1902 
and  1903. 

Hipkins,  Alfred  James.     1826-1903. 

Born  at  Westminster  in  1826.  When 
fourteen  years  old  he  entered  the 
piano  house  of  Broadwood  &  Sons, 
and  was  connected  with  this  firm 
as  long  as  he  lived.  He  was  an 
accomplished  pianist;  his  perform- 
ances of  Chopin's  compositions  were 
excellent,  and  he  was  also  master  of 
the  harpsichord.  Hipkins  is  best 
known  as  a  lecturer  and  authority  on 
points  connected  with  the  piano.  His 
lectures,  given  at  the  Royal  Academy 
of  Music,  Royal  College  of  Music, 
where  he  was  a  member,  and  before 
musical  clubs  of  Oxford  and  Cam- 
bridge, have  been  translated  into 
French,  German,  Italian  and  Jap- 
anese. Hipkins  was  also  a  fellow  of 
the  Society  ^  of  Antiquaries.  His 
works  are  History  of  Musical  Pitch; 
Musical  Scales  of  All  Nations;  con- 
tributions to  the  Encyclopaedia  Britan- 
nica;  a  valuable  descriptive  catalog; 
Guide  to  the  Loan  Collection  of  Musi- 
cal Instruments  at  Albert  Hall;  and 
old  Keyboard  Instruments. 


Hobrecht 
Hirsch   (hersh),  Carl.     1858- 

Born  in  Bavaria;  received  his  edu- 
cation in  Munich,  and  at  various  times 
was  teacher  in  the  Violinmakers' 
School  at  Mittenwald,  and  at  the  King 
Max  Music  School,  Tegernsee;  pre- 
centor at  Sigmaringen,  chorister  at  St. 
Imier,  Switzerland;  church  musical 
director  at  Munich,  and  director  in 
Mannheim,  Cologne  and  Elberfeld, 
where  he  was  director  of  a  school  of 
music  and  of  the  Philharmonic  con- 
certs. Hirsch  is  a  prolific  composer; 
his  compositions  are  very  popular  in 
Germany,  and  include  many  male  cho- 
ruses. Other  of  his  works  are  can- 
tatas; solos;  a  song  cycle,  Werinher, 
setting  of  a  dramatic  poem;  many 
single  songs;  a  ballade,  Farewell,  for 
solos,  mixed  chorus  and  orchestra. 

Hirschbach   (hersh' -bakh),   Hermann. 

1812-1888. 

Born  in  Berlin;  went  to  Leipsic  in 
1842,  and  made  that  city  his  home. 
He  began  his  study  of  music  with 
Birnbach.  His  career  as  a  musical 
critic  was  a  short  one,  for  his  immod- 
erate, sarcastic  and  bitter  criticisms 
published  in  the  Musikalisch-krit- 
isches  Repertoriums  in  Leipsic  made 
him  many  enemies,  and  he  forsook 
the  musical  career  for  one  of  a  mer- 
cantile nature.  His  compositions  are 
many.  Among  them  are  thirteen 
string  quartets;  two  string  quintets; 
two  quintets  with  clarinet  and  horn; 
fourteen  symphonies;  overtures;  and 
two  operas,  Othello  and  Das  Leben 
ein  Traum. 

Hobrecht    (ho'brekht),   Jacob.      1430- 
1506. 

Sometimes  given  as  Jacob  Obrecht. 
Date  of  birth  is  not  positively  known, 
but  was  probably  about  1430,  in 
Utrecht,  on  the  Rhine.  He  was  one 
of  the  most  famous  musicians  of  the 
Fifteenth  Century.  He  was  chorister 
at  the  Utrecht  Cathedral  in  1465. 
Later  he  was  a  teacher  at  St.  Dona- 
tien,  Bruges;  director  of  a  school  of 
singing  of  Cambray,  and  in  1491 
chapelmaster  of  the  Antwerp  Cathe- 
dral. In  the  records  of  the  cathedral 
has  been  found  much  data  concerning 
Hobrecht  and  his  work.  His  masses, 
motets  and  hymns  have  been  pre- 
served in  various  collections,  some  in 
manuscript  in  the  Munich  Royal  Li- 
brary and  in  the  archives  of  the  Papal 
Chapel.  In  1503  Petrucci  printed  a 
collection  of  Hobrecht's  masses  under 


BIOGRAPHIES 


381 


Hobrecht 

the  title  of  Missse  Obrecht,  and  in- 
cluded Je  ne  demande,  Grecorum 
Malheur  me  bat,  Salve  diva  parens 
and  Fortuna  disparta,  which  is  con- 
sidered his  finest  and  has  been  pub- 
lished in  modern  notation.  Hobrecht 
died  in  Antw^erp  in  1506. 

Hodges,  Edward.     1796-1867 

English  church  organist  and  com- 
poser, who  spent  most  of  his  life  in 
America,  where  his  influence  upon 
organ  music  is  still  felt.  He  was 
born  in  Bristol,  England;  was  organ- 
ist of  St.  James  and  St.  Nicholas 
Churches  of  Bristol  and  of  the  Clifton 
Church  at  various  times.  The  degree 
of  Doctor  of  Music  was  conferred  on 
him  at  Cambridge  in  1825.  He  came 
to  America  in  1838  and  became  or- 
ganist at  Toronto;  the  next  year  he 
was  organist  at  St.  John's  Episcopal 
Chapel  of  New  York  City,  and  of 
Trinity  Church  in  1846.  He  returned 
to  England  in  1863,  and  died  at  Clif- 
ton in  1867.  Hodges  composed  a 
Morning  and  Evening  Service,  two 
anthems  and  other  church  music;  was 
a  contributor  to  the  Quarterly  Musi- 
cal Magazine  and  to  the  Musical 
World;  and  published  an  essay  on  the 
Cultivation  of  Church  Music.  Hodges 
made  improvements  in  the  mech- 
anism of  the  organ.  The  new  organ 
in  St.  James'  Church  was  remodeled 
under  his  direction  and  contained  the 
first  C  C  manual  and  C  C  C  pedal 
made  in  England. 

Hoffmann  (hof'-man),  Ernst  Theodor 

Wilhelm.     1776-1822. 

A  writer,  composer,  artist,  conduc- 
tor, singer,  teacher  and  jurist.  _  A 
most  versatile  and  eccentric' genius; 
born  in  Konigsberg  in  1776.  Hoff- 
mann was  admired  by  Schumann, 
Beethoven,  Weber  and  Carlyle.  He 
was  a  law  student  and  at  the  same 
time  a  pupil  of  Podbielski,  the  organ- 
ist. He  was  appointed  to  an  official 
position  in  Posen,  but  his  ability  to 
see  the  humorous  side  of  life,  coupled 
with  his  artistic  talent,  led  him  to 
caricature  public  persons  and  lost  him 
his  position.  He  then  turned  to  music 
as  a  means  of  support.  In  1808  he 
was  musical  director  of  the  Bamberg 
Theatre,  and  in  1810  he_  was  a  con- 
tributor of  piquant  articles  to  the 
Allegemeine  Musikalische  Zeitung  of 
Leipsic  under  the  pen  name  of  Jo- 
hannes Kreisler,  the  Kapellmeister. 
These  essays  and  others  were  pub- 


HofFmann 
lished  by  Hoffmann,  in  1814,  in  two 
volumes,  as  Fantasiestiicke  in  Callot's 
Manier.  They  are  all  humorous,  in- 
teresting, and  some  of  them  prac- 
tically valuable,  and  will  doubtless 
live  long  after  his  musical  compo- 
sitions are  forgotten.  Among  the  lat- 
ter are  a  number  of  operas;  a  ballet; 
a  mass;  other  vocal  works;  a  sym- 
phony; an  overture;  a  quintet  for  harp 
and  strings;  and  piano  sonatas.  Hoff- 
mann died  in  Berlin  in  1822. 

Hoffmann,    Heinrich    August.      1798- 

1874. 

German  hymn-writer  and  composer 
of  music  and  poems  for  children.  He 
was  born  in  Hanover  and  educated  at 
Helmstedt,  Brunswick,  and,  under 
Grimm,  at  the  University  of  Gottin- 
gen.  After  studying  Dutch  literature 
in  Holland,  he  was  appointed,  in  1830, 
as  assistant,  and  in  1835  as  professor 
in  ordinary  of  the  German  language 
at  Breslau,  Prussia.  His  political 
opinions  caused  his  dismissal  in  1843, 
but  he  ■  was  allowed  to  return  five 
years  later.  He  eventually  became 
librarian  to  Prince  Lippe  at  Corvey, 
in  whose  service  he  died.  He  pub- 
lished Geschichte  des  deutschen  Kirch- 
enlieds;  Schlesische  Volkslieder  mit 
melodien;  Deutsche  Gesellschafts- 
lieder  des  16-17  Jahrhunderts;  and 
Kinderlieder. 

Hoffmann,  Jacques.     1868- 

First  violinist  with  the  Boston  Sym- 
phony Orchestra;  was  born  in  Graetz, 
Austria.  After  studying  violin  and 
piano  with  Kubicek,  Zerownicki  and 
Bendiner  in  Troppau,  he  entered  the 
Vienna  Conservatory  in  1882,  studying 
composition  and  piano  and  violin  with 
Professor  Gruen.  On  his  graduation, 
at  the  age  of  seventeen,  he  won  first 
prize  in  a  public  competition.  For 
two  years  after  leaving  the  Conserva- 
tory he  was  connected  with  the  Vien- 
na Opera  House  and  Philharmonic 
Orchestra,  under  Hans  Richter  and 
Fuchs,  and  during  this  time  appeared 
as  soloist  in  the  Austrian  Provinces, 
in  Hungary  and  South  Germany. 
Since  1890  he  has  been  among  the 
first  violinists  of  the  Boston  Sym- 
phony Orchestra,  and  has  played 
under  Nikisch,  E.  Paur,  W.  Gericke 
and  Dr.  Carl  Muck.  He  has  appeared 
as  solo  violinist  with  orchestras  in 
Boston  and  elsewhere,  and  in  1902 
founded  the  Hoffmann  Quartet,  of 
which    he    plays    first   violin.     This 


382 


BIOGRAPHIES 


Hoffmann 


organization  is  a  string  quartet  com- 
posed of  Hoffmann,  first  violin;  Adolf 
Bak,  second  violin;  Karl  Rissland, 
viola,  and  Carl  Barth,  violoncello.  It 
is  well  known  for  its  annual  con- 
certs in  Boston  and  other  eastern 
cities.  He  is  a  successful  violin 
teacher,  and  has  composed  a  string 
quartet;  a  sonata;  some  shorter  pieces 
for  orchestra;  violin  and  piano-pieces; 
and  some  songs. 

Hoffmann,   Richard.     1831- 

English  pianist,  teacher  and  com- 
poser; born  in  Manchester.  He  was 
a  pupil  of  his  father,  and  then 
studied  with  Meyer,  Pleyel,  Mosch- 
eles,  Rubinstein,  Dohler,  Thalberg 
and  Liszt  at  various  times.  Hoffmann 
is  perhaps  better  known  in  America 
than  in  his  own  country.  He  appeared 
as  pianist  in  New  York  in  1847;  then 
toured  with  Joseph  Burke,  a  violinist 
and  actor,  through  the  United  States. 
He  played  at  a  concert  of  the  Phil- 
harmonic Society  of  New  York;  later 
became  an  honorary  member,  and 
appeared  on  their  program  for  sixteen 
seasons.^  When  Jenny  Lind  gave  her 
first  series  of  concerts  in  this  country 
Hoffmann  traveled  with  her  as  her 
first  pianist.  As  a  teacher  in  New 
York  he  won  the  admiration  and 
regard  of  hundreds  of  pupils.  His 
brilliant  compositions  are  for  the 
piano,  and  include  some  well-known 
Cuban  dances. 

Hoffmeister      (hof'mi-shter),      Franz 
Anton.     1754-1812. 

Born  at  Rothenburg  on  the  Neckar; 
studied  law,  but  later  became  inter- 
ested in  music.  He  was  chapelmaster 
of  a  church  in  Vienna,  and  in  1784 
opened  a  book,  art  and  music  business. 
In  1800  he  became  a  partner  of  Kiihnel 
in  a  new  venture  in  Leipsic,  a  Bureau 
de  Musique.  It  was  a  success,  and  is 
continued  now  by  C.  F.  Peters.  Re- 
turning to  Vienna,  he  devoted  himself 
mainly  to  composition,  and  produced 
a  number  of  operas,  symphonies,  ser- 
enades, concertos,  quintets,  quartets, 
trios,  duos  for  flute,  and  variations  for 
different  instruments,  some  church- 
music  and  songs. 

Hofhaimer  (hof'-hl-mer),  Paul.    1459- 

1539. 

Organist,  and  one  of  the  oldest 
German  composers  of  importance.  He 
was  born  at  Radstadt.  While  Court 
organist    and    composer    in    Vienna, 


Hofmann 

Maximilian  I.  promoted  him  to  the 
rank  of  nobleman.  He  was  also  made 
Knight  of  the  Golden  Spur  by  the 
King  of  Hungary,  and  was  later 
given  the  freedom  of  Augsburg,  show- 
ing the  popularity  and  esteem  in 
which  he  was  held.  Hofhaimer  was  a 
successful  teacher.  Some  of  his  pupils 
were  Argentin,  Von  Bern,  Biichner, 
Conrad  and  Wolfgang.  Part  of  his 
music  has  been  preserved  in  manu- 
script in  the  Vienna  Library.  It 
includes  chorals,  lute  music  and  set- 
tings of  odes  of  Horace  and  other 
Latin  poets.  A  set  of  his  organ  pieces 
is  in  the  Royal  Library  in  Berlin. 
Hofhaimer  died  in  Salzburg,  where 
during  his  last  years  he  had  been  in 
the  service  of  the  Archbishop  as 
Cathedral    organist. 

Hofmann   (hof'-man),  Heinrich   Karl 

Johann.    1842-1902. 

A  dramatic  composer;  born  in  Ber- 
lin; was  a  pupil  of  Dehn  and  Wiierst 
at  Kullak's  Academy.  When  nine 
years  old  he  was  a  chorister.  He  be- 
gan his  serious  study  at  fifteen,  with 
Kullak,  He  gave  public  recitals  upon 
the  piano;  taught  for  several  years, 
and  then  gave  his  time  entirely  to 
composition.  His  first  work  which 
brought  him  recognition  was  a  comic 
opera.  Cartouche;  this  was  followed 
by  his  Hungarian  suite  for  orchestra, 
which  made  his  success  as  a  composer 
assured.  His  works  are  many,  and 
show  a  feeling  for  the  beautiful,  a  de- 
cided dramatic  gift  and  a  blending  of 
charm  and  romance,  which  made  them 
most  popular  for  a  time,  but  they  lack 
originality.  Among  them  are  piano 
duets;  choral  works;  a  cantata  for 
alto  solo;  chorus  and  orchestra;  part 
songs;  a  serenade  for  strings  and 
flute;  a  sextet;  violin  sonata;  and  his 
operas.  Cartouche,  the  Matador,  Ar- 
min,  Aennchen  von  Tharau,  Wilhelm 
von  Orianein  and  Donna  Diana. 

Hofmann,  Josef.    1877- 

Josef  Hofmann  was  born  at  Cra- 
cow in  1877.  His  father,  a  professor 
at  the  Conservatory  and  director  of 
opera  at  Warsaw,  was  his  teacher 
until  1892.  Hofmann's  mother  was  a 
distinguished  singer.  When  not  quite 
six  years  old  Hofmann  appeared  as 
pianist,  and  when  eight  played  the 
Beethoven  Concerto  in  C  minor  before 
Rubinstein,  who  declared  there  had 
never  before  been  such  a  child  musi- 
cian.    From   1892  to   1894  he  was  a 


BIOGRAPHIES 


383 


Hofmann 

pupil  of  Rubinstein's.  In  1886  he 
gave  a  recital  in  Berlin  before  critics, 
who  pronounced  his  success  assured. 
He  then  toured  Germany,  Denmark, 
Norway  and  Sweden  and  played  also 
in  Paris,  Vienna  and  London.  In 
1887  he  went  to  America,  giving  fifty- 
two  concerts  in  two  and  a  half 
months  and  so  impairing  his  health 
that  he  was  obliged  to  rest  for  a 
number  of  years,  when  he  again  ap- 
peared, no  longer  as  a  prodigy  but 
as  a  matured  pianist.  He  returned 
to  America  in  1898  and  made  a  most 
successful  tour.  His  piano-playing  is 
often  compared  with  that  of  Rubin- 
stein. Hofmann  has  composed  a 
number  of  piano  pieces. 

Hogarth,  George.     1783-1870. 

Hogarh,  by  profession  a  lawyer, 
was  interested  in  music,  and  became 
an  amateur  violoncellist  and  com- 
poser. His  knowledge  of  music,  keen 
judgment  and  talent  as  a  writer  made 
him  one  of  the  foremost  English  mu- 
sical critics  and  historians  of  his  time. 
Plis  first  contributions  were  to  the 
Harmonicon  and  the  Morning  Chron- 
icle, both  London  periodicals.  When 
Charles  Dickens,  his  father-in-law, 
assumed  the  editorship  of  the  Daily 
News,  Hogarth  was  made  musical 
critic.  He  held  this  position  until 
1866,  when  his  health  failed  him. 
Other  periodicals  to  which  he  gave 
his  criticisms  and  musical  news  were 
the  Illustrated  London  News,  the 
Evening  Chronicle  and  the  Musical 
Herald.  Hogarth  also  published  a 
number  of  ballads,  glees  and  editions 
of  English  songs.  His  literary  works 
are  a  Musical  History;  Biography  and 
Criticism;  Memoirs  of  the  Musical 
Drama;  The  Birmingham  Festival; 
The  Philharmonic  Society  from  its 
foundation  in  1813  to  1862.  Hogarth 
was  born  at  Carfrae  Mill,  near  Ox- 
ford, and  died  in  London. 

Hoi,  Richard.     1825- 

Composer,  organist  and  pianist  of 
the  modern  romantic  German  school. 
Was  born  in  Amsterdam,  where,  after 
public  appearances  abroad  as  pianist, 
he  became  a  teacher  of  music,  direc- 
tor of  the  Amstells  Mannerchor  in 
1856,  and  of  the  Society  for  the  Pro- 
motion of  Music  in  1857.  He  then 
went  to  Utrecht  as  city  music  direc- 
tor, and  in  1869  was  appointed  organ- 
ist of  the  cathedral  there,  and  director 
of  school  music  in  1875.    The  order 


Holbrooke 

of  the  Oaken  Crown  and  of  the 
Golden  Lion  were  conferred  on  him 
and  he  was  also  elected  Officer  of  the 
French  Academy.  Hoi  is  ranked 
among  the  foremost  Dutch  composers, 
and  has  won  much  distinction  as  a 
musical  conductor,  teacher  and  writer. 
He  has  contributed  to  the  Dutch  Mu- 
sical Journal  Cicilia,  and  has  written 
a  monograph  on  J.  P.  Sweelinck.  His 
compositions  include  an  oratorio, 
David;  an  opera,  Floris  V.;  masses; 
songs;  symphonies;  ballets;  and  male 
chorus. 

*  Holbrooke,  Josef.    1878- 

One  of  the  most  important  of  the 
younger  English  composers,  whose 
work  has  been  almost  entirely  along 
orchestral  lines.  He  comes  of  mu- 
sical stock,  his  father  and  grandfather 
both  having  been  musicians.  He  was 
born  at  Croydon  and  had  his  early 
musical  training  there  from  his 
father.  At  the  age  of  fifteen  he  en- 
tered the  Royal  Academy,  where  he 
studied  four  years,  his  teachers  being 
Frederick  Westlake  in  piano  and 
Frederick  Corder  in  composition.  Be- 
side honorable  mention  in  a  number  of 
competitions,  he  won  the  Potter  Exhi- 
bition prize  for  piano  playing  in  1895, 
the  Sterndale  Bennett  Scholarship  and 
several  other  prizes.  After  leaving  the 
Academy  he  acted  as  conductor  and 
accompanist  on  provincial  tours  for 
pantomimes  and  other  light  enter- 
tainments. While  thus  engaged,  his 
first  orchestral  work,  a  tone-poem. 
The  Raven,  founded  on  Poe's  poem, 
was  produced  at  the  Crystal  Palace  in 
1900.  He  has  written  in  all  about 
twenty  orchestral  works,  among  the 
most  important  of  which  are  Ode 
to  Victory;  Queen  Mab,  with  chorus. 
The  Skeleton  in  Armor;  Masque  of 
the  Red  Death;  Childhood;  Charac- 
teristic suite  and  two  other  suites^  for 
strings;  and  three  sets  of  variations 
on  the  popular  melodies.  Three  Blind 
Mice,  Auld  Lang  Syne,  and  The  Girl 
I  Left  Behind  Me.  Other  works 
founded  on  Poe's  poems  are  The 
Bells,  for  chorus  and  orchestra;  Ula- 
lume,  a  symphonic  poem;  and  the  bal- 
lad, Annabel  Lee.  He  has  also  produced 
a  work  for  solos,  chorus  and  orches- 
tra, entitled  Hommage  a  Poe.  Mr. 
Holbrooke  is  at  present  at  work  upon 
an  opera  entitled  Varenka.  He  has 
also  written  songs  and  chamber-music, 
which  have  not  proven  as  successful 
as  his  larger  pieces. 


384 


BIOGRAPHIES 


H  olden 
Holden,  Oliver.    1765-1834. 

Oliver  Holden  is  best  known  as  the 
composer  of  the  hymn,  Coronation, 
which  was  often  sung  during  the 
United  States  Civil  War  as  a  battle 
hymn.  It  was  written  as  a  psalm  of 
praise  at  the  birth  of  his  first  child. 
Holden  was  born  in  Shirley,  Mass. 
He  left  his  trade,  that  of  a  carpenter, 
to  become  a  singer  and  composer.  He 
published  and  edited  five  volumes  of 
music,  mostly  psalm   tunes. 

*  Hollander      (hol'-lent-cr),      Alexis. 

1840- 

Pianist  and  composer;  born  in  Ra- 
tibor,  Silesia.  He  studied  piano  with 
Schnabel  and  Hesse  in  Breslau;  at 
the  Royal  Academy  of  Berlin  with 
Grill,  and  with  A.  W.  Bach  he  studied 
composition.  Early  in  his  musical 
career  he  conducted  the  scholar's  sing- 
ing society  of  the  Gymnasium  of 
Breslau.  In  1861  he  was  an  instructor 
at  Kullak's  Academy  and  later  con- 
ductor of  important  choral  societies 
with  orchestras,  among  them  the  Cse- 
cilia,  of  which  he  was  nominated 
professor  in  1888.  Beside  his  composi- 
tions for  piano,  and  piano  and  violin, 
songs  and  part-songs,  and  studies 
for  choral  singers,  he  has  edited  an 
instructive  volume  of  Schumann's 
piano  pieces. 

*  Hollander,  Benno.    1853- 

Violinist  and  composer;  born  in 
Amsterdam.  He  made  his  first  ap- 
pearance in  London  when  only  a 
child.  His  genius  seeming  to  warrant 
it,  he  was  placed  in  the  Paris  Con 
servatory  to  study  under  Massart.  He 
also  studied  composition  under  Saint- 
Saens,  Here  he  became  acquainted 
with  Berlioz,  who  was  then  in  his  last 
years,  and  he  heard  Wieniawski,  which 
was  much  to  his  advantage.  He  won 
the  first  violin  prize  in  1873,  then 
started  upon  a  very  successful  tour 
through  Germany,  Russia,  Denmark 
and  Sweden.  Returning  to  London  in 
1876  he  devoted  his  time  to  compo- 
sition and  playing  the  viola.  He  has 
held  a  number  of  engagements,  being 
leader  of  the  orchestra  under  Richter 
at  the  German  Opera,  professor  of 
violin  at  the  Guildhall  School  of 
Music  and  directed  the  orchestra  for 
Henschel  in  his  two  seasons  of  Lon- 
don Symphony  concerts.  In  1903  he 
succeeded  in  establishing  an  organi- 
zation of  his  own  at  the  Kensington 
Town    Hall,    called     the     Orchestral 


Hollins 

Society.  He  was  appointed  Court 
violinist  to  the  late  King  of  Holland. 
Among  his  works  are  two  violin  con- 
certos with  orchestra,  a  pastoral  fan- 
tasia for  the  same;  The  Last  Days  of 
Pompeii,  a  septet  for  piano,  strings 
and  two  horns;  a  symphony,  Roland; 
two  orchestral  pieces,  Drame  and 
Comedie;  besides  many  songs  and  in- 
strumental pieces. 

Hollander,  Gustav.     1855- 

Eminent  violinist;  showed  a  musical 
inclination  at  a  very  early  age.  Re- 
ceived his  first  instruction  on  the  vio- 
lin from  his  father,  a  physician  of 
Leobschiitz,  Upper  Silesia.  He  fur- 
ther pursued  his  studies  under  David 
at  the  Leipsic  Conservatory,  then  in 
Berlin  under  Joachim  and  Kiel.  He 
appeared  with  the  Berlin  Opera  Or- 
chestra in  1875,  and  the  same  year 
became  a  violin  teacher  in  Kullak's 
Academy  of  Music.  He  won  recogni- 
tion while  on  a  tour  through  Austria 
with  Carlotta  Patti  and  a  wider  repu- 
tation as  leader  of  the  Giirzenich  or- 
chestral concerts.  He  was  a  teacher 
in  the  Cologne  Conservatory,  and 
when  Japha  retired  as  leader  of  the 
Cologne  string  quartet  Hollander  took 
the  leadership.  He  filled  the  post  of 
leader  at  the  opera  orchestra  in 
Cologne  in  1884,  and  was  also 
appointed  director  of  the  Berlin  Stern 
Conservatory.  Hollander  has  toured 
Germany,  Holland  and  Belgium  as 
leader  of  a  Hamburg  orchestra,  and 
has  met  with  well-deserved  success. 
He  has  written  a  number  of  pieces 
for  the  violin  and  piano. 

*  Hollins,  Alfred.     1865- 

Blind  pianist,  organist  and  com- 
poser; born  at  Hull;  a  pupil  of  the 
Wilberforce  Blind  Institute  of  New 
York,  where  he  studied  with  Barnby, 
then  with  Frits  Hartvigson  at  the 
Royal  Normal  College  for  Blind  at 
Upper  Norwood.  His  first  instruction 
was  upon  the  piano,  but  under  the  tui- 
tion of  Dr.  E.  J.  Hopkins  he  became 
equally  skilled  as  an  organist.  After 
appearing  in  London  and  playing  be- 
fore Queen  Victoria  at  Windsor,  he 
went  to  Berlin  for  study  under  Hans 
von  Bulow,  where  he  further  per- 
fected himself  and  appeared  before 
Royalty  at  Brussels.  He  received 
the  appointment  of  organist  at  St. 
John's  Church  in  Redhill  in  1884.  Dr. 
F.  J.  Campbell  took  him  to  America 
with  other  blind  musicians.    When  he 


BIOGRAPHIES 


385 


Hollins 

returned  to  Europe  he  entered  the  Raff 
Conservatory  at  Frankfort,  and  then 
played  in  concerts  in  London  and 
as  organist  of  the  People's  Palace  and 
of  St.  Andrew's  Presbyterian  Church, 
Upper  Norwood.  In  1888  he  revisited 
America  and  was  well  received,  and 
has  since  toured  Australia,  where  he 
also  met  with  great  success.  His 
works  are  varied,  embracing  anthems, 
songs,  romance  for  violin  and  piano, 
piano  solos,  two  concert  overtures  and 
a  triumphal  march  for  organ.  Both 
his  playing  and  compositions  show 
sound  musicianship,  deep  feeling  and 
great  vigor. 

Holmes,  Alfred.     1837-1876. 

Born  in  London,  he,  with  his 
brother  Henry,  received  their  only 
violin  instruction  from  their  father. 
Both  choristers  at  the  Oratory,  Alfred 
became  the  principal  soprano.  Their 
first  public  appearance  as  violinists 
was  at  the  Haymarket  Theatre  in  1847. 
After  this  event  they  spent  their  time 
in  study,  next  appearing  in  1853  at  a 
concert  at  the  Beethoven  Rooms. 
Two  years  later  they  began  a  tour 
of  the  Continent,  visiting  Brussels, 
Wiesbaden,  Frankfort,  Darmstadt, 
Leipsic,  Mayence  and  Cassel.  At  the 
last-named  place  Spohr  took  a  great 
interest  in  them,  dedicating  his  three 
grand  duos  to  them.  In  1857  they 
went  to  Vienna,  thence  to  Sweden, 
where  they  remained  two  years,  in 
1860  to  Copenhagen  and  the  next 
year  to  Amsterdam.  From  this  time 
the  brothers  separated,  Alfred  set- 
tling in  Paris,  whence  he  made  occa- 
sional tours  alone.  His  compositions 
include  the  symphonies,  Jeanne  d'Arc, 
with  solos  and  chorus;  The  Youth 
of  Shakespeare;  Robin  Hood;  The 
Siege  of  Paris;  Charles  XII.;  and 
Romeo  and  Juliet;  the  overtures,  The 
Cid;  Les  Muses;  and  an  opera,  Inez 
de  Castro. 

Holmes,  Augusta  Mary  Anne.     1847- 

1903. 

Born  in  Paris.  Her  father  was  a 
captain  in  the  English  Army  and  her 
mother  was  a  member  of  an  old 
Hampshire  family.  She  became  a 
naturalized  French  woman  in  1879. 
Her  family  were  much  opposed  to  any 
artistic  career  for  her,  but  her  love 
for  music  was  so  great  that  she  soon 
appeared  as  a  child-prodigy,  playing 
and  singing  at  concerts  and  in  draw- 
ing-rooms.    Many   of  her   airs   were 


Holmes 
original,  composed  under  the  nom  de 
plume  of  Hermann  Zenta.  She  re- 
ceived instruction  in  harmony  and 
counterpoint  from  H.  Lambert,  organ- 
ist of  the  Cathedral  at  Versailles,  and 
instrumentation  from  Klose,  official 
bandmaster.  In  1874  appeared  her 
first  opera,  Hero  et  Leandre,  also  the 
psalm.  In  Exitu.  The  next  year  she 
became  a  pupil  of  Cesar  Franck.  She 
became  a  brilliant  pianist,  but  it  is 
her  compositions  that  have  made  her 
famous.  A  symphony,  Lutece,  took 
a  prize  awarded  by  the  city  of  Paris 
in  1879.  She  again  competed  and  won 
honorable  mention,  and  Pasdeloup 
performed  the  whole  score  of  her 
work,  Les  Argonautes,  a  lyric  drama, 
at  the  Concerts  Populaires.  Her  next 
compositions  to  appear  were  the  sym- 
phonic poem,  Irlande;  Vision  de  Sainte 
Therese,  for  voice  and  orchestra; 
the  symphonic  ode.  Pro  Patria 
Ludus;  and  the  great  Ode  Tri- 
omphale.  The  last  named  was 
given  at  the  Exposition  in  honor  of 
the  centenary  of  1789  and  it  carried 
her  fame  to  foreign  lands.  Her 
Hymne  a  la  Paix  was  written  for  the 
Dante  festival  in  Florence;  Au  Pays 
Bleu  records  her  impressions  of  Italy. 
Other  choral  works  are  the  Hymne 
a  Apollo  and  the  allegorical  cantata. 
La  Vision  de  la  Reine.  Her  last 
symphonic  poem  was  Andromede  and 
her  last  opera.  La  Montagne  Noire. 
Asarte  and  Lancelot  du  Lac  are 
operas  in  manuscript.  Mile.  Holmes 
wrote  the  words  to  nearly  all  her 
songs.  She  died  in  Paris  in  1903;  the 
next  year  a  monument  was  erected  to 
her  memory  in  the  St.  Louis  Ceme- 
tery, Versailles. 

Holmes,  Edward.    1797-1859. 

Musical  writer  and  critic;  born  near 
London  and  died  in  the  United  States. 
He  was  a  schoolboy  friend  of  Keats 
and  of  his  schoolmaster's  son,  Charles 
Cowden  Clarke.  He  received  his 
musical  instruction  from  V.  Novello 
and  became  a  piano  teacher.  A 
great  admirer  of  Mozart,  he  and 
Novello  raised  a  subscription  for 
Mozart's  widow,  and  in  1828  he  took 
it  to  her  in  Germany.  As  a  result  of 
this  trip  he  wrote  A  Ramble  Among 
the  Musicians  of  Germany.  He  had 
been  appointed  musical  critic  for  the 
Atlas  and  later  for  the  Spectator,  also 
occasionally  writing  articles  for  Fra- 
ser's  Magazine  and  the  Musical  Times. 
The  Life  of  Mozart  appeared  in  1845; 


386 


BIOGRAPHIES 


Holmes 
later  he  wrote  a  life  of  Purcell  for 
Novello's  edition  of  that  composer's 
sacred  music.  Analytical  and  The- 
matic Catalogue  of  Mozart's  Piano 
Music  and  a  Critical  Essay  on  the 
Requiem  of  Mozart  followed.  His 
arrangement  of  Mozart's  Te  Deum 
was  published  in  1844.  Holmes  also 
wrote  some  songs,  of  which  My  Jenny 
was  the  most  popular.  He  spent  the 
last  ten  years  of  his  life  in  America. 

Holmes,  Henry.     1839- 

This  celebrated  violinist  was,  like 
his  brother  Alfred,  born  in  London 
and  educated  by  his  father.  As  a  boy, 
he  was  a  chorister  at  the  Oratory. 
The  brothers  made  their  first  appear- 
ance, together,  at  the  Haymarket  The- 
atre in  1847,  but  thereafter  devoted 
their  time  to  study.  They  appeared 
in  London  in  1853,  two  years  later 
making  a  tour  through  Belgium,  Ger- 
many, Austria  and  Sweden.  Henry 
Holmes  eventually  settled  in  London 
and  became  a  professor  of  violin  at 
the  Royal  College  of  Music.  His  prin- 
cipal compositions  are  four  sym- 
phonies; a  concert  overture;  two 
quintets  for  stringed  instruments;  a 
violin  concerto;  many  violin  solos; 
two  sacred  cantatas  for  solo  voices, 
chorus  and  orchestra,  Praise  Ye  the 
Lord,  and  Christmas;  and  many  songs. 

Holmes,  WUliam  Henry.  1812-1885. 
English  pianist;  born  at  Sudbury, 
Derbyshire,  and  died  in  London.  The 
son  of  a  musician;  he  was  one  of 
the  first  to  enter  the  Royal  Academy 
of  Music  He  obtained  two  of  the 
first  medals  granted  for  composition 
and  piano.  In  1826  he  became  assist- 
ant professor  of  the  piano,  later 
becoming  professor  and  principal  on 
the  teachmg  staflf  of  the  Academy. 
He  gained  a  high  reputation  as  piano 
virtuoso,  making  his  debut  at  the 
Philharmonic  Society,  1851,  in  Men- 
delssohn's Introduction  and  Rondo. 
In  1876  he  performed  at  the  Alex- 
andra Palace  a  concerto  of  his  own, 
written  for  the  jubilee  of  the  Acad- 
emy. He  was  broad  enough  to  wel- 
come new  composers  and  new  music. 
Among  his  pupils  were  the  dis- 
tinguished Sterndale  Bennett,  the  two 
Macfarrens,  J.  W.  Davison  and  others. 
His  compositions  include  an  opera, 
The  Elfin  of  the  Lake;  symphonies; 
concertos;  sonatas;  and  songs.  He 
composed  much  which  was  never 
published. 


Holyoke 
Hoist  (hoist),  Edward.    1843-1899. 

Foreign-born  playwright,  who  made 
his  home  in  America.  He  was  born  in 
Copenhagen,  and  died  in  New  York. 
He  was  very  versatile,  being  an  actor, 
stage-dancer,  dancing-master  and  play- 
wright. He  also  found  time  to  com- 
pose songs  and  compositions  for  the 
piano.  These  latter  were  so-called 
popular  pieces,  among  them  Marine 
Band  March  and  Battle  of  Manila. 
He  composed  a  comic  opera,  Our 
Flats,  and  a  comedy,  Hot  Water. 
He  was  very  prolific,  producing  about 
two   thousand   works. 

Holstein  (hol-shtin),  Franz  von.  1826- 

1878. 

German  composer;  born  at  Bruns- 
wick. He  entered  a  military  school 
and  became  an  officer  in  the  army, 
but  studied  music  at  the  same  time 
with  Richter.  While  a  lieutenant,  he 
produced  his  first  opera,  Zwei  Nachte 
in  Venedig.  After  the  Schleswig-Hol- 
stein  campaign  he  composed  a  five- 
act  opera,  Waverly,  which  he  sent  to 
Hauptmann,  who  advised  him  to  de- 
vote himself  to  music.  Thereupon  he 
resigned  from  the  army  and  became 
one  of  Hauptmann's  pupils  at  the 
Leipsic  Conservatory.  Here  he  pro- 
duced some  good  compositions,  among 
them  the  concert  overture,  Loreley 
He  spent  the  winter  of  1856-1857 
in  Rome,  afterwards  visiting  Berlin 
and  Paris.  Eventually  he  settled  in 
Leipsic,  where  he  died.  Besides  the 
operas  named,  he  composed  Die  Haid- 
eschacht,  a  comic  opera;  Die  Erbe 
von  Morley;  and  Die  Hochlander. 
His  overture,  Frau  Aventiure,  was 
published  after  his  death.  He  also 
produced  many  songs  and  instru- 
mental compositions. 

Holten  (hol-ten),  Carl  von.    1836- 

Composer  and  teacher;  born  in 
Hamburg.  He  studied  piano  with 
Jacques  Schmitt,  Ave-Lallment  and 
Gradener  and  for  one  year  was  a  pupil 
at  the  Leipsic  Conservatory  under 
Moscheles,  Reitz  and  Plaidy.  He  is 
the  composer  of  a  children's  sym- 
phony; a  sonata  for  violin;  a  trio;  a 
concerto  for  piano;  several  piano- 
pieces;  and  songs.  In  1874  Holten 
was  appointed  instructor  in  the  Ham- 
burg Conservatory. 

Holyoke,  Samuel.    1771-1816. 

American  composer  of  cfiurch- 
music  and  a  teacher  of  both  vocal  and 


BIOGRAPHIES 


387 


Holyoke 

instrumental  music.  He  was  born  at 
Boxford,  Mass.,  and  is  a  graduate  of 
Dartmouth  College.  When  twenty- 
years  of  age  he  published  Harmonia 
Americana,  a  collection  of  hymn-tunes 
and  other  pieces.  He  also  published 
The  Instrumental  Assistant;  The  Co- 
lumbian Repository  of  Sacred  Har- 
mony; and,  with  Oliver  Holden,  The 
Massachusetts  Compiler.  One  of  his 
tunes,  Arnheim,  is  still  sung.  He  died 
at  Concord. 

Holzbauer      (holts'-bow-er),      Ignaz. 

1711-1783. 

Born  m  Vienna.  His  father,  in- 
tending him  for  the  law,  opposed  his 
study  of  music,  but  he  studied  secretly. 
After  a  short  trip  to  Venice  his 
father  withdrew  his  opposition,  and 
he  became  chapelmaster  to  Count 
Rottal  in  Moravia.  He  became  direc- 
tor, in  1745,  at  the  Court  Theatre  of 
Vienna,  and  his  wife  was  engaged  as 
singer.  Two  years  later  they  made 
a  tour  of  Italy,  and  in  1751  he  became 
chapelmaster  to  the  Duke  of  Wiir- 
temburg  at  Stuttgart.  His  pastoral 
opera,  II  Figlio  delle  Selve,  in  1753, 
won  for  him  the  appointment  of  chap- 
elmaster to  the  Elector  Palatine  at 
Mannheim.  Here,  with  Cannabich  as 
leader,  he  made  the  orchestra  famous 
for  its  excellent  performances.  Here 
he  composed  his  only  German  opera, 
Giinther  von  Schwarzburg,  which 
made  a  great  success.  Holzbauer  died 
in  Mannheim,  having  been  entirely 
deaf  for  some  years.  Mozart  praised 
his  work  very  highly.  He  composed 
other  operas,  beside  those  previously 
mentioned,  about  two  hundred  instru- 
mental symphonies,  eighteen  quartets 
for  strings,  thirteen  concertos  for 
various  instruments,  five  oratorios, 
twenty-six  orchestral  masses  and 
motets. 

Holzl  (hel-ts'l),  Franz  Severin.    1808- 
1884. 

Hungarian  composer;  born  at  Ma- 
laczka  in  1808.  He  studied  in  Vienna 
with  Erasmus  Kessler  and  Seyfried. 
For  three  years  he  was  a  professor 
at  the  Institute  of  Music  of  St.  Anna; 
in  1841  director  of  a  musical  society 
at  Innsbruck,  and  in  1843  choirmaster 
of  the  Fiinfkirchen  Cathedral.  He 
was  given  the  gold  medal  for  art  and 
science,  for  his  grand  mass  in  D, 
which  he  dedicated  to  the  Emperor. 
His  best  compositions  are  found  in 
his    church-music,    including    solemn 


Homilius 
masses;  a  Grand  Requiem;  Te  Deum; 
offertories;  psalms;  and  hymns.  Holzl 
also  wrote  a  romantic  opera.  Die  Co- 
lonna;  an  oratorio;  concert  overtures 
for  orchestra;  a  symphony;  quartets 
for  strings;  and  sonatas  for  piano  and 
violin. 

Homer,  Louise. 

Famous  American  contralto  singer, 
at  present  a  member  of  the  Metropol- 
itan Opera  Company  of  New  York. 
Well  known  in  this  country  and  in 
Europe  for  her  interpretations  of  the 
leading  contralto  roles  in  opera.  Her 
maiden  name  was  Beatty  and  she  was 
born  in  Pittsburg,  Pa.,  the  daughter 
of  a  Presbyterian  minister  of  that 
city  She  studied  singing  for  several 
years  in  Philadelphia  and  Boston,  and 
in  1896  went  to  Paris  to  continue  her 
studies.  After  two  years  of  hard  work 
under  the  best  teachers,  she  made  her 
debut  at  Vichy  in  La  Favorita.  Her 
English  debut  took  place  in  1899  at 
Covent  Garden,  London,  and  the 
same  year  she  sang  at  the  Theatre 
de  la  Monnaie  in  Brussels,  making  a 
most  favorable  impression.  Returning 
to  London,  she  was  engaged  to  sing 
at  the  first  state  concert  at  Bucking- 
ham Palace  before  Queen  Victoria, 
and  since  then  her  rise  has  been  rapid. 
Miss  Beatty  was  married  in  1896  to 
Sidney  Homer,  the  well-known  song- 
writer, and  is  the  mother  of  several 
children.  Her  best  known  roles  are 
Amneris,  in  Aida;  Michaela,  in  Car- 
men; Lola,  in  Cavalleria  Rusticana; 
and  Laura,  in  Ponchielli's  opera.  La 
Gioconda,  the  last  being  her  favor- 
ite. Mme.  Homer's  voice  is  a  con- 
tralto of  wonderful  quality  and  large 
volume. 

Homilius     (ho-me'-li-oos),     Gottfried 

August.     1714-1785. 

Born  at  Rosenthal,  on  the  frontier 
of  Bohemia.  He  was  a  pupil  of  J.  S. 
Bach,  and  became  the  teacher  of 
Adam  Hiller.  Very  little  is  known  of 
his  life.  He  entered  the  university 
of  Leipsic  in  1735,  and  in  1742  became 
organist  of  the  Frauenkirche,  Dresden, 
and  in  1755  director  of  music  in  the 
three  principal  churches  there.  He 
was  also  cantor  of  the  Kreuzschule 
and  brought  its  choir  to  a  high  state 
of  perfection.  He  was  one  of  the 
most  celebrated  organists  and  corn- 
poser  of  sacred  music  of  his  time.  His 
motets  are  model  compositions  and 
form  his  most  important  work.    Not 


388 


BIOGRAPHIES 


Homilius 
much  of  his  music  has  been  pub- 
lished, though  many  copies  have  been 
taken  of  his  works.  Most  of  his 
compositions  are  in  the  Royal  Library 
at  Berlin,  and  some  are  in  the  archives 
of  the  Kreuzchor  at  Dresden.  Hiller 
has  published  a  collection  of  his 
works  containing  some  motets,  a  can- 
tata on  the  passion  of  our  Saviour  and 
one  on  the  rejoicing  of  the  shepherds 
on  the  birth  of  Jesus. 

*  Hood,  Helen  Francis.    1863- 

One  of  America's  really  gifted  musi- 
cal women.  Born  at  Chelsea,  Mass.; 
studied  harmony  and  composition  in 
Boston  under  J.  C.  D.  Parker,  John 
K,  Paine  and  G.  W.  Chadwick,  and 
piano  under  B.  J.  Lang;  later  in 
Berlin  under  Moskowski  and  Philipp 
Scharwenka.  She  has  composed  from 
her  earliest  years.  The  Columbian 
Exposition  at  Chicago  awarded  her  a 
medal  and  diploma  for  her  work. 
Among  her  productions  is  a  trio  for 
violin,  cello  and  piano,  probably  the 
first  ever  composed  by  an  American 
woman.  She  has  also  published  two 
suites  for  violin,  and  piano  pieces.  The 
best  of  her  songs  are  Disappointment; 
the  Violet;  Cornish  Lullaby;  Shep- 
herdess; and  Message  of  the  Rose. 

Hook,  James.    1746-1827. 

Born  at  Norwich  and  died  at  Bou- 
logne, France.  He  early  showed  a 
tendency  for  music  and  was  placed 
under  Garland,  organist  of  the  cathe- 
dral. Going  to  London,  he  was  organ- 
ist at  Marylebone  Gardens  from  1769 
to  1773.  The  next  year  he  was  en- 
gaged for  Vauxhall  Gardens,  which 
position  he  held  until  1820.  He  was 
also  organist  for  many  years  at  St. 
John's,  Horsleydown,  and  he  taught 
music.  Hook  was  a  most  prolific 
composer,  producing  over  two  thou- 
sand songs;  music  for  the  organ, 
piano  and  other  instruments;  an 
oratorio;  catches  and  glees;  and  dra- 
matic pieces.  He  also  published  an 
instruction  book,  Guida  di  Musica. 
Many  of  his  songs  were  published  in 
collections.  For  some  of  his  songs 
he  received  _  prizes  from  the  Catch 
Club.  Of  his  songs,  Within  a  mile 
O*  Edinboro'  Town  and  Sweet  Lass 
of  Richmond  Hill  are  best  known. 

Hopekirk,  Helen.    1856- 

Scotch-American  pianist  and  com- 
poser. Born  at  Edinburgh,  Scotland. 
Studied   first   with   Lichtenstein   and 


Hopkins 
A.  C.  Mackenzie,  and  after  two  years' 
work  at  Leipsic  became  a  pupil  of 
Leschetizky.  Made  her  debut  as  a 
pianist  at  the  Gewandhaus,  Leipsic,  in 
1878.  In  1883  and  1884  gave  concerts 
in  Great  Britain  and  the  United 
States.  In  1897  became  a  teacher  in 
the  New  England  Conservatory,  Bos- 
ton, where  she  remained  until  1901. 
At  present  is  teaching  privately  in 
Boston.  She  has  given  many  piano 
recitals  and  has  played  with  the  lead- 
ing orchestras  of  the  United  States 
and  Europe.  Her  compositions  con- 
sist of  a  concertstiick  for  piano  and 
orchestra;  a  piano  concerto;  a  sonata 
for  piano  and  violin;  and  many  songs. 

Hopkins,  Edward  Jerome.    1836-1898. 

Son  of  the  Rt.  Rev.  John  Henry 
Hopkins.  He  was  born  in  Burling- 
ton, Vermont,  and  received  his  early 
education  there.  Was  later  a  student 
at  the  University  of  Vermont,  and 
then  at  the  New  York  Medical  Col- 
lege. His  thorough  knowledge  of 
music  he  gained  himself,  his  only  in- 
struction being  in  his  home  and  in 
his  father's  church.  He  became  or- 
ganist and  choir  leader  in  various 
churches  at  Burlington  and  New  York 
City.  He  gave  concert  lectures 
throughout  the  United  States;  was 
editor  of  several  musical  publications, 
and  was  the  founder  of  the  Orphion 
free  school  for  choir-boys  in  New 
York  City.  It  was  under  his  leader- 
ship that  the  first  choir  of  child- 
voices  sang  Handel's  Halleujah  Cho- 
rus. His  compositions  include  music 
for  children's  voices;  Samuel,  a  can- 
tata; Dumb  Love,  an  opera;  and  Taflfy 
and  Old  Munch;  Festival  Vespers 
for  a  boy  choir;  church-music;  secu- 
lar songs;  and  piano  pieces.  His 
work  is  known  not  only  in  America 
but  in  England,  where  his  orchestral 
music  was  played  at  the  Crystal  Pal- 
ace, London,  in  1874,  and  in  Ger- 
many, where,  at  Liszt's  house  at 
Weimar,  his  chamber-music  was  intro- 
duced. Hopkins  died  at  his  home 
near  Passaic,  New  Jersey. 

Hopkins,  Edward  John.    1818-1901. 

Church  composer  and  one  of  the 
best  authorities  on  organ  construc- 
tion; he  is  best  known  by  his  publi- 
cation, with  Dr.  Rimbault,  of  The 
Organ,  Its  History  and  Construction. 
He  was  born  in  Westminster,  and 
when  eight  years  old  became  a  chor- 
ister of  the  Chapel  Royal  under  Wil- 


BIOGRAPHIES 


389 


Hopkins 

Ham  Hawes.  Upon  leaving  the  choir 
he  studied  under  Thomas  Forbes 
Walmisley.  He  held  various  posts  as 
organist  in  London,  in  1843  being 
appointed  to  the  Temple  Church, 
where  he  gained  a  high  reputation. 
He  was  also  unrivaled  as  an  accom- 
panist. In  1882  he  obtained  the  de- 
gree of  Doctor  of  Music  from  the 
Archbishop  of  Canterbury,  and  four 
years  later  the  same  from  the  Uni- 
versity of  Toronto.  He  was  profes- 
sor of  organ  at  the  Royal  Normal 
College  for  the  Blind,  Upper  Nor- 
wood, London,  His  compositions 
include  anthems;  chants;  psalm  tuners; 
and  church  services.  His  anthems, 
Out  of  the  Deep,  and,  God  is  Gone 
Up,  obtained  Gresham  prize  medals. 
A  duet.  May  day,  and  a  trio.  Wel- 
come, are  also  his  work.  Hopkins 
had  sung  at  the  coronation  of  William 
IV.,  in  1831,  and  he  lived  to  be  in  the 
choir  at  the  Diamond  Jubilee  of 
Queen  Victoria,  in  1897.  Upon  his 
completion  of  fifty  years'  service  as 
organist  of  the  Temple,  in  1893,  he 
had  a  presentation  from  the  Benchers. 

Horn,  August.     1825-1893. 

German  composer,  who  was  born  at 
Freiberg,  Saxony,  and  spent  most 
of  his  life  in  Leipsic.  He  received 
his  education  at  the  Leipsic  Conserva- 
tory. The  years  between  1862  and 
1868  he  spent  in  Dresden.  He  be- 
came celebrated  by  his  clever  arrange- 
ments of  symphonies,  operas,  etc., 
for  the  piano  for  four  and  eight 
hands,  and  for  two  pianos.  He 
composed  an  opera,  Die  Nachbarn, 
which  was  produced  in  Leipsic  in 
1875.  Among  his  compositions  are 
also  overtures  for  orchestra;  piano 
pieces;  and  songs. 

Horn,  Charles  Edward.     1786-1849. 

Son  of  Karl  Friedrich  Horn,  who 
was  a  teacher  and  organist.  He  was 
born  in  London  in  1786  and  received 
his  early  musical  education  from  his 
father,  and  then  studied  singing  with 
Rauzzini.  In  1809  he  appeared  as  a 
singer  in  English  opera  at  the  Ly- 
ceum. Later  studied  with  Thomas 
Welsh,  and  composed  several  operas, 
a  few  of  which  met  with  success.  He 
again  appeared  in  1814  as  a  singer  and 
composer.  In  1833  he  introduced  in 
America  several  English  operas  at  the 
Park  Theatre,  New  York.  Through 
illness  he  lost  his  voice  and  took  up 
the  work  of  teacher  and  publisher  and 


Homemann 
importer  of  music.  After  a  ten-years' 
residence  in  America  he  returned  to 
London,  where  he  was  appointed 
musical  director  of  the  Princess  The- 
atre. In  1847  he  was  in  America  as 
conductor  of  the  Handel  and  Haydn 
Society  of  Boston,  spent  another  few 
months  in  London,  where  he  produced 
his  oratorio,  Daniel's  Prediction,  and 
then  again  assumed  the  directorship 
of  the  Handel  and  Hayden  Society  in 
Boston,  where,  in  1849,  he  died.  Dur- 
ing his  first  stay  in  America  he  pro- 
duced an  oratorio  called  The  Remission 
of  Sin;  in  England  another  oratorio, 
Satan,  was  performed  by  the  Melo- 
phonic  Society.  His  compositions  for 
the  theatre  were  numerous,  among 
them  Rich  and  Poor;  The  Devil's 
Bridge;  The  Woodman's  Hut;  The 
Wizard,  etc.  He  also  wrote  a  can- 
tata, Christmas  Bells;  a  glee;  and  pop- 
ular songs,  including  Cherry  Ripe,  and 
Through  the  Wood,  and  edited  a  col- 
lection of  Indian  Melodies. 

Horn,  Karl  Friedrich.     1762-1830. 

Born  at  Nordhausen,  Saxony,  and 
died  at  Windsor,  England.  An  organ- 
ist and  composer,  he  studied  first  in 
his  native  town  under  Schroter. 
When  twenty  years  of  age  he  came  to 
London,  where  the  Saxon  ambassa- 
dor. Count  Briihl,  introduced  him  as 
a  teacher  among  the  English  nobility. 
After  the  publication  of  his  Six  Sona- 
tas for  the  Piano  he  was  made  music- 
master  in  ordinary  to  Queen  Charlotte 
and  the  Princesses,  which  position 
he  held  until  1811.  In  1823  he  suc- 
ceeded William  Sexton  as  organist  of 
St.  George's  Chapel,  Windsor.  With 
Samuel  Wesley,  he  prepared  an  Eng- 
lish edition  of  J.  S.  Bach's  Well-Tem- 
pered Clavier,  which  was  published  in 
1810  He  composed  some  military 
divertimentos;  twelve  themes  with 
variations  for  the  piano  with  an 
accompaniment  for  flute  or  violin; 
and  several  sets  of  sonatas. 

*  Hornemann     (hor'-ne-man),     Emil 

Christian.     1841- 

Son  of  Johann  Hornemann,  a  Dan- 
ish composer.  Born  in  Copenhagen 
in  1841.  His  father  instructed  him  in 
music  and  he  later  went  to  the  Leip- 
sic Conservatory  for  three  years.  He 
became  director  of  a  school  of  music 
in  Copenhagen,  and  is  the  composer 
of  many  songs;  two  overtures; 
Aladdin  and  Heldenleben;  and  piano 
caprices. 


390 


BIOGRAPHIES 


Horsley 
Horsley,  Charles  Edward.    1822-1876. 

Son  of  William  Horsley,  the  com- 
poser; he  was  also  a  composer  and 
writer,  having  received  his  first  in- 
structions from  his  father.  Later  he 
studied  under  Moscheles,  and,  upon 
the  advice  of  Mendelssohn,  who  was 
a  friend  of  the  family,  he  was  placed 
under  Hauptmann,  at  Cassel.  After- 
wards he  went  to  Leipsic,  where  he 
received  personal  instruction  from 
Mendelssohn,  and  contracted  a  friend- 
ship with  Spohr.  He  composed  a 
number  of  works  while  in  Germany, 
among  them  a  trio  for  piano,  violin 
and  violoncello,  and  an  overture. 
Returning  to  England  he  taught 
music,  also  performing  on  the  piano 
and  organ,  being  organist  of  St. 
John's,  Notting  Hill,  from  1853  to 
1857.  During  this  time  he  composed 
the  oratorios  David,  Joseph  and 
Gideon;  an  anthem;  music  for  Mil- 
ton's Comus;  besides  many  pieces  for 
the  piano  and  songs.  Leaving  Eng- 
land for  Australia  he  held  a  posi- 
tion there  as  organist  in  Melbourne, 
while  there  writing  an  ode,  Euterpe, 
for  solos,  chorus  and  orchestra.  Soon 
after  1870  he  removed  to  the  United 
States.  He  died  in  New  York  and 
his  body  was  brought  to  England 
and  buried  in  Kensal  Green  Ceme- 
tery. Horsley  edited  his  father's 
glees  in  1873  and  his  own  Text  Book 
of  Harmony  was  published  in  London 
after  his  death. 

Horsley,  William.     1774-1858. 

Composer  and  organist;  the  de- 
scendant of  an  old  Northumbrian 
family  whose  castle  still  stands  near 
Morpeth.  Born  in  London  and  at 
sixteen  years  of  age  was  articled  for 
five  years  to  Theodore  Smith,  a  pian- 
ist. From  him,  however,  he  received 
more  ill-treatment  than  instruction, 
Throu<Th  his  acquaintance  with  the 
three  Pring  brothers  and  John  Wall 
Callcott,  he  was  encouraged  to  write 
glees,  the  composition  of  which  after- 
wards made  his  reputation.  In  1794 
he  was  elected  organist  of  Ely  Chapel, 
Holborn,  and  three  years  later  was 
made  a  member  of  the  Royal  Society 
of  Musicians.  About  1847  he  resigned 
his  position  in  Holborn  and  became 
assistant  organist  to  Dr.  Callcott  at 
the  Asylum  for  Female  Orphans. 
Succeeding  him  as  organist  in  1802, 
Horsley  held  this  position  until  1854. 
He,  with  Dr.  Callcott,  founded  the 
Concentores  Sodales  in  1798,  a  club 


Howard 

for  the  encouragement  of  glee  and 
canon  writing.  In  1800  he  graduated 
as  Bachelor  of  Music  at  Oxford,  his 
exercise  being  an  anthem,  When 
Israel  came  out  of  Egypt.  He  held 
other  positions  in  London  as  organ- 
ist and  in  1813,  with  others,  founded 
the  Philharmonic  Society.  The  most 
popular  of  his  glees  are  By  Celia's 
Arbour,  See  the  Chariot  at  Hand, 
Mine  Be  a  Cot,  Cold  is  Cadwallo's 
Tongue,  and  O  Nightingale.  He  also 
published  a  collection  of  Hymn  and 
Psalm  Tunes;  a  Collection  of  forty 
Canons;  a  Collection  of  Psalm  Tunes 
with  Interludes;  songs,  sonatas,  and 
other  pieces  for  the  piano,  and  An 
Explanation  of  the  Major  and  Minor 
Scales.  When  Mendelssohn  visited 
England  in  1829  he  formed  an  inti- 
mate friendship  with  the  Horsleys. 

Hothby,  John.    -1487. 

English  Carmelite  monk  who  is 
supposed  to  have  lived  in  the 
Fifteenth  Century.  He  seems  to  have 
been  a  man  of  considerable  learning, 
being  a  doctor  both  of  Theology  and 
Music.  He  lived  long  at  a  monastery 
in  Ferrara,  Italy,  but  about  1440  went 
to  Florence.  In  one  of  his  letters  he 
tells  of  traveling  in  France,  Great 
Britain,  Italy,  Germany  and  Spain. 
From  1467  to  1486  he  lived  in  Lucca, 
Italy,  as  a  teacher  in  the  Carmelite 
monastery  of  St.  Martin.  Henry  VII. 
invited  him  to  England  in  1486  and 
it  is  supposed  that  he  died  the  next 
year.  Many  of  Hothby's  works  are 
still  in  existence,  manuscript  copies 
being  in  the  British  Museum  and 
libraries  at  Ferrara,  Bologna  and 
Paris. 

*  Howard,  George  Henry.     1843- 

American  composer,  teacher  and 
lecturer;  was  born  at  Norton,  Massa- 
chusetts. His  father  and  sister  were 
his  first  teachers,  and  he  later  studied 
at  the  Boston  Music  School,  where 
his  teachers  were  J.  W.  Adams,  B.  F. 
Baker  and  J.  W.  Tufts  in  singing. 
After  teaching  five  years  in  the  Bos- 
ton Music  School  he  went  to  Leipsic 
in  1869,  and  studied  there  in  the  Con- 
servatory under  Moscheles,  Richter 
and  Papperitz.  The  next  year  he 
studied  with  Haupt  and  Kullak  in 
Berlin,  then  returned  to  Boston  where 
he  taught.  In  1874  he  went  to  Lon- 
don to  teach  in  the  Royal  Normal 
College  and  Academy  of  Music  for 
the   Blind,  but  after  one  year   there 


BIOGRAPHIES 


391 


Howard 
returned  to  America  and  became  di- 
rector of  the  Olivet  (Michigan)  Con- 
servatory of  Music,  a  position  which 
he  occupied  for  six  years.  He  also 
taught  and  lectured  in  the  New  Eng- 
land Conservatory  of  Music  at  Boston, 
and  in  1891  he  organized  the  Boston 
School  for  Teachers  of  Music.  For 
twelve  years  ne  was  a  teacher  on  the 
faculty  at  the  Martha's  Vineyard 
Summer  Institute.  Since  1898  he  has 
given  his  time  to  private  teaching, 
composition  and  concert  playing.  He 
has  given  many  lectures  and  lecture 
recitals,  and  has  written  a  Course  in 
Harmony;  Outline  of  Technique;  and 
Modern  and  Classic  Repertory  for  the 
Organ.  He  has  composed  many  pieces 
for  the  organ;  an  Amen  Chorus;  many 
excellent  anthems,  and  a  number  of 
piano  pieces,  besides  an  unpublished 
piano  method,  Manual  of  Analysis. 
In  1907  he  founded  a  new  school  of 
music  for  instruction  in  conceptive 
methods.  He  was  the  successful 
conductor  of  two  orchestras. 

Hubay  (hoo'-ba-e),  Jeno.    1858- 

Hubay  is  sometimes  known  as 
Eugen  Huber.  He  was  born  in  Buda- 
pest and  is  a  famous  violinist.  Karl 
Hubay,  father  of  Jeno,  was  a  violin 
professor  at  the  Pesth  Conservatory, 
chorister  of  Hungarian  National 
Opera,  and  an  apostle  of  Wagner.  He 
gave  Jeno  Hubay  his  first  violin  in- 
struction and  at  the  age  of  eleven 
Jeno  played  in  Pesth  at  a  public  con- 
cert one  of  Viotti's  concertos,  and 
was  pronounced  a  prodigy.  In  1871 
he  was  sent  to  Berlin  and  for  five 
years  studied  under  Joachim  at  the 
Hochschule.  When  in  1899  the  six- 
tieth anniversary  of  Joachim's  public 
appearance  was  celebrated  in  Berlin, 
Hubay  was  one  of  the  distinguished 
violinists  to  play  at  the  grand  con- 
cert. After  finishing  his  course  of 
study  with  Joachim  he  returned  to 
his  home  and  gave  a  public  concert. 
Liszt  heard  this  performance  and 
upon  his  recommendation  Hubay  ap- 
peared at  the  Pasdeloup  concerts,  in 
1878,  with  great  success.  While  in 
Paris  he  met  many  famous  musicians, 
among  them  Vieuxtemps  who  was  de- 
lighted with  his  rendering  of  violin 
compositions  and  became  his  life-long 
friend.  Vieuxtemps'  last  concerto  was 
dedicated  to  Hubay,  and  after  Vieux- 
temps' death  Hubay  orchestrated  his 
seventh  concerto  and  entirely  revised 
his  works.  After  leaving  Paris,  Jeno 


Hubbard 

Hubay  made  a  tour  as  soloist  through 
France,  England  and  Belgium,  and 
won  great  renown.  In  1882  he  filled 
a  position  which  has  been  held  by 
so  many  brilliant  musicians,  that  of 
principal  professor  at  the  Brussels 
Conservatory.  Upon  the  death  of  his 
father  in  1886  he  resigned  the  post  m 
order  to  succeed  the  elder  Hubay  at 
the  Budapest  Conservatory.  He  has 
also  been  a  teacher  of  violin  in  the 
Royal  Academy  of  the  same  city,  and 
he  has  successfully  toured  Germany, 
Russia  and  Italy  since  accepting  the 
above  position.  While  in  Brussels  he 
founded  a  quartet  and  later  founded 
another  in  Pesth  which  Brahms  pro- 
nounced one  of  the  best  in  existence. 
Hegyesi,  formerly  of  the  Florentine 
Quartet  is  cellist.  Although  best 
known  as  a  violinist  and  teacher, 
Hubay  has  also  won  recognition  by 
his  compositions,  which  include  three 
operas,  one  based  upon  Coppee's 
Luthier  de  Cremone  Alinon,  and  A 
Falu  Rossza;  a  concerto;  a  sonata; 
songs  and  manj'-  violin  pieces  founded 
largely  upon  Hungarian  national  airs. 

*  Hubbard,  William  Lines.    1867- 

William  Lines  Hubbard  was  born 
in  1867  in  Farmersville,  New  York. 
At  an  early  age  he  was  taken  to 
Southern  Illinois,  where  the  town  of 
Kinmundy  w.as  his  home  until  1880, 
when  his  parents  moved  to  Chicago. 
His  schooling  was  begun  in  the 
grammar  school  of  Kinmundy,  and 
his  study  of  piano,  which  commenced 
early,  was  with  the  country  "  music 
teacher,"  until  he  received  instruction 
from  Julia  Gould  Hall,  an  English 
soprano  who  at  one  time  enjoyed  suc- 
cess and  popularity  in  London  and 
throughout  this  country,  and  whose 
musical  knowledge  was  more  than 
ordinarily  wide  and  thorough.  In 
Chicago  the  Lake  View  Grammar 
School  and  later  the  Lake  View  High 
School  were  attended.  Music  study 
during  these  years  in  Chicago  had 
been  almost  wholly  neglected,  but  in 
the  autumn  of  1885,  after  taking  a 
position  at  bookkeeper  in  the  business 
office  of  the  Chicago  Evening  Journal 
and  later  writing  reviews  of  concerts 
and  operas  for  that  paper,  the  study 
of  piano  was  resumed,  Mrs.  Fannie 
Bloomfield-Zeisler  being  the  instruc- 
tor. For  some  three  years  Mr.  Hub- 
bard combined  the  double  labors  of 
bookkeeper  and  critic,  but  virtually 
gave  up  the  latter  in   1890  and  con- 


392 


BIOGRAPHIES 


Hubbard 

fined  himself  to  clerical  work  until 
February  of  the  following  year,  when 
the  position  as  music  editor  of  the 
Chicago  Tribune,  as  successor  to  the 
late  Frederick  Grant  Gleason,  was 
oflFered  him.  He  accepted  the  posi- 
tion, visited  Europe  for  the  first  time 
the  following  summer,  attending  the 
Mozart  and  Wagner  Festivals  at  Salz- 
burg and  Bayreuth,  and  until  July, 
1893,  devoted  himself  entirely  to  musi- 
cal criticism.  From  1893  to  1898  Mr. 
Hubbard  resided  in  Dresden,  giving 
his  whole  time  and  attention  to 
the  study  of  piano,  of  theory  and 
composition,  and  of  singing.  His 
piano  studies  were  with  Kronke  and 
Scholtz,  his  theory  and  composition 
with  Hans  Fahrmann  and  his  singing 
with  G.  B.  Lamperti  and  Mme.  Bachi- 
Fahrmann.  In  1898,  some  four  months 
were  spent  in  London  studying  ora- 
torio with  Fred  Walker.  After  the 
return  to  Chicago  in  August  of  1898 
Mr.  Hubbard  taught  theory  and  com- 
position privately  and  in  the  Watson 
School,  and  in  February  of  1899  re- 
sumed his  position  as  music  editor 
of  the  Chicago  Tribune.  In  October, 
1899,  he  was  sent  by  the  Tribune  as 
special  representative  and  correspond- 
ent to  Vienna,  where  he  remained  for 
a  year,  devoting  his  leisure  time  to 
further  study  of  singing  under  the 
instruction  of  Josef  Steineder.  Re- 
turning in  November,  1900,  he  took 
up  his  work  as  critic  and  also  be- 
came literary  editor  of  the  Tribune. 
Later  he  resigned  the  latter  position 
and  began  the  teaching  of  singing.  In 
1902  he  accepted  the  position  of  dra- 
matic editor  as  well  as  musical  editor 
of  the  Tribune,  and  continued  in  this 
double  capacity  until  December,  1907, 
when  he  gave  up  the  dramatic  editor- 
ship, retaining  the  musical  work,  and 
devoting  more  of  his  time  to  writing 
on  musical  subjects  and  to  his  work 
as   teacher   of   singing. 

Huber  (hoo'-ber),  Hans.     1852- 

Composer  and  teacher;  born  in 
Shoneward,  Switzerland.  Studied  for 
four  years  at  the  Leipsic  Conserv- 
atory. After  two  years  of  private 
teaching  in  Wesserling,  he  became  a 
teacher  in  a  school  of  music  at 
Thann,  Alsace,  and  in  1896  was  made 
director  of  the  Music  School  of  Basle, 
as  successor  to  H.  Bagge.  In  1892 
the  University  of  Basle  conferred 
upon  him  the  honorary  title  of  Doctor 
of     Philosophy.       Huber's     composi- 


Hubermann 

tions  are  varied,  including  operas, 
sonatas,  suites  for  two  and  four 
hands,  fugues,  songs,  part-songs,  can- 
tatas, trios,  overtures,  violin  concerto, 
symphonies,  serenades,  quartets  for 
strings,  suite  for  piano  and  cello,  etc. 
They  show  somewhat  the  influence  of 
Schumann  and  Brahms  as  well  as 
Liszt  and  Wagner,  but  he  has  added 
much  of  himself  and  they  have  an 
original  rhythm  and  poetical  setting. 
His  best  known  works  are  a  fairy 
opera,  Florestan;  a  Tell  symphony; 
Summer  Night,  a  serenade;  Romischer 
Carnival  for  orchestra,  and  his  two 
operas,  Weltfriihling  and  Kudrun. 

Huber,  Joseph.     1837-1886. 

Composer  and  violinist;  born  at 
Sigmaringen.  His  first  musical  in- 
struction was  violin  under  Leopold 
Ganz  and  harmony  and  composition 
under  Marx,  both  of  the  Stern  Con- 
servatory of  Berlin.  Later  he  was  a 
pupil  of  Eduard  Singer  and  Peter 
Cornelius  in  Weimar.  Here  Liszt 
influenced  him  strongly.  He  became 
a  member  of  the  band  of  the  Prince 
of  Hechingen  at  Lowenberg,  going  to 
Leipsic  in  1864  to  be  leader  of  the 
Euterpe  Orchestra.  The  next  year  he 
played  in  the  Court  band  at  Stutt- 
gart. The  personal  acquaintance  he 
had  with  Peter  Lohmann,  at  Leipsic, 
influenced  his  after  productions,  which 
were  less  stereotyped  than  much  of 
the  music  of  his  time.  Huber  was 
such  an  enthusiastic  believer  in  the 
new  German  School  that  he  even 
omits  the  signature  of  the  piece.  Be- 
sides two  operas.  Die  Rose  von 
Libanon  and  Irene,  he  composed  four 
symphonies,  in  one  movement,  many 
songs,  and  instrumental  music. 

♦  Hubermann   (hoo'-ber-man),  Broni- 
shaw.     1882- 

Born  at  Czenstochowa,  near  War- 
saw. His  first  instruction  on  the  vio- 
lin was  under  Michalowicz,  at  the 
Conservatory.  When  seven  years .  of 
age  he  could  perform  Spohr's  second 
violin  concerto.  When  ten  years  of 
age  he  was  placed  under  Joachim  for 
nearly  a  year,  after  which  he  played 
in  Amsterdam,  Brussels  and  Paris. 
In  1894  he  went  to  London  and  the 
following  year  to  Vienna  where  Ade- 
lina  Patti  engaged  him  to  play  at  her 
farewell  concert.  He  was  enthusias- 
tically received  and  attracted  the  at- 
tention of  Hanslick  and  Brahms.  He 
traveled  through  Austria,  Italy,  Ger- 


BIOGRAPHIES 


393 


Hubermann 

many,  Russia,  America  and  England 
and  finally  selected  Berlin  for  his 
home.  While  in  Italy  he  was  invited 
by  the  municipality  of  Genoa  to  play 
on  Paganini's  Guarnerius  violin,  a 
rare  honor.  Hubermann  is  a  thor- 
ough master  of  the  violin  and  has  a 
wonderful  technique,  particularly  of 
the  right  hand. 

Huberti     (ii-ber-te),    Gustave    Leon. 

1843- 

Belgian  composer;  born  at  Brussels. 
He  was  a  pupil  at  the  Conservatory 
there  and  won  the  second  prize  in 
1863  for  his  cantata,  Paul  and  Vir- 
ginia, winning  the  Grand  Prize  of 
Rome  two  years  later,  for  his  can- 
tata. La  fille  de  Jephte.  The  latter 
prize  enabled  him  to  travel  through 
Europe  and  he  became  director  of 
the  Conservatory  of  Mons  until  1877, 
when  he  resigned.  He  was  conduc- 
tor and  teacher  at  Antwerp  and  Brus- 
sels and  in  1886  was  made  professor 
of  harmony  at  the  Brussels  Conserv- 
atory. He  has  composed  the  ora- 
torios Een  laatste  zonnestraal, 
Blormardinne,  and  Willem  van 
Oranjes  dood;  the  dramatic  poem 
Verlichting,  for  organ,  orchestra, 
solos  and  choruses;  a  symphonie 
funebre;  a  romantic  suite,  many  songs, 
piano-pieces  and  instrumental  num- 
bers. 

Hucbaldus     (hook'-balt-oos),     de    S. 
Amando.     About  840-930. 

A  Benedictine  monk,  author  and 
musician.  He  studied  music  with  his 
uncle  Milo  at  the  St.  Amand  monas- 
tery but  left  when  twenty  years  of 
age,  owing  to  his  uncle's  jealousy. 
Going  to  Nevers,  he  established  a 
singing-school.  He  continued  his 
studies  at  St.  Germain  d'Auxerre  and 
about  872  succeeded  his  uncle  at  St. 
Amand.  He  took  charge  of  a  school 
at  St.  Bertin  and  about  893  was  called, 
with  Remi  d'Auxerre,  by  the  Arch- 
bishop of  Rheims  to  reestablish  the 
old  church-schools  in  the  diocese. 
Upon  the  death  of  the  Archbishop,  in 
900,  he  returned  to  St.  Amand.  More 
is  known  of  his  work  than  of  his  life; 
his  work  on  harmony  being  the  ear- 
liest in  which  rules  are  illustrated  by 
practical  examples.  The  tract,  De 
Harmonica  Institutione,  the  only  one 
of  his  works  that  has  been  preserved 
to  us,  has  two  perfect  copies.  One 
is  in  the  Paris  Library  and  the  other 
in  Corpus  Christi  College,  Cambridge. 


Hullah 


To  Hucbaldus  is  given  the  credit  of 
having  first  used  parallel  lines  to  in- 
dicate the  rise  and  fall  of  tones.  The 
tract  concludes  with  an  account  of 
the  descent  of  Orpheus  into  Hades,  in 
search  of  Eurydice. 

*  Hiie  (ti),  Georges  Adolphe.    1858- 

A  French  dramatic  composer;  born 
at  Versailles.  He  studied  in  the  Paris 
Conservatory  under  Reber  and  Pala- 
dilhe.  He  was  awarded  the  Grand 
Prize  of  Rome  in  1879,  two  years 
later  winning  the  Crescent  prize  and 
taking  that  offered  by  the  city  of 
Paris  in  1885.  One  of  the  most  suc- 
cessful teachers  in  Paris,  he  has  also 
written  much  chamber-music  and 
many  pieces  for  different  instruments. 
His  operas  are  Les  Pantins;  La  belle 
au  bois  dormant;  Vazanta;  Le  roi  de 
Paris;  and  Titania.  He  has  written 
many  songs,  choruses,  a  symphonic 
overture;  Riibezahl,  a  symphonic 
legend;  Resurrection;  episode  sacre; 
Le  Berger,  ballade;  and  a  fantaisie 
for  violin;  Coeur  Brise,  a  pantomime. 

Hueffer  (hiif'-fer),  Francis.   1843-1889. 

Author  and  musical  critic;  born  at 
Miinster.  He  studied  music  and  mod- 
ern language  in  London,  Paris,  Ber- 
lin and  Leipsic,  thereafter  taking  up 
his  residence  in  London  where  he  de- 
voted himself  to  literary  work.  While 
in  Berlin  he  had  become  one  of  the 
admirers  of  Wagner  and  later  his 
publication,  Richard  Wagner  and  the 
Music  of  the  Future,  caused  English 
musicians  to  acknowledge  the  genius 
of  the  great  artist.  He  was  appointed 
musical  critic  of  The  Times  in  1878, 
having  already  been  editor  of  the 
New  Quarterly  Magazine.  The  same 
year  appeared  his  learned  treatise. 
The  Troubadours,  a  history  of  Pro- 
vencal Life  and  Literature  in  the 
Middle  Ages.  Its  publication  caused 
his  election  to  the  Felibrige  Society. 
He  also  delivered  lectures  on  the 
same  subject  at  the  Royal  Institution 
in  1880.  Hueffer  wrote  the  librettos 
for  Colomba,  The  Sleeping  Beauty, 
The  Troubadour,  and  a  clever  trans- 
lation of  Boito's  Otello  for  Verdi's 
music.  He  published  a  collection  of 
his  Times  articles,  translated  the  cor- 
respondence of  Wagner  and  Liszt  into 
English,  besides  many  other  works. 

Hullah,  John  Pyke.     1812-1884. 

Distinguished  composer  and  musical 
writer;  born  at  Worcester.    He  was  a 


394 


BIOGRAPHIES 


Hullah 

pupil  of  William  Horsley,  later  study- 
ing singing  under  Crivelli  at  the  Royal 
Academy  of  Music.  He  became  known 
in  1836  by  his  music  to  Charles 
Dickens'  opera,  The  Village  Coquettes, 
produced  at  St.  James'  Theatre.  This 
was  followed  by  The  Barbers  of 
Bassora,  a  comic  opera,  and  The  Out- 
post. Having  studied  with  Wilhem 
in  Paris,  Hullah  opened  in  1841  his 
singing-school  for  schoolmasters  at 
Exeter  Hall,  London,  which  met  with 
immediate  success,  and  the  general 
public  as  well  as  teachers  flocked  to 
obtain  instruction.  In  1847  his 
scholars  and  admirers  erected  and 
presented  him  with  St.  Martin's  Hall 
for  the  public  performances  of  his 
pupils.  From  1844  to  1874  he  was 
professor  of  singing  at  King's  Col- 
lege, later  holding  the  same  at 
Queen's  and  Bedford  Colleges.  He 
succeeded  Horsley  as  organist  of  the 
Charter  House,  and  for  many  years 
conducted  the  annual  concerts  of  the 
children  of  the  Metropolitan  Schools 
at  the  Crystal  Palace.  He  edited  Wil- 
hem's  Method  of  Teaching  Singing, 
adapted  to  English  use.  He  wrote 
A  Grammar  of  Vocal  Music,  A  Gram- 
mar of  Harmony,  A  Grammar  of 
Counterpoint,  and  The  History  of 
Modern  Music.  His  compositions 
include  motets,  anthems,  concerted 
vocal  music,  and  many  songs,  of 
which  O!  That  We  Two  Were  May- 
ing, The  Storm,  and  Three  Fishers, 
are  still  popular. 
HuUmandel     (hil-mant-'l),     Nicholas 

Joseph.     1751-1823. 

Born  in  Strasburg;  a  nephew  of 
Rodolphe,  the  celebrated  performer 
on  the  horn;  he  became  a  famous 
pianist  and  performer  on  the  har- 
monica. His  first  study  was  in  the 
cathedral  of  his  native  town,  after- 
wards in  Hamburg  under  Philipp 
Emanuel  Bach.  He  traveled  in  Italy, 
going  in  1776  to  Paris,  where  he  lived 
for  ten  years.  There  he  introduced 
the  German  style  of  playing  piano- 
music  and  became  a  fashionable 
teacher.  He  went  to  London,  having 
lost  much  property  during  the  French 
Revolution,  and  died  there.  Some  of 
his  works  rank  among  the  best  of 
his  time;  piano  trios,  sonatas,  also 
sonatas  for  violin  with  piano,  airs  and 
variations  for  piano  alone. 
Humfrey,  Pelham.     1647-1674. 

English     musician     and     composer, 
who,   when  a  child,  was   one  of  the 


Hummel 

first  set  of  children  in  the  Chapel 
Royal  after  the  Restoration.  At 
seventeen  years  of  age  he  composed 
the  words  of  five  anthems  contained 
in  Clifford's  Divine  Services  and  An- 
thems. He  was  also  associated  with 
Blow  and  Turner  in  the  composition 
of  the  anthem,  I  Will  Always  Give 
Thanks.  In  the  same  year  Charles 
II.  sent  him  abroad  to  study  music  in 
France  and  Italy.  Having  studied 
under  Lully  in  Paris,  he  afterwards 
introduced  his  methods  in  England. 
In  1667  he  was  appointed  a  gentleman 
of  the  Chapel  Royal  and  in  1672  suc- 
ceeded Captain  Cooke  as  master  of 
the  children.  Humfrey  died  at  Wind- 
sor when  only  twenty-seven  years 
old.  Boyce  considers  that  he  was  the 
first  of  our  ecclesiastical  composers 
who  had  the  least  idea  of  musical 
pathos  in  the  expression  of  words. 
His  compositions  are  chiefly  sacred 
and  include  a  large  number  of  an- 
thems, services  and  songs.  He  also 
composed  some  good  secular  songs, 
some  of  which  are  to  be  found  in 
Sir  John  Hawkins'  History  of  Music. 
Among  his  songs  are  two  odes  com- 
posed for  the  King's  birthday. 

Hummel      (hoom'-mel),      Ferdinand. 
1855- 

Harp  virtuoso;  appearing  in  public 
when  only  seven  years  old.  He  was 
born  in  Berlin  and  studied  first  with 
his  father,  who  was  a  musician.  When 
nine  years  of  age  he  toured  Europe 
with  his  father,  his  performance  win- 
ning for  him  a  royal  grant  which 
assisted  him  to  further  study.  He 
entered  Kullak's  Academy,  going  to 
the  Royal  High  School  of  Music  in 
1871.  In  the  Academy  he  studied 
piano  under  Rudorff  and  Grabau,  and 
composition  under  Kiel  and  Bargiel. 
Hummel  is  a  very  prolific  writer,  a 
concert-fantasia  for  harp  and  orches- 
tra and  a  symphony  though  still  in 
manuscript  have  been  frequently  per- 
formed. Among  his  compositions  are 
three  one-act  operas,  Mara,  Ein 
treuer  Schelm,  and  Augla;  one  three- 
act  opera,  Assarpai;  four  cello  sona- 
tas; a  fantasy  for  cello  and  piano;  a 
nocturne  for  cello,  harp  and  harmo- 
nium; many  pieces  for  piano  and 
violin  and  some  songs.  A  specialty  of 
Hummel's  is  the  setting  to  music  for 
solo  and  three-part  female  chorus  the 
fairy  tales  Rumpelstilzchen,  Frau 
Holle,  Hansel  und  Gretel,  Die  Meer- 
konigin,  and  Die  Nayaden. 


BIOGRAPHIES 


m 


Hummel 
Hummel,    Johann    Nepomuk.      1778- 

1837. 

Distinguished  Austrian  pianist  and 
composer;  born  at  Presburg,  where  his 
father  was  director  of  the  Imperial 
School  of  Military  Music.  His  first 
instruction  was  from  his  father.  When 
seven  years  old  his  family  moved  to 
Vienna  where  the  father  had  been 
appointed  chapelmaster  of  Schikaned- 
er's  Theatre.  Here  Mozart  heard 
the  boy  play  and  became  very  much 
interested  in  him,  taking  him  into 
his  home  and  teaching  him  for  two 
years.  This  great  advantage  was 
much  appreciated  by  Hummel,  who 
took  keen  enjoyment  in  meeting  the 
distinguished  people  who  came  to  the 
house.  At  the  end  of  the  two  years 
Mozart  gave  a  concert  for  the  boy's 
debut  and  he  made  such  a  brilliant 
success  that  his  father  decided  to  take 
him  on  a  tour.  They  visited  Ger- 
many, Denmark,  England  and  Hol- 
land. They  spent  about  a  year  in 
London,  where  he  studied  under 
dementi.  Hummel  must  have  felt 
the  decided  difference  from  the  in- 
formal instruction  received  from 
Mozart  but,  undoubtedly,  he  ac- 
quired much  thoroughness  from  the 
logical  methods  of  Clementi.  Return- 
ing to  Vienna  in  1793  he  studied  com- 
position under  Albrechtsberger,  also 
dramatic  writing  under  Salieri.  The 
great  Haydn  was  attracted  by  him 
and  gave  him  good  advice  and  some 
instruction.  Beethoven  having  come 
to  Vienna  to  study,  they  became  fel- 
low-students and,  later,  rivals  in  their 
playing.  Probably  at  this  time  Hum- 
mel wrote  his  four  operas.  From 
1804  to  1811  he  held  the  position  of 
chapelmaster  to  Prince  Esterhazy,  in 
which  he  succeeded  Haydn  who  had 
held  it  for  thirty-eight  years  and  only 
resigned  it  at  the  approach  of  old 
age.  During  the  next  five  years  he 
taught,  composed  and  played  in  con- 
certs. In  1816  he  was  appointed 
chapelmaster  at  Stuttgart  and  in  1820 
he  went  to  Weimar  in  the  same  capac- 
ity, which  position  he  held  until  his 
death.  None  of  these  appointments 
prevented  his  concert  tours,  for  he 
obtained  frequent  leave  of  absence 
and  was  everywhere  enthusiastically 
received.  He  appeared  in  St.  Peters- 
burg in  1822  and  in  Paris  in  1825. 
Here  he  was  made  Chevalier  of  the 
Legion  of  Honor.  The  next  year  he 
appeared  in  Belgium  and  Holland,  in 
1827  at  Vienna  and  in   1828  at  War- 


Humperdinck 
saw.  He  remained  in  London  for  a 
season  as  conductor  of  the  German 
Opera  Company  at  the  King's  Thea- 
tre. In  1833  he  returned  to  Vienna, 
where  he  remained  until  his  death. 
Hummel  had  many  friendships  and 
was  warmly  loved.  During  his  life- 
tirne  he  was  the  recipient  of  many 
princely  favors.  He  published,  in 
1824,  a  famous  book,  the  Piano  School, 
in  which  he  advocated  a  system  of 
fingering  which  afterwards  came  into 
use.  As  a  pianist  he  ranked  among 
the  best  of  his  time.  Though  he  did 
not  always  reach  the  emotions  of  his 
audience  he  charmed  them  with  his 
brilliant  technique  and  the  exquisite 
finish  of  his  performance.  His  com- 
positions include  dramatic,  instru- 
mental and  church  music.  He  was  a 
thorough  master  of  the  art,  having 
a  sensitive  sense  of  rhythm.  He  com- 
posed about  one  hundred  and  twenty- 
four  works,  many  of  which  are  lost. 
His  Graduale  and  Oflfertorium  are 
used  at  the  present  time  in  Austria 
and  Hungary.  About  six  of  his  con- 
certos and  a  few  of  his  sonatas  re- 
main standard  works  and  are  still  in 
demand.  Of  his  compositions  that 
still  live  are  the  third,  A  minor;  the 
fourth,  B  minor;  and  the  sixth,  A 
flat,  of  his  seven  concertos;  the  D 
minor  septet  for  piano,  flute,  oboe, 
horn,  viola,  cello  and  doublebass;  the 
sonatas  in  F  sharp  minor;  A  flat,  for 
four  hands;  and  D;  the  rondos, 
Villageois,  La  bella  capricciosa;  and 
the  Bagatelles. 

Humperdinck  (hoom-per-dink),  Engel- 

bert.     1854- 

German  composer,  critic  and  teacher; 
born  in  Siegburg,  near  Bonn,  in  the 
Rhine  provinces.  He  had  intended 
architecture  to  be  his  life-work,  but 
Ferdinand  Hiller  persuaded  him  to 
take  up  music.  He  afterwards  be- 
came a  pupil  of  Hiller  in  the  Cologne 
Conservatory.  He  won  many  prizes 
there  which  enabled  him  to  continue 
his  study  in  Munich,  under  Franz 
Lachner  and  Josef  Rheinberger  at  the 
Royal  Music  School.  In  1878  he  won 
the  Mendelssohn  prize  in  Berlin  and 
with  this  money  (3000  marks)  he 
went  to  Italy.  There  he  met  Wagner 
and  began  that  friendship  and  mutual 
interest  which  was  to  last  until 
Wagner's  death.  Going  together  to 
Bayreuth,  Humperdinck  materially  as- 
sisted him  in  the  production  of 
Parsifal  by  preparing  and  coaching 
the    cast.      Wagner    selected    him    to 


396 


BIOGRAPHIES 


Humperdinck 
write  the  piano  arrangements  of  his 
music  dramas  because  he  was  so  in 
touch  with  the  great  composer's 
ideas.  He  was  also  an  instructor  of 
Siegfried  Wagner.  He  left  Bayreuth, 
having  won  the  Meyerbeer  prize  in 
1881,  and  traveled  again  in  Italy, 
France  and  Spain.  He  taught  theory 
of  music  for  two  years  in  the  Con- 
servatory at  Barcelona.  In  1887  he 
returned  to  Cologne,  teaching  there, 
and  from  1890  to  1896  he  was  a  pro- 
fessor in  the  Hoch  Conservatory, 
Frankfort.  In  the  latter  city  he  was 
also  a  teacher  in  Stockhausen's  Vocal 
School,  concertmaster  at  the  opera, 
and  musical  critic  for  the  Zeitung. 
The  Kaiser  created  him  professor  in 
1896,  and  in  1900  he  was  called  to 
Berlin  as  a  member  of  the  Academy 
of  Fine  Arts  and  as  the  head  of  a 
master-school  for  composition. 

Humperdinck  seems  to  be  fond  of 
children,  as  most  of  his  operas  were 
written  for  the  amusement  of  youthful 
relatives  at  the  family  reunions.  Some 
of  them  are  Dornroschen;  Saint-Cyr; 
Die  Sieben  Geislein;  and  Die  Konigs- 
kinder,  which  was  given  in  England 
and  America  under  the  title  of  The 
Children  of  the  King. 

His  greatest  work.  Hansel  and 
Gretel,  appeared  in  1893  and  immedi- 
ately became  world-famous.  It  was 
performed  in  London  in  1895,  being 
rendered  into  English  by  Constance 
Bach,  and  in  the  fall  of  the  same  year 
had  its  first  representation  in  New 
York,  at  Daly's  Theatre.  This 
opera  is  shorter  than  the  hitherto 
four-horn  style  and  may  be  said  to 
begin  the  new  romantic  school  of 
Germany.  Other  of  his  compositions 
include  a  Humoreske,  and  Moorish 
Rhapsodic  for  orchestra;  a  choral 
work.  Das  Gliick  von  Edenhall;  a 
choral  ballade.  Die  Wallfahrt  Nach 
Keylaar;  and  music  for  male  or  mixed 
choirs. 

*  Huneker    (hu'=nek-er),   James    Gib- 
bons.    1860- 

An  American  musical  writer  and 
critic;  born  at  Philadelphia.  His 
parents  were  John  and  Mary  (Gib- 
bons) Huneker,  of  Irish  and  Hun- 
garian ancestry.  There  seems  to  be 
some  doubt  as  to  the  year  of  his 
birth,  some  authorities  giving  1859. 
Was  placed  in  Roth's  Military  Acad- 
emy, where  he  remained  until  1874. 
The  next  year  he  began  a  three  years' 
course  in  the  Law  Academy  of  Phila- 


Hurlstone 

delphia.  He  had  been  studying  piano 
with  Michael  Cross  and  felt  justified 
in  continuing  the  study  abroad.  In 
1878  he  entered  the  Paris  Conserv- 
atory, receiving  instruction  for  the 
piano  from  Theodore  Ritter,  and 
theory  from  Leopold  Doutreleau. 
While  in  Paris  he  earned  a  living  by 
corresponding  for  American  newspa- 
pers. Returning  to  America  he  lo- 
cated permanently  in  New  York  City, 
where  for  ten  years,  1888  to  1898,  he 
was  a  piano  instructor  at  the  National 
Conservatory.  Here  he  was  associ- 
ated with  Rafael  Josefify,  from  whom 
he  _  gained  much  instruction  and 
advice.  In  1887  Huneker  joined  the 
staff  of  the  New  York  Musical  Cou- 
rier, becoming  an  associate  editor  in 
1902.  He  held  positions  as  dramatic 
and  musical  critic  on  the  New  York 
Recorder  and  Morning  Advertiser. 
He  was  musical  editor  and  eventually 
dramatic  editor  of  the  New  York 
Sun.  In  spite  of  such  a  busy  life  he 
found  time  to  do  some  interesting 
writing.  Mezzotints  in  Modern  Mu- 
sic is  a  collection  of  essays,  and 
Chopin,  the  Man  and  His  Music,  is  a 
most  sympathetic  life  of  Chopin,  of 
interest  to  all,  whether  musician  or 
otherwise.  His  Melomaniacs  is  a 
collection  of  clever  stories  on  musical 
subjects,  somewhat  satirizing  the  mu- 
sical profession. 

Hunten  (hin'-ten),  Franz.  1793-1878. 
Pianist  and  composer;  born  at  Cob- 
lentz;  the  son  of  an  organist,  who 
was  his  first  teacher.  He  was  a  pupil 
in  the  Paris  Conservatory,  and  lived 
in  Paris  from  1819  to  1837.  He  was 
a  popular  pianist,  and  composer  of 
piano-music.  For  many  years  he  en- 
joyed great  renown,  though  his  pro- 
ductions are  now  almost  entirely 
forgotten,  as  they  were  mostly  of  a 
superficial  nature.  In  1837  he  returned 
to  Coblentz  and  died  there  in  1878. 
His  compositions  include  rondos,  so- 
natas and  fantasias. 

Hurlstone,  William  Yeates.    1876- 

English  pianist  and  composer.  Born 
in  London;  he  received  his  first  in- 
struction on  the  piano  from  his 
mother.  He  has  a  natural  genius  for 
composition,  for,  without  aid,  at  nine 
years  old,  he  composed  a  set  of  five 
valses,  and  when  eighteen  won  a 
scholarship  at  the  Royal  College  of 
Music.  While  in  this  college  he  stud- 
ied  under   Stanford   for   composition. 


BIOGRAPHIES 


397 


Hurlstone 

and  under  Algernon  Ashton  and 
Edward  Dannreuther  for  piano.  He 
plays  brilliantly,  having  appeared  in 
a  number  of  concerts  given  at  St. 
James'  Hall,  London,  but  he  has  not 
been  strong  enough  to  appear  much 
in  public.  His  reputation  has  been 
made  through  his  compositions.  His 
chamber-music  includes  a  sonata  for 
piano  and  violin,  one  for  cello  and 
piano,  a  string  quartet  in  E  minor,  a 
quintet  for  piano  and  wind-instru- 
rnents,  and  a  suite  for  clarinet  and 
piano,  etc.  He  has  published  several 
songs  and  part-songs.  The  Magic 
Mirror,  a  fairy  suite,  is  his  work. 

*  Huss,  Henry  Holden.    1862- 

Dramatic  and  lyric  composer,  son 
and  pupil  of  George  John  Huss;  born 
in  Newark,  New  Jersey.  He  received 
from  his  father  a  sound  musical  foun- 
dation, and  in  1879  began  the  study  of 
theory  and  with  Otis  B.  Boise;  con- 
tinued under  him  untiri883,  when  he 
went  to  Europe  and  became  a  pupil 
in  counterpoint,  composition,  instru- 
mentation, organ  and  piano  at  the 
Munich  Conservatory  under  Josef 
Rheinberger,  Josef  Giehrl  and  Ludwig 
Abel.  While  there  he  won  recogni- 
tion for  his  work  in  counterpoint,  pro- 
duced his  idyl.  In  the  Forest,  for 
small  orchestra,  and  at  his  graduation 
played  his  rhapsody  in  C  major. 
After  three  years'  study  he  returned 
to  America  to  live  in  New  York  City. 
The  rhapsody  above  mentioned  was 
first  played  in  his  own  country  by  the 
Boston  Symphony  Orchestra.  In 
1888  his  Ave  Maria  for  women's 
voices,  string  orchestra,  harp  and 
organ  was  heard  in  public,  and  the 
year  following  Van  der  Stucken  car- 
ried his  violin  romance  and  polonaise 
for  violin  to  Paris  and  produced  them 
at  the  Exposition.  Huss  gave  in  New 
York  a  concert  of  his  own  works  in 
1889,  and  in  1894  played  with  the  Bos- 
ton Symphony  Orchestra,  when  he 
first  gave  his  concerto  for  piano  and 
orchestra. 

Other  of  his  works  are  The  Foun- 
tain, for  women's  voices,  an  Easter 
theme  for  chorus  and  orchestra  with 
soprano  and  alto  solos,  a  Festival 
March  for  organ  and  orchestra,  a  trio 
for  piano,  violin  and  cello,  a  Prelude 
Appassionata  for  piano  dedicated  to 
and  played  by  Miss  Adele  Aus  der 
Ohe;  for  piano.  Three  Bagatelles,  an 
fitude  Melodique,  an  Albumblatt,  a 
Pastoral;   for  the  voice,  a  setting  of 


Hyllested 
Du  bist  wie  eine  Blume,  the  Song  of 
the  Syrens,  Jessamine  Bud,  They  That 
Sow  in  Tears;  two  songs  from  Tenny- 
son, There  is  Sweet  Music  Here,  and 
Home  They  Brought  Her  Warrior 
Dead,  the  last  with  orchestra  accom- 
paniment. An  important  composition 
is  his  Death  of  Cleopatra,  the  words 
used  are_  Shakespeare's.  His  piano 
concerto  in  D  major  is  pron.ounced  by 
Robert  Carter  as  the  best  American 
concerto. 

Hutschenruijter     (hoot'-shen-roi-ter), 
Willem.     1796-1878. 

One  of  the  most  active  and  praise- 
worthy of  Dutch  musicians.  Born 
and  died  at  Rotterdam,  Netherlands. 
Studied  under  Hummel  and  Romberg, 
and  violin  under  Dahmen.  Became  a 
leading  artist  of  the  violin  and  horn. 
In  1821  he  organized  the  band  of  the 
National  Guard,  and  in  1826  the 
Eruditio  musica,  one  of  the  best 
musical  societies  in  the  Netherlands. 
He  eventually  became  director  of  both 
of  these  organizations,  as  well  as  of 
the  Musis  Sacrum  Society.  He  taught 
at  the  School  of  Music  and  was 
chapelmaster  of  St.  Dominik's  Church. 
The  Order  of  the  Oaken  Crown  was 
conferred  upon  him  in  1858;  he  had 
previously  received  the  honorary  title 
of  chapelmaster  at  Delft  and  was  a. 
member  of  the  Academy  of  St.  Cecilia 
of  Rome.  Among  his  compositions 
are  an  opera,  Le  Roi  de  Boheme;  four 
symphonies  for  full  orchestra;  two 
concert  overtures;  overtures  for  wind- 
instruments;  a  sonata  for  piano  and 
violoncello;  several  collections  of 
songs;  masses  and  cantatas. 

Hyllested    (hul'-le-stadh),  August. 
1858- 

Foreign-born  pianist,  who  made  his 
home  in  America.  Born  in  Stock- 
holm, of  Danish  parents;  he  early 
began  the  study  of  music,  first  play- 
ing in  public  when  five  years  of  age. 
He  studied  under  Holger  Dahl  in 
Copenhagen,  and  after  making  a  con- 
cert tour  in  Scandinavia  entered  the 
Royal  Conservatory  of  Copenhagen. 
While  tliere  he  was  organist  of  the 
Cathedral  and  director  of  a  musical 
society.  In  1879  he  went  to  Berlin 
to  study  with  Kullak  and  Kiel,  later 
at  Weimar  under  Liszt.  He  came  to 
America  in  1885,  the  following  year 
becoming  assistant  director  of  the 
Chicago  Musical  College,  and  in  1891 
assuming  the  directorship  of  the  Gott- 


398 


BIOGRAPHIES 


Hyllested 

schalk  Lyric  School.  During  1894 
to  1897  he  toured  in  Europe,  where 
he  played  in  many  concerts,  pro- 
ducing some  of  his  own  compositions. 
Upon  his  return  he  settled  in  Chi- 
cago,   where    he    still    resides.      The 


Iljinsky 

most  popular  of  his  compositions  are 
his  songs  and  piano-pieces.  Among 
his  productions  are  the  symphonic 
poem,  Elizabeth,  for  full  orchestra 
and  double  chorus;  Suite  romantique; 
and  Marche  triomphale. 


Iliffe  (i'-lif),  Frederick.    1847- 

English  composer,  organist,  and 
conductor.  Born  at  Smeeton,  near 
Leicester,  and  educated  privately  in 
music.  From  1879  to  1883  he  was 
organist  and  choirmaster  of  St. 
Barnabas'  Church,  Oxford;  until  1900 
was  in  the  same  capacity  at  St.  John's 
College,  and  has  since  been  organist 
at  Oxford  University.  From  1883  to 
1904  he  led  the  Queen's  College  Musi- 
cal Society.  He  received  the  degree 
of  Bachelor  of  Music  from  Oxford  in 
1873,  and  in  1879  that  University  made 
him  Doctor  of  Music  for  his  oratorio, 
The  Visions  of  St.  John  the  Divine. 
He  has  written  numerous  pieces  for 
the  organ,  including  a  prelude  and 
fugue;  several  orchestral  works, 
among  them  an  overture  in  E;  a  so- 
nata in  D;  and  other  piano  composi- 
tions. He  is  especially  prolific  as  a 
vocal  composer,  producing  in  this  line 
an  eight-part  motet,  Sweet  Echo;  the 
cantatas,  Lara,  Morning,  Power  of 
Song,  and  Via  Crucis;  an  Evening 
Service  in  D,  for  male  voices;  and 
Anglican  chant  settings  for  the  can- 
ticles. He  also  wrote  an  analysis  of 
J.  C.  Bach's  Well-tempered  Clavier. 
His  favorite  amusements  are  canoe- 
ing, fishing  and  gardening.  He 
resides  at  present  at  Oxford. 

Ilinski  (e-lin'-shki),  Count  Jan  Stanis- 

law.     1795- 

Polish  poet  and  composer  of 
church-music.  Born  at  Castle  Ro- 
manov. Studied  in  Vienna  under 
Salieri,  Kauer  and  Beethoven.  His 
first  work,  a  mass,  was  published  in 
1826.  After  service  in  the  Imperial 
Guard  at  St.  Petersburg,  and  experi- 
ence in  diplomacy,  he  held  the  posi- 
tions of  State  Counselor,  Senator, 
and  Chamberlain  to  the  Czar.  In 
sacred  music  he  composed  psalms; 
three  masses;  two  requiems;  a  Stabat 


Mater;  a  Te  Deum,  etc.,  all  for  full 
orchestra.  He  also  wrote  a  sym- 
phony; overtures  to  Schiller's  dramas, 
and  for  Howald's  Leuchtthurm;  eight 
string  quartets;  a  rondo,  for  violin 
and  orchestra;  a  Grand  March,  for 
two  orchestras  and  chorus;  and  songs 
and  concertos  for  the  piano.  The 
date  and  place  of  his  death  are 
unknown. 

*  Iljinsky    (e  -  lin'  -  shki),    Alexander. 

1859-     Also  spelled  Ilyinsky. 

Talented  Russian  musician;  born  at 
Tzarskoe  Selo  (near  St.  Petersburg), 
where  his  father  was  a  physician  in 
the  Alexander  Cadet  Corps.  Young 
Iljinsky  early  showed  musical  ability 
and  began  to  take  piano  lessons  at 
the  age  of  seven.  When  he  had  fin- 
ished his  general  education  in  the 
First  Cadet  Corps  at  St.  Petersburg, 
and  had  done  service  in  the  Artillery 
from  1877  to  1879,  he  went  to  Berlin. 
In  1881  he  was  awarded  a  scholar- 
ship and  entered  the  Berlin  Royal 
Academy  of  Art,  where  he  studied 
counterpoint,  fugue,  free  composition 
and  instrumental  music  under  the 
direction  of  Professor  Woldemar  Bar- 
giel.  He  also  studied  the  piano  under 
Natanael  Betcher  and  Theodor  Kullak, 
and  attended  the  philosophical  lec- 
tures at  the  University.  His  course 
at  the  Academy  finished,  in  1884,  he 
returned  to  Russia,  and  the  next  year, 
on  the  advice  of  Carl  Davidoff,  vio- 
loncellist and  director  of  the  St. 
Petersburg  Conservatory,  he  took  the 
examination  of  that  institution  on  the 
Theory  of  Musical  Compositions, 
presenting  a  concert  overture  for 
orchestra,  and  a  cantata,  Strecoza, 
which  brought  him  a  "  free  artist " 
diploma,  the  highest  degree  given. 
In  1885  Iljinsky  removed  to  Moscow, 
where  he  became  teacher  of  piano, 
theory    and    history    in    the    Musical 


BIOGRAPHIES 


Iljinsky 

and  Dramatic  School  of  the  Phil- 
harmonic Society,  where,  after  re- 
ceiving the  title  of  ordinary  professor 
of  the  theory  of  the  history  of  music, 
in  1896,  he  became  leading  profesor 
of  theory  and  composition,  in  1897, 
still  keeping  his  classes  in  the  history 
of  music.  In  1899  Iljinsky  resigned 
his  place  in  the  piano  department  of 
the  Philharmonic  School  and  started 
a  class  of  his  own,  and  in  1905  he 
severed  his  connections  entirely  and 
opened  his  Theoretical  and  Practical 
Courses  of  Music.  Since  the  autumn 
of  1905  he  has  also  held  the  position 
of  professor  of  counterpoint  and  com- 
position at  the  Imperial  Conservatory 
of  Moscow. 

Iljinsky's  principal  works  are  a 
Concert  Overture;  Overture  to  Count 
Tolstoi's  tragedy.  Tsar  Feodor;  Mu- 
sic to  Socrates'  tragedies,  CEdipus 
Rex,  and  Philocetes;  the  opera.  The 
Fountain  of  Bachtchisaraj,  in  four 
acts,  libretto  by  Pushkin;  the  one-act 
ballet,  Noor  and  Anitra;  the  cantatas, 
Strecoza,  and  Rusalka,  for  female 
chorus  and  orchestra;  a  symphony; 
symphonic  scherzo,  Red  Dances; 
symphonic  movement.  Psyche;  three 
suites;  also  a  string  quartet;  and 
other  music  for  violin,  cello  and 
piano.  He  has  also  written  the 
church  works.  Pray  to  the  Father; 
Pater  Noster;  Te  Deum;  Laudamus; 
Imitation  prelude;  and  a  fugue.  In 
1904  there  appeared  a  very  extensive 
work.  Biographies  of  all  Composers 
from  the  Fourth  to  the  Twentieth 
Century,  edited  by  Iljinsky. 

Imbert,  Hughes.     1842-1905. 

French  critic  and  writer  on  musi- 
cal subjects.  Born  at  Moulins-Engil- 
bert.  His  early  musical  education  was 
given  him  by  his  father,  but  later  he 
went  to  the  College  of  St.  Barbara, 
where  Faucheux  and  Hammer  in- 
structed him  in  violin.  Although  his 
career  was  official,  he  was  intimate 
with  the  musical  life  of  the  day,  and 
has  left  many  critical  essays.  His 
first  book,  published  in  1888,  Profils 
de  Musiciens,  is  a  collection  of  articles 
written  for  a  musical  periodical.  This 
was  followed  by  Symphonic,  critical 
essays  principally  on  music;  Portraits 
and  fitudes,  containing  an  excellent 
article  on  Brahms'  Requiem;  fitude 
on  Brahms,  the  same  year;  Profils 
de'  Artistes  contemporains,  on  the 
younger  French  musicians;  and  a 
work    of    considerable    value,    Rem- 


399 


Indy 


brandt^  et  Wagner,  le  Clair-Obscur 
dans  I'art.  He  contributed  to  many 
of  the  musical  periodicals,  notablv 
the  Guide  Musical,  of  which  he  was 
a  director,  and  did  much  to  interest 
the  French  public  in  master  musi- 
cians. 

Incledon,    Charles    Benjamin.     1763- 
1826. 

English  tenor  singer;  son  of  a 
Cornish  doctor.  Born  at  St.  Keveran. 
At  eight  years  of  age  he  was  placed 
with  the  well-known  William  Jackson 
of  Exeter  Cathedral  Choir,  under 
whom  he  made  rapid  progress.  But 
disliking  the  hard  drill  he  entered  the 
navy  in  1779.  On  his  return  to  Eng- 
land, Incledon  joined  the  Collins 
Company,  appearing  in  Southampton 
in  1784  as  Alphonso  in  The  Castle  of 
Andalusia.  At  Bath  the  next  year  he 
was  instructed  and  introduced  to  the 
public  by  Rauzzini.  He  sang  at 
Vauxhall  Gardens  in  1788,  and  at 
Covent  Garden  in  1790,  as  Dermot  in 
the  Poor  Soldier,  and  by  his  per- 
formance of  Sound  an  Alarm  made 
his  reputation  as  the  first  singer  of 
■  the  land.  Beginning  in  1802  he  made 
tours  through  the  provinces,  and  later 
he  was  warmly  received  in  America. 
He  made  his  farewell  appearance  on 
the  stage  at  the  English  Opera  House 
in  1822,  but  gave  a  few  performances 
afterwards  at  various  towns.  On  one 
of  these  occasions  he  died  suddenly 
at  Worcester.  Incledon  with  his 
natural  voice  of  remarkable  compass, 
and  his  inimitable  rendering  of  Eng- 
lish songs,  was  dearly  beloved  by  the 
British  public. 

Indy  (dah-de),  Paul  Marie  Theodore 
Vincent  d'.    1851- 

Leader  of  the  modern  French 
School  of  composers.  Born  at  Paris. 
He  at  first  studied  law,  but  his  musi- 
cal bent  was  strong  and  before  his 
studies  were  completed  he  attempted 
to  set  Hugo's  Les  Burgraves  to  music, 
but  left  it  unfinished.  His  early  musi- 
cal instruction  was  under  Diemar  and 
Marmontel  in  piano,  and  Lavignac  in 
harmony.  After  returning  from  the 
Franco-Prussian  War  he  joined 
Franck's  organ  class  at  the  Conserv- 
atory in  1873,  and  studied  privately 
under  him  in  counterpoint  and  com- 
position. After  two  years  of  study 
he  became  chorusmaster  under  Co- 
lonne,  for  three  years  playing  the 
drums  for  practise.     He   was  instru- 


400 


BIOGRAPHIES 


Indy 


mental  in  the  success  of  the  Lam- 
oureux  concerts,  of  which  he  became 
chorusmaster  in  1887.  He  has  also 
traveled  extensively  as  a  conductor. 
He  is  president  of  several  concert 
societies,  among  them  the  Societe 
Nationale  de  la  Musique,  of  which 
he  was  an  organizer;  is  inspector  of 
music  in  the  Paris  schools  and  direc- 
tor and  professor  in  the  Schola 
Cantorum,  which  he  helped  found  in 
1896,  and  which  has  now  three  hun- 
dred pupils.  He  is  a  member  of  the 
Royal  Academy  of  Brussels,  of  a 
musical  society  in  Holland,  of  the 
Legion  of  Honor,  the  Order  of  Leo- 
pold of  Belgium,  and  the  Order  of 
Charles  IlL  of  Spain,  of  which  he  is 
commander.  Since  the  Paris  Expo- 
sition he  has  been  on  the  government 
music  commission.  He  is  a  fervent 
admirer  of  Wagner,  whom  he  upheld 
in  the  early  seventies,  in  spite  of  the 
hostility  prevailing  at  the  time,  and 
assisted  in  the  production  of  Lohen- 
grin at  Eden  Theatre  when  it  was 
given  for  the  first  time  at  Paris,  May 
3,  1887,  and  of  The  Ring,  and  Par- 
sifal. D'Indy  also  contributes  to  peri- 
odicals and  has  written  a  Cours  de 
Composition  musicale,  and  the  libret- 
tos of  Fervaal  and  L'fitranger: 
besides  helping  Tiersot  to  collect 
French  folk-songs  and  editing  Solo- 
mon Rossi's  madrigals.  D'Indy  is  a 
quiet  man  of  lofty  ideals,  seeking  not 
the  plaudits  of  the  many  but  the 
praise  of  the  judicious  few,  and  his 
music,  though  not  always  pleasing,  is 
remarkable  in  technique.  His  first 
important  work  was  a  trilogy  on 
Schiller's  Wallenstein,  which  shows 
excellent  orchestration.  Les  Picco- 
lomini,  the  second  part  of  the  work, 
was  given  in  1874;  Mort  de  Wallen- 
stein in  1880;  and  La  Camp  in  1884; 
but  it  was  not  given  as  a  whole  until 
1888.  Other  important  compositions 
are  a  scene,  La  Chanson  des  Aven- 
turies  de  la  Mer,  for  barytone  and 
orchestra;  La  Chevauchee  du  Cid, 
which  first  came  out  as  a  song  in 
1877,  and  was  given  in  1884  as  a 
scene  for  barytone,  chorus  and  or- 
chestra; an  overture  to  Anthony  and 
Cleopatra;  the  legends  Le  Chant  de 
la  Cloche,  after  Schiller,  probably  his 
most  remarkable  work,  which  took 
the  City  of  Paris  Prize  in  1886;  Sange 
fleurie;  Le  Foret  Enchantee,  after 
Uhland's  ballad;  and  Istar,  based  on 
an  old  Babylonian  epic.  There  are 
also  a  symphonie  chevaleresque,  Jean 


Ingegneri 

Hunyade;  a  fantaisie  on  folk-songs, 
for  oboe  and  orchestra,  1888;  a  sym- 
phony for  piano  and  orchestra  on  a 
French  Mountain  Air;  a  symphony  in 
G  flat;  and  a  varied  choral  for  saxo- 
phone and  orchestra.  For  the  stage 
are  Attendez-moi  sous  I'orme;  Fer- 
vaal; and  L'fitranger;  besides  inci- 
dental music  for  Alexandre's  Kardec 
and  Mendes,  Medee.  A  cantata, 
Sainte  Marie  Magdeleine,  was  pro- 
duced in  1885,  and  another  for  the 
inaugural  of  Augier's  statue  at 
Valence  in  1893.  Other  vocal  works 
are  a  Lied  Maritime  for  solo  and 
orchestra;  Sur  la  Mer,  a  chorus  for 
female  voices;  Deus  Israel,  a  motet; 
and  songs.  His  chamber-music  in- 
cludes a  piano  quartet;  a  suite  in  D 
for  trumpet,  two  flutes,  and  strings; 
a  suite  for  piano;  a  trio  for  piano, 
clarinet  and  cello;  two  string  quar- 
tets; Chanson  et  Danses  for  wind- 
instruments;  piano  scherzo;  three 
waltzes  called  Helvetia;  three  pieces 
called  Schumanniana,  and  a  group  of 
thirteen  pieces  called  Tableaux  de 
Voyage.  Among  his  recent  works 
are  Souvenirs,  and  a  sonata  for  piano 
and  violin. 

Ingegneri   (en-gan-ya'-re),  Marc  An- 
tonio. 

Sometimes  spelled  Ingigneri,  Ingen- 
ierius  or  Ingignerius.  He  was  an 
Italian  composer  of  the  Sixteenth 
Century.  Verona,  Pordenone  and 
Cremona,  all  in  the  vicinity  of  Venice, 
and  that  city  itself,  are  given  by  dif- 
ferent authorities  as  his  birthplace. 
The  date  of  his  birth  is  not  certain, 
ranging  from  1540  to  1550.  Where 
he  died  is  not  known,  but  the  dates 
1592  and  1603  are  variously  given.  He 
was  chapelmaster  of  the  Cremona 
Cathedral  at  some  period  in  the  third 
quarter  of  the  century,  and  is  also 
said  by  some  authorities  to  have  been 
in  the  service  of  the  Duke  of  Mantua. 
He  wrote  two  volumes  entitled  Sacrse 
cantiones;  two  books  of  masses;  sev- 
eral books,  and  some  separate  madri- 
gals; and  motets,  three  of  which, 
Surrexit  Pastor  Bonus,  Duo  Sera- 
phim, and  Haec  Dies,  are  said  to 
have  been  published  recently,  in 
Dehn's  Sammlung  Aelterer  Musik, 
and  Commer's  and  Haberl  s  Musica 
Sacra,  respectively.  The  work  for 
which  Ingegneri  is  interesting  is  a 
volume  of  twenty-seven  excellent 
responses,  which  until  1897  were  at- 
tributed to  Palestrina. 


^i^afwin*  Isouard 

iiiiviiu    (1  1,    often  '!<>- 

spoken    of    ;  m    the  >*s 

name    of   his  -^  ■?• 

Naples.     Iff' 
atory    of     F 
under   C 
came   f 


NIELS  WILHELM  GADE.     1817-1890. 

]  u.  . ,    ■ 

Ippolitov- A  "^^^^'^  °^  Copenhagen.     He  has  been  called  the 
vich.iounder  of  the  Scandinavian   School  of   Music.     His 
C-     most  important  work  was  the  "  Echoes  from  Ossian." 
Gade  was  a  follower  or  imitator  of  Mendelssohn 
and  Schumann  and  their  influence  on  his  conipa^?ti^s    Born    in 
is  apparent  to  a  slight  degree  ;  He  does  inot.,  riowftYX.' sSce^he 
l.ick  originality;  his  works  arerefined,  poetic,  grac^Puf '■?"<^c  a"d 
and  partake  of  his  nationality.     His  strong  point  Ssim^  Ts^'^an 
a  composer  is  his  command  of  orchestral  coloring.  ""   '  "'"■ 


IKUo    he    bcc^ 
Conservatory 
1898  led     ' 
city,  hoc 


Hii  /i»iuv  1'  also  written  Isaac. 
Isak,  or  Ysat,  and  he  is  known  in 
Italy  as  "  Hc-nry  the  German  "  He 
is  considered   by   some   a    Hollander. 

'-*'■    -■-  ' '       •      '    -  I     the 

writ- 
petit 
The 


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BIOGRAPHIES 


401 


Insanguine 
Insanguine      (en-san-gwe'-na),     Gia- 

como.     1744-1795. 

Italian  dramatic  composer,  often 
spoken  of  as  Alonopoli,  from  the 
name  of  his  birthplace,  just  out  of 
Naples.  He  studied  at  the  Conserv- 
atory of  San  Onofrio  in  Naples, 
under  Cotumacci,  and  afterward  be- 
came teacher  there.  He  wrote  from 
fifteen  to  twenty  operas,  among 
which  Lo  Fumaco  revotato;  Didone; 
Adriano  in  Siria;  Arianna  e  Teseo; 
Aztuzia  per  Amore;  Medonte;  and 
Calipso,  are  worthy  of  mention.  He 
also  wrote  a  Passion;  and  a  number 
of  psalms,  hymns,  and  masses.  His 
71st  Psalm,  for  three-part  chorus  and 
orchestra,  is  probably  his  best  work. 
He  died  in  Naples. 

Ippolitov-Ivanov,    Michael    Mikhailo- 

vich.     1859- 

Contemporary  Russian  composer. 
Born  at  Gatchina;  the  son  of  a 
mechanic  in  the  Royal  service.  He 
took  a  course  in  the  St.  Petersburg 
Conservatory,  studying  composition 
under  Rimsky-Korsakow.  Upon  finish- 
ing his  course  he  was  given  the  direc- 
torship of  the  Music  School,  and 
charge  of  the  Symphony  concerts  at 
Tifis.  After  thorough  preparation  and 
a  careful  study  of  the  Caucasian  races 
he  wrote  a  book  entitled,  On  the 
National  Songs  of  Georgia,  consid- 
ered authority  on  Georgian  music.  In 
1893  he  became  connected  with  the 
Conservatory  of  Moscow,  and  until 
1898  led  the  Choral  Society  in  that 
city,  becoming  conductor  of  the  Mos- 
cow Private  Opera  in  1899.  He  has 
written  many  songe  and  choruses 
with  both  piano  and  orchestral  accom- 
paniments, among  them  a  Coronation 
cantata;  an  overture,  Yar-khmel;  Cau- 
casian sketches;  a  Characteristic 
Suite;  and  other  orchestra  works;  the 
oneras,  Ruth,  Asra,  and  Assya;  and 
piano  and  string  quartets. 

Isaak  (e'-zak),  Heinrich.    About  1440- 
1520. 

His  name  is  also  written  Isaac, 
Isak,  or  Ysac,  and  he  is  known  in 
Italy  as  "  Henry  the  German."  He 
is  considered  by  some  a  Hollander, 
but  by  many  is  thought  to  be  the  first 
great  German  composer  and  founder 
of  the  German  School.  Authorities 
differ  widely  about  the  dates  of  his 
birth  and  death,  yet  all  agree  that  he 
died  several  years  before  1531.  In 
Florence     he     was     associated     with 


Isouard 

Josquin  and  Hobrecht,  and  was  high 
in  the  favor  of  Lorenzo  di  Medici, 
being  made  chapelmaster  of  St.  Gio- 
vanni's and  instructor  of  Lorenzo's 
children.  Here  he  set  to  music  the 
songs  of  di  Medici,  and  composed  a 
sacred  drama,  San  Giovanni  e  San 
Paolo,  to  words  by  his  patron.  In 
1493  he  became  chapelmaster  to 
Maximilian  I.,  holding  this  position 
until  his  death.  He  wrote  twenty- 
three  masses,  one  of  which,  O  prae- 
clara,  writen  on  a  theme  of  four  notes, 
is  one  of  his  most  remarkable  com- 
positions; motets;  psalms;  and  many 
secular  part-songs,  still  models  of 
their  kind.  The  famous  German 
choral.  Nun  ruhen  alle  Walder,  is 
sung  to  his  Inspruck,  ich  muss  dich 
lassen.  His  works  have  been  pre- 
served in  the  libraries  of  Vienna, 
Munich  and  Brussels. 

Isouard     (e-zoo-ar),     Niccolo.     1775- 

1818. 

Composer  and  pianist.  Born  in 
Malta,  but  considered  by  some  au- 
thorities a  French  musician,  since  he 
spent  much  of  his  life  in  France  and 
wrote  there  the  majority  of  his  works. 
Others,  however,  class  him  as  an 
Italian.  His  father,  who  was  a  mer- 
chant, wished  to  bring  his  son  into  a 
trade,  but  his  natural  bent  was  toward 
music.  Although  he  occupied  com- 
mercial positions  at  Malta  and 
Naples,  he  found  time  to  study  under 
Sala  and  Guglielmi.  At  Florence,  in 
1795,  much  to  the  disapproval  of  his 
parents,  he  brought  out  his  first  work, 
the  opera,  L'avviso  ai  maritati,  sign- 
ing himself  Niccolo,  a  name  by  which 
he  is  frequently  mentioned.  Going 
to  Leghorn  the  next  year  he  pro- 
duced his  second  work,  Artaserse. 
These  two  operas  gained  for  him 
sufficient  reputation  to  make  him 
sought  for  by  his  native  city  as  or- 
ganist of  the  Church  of  St.  John  of 
Jerusalem,  and  later  chapelmaster  of 
the  Knights  of  St.  John.  At  this 
period  he  practised  all  kinds  of  com- 
position, writing  nine  cantatas,  Hebe, 
the  best;  masses;  psalms;  motets;  and 
vocal  pieces  for  concerts;  beside  sev- 
eral operas.  About  the  time  that 
Malta  fell  into  the  hands  of  the 
French,  Isouard  went  to  Paris,  writ- 
ing, with  Rodolphe  Kreutzer,  Le  petit 
page,  his  first  French  opera.  The 
rest  of  his  life  was  spent  there,  in 
writing  operas,  often  in  collaboration 
with  Kreutzer,  Mehul  and  Boieldieu. 


402 


BIOGRAPHIES 


Isouard 

Later  great  rivalry  spransf  up  between 
Isouard  and  Boieldieu,  and  when  the 
latter  was  appointed  to  succeed 
Mehul  at  the  head  of  the  Paris  Insti- 
tute, despair  led  Isouard  into  dissi- 
pation, from  the  effects  of  which  he 
died  within  a  year. 

In  Italy  he  wrote  Rinaldo  d'  Asti; 
Le  tonnelier:  Improvisata  in  Cam- 
pagna;  and  a  few  others.  In  Paris 
he  produced  his  best  works,  Cendril- 
lon;  Joconde;  Jeannot  et  Colin; 
Michel  Ange;  La  statue;  Les  Confi- 
dences; Le  Baiser  et  la  Quittance; 
L'intrigue  aux  fenetres,  and  many 
others.  Aladdin,  his  last  work,  he  left 
unfinished.  His  works  were  pleasing 
to  the  public  of  the  day  and  have 
in  themselves  considerable  value. 
Though  a  writer  of  light  opera,  he 
never  descended  to  vulgarity. 

Ivanov,  Michael  Mikhailovich.     1849- 

Prolific  Russian  composer  and  mu- 
sical critic;  born  in  Moscow.  Studied 
in  St.  Petersburg  at  the  Institute  of 
Technology  until  1867,  when  he  re- 
turned to  Moscow.  There  under 
Tschaikowsky  and  Dubuque  he  took 
lessons  in  harmony  and  piano.  At 
the  end  of  a  year  he  went  to  Rome, 
where  he  became  acquainted  with 
Liszt.  On  returning  to  Russia,  in 
1876,  he  began  to  write  musical  criti- 
cisms, for  which  he  is  best  known. 


Jachet 

He  has  translated  a  work  by  Hans- 
lick,  The  Beautiful  in  Music;  written 
books  and  papers  pertaining  to  music, 
and  is  now  a  weekly  contributor  to 
the  Novoe  Vremya.  His  works, 
nearly  all  performed  but  not  pub- 
lished, are  two  operas,  Sabawa,  and 
The  Feast  of  Potemkin;  a  symphony, 
A  Night  in  May;  a  symphonic  pro- 
logue, Savonarola;  three  suites;  and 
a  requiem.  Some  cantatas  and  piano- 
music  are  also  attributed  to  him. 

Ivry  (dev-re),  Paul  -  Xavier  -  Desire 
Marquis  Richard  d'.  1829-1903. 
A  French  Marquis  and  a  dramatic 
composer.  He  was  born  at  Beaune, 
Cote-d'Or,  and  took  up  his  residence 
in  Paris  in  1854.  Though  but  an 
amateur  of  no  special  brilliancy,  he 
gained  considerable  recognition.  His 
first  operas,  Fatima,  and  Quentin 
Metzys,  1854,  were  foHowed  by  La 
Maison  du  Docteur;  Omphale  et 
Penelope;  and  in  1867  by  his  best 
effort,  Les  Amantes  de  Verone,  which 
he  wrote  under  the  assumed  name  of 
Richard  Irvid.  Afterwards  this  opera, 
enlarged  and  improved,  was  presented 
at  the  Ventadour  Theatre,  and  later 
in  London  under  the  name,  Romeo 
and  Juliet.  He  is  also  the  author  of  a 
concert  overture;  songs;  and  a  com- 
edy, Perseverance  d'amour,  which  was 
published  after  he  died  at  Hyeres. 


Jachet. 

The  earliest  of  the  numerous  musi- 
cians of  the  Sixteenth  Century,  who 
bear  this  name,  seems  to  have  been 
Jachet  da  Mantua  or  Gianchetto  di 
Mantova.  From  1527  to  1558  he  was 
a  singer,  and  then  chapelmaster  at  the 
Cathedral  of  San  Pietro  in  Mantua. 
He  seems  to  have  been  a  prolific 
composer,  for  his  name  appeared  con- 
tinually in  various  collections  of  mo- 
tets, masses,  and  magnificats,  even  as 
early  as  1532,  in  one  of  the  books  of 
motets  published  by  Jacques  Moderne 
at  Lyons.  He  is  also  frequently  men- 
tioned by  contemporary  writers,  and 
is  thought  to  have  died  about  1559. 
Jaches,  Giaches,  or  Jacob  de  Wert, 
who  is  often  identified  with  Jachet  da 
Mantua,    was   probably   born   in    the 


Netherlands  about  1536.  He  is  sup- 
posed to  have  gone  to  Italy  when 
young,  where,  after  being  in  the  serv- 
ice of  the  Marchesa  della  Padulla  and 
the  Count  Alfonso  of  Novellara,  he 
entered  the  service  of  the  Duke  of 
Mantua  in  1566,  and  was  later  organist 
of  St.  Barbara's  Church  at  Mantua,  a 
position  which  he  filled  until  his  death, 
in  1596.  Meantime  he  appears  to  have 
been  imofficially  connected  with  the 
Court  of  the  Duke  at  Novellara.  He 
is  the  author  of  eleven  volumes  of 
madrigals  for  five  voices,  published  at 
Venice  from  about  1558  to  1595,  and 
others  for  four,  five  and  six  voices; 
a  number  of  motets;  and  the  can- 
zonette,  Villanelle,  dedicated  to  Leo- 
nora, the  Duchess  of  Mantua.  Some 
of  his  works  were  published  as  late  as 


BIOGRAPHIES 


403 


Jachet 

1633.  He  has  been  frequently  con- 
fused with  Jaches  Gallico  or  Jacomo 
Brumel,  more  commonly  called  Jaches 
de  Ferrara.  The  latter  is  spoken  of 
(probably  after  his  death)  by  several 
writers  as  a  celebrated  organist  in 
the  service  of  the  Duke  of  Ferrara, 
beginning-  about  1508;  and  from  1543 
to  1559  his  name  constantly  appeared 
in  the  archives  of  Modena,  where  he 
must  have  spent  most  of  his  time. 

Jachet,  Buus. 

Also  known  as  Jachet  Fiammingo, 
A  native  of  Flanders;  born  probably 
at  Bruges  in  the  early  part  of  the 
Sixteenth  Century.  His  name  first 
appeared  in  Le  Paragon  des  Chan- 
sons, published  by  Jacques  Moderne 
at  Lyons,  1538.  On  going  to  Italy  he 
is  believed  to  have  become  assistant 
organist  at  St.  Mark's  Cathedral, 
Venice,  in  1541.  Went  to  Vienna  in 
1553,  on  leave  of  absence,  and  as  he 
was  offered  the  position  of  organist 
in  the  Royal  chapel,  he  remained  there 
in  spite  of  the  protestations  of  the 
Venetians.  After  1564  his  name  no 
longer  appeare'_  on  the  chapel  books, 
and  no  further  mention  of  him  is 
found  anywhere.  He  is  thought  to  be 
the  author  of  a  motet,  in  the  Fourth 
Volume  of  Motets,  published  in  1539; 
two  volumes  of  French  Canzons;  and 
eighteen  Ricerari,  contained  in  two 
volumes,  about  the  first  organ-music 
printed.  Some  of  these  works  are  in 
the  British  Museum,  the  Munich 
Royal  Library,  and  the  Royal  Library 
at  Venice. 

With  Jachet  Buus  is  often  con- 
founded a  Jacob  or  Jacobus  Vaet. 
Jacob  was  a  Netherland  contrapun- 
tist, who  lived  in  Vienna  as  singer  in 
the  Royal  chapel  during  the  reign  of 
Charles  V.  and  Ferdinand  I.,  and 
Maximilian  IL,  and  probably  suc- 
ceeded Buus  as  chapelmaster  in  1564. 
Riemann  mentions  a  book  of  modu- 
lations for  five  voices  which  he  pub- 
lished in  1562.  Novus  thesaurus 
musicus,  and  Susato's  various  collec- 
tions contain  most  of  his  other  com- 
positions, including  chanzons,  motets, 
a  Te  Deum,  and  a  Miserere. 

Another  Jachet,  a  Jachet  de 
Berchem,  about  whom  little  is  known, 
has  been  frequently  considered  the 
same  as  Jachet  da  Mantua.  He  was 
probably  born  at  Berchem,  near  Ant- 
werp, and  was  a  great  contrapuntist, 
but  just  what  compositions  are  his  is 
not  certain.     However  it  seems  cer- 


Jackson 
tain  that  he  was  organist  to  the  Duke 
of  Ferrara  in  1555.  It  is  not  unlikely 
that  Jaches  de  Ferrara  resigned  his 
position  at  that  time,  for  no  definite 
dates  are  given  during  which  he  held 
the  position  of  ducal  organist,  or  pos- 
sibly Berchem  may  have  been  an 
assistant.  That  he  was  in  the  service 
of  the  Duke,  Grove  is  convinced, 
because  three  books  of  caprices  by 
him  were  dedicated  to  Ferrara.  In 
the  Monatshefte  fiir  Musikgeschichte, 
1889,  the  following  list  of  composi- 
tions is  given  as  authentic:  Madri- 
gals, 1546  and  1556;  capriccios,  for 
four  voices,  1561;  a  mass;  and  a  num- 
ber of  single  madrigals  in  various 
collections  of  the  time;  also  some 
French  chansons  in  manuscript,  pre- 
served at  the  Munich  Royal  Library. 

Jackson,   Arthur   Herbert.    1852-188L 

English  composer  and  pianist;  born 
at  London.  He  began  to  study  at  the 
Royal  Academy  of  Music  in  1872, 
winning  the  bronze,  silver  and  Lucas 
medals  for  composition.  In  1878  he 
was  elected  professor  of  harmony  and 
composition  there.  In  spite  of  his 
early  death,  at  the  age  of  twenty-nine 
years,  he  had  done  work  of  great 
merit.  Among  his  compositions  are  a 
toccata,  written  in  his  twenty-second 
year;  a  march  and  waltz;  In  a  boat,  a 
barcarolle  or  Venetian  boat  song; 
Elaine;  a  Capriccio  Andante  con 
variazione;  Song  of  the  Stream;  Ga- 
votte and  Musette;  three  humorous 
sketches;  a  fugue  in  E;  three  Dances 
Grotesques;  and  Andante  and  Allegro 
Giocoso.  His  more  pretentious  works 
are  an  intermezzo  for  the  orchestra; 
The  Bride  of  Abydos,  an  overture;  a 
concerto  for  piano  and  orchestra;  and 
a  violin  concerto.  Among  his  vocal 
compositions  in  manuscript  are  two 
masses  for  male  voices;  a  magnificat; 
the  cantata,  Jason  and  the  Golden 
Fleece;  a  choral  ballad,  Lord  Ullin's 
Daughter;  and  many  songs;  also  the 
four-part  piece,  'Twas  When  the  Seas 
Were  Roaring;  and  the  duet,  O, 
Nightingale. 

Jackson,  Leonore.    1879- 

Noted  American  violinist;  resident 
in  London.  She  was  born  in  Boston, 
but  was  raised  in  Chicago,  and  there 
began  her  musical  studies,  under  Carl 
Becker,  when  only  six  years  old.  Six 
years  of  study  under  him  were  fol- 
lowed by  two  under  Jacobsohn.  She 
then   went  abroad  with  her  mother, 


404 


BIOGRAPHIES 


Jackson 

who  was  her  constant  companion. 
She  studied  one  year  under  Desjar- 
dins  and  Dancla  at  the  Paris  Con- 
servatory, and  then  entered  the 
Hochschule  in  Berhn,  from  which  she 
graduted  after  several  years  of  in- 
struction, first  with  Carl  Markees,  and 
later  under  Joachim,  with  whom  she 
was  a  favorite.  She  also  had  some 
repertory  study  under  Halir.  She 
made  her  debut  at  the  Berlin  Phil- 
harmonic in  1896,  and  was  awarded 
the  Mendelssohn  State  Prize  in  1897. 
At  London  she  made  her  first  appear- 
ance, in  1898,  at  a  Queen's  Hall  Sym- 
phony concert.  Her  European  reputa- 
tion is  great,  and  she  has  played  with 
the  venerable  associations  of  numer- 
ous cities,  notably  the  Gewandhaus  at 
Leipsic,  the  London  Philharmonic  and 
the  Crystal  Palace  concerts,  the  Kaim 
Orchestra  at  Munich,  and  the  Colonne 
and  Lamoureux  concerts  at  Paris,  and 
in  conjunction  with  Patti,  Paderewski, 
and  other  famous  musicians.  In  1900 
and  1901  she  toured  the  United  States, 
playing  with  the  Boston  Symphony 
and  the  New  York  Philharmonic  Or- 
chestras, and  in  Chicago,  Cincinnati, 
Pittsburg  and  St.  Louis.  She  has 
also  played  before  the  Empress  of 
Germany,  King  Oscar  H.  of  Sweden, 
Duke  Alexis  of  Russia,  and  Queen 
Victoria,  the  latter  of  whom  decorated 
her  with  the  Victorian  Star.  Her 
technique  is  excellent  and  her  tone 
beautiful  in  quality.  Her  large  reper- 
tory includes  many  of  Bach's  works, 
and  the  Paganini  Concerto  in  D. 

Jackson,  William  (I).    1730-1803. 

Usually  known  as  William  Jackson 
of  Exeter.  A  noted  organist,  com- 
poser, and  writer,  having  also  con- 
siderable artistic  ability.  Born  at 
Exeter;  the  son  of  a  grocer.  As  he 
showed  a  taste  for  music  he  was 
placed  when  twelve  under  Sylvester, 
organist  of  the  Exeter  Cathedral.  By 
persistent  labor  he  learned  to  play 
Handel's  organ  concertos  and  some  of 
Corelli's  sonatas.  A  traveling  violinist, 
perceiving  the  boy's  ability,  per- 
suaded his  father  to  send  him  to  Lon- 
don. There,  in  1748,  he  began  to  study 
under  John  Travers,  a  well-known 
organist.  While  under  his  direction 
Jackson  wrote  a  folio  of  variations  on 
Guido's  hexachords;  a  church  service; 
and  composed  a  book  of  lessons  for 
the  harpsichord,  afterwards  followed 
by  a  second  collection.  On  complet- 
ing his  studies,  he  returned  to  Exeter, 


Jackson 

where  for  many  years  he  was  a 
teacher  of  great  repute,  finally  becom- 
ing organist  and  choirmaster  of  the 
Exeter  Cathedral  in  1777.  In  1785  he 
took  an  extended  trip  on  the  Conti- 
nent. Jackson's  fame  as  a  musician 
was  due  chiefly  to  his  many  songs, 
published  in  four  separate  volumes, 
entitled  Twelve  Songs,  the  first 
appearing  in  1755.  In  this  collection 
he  revived  the  national  melody,  which 
was  fast  disappearing  under  the  pre- 
vailing Italian  influence.  He  altered 
and  set  Milton's  Lycidas,  and  pub- 
lished a  setting  of  Warton's  ode. 
Fancy.  In  1780  his  opera,  The  Lord 
of  the  Manor,  was  produced  at  Drury 
Lane  Theatre,  and  remained  popular 
for  fifty  years.  The  Metamorphosis, 
1783,  a  comic  opera,  for  which  he 
probably  wrote  the  words  as  well 
as  the  music,  was  practically  a 
failure.  Among  his  vocal  composi- 
tions are  six  elegies;  six  quartets; 
two  sets  of  twelve  canzonets  for  two 
voices;  an  anthem  to  The  Dying 
Christian  to  his  Soul,  by  Pope; 
twelve  pastorals;  numerous  epigrams; 
six  madrigals;  and  hymns  in  three 
parts.  The  trios.  In  a  Vale  clos'd 
with  woodland;  and  Ye  woods  and 
Ye  mountains,  are  graceful  and 
harmonious.  One  of  his  glees.  Where 
the  Bee  Sucks  There  Suck  I,  har- 
monized from  melodies  by  Arne  and 
Purcell,  is  especially  good.  He  also 
wrote  fourteen  sonatas  for  the  harp- 
sichord; and  some  concertos  for  violin 
and  wind-instruments.  Although  man}' 
of  his  compositions  are  charmingly 
refined  and  graceful,  some,  especially 
his  church-music,  have  been  criticized 
as  insipid.  Jackson  had  also  consid- 
erable success  as  an  artist,  several  of 
his  pictures  being  exhibited  at  the 
Royal  Academy.  He  was  of  note  as 
a  writer  as  well,  publishing  Thirty 
Letters  on  Various  Subjects,  some  of 
them  pertaining  to  music;  Observa- 
tions on  the  Present  State  of  Music 
in  London,  1791;  a  biography  of 
Gainsborough;  and  The  Four  Ages, 
together  with  Essays  on  Various  Sub- 
jects. In  his  essays  Jackson  showed 
a  wonderful  range  of  mind  and  a 
severe  spirit  of  criticism. 

Jackson,  William    (II).     1815-1866. 

Gifted  English  composer,  organist 
and  conductor.  Born  at  Masham, 
Yorkshire.  His  father  was  a  miller 
and  the  boy  worked  at  the  mill,  but, 
loving  music,  he  learned  counterpoint 


BIOGRAPHIES 


405 


Jackson 

and  harmony  from  books  in  the  li- 
brary, and  taught  himself  to  play  on 
home-made  organs  and  about  fifteen 
other  instruments.  At  sixteen  he  was 
appointed  organist  at  the  church  in 
his  native  city.  By  trade  he  was 
for  thirteen  years  a  tallow  chandler, 
but  still  kept  up  his  study  of  music, 
publishing  in  1839  an  anthem,  For 
Joy  Let  Fertile  Valleys  Ring.  The 
next  year  he  won  first  prize  at  the 
Huddersfield  Glee  Club  for  his 
national  glee,  The  Sisters  of  the  Sea. 
He  wrote  at  Masham  his  best  works: 
the  oratorios,  The  Deliverance  of 
Israel  from  Babylon,  and  Isaiah.  In 
1852  he  removed  to  Bradford,  where 
he  set  up  as  a  music-seller  with  Wil- 
liam Winn,  a  noted  vocalist  of  the 
day.  He  became  organist  of  St.  John's 
Church,  Bradford,  and  later  of  Hor- 
ton  Lane  Chapel.  When  Winn  left 
Bradford,  Jackson  took  his  place  as 
conductor  of  the  Bradford  Choral 
Union,  and  in  1856  he  became  leader 
of  the  Festival  Society,  two  years 
later  having  the  honor  of  performing 
with  his  chorus  before  the  Queen 
at  Buckingham  Palace.  He  was  a 
composer  of  originality  and  genius, 
and  did  much  to  cultivate  musical 
taste  in  his  district.  Beside  the  works 
already  mentioned  he  wrote  the  can- 
tatas. The  Year,  and  The  Praise  of 
Music;  a  slow  movement  and  rondo 
for  the  piano;  a  symphony  for  orches- 
tra and  chorus;  church  services;  a 
mass;  anthems;  glees;  The  Bradford 
Tune  Book,  containing  hymns  and 
chants,  written  with  Samuel  Smith; 
a  Singing  Class  Manual;  and  many 
songs;  and  part-songs,  among  them 
Tears,  Idle  Tears;  The  Dream,  and 
a  very  impressive  song  called  Night. 

Jacob,  Benjamin.     1778-1829. 

English  organist  and  composer, 
most  celebrated  in  his  day.  Born  and 
died  in  London.  Learned  the  rudi- 
ments of  music  from  his  father,  an 
amateur  violinist;  studied  singing  from 
Willoughby,  at  seven  years  of  age; 
at  eight  took  harpsichord  and  organ 
lessons  from  Shrubsole  and  Cooke,  and 
later,  1796,  studied  harmony  under 
Dr.  Arnold.  At  ten  he  was  appointed 
organist  at  Salem  Church,  Soho 
Square;  the  next  year  was  organist 
for  Carlisle  Chapel,  Kennington  Lane; 
in  1790  organist  at  Bentinck  Chapel, 
Lisson  Green.  He  took  part  in  the 
commemoration  of  Handel  at  the  Fes- 
tival in  Westminster  Abbey  in  1791. 


Jacobi 

» In  1794  he  accepted  the  position  of 
organist  at  Surrey  Chapel,  Rowland 
Hill's  Church,  remaining  there  for 
thirty-one  years.  In  1799  he  became 
a  member  of  the  Royal  Society  of 
Musicians.  In  1800  he  conducted  a 
series  of  oratorios  under  Bartleman  at 
Hatton  Garden,  and  from  1808  to 
1814  gave  organ  recitals  with  Samuel 
Wesley  and  later  with  Dr.  Crotch. 
Although  these  recitals  began  at 
eleven  o'clock  in  the  morning  and 
lasted  for  three  or  four  hours,  they 
were  attended  by  thousands  of  peo- 
ple, so  fine  an  executant  did  Jacob 
prove  himself.  He  became  an  asso- 
ciate of  the  Philharmonic  Society  in 
1818,  and  one  of  the  court  assist- 
ants in  the  Royal  School  of  Music  in 
1823.  In  1825  he  accepted  the  posi- 
tion of  organist  of  St.  John's  church, 
Waterloo  Road,  and  continued  there 
until  his  death.  Jacob's  chief  works 
are  Dr.  Watt's  Divine  and  Moral 
Songs  as  solos,  duets  and  trios,  pub- 
lished about  1800;  and  National 
Psalmody,  which  he  edited  in  1819, 
containing  among  many  old  church 
melodies  several  pieces  of  his  own. 
This  work  became  a  standard  book 
on  psalmody.  He  also  wrote,  Tunes 
for  the  use  of  Surrey  Chapel;  some 
glees;  and  songs,  among  them  Stay, 
Oh  Stay  Thou  Lovely  Shade,  in 
memory  of  Dr.  Arnold.  He  is  also 
the  author  of  An  Analytical  and  Ana- 
logical Treatise  on  Thorough-Bass 
and  the  Principles  of  Harmony. 

Jacobi,  Georges.     1840-1906. 

German  composer,  violinist  and 
conductor;  born  at  Berlin.  Began  to 
take  violin  lessons  from  Ganz  when 
only  six  years  old,  and  later  studied 
under  de  Beriot,  at  Brussels.  In  1849 
he  went  to  Paris,  where  he  entered 
the  Conservatory,  in  Massart's  class, 
and  studied  harmony  and  composi- 
tion under  Reber,  Gevaert  and  Cheri, 
winning  the  first  prize  for  violin  in 
1861.  He  played  for  two  years  at 
the  Comic  Opera,  then  for  nine  years 
at  the  Grand  Opera  House,  giving  also 
many  concerts  of  his  own.  He  be- 
came leader  of  the  Theatre  Bouflfes 
under  Offenbach  in  1869,  and,  going 
to  London  the  next  year  in  behalf  of 
that  theatre,  had  to  remain  until  after 
the  siege  of  Paris,  playing  meanwhile 
at  Covent  Garden.  He  returned  to 
Paris,  but  was  called  back  to  Lon- 
don in  1872  to  direct  the  Alhambra 
Theatre.     While  there   he  composed 


406 


BIOGRAPHIES 


Jacobi 

over  a  hundred  ballets,  many  of  them 
performed  in  the  cities  of  Germany 
and  America  and  also  in  Paris  and 
Rome;  the  first  and  third  acts  of  a 
very  successful  fairy  spectacle,  The 
Black  Crook,  for  which  Frederick 
Clay  wrote  the  music  of  the  other 
acts;  La  Marriee  depuis  Midi,  played 
by  Mme.  Judic  all  through  Europe; 
songs;  and  violin  pieces.  On  retiring 
from  the  Alhambra  in  1898  he  con- 
ducted the  Summer  Theatre  at  the 
Crystal  Palace,  and  for  two  weeks  led 
the  Promenade  concerts  at  Covent 
Garden.  He  was  made  conductor  of 
the  Hippodrome  when  it  was  opened 
in  1899,  but  resigned  in  favor  of  his 
son.  He  has  written  a  number  of 
comic  operas,  Le  feu  aux  poudres. 
La  nuit  du  15  Octobre,  and  others; 
and  spectacles,  notably,  the  Demon's 
Bride.  Among  his  best  ballets  are 
Yolande;  Cupid  and  Arcadia;  and  The 
Seasons.  He  was  made  professor  of 
the  Royal  College  of  Music  in  1896; 
was  twice  president  of  the  Associa- 
tion of  Conductors  of  England;  an 
officer  of  the  French  Academy,  and 
Knight  Commander  of  the  Order  of 
Isabel,  the  Catholic,  Spain.  His  com- 
positions are  melodious,  unaffected 
and  of  high  grade  for  theatre  music. 
He  was  an  excellent  teacher  and  a 
splendid  conductor. 

♦Jacobs   (zha-ko),  fidouard.     1851- 

Excellent  Belgian  violoncellist,  born 
at  Hal.  He  went  to  the  Brussels 
Conservatory,  where  he  studied  under 
Servais,  and,  for  a  number  of  years, 
was  in  the  Court  Orchestra  at  Weimar. 
In  1885  he  took  Servais'  place  as  pro- 
fessor of  violoncello  at  the  Brussels 
Conservatory. 

Jacobsohn    (yak'-6p-z6n),    Simon    E. 

1839-1902. 

Russian  violinist  of  note;  born  at 
Mitau,  Kurland.  He  first  studied  the 
violin  in  his  native  village.  When 
he  reached  his  fifteenth  year,  through 
the  aid  of  friends,  he  was  enabled  to 
go  to  Riga,  where  he  made  rapid 
progress  under  Weller.  He  was  later 
a  pupil  of  the  Leipsic  Conservatory, 
and  made  a  reputation  as  soloist  at 
the  Gewandhaus  concerts  in  that  city. 
He  returned  to  Mitau;  gave  concerts 
in  western  Russia  with  great  success; 
toured  other  parts  of  Europe,  and  be- 
came concertmaster  at  Bremen  in 
1860.  In  1872  he  came  to  America  as 
soloist    in    the    Thomas    Orchestra, 


Jadin 

New  York,  and  played  at  concerts 
through  the  country,  being  well  re- 
ceived. In  1878  he  left  Thomas  to 
become  professor  of  the  violin  in  the 
Cincinnati  College  of  Music.  Founded 
a  violin  school  there,  which  later 
became  the  violin  department  of  the 
Chicago  Musical  College.  In  1900  he 
became  associate  director  of  the  Chi- 
cago Musical  College.  He  died  in 
Chicago  in  1902.  Max  Bendix,  who 
is  perhaps  his  most  successful  pupil, 
became  concertmaster  of  the  Thomas 
Orchestra  when  only  seventeen. 

Jadassohn      (ya'-das-zon),      Salomon. 
1831-1902. 

Eminent  German  theorist  and  pro- 
lific composer;  also  distinguished  as 
a  pianist  and  teacher.  Born  at  Bres- 
lau,  where  he  received  instruction  at 
the  music  school  and  from  Hesse 
in  piano,  Liistner  in  violin  and  Brosig 
in  harmony.  He  then  studied  at  the 
Leipsic  Conservatory  under  Moscheles 
in  1848,  had  a  year  of  instruction  in 
piano  from  Liszt  at  Weimar  and  com- 
pleted his  studies  in  1852  under 
Hauptmann  at  Leipsic.  He  then  be- 
came a  teacher  there;  later,  conducted 
the  Psalterion  Choral  Society  and  the 
Euterpe  concerts,  and  was  appointed 
professor  of  harmony,  counterpoint, 
piano,  composition  and  instrumenta- 
tion at  the  Leipsic  Conservatory  in 
1871.  Was  made  Doctor  of  Philology 
in  1887  by  the  University  of  Leipsic, 
and  Royal  Professor  in  1893.  He  was 
of  high  rank  as  a  teacher.  His  works 
on  harmony,  counterpoint,  canon  and 
fugue  and  instrumentation  have  been 
translated  into  English,  and  some  of 
them  also  into  French  and  Italian. 
In  composition  he  was  brilliant,  ele- 
gant and  flawless,  and  noted  especially 
for  his  canon  forms,  for  which  he 
has  been  called  the  musical  Krupp. 
Of  his  more  than  one  hundred  works, 
the  orchestral  pieces  are  especially 
good,  symphonies,  overtures,  con- 
certos and  serenades;  besides  a  num- 
ber of  trios  and  quartets  for  various 
instruments;  ballet  music;  preludes 
and  fugues;  a  scherzo  for  the  piano; 
and  numerous  vocal  compositions, 
songs  and  choruses,  among  them  the 
43d  and  100th  Psalms,  Trostlied,  An 
den  Sturmwind,  Vergebung,  and  Ver- 
heissung.     He  died  at  Leipsic. 

Jadin  (zha-dan),  Hyacinthe.   1769-1800. 

A    once   celebrated    French    pianist 

and    composer.      He    belonged    to.  a 


BIOGRAPHIES 


407 


Jadin 

musical  family;  son  of  Jean  Jadin,  a 
violinist  and  pianist  of  considerable 
note  in  his  day.  From  him  and  Hiill- 
mandel  Hyacinthe  learned  to  play 
the  piano,  performing  at  the  Feydeau 
concerts  for  ten  years,  beginning  in 
1789.  Was  made  professor  of  piano 
when  the  Paris  Conservatory  was 
founded  in  1795,  retaining  that  posi- 
tion until  his  death,  about  1800.  He 
composed  concertos  for  piano  and 
orchestra;  sonatas  for  violin  and 
piano,  and  for  four  hands  on  the 
piano;  stringed  trios  and  quartets;  and 
an  overture  for  wind-instruments.  He 
was  born  at  Versailles  and  died  at 
Paris. 

Jadin,  Louis  Emmanuel.    1768-1853. 

Prolific  operatic  composer,  con- 
ductor, violinist,  and,  at  the  time, 
the  best  accompanist  in  Paris. 
Brother  of  the  preceding;  born  at 
Versailles.  His  father  taught  him  to 
play  the  violin,  and  from  his  brother 
he  learned  to  play  the  piano.  From 
1789  to  1791  he  was  accompanist  in 
the  Theatre  de  Monsieur,  where  he 
brought  out  his  Jeconde  in  1790.  He 
wrote  hymns,  marches  and  patriotic 
songs  for  the  band  of  the  National 
Guard,  which  he  joined  in  1792.  After 
Hyacinthe's  death  he  took  his  place  as 
professor  of  piano  at  the  Paris  Con- 
servatory. Became  leader  of  the 
orchestra  at  the  Moliere  Theatre  in 
1806;  was  master  of  the  pages  at  the 
Royal  Chapel  from  1814  to  1830,  and 
a  member  of  the  Legion  of  Honor. 
He  died  at  Paris.  Of  his  thirty  or 
forty  light  operas,  Jeconde;  L'heureux 
stratageme;  Mohamet  II.;  Mariage 
de  la  Veille;  Ruse  contra  Ruse,  prob- 
ably his  first;  Les  Talismans;  and  Les 
deux  lettres  may  be  mentioned, 
though  Jeconde  and  Mohamet  II. 
alone  remain  known.  He  also  wrote 
cantatas;  symphonies;  overtures;  and 
fourteen  collections  of  airs  for  solo 
voice.  He  is  best  known  for  his 
chamber-music,  including  concertos; 
sonatas;  trios;  and  string  quartets. 
He  was  one  of  the  first  to  compose 
for  two  pianos. 

Jaell  (yal),  Alfred.    1832-1882. 

Austrian  virtuoso.  Born  at  Trieste. 
His  father,  Eduard  Jaell,  was  a  well- 
known  violinist  and  conductor  of  an 
orchestra  in  Vienna,  and  from  him 
Alfred  learned  to  play  the  violin,  prov- 
ing an  infant  prodigy.  It  is  said 
that,  at  the  age  of  three,  he  imitated 


Jahn 


in  a  wonderful  fashion  difficult  pieces 
in  the  style  of  Ole  Bull,  whom  he  had 
heard  play,  and,  when  six,  after  a 
short  training  with  his  father,  he  could 
perform  perfectly  the  concertos  by 
De  Beriot,  Mayseder  and  Rode.  This 
wonderful  progress  was  brought 
abruptly  to  a  close  by  a  severe  illness, 
and,  as  he  was  afterward  forbidden 
to  use  the  violin,  he  turned  to  the 
piano  for  amusement.  Through  his 
own  efforts  he  soon  became  an  excel- 
lent pianist,  appearing  when  only 
eleven  years  old  at  the  San  Benedetto 
Theatre  in  Venice.  This  was  the 
beginning  of  a  brilliant  career,  during 
which  he  was  almost  constantly  before 
the  public  in  various  places,  playing 
at  Milan  and  at  Vienna,  and  exciting 
great  admiration  in  the  German  cities 
through  which  he  passed.  He  made 
a  temporary  home  in  Brussels  from 
1845  to  1846,  but  moved  on  to  Paris 
the  next  year,  and  there,  at  fifteen 
years  of  age,  showed  all  the  self- 
command  of  an  experienced  artist. 
During  his  stay  in  Paris  he  performed 
at  many  important  concerts.  He  now 
spent  a  number  of  years,  principally 
in  Brussels,  being  at  intervals  in  Ant- 
werp and  Frankfort,  and  for  a  short 
time  in  Ostend.  He  then  returned 
to  Paris,  where  he  appeared  in  a 
grand  concert  with  the  best  opera 
singers  of  the  day,  took  part  in  a  con- 
cert for  Louis  Napoleon  at  the 
Elysee,  and,  after  various  other  per- 
formances, went  to  London.  From 
there  he  returned  to  the  Continent, 
and,  after  revisiting  Vienna,  Venice 
and  Trieste,  he  came  to  America, 
probably  about  1852.  On  his  return 
in  1854  he  continued  his  tours  through 
Europe,  and  in  1856  was  appointed 
pianist  to  the  King  of  Hanover.  He 
made  frequent  visits  to  London  after 
1862,  when  he  played  at  the  Musical 
Union.  France  was  the  center  of  his 
tours  after  his  marriage,  in  1856,  to 
the  distinguished  pianist,  Marie  Traut- 
mann,  who  assisted  her  husband  in 
his  concerts.  He  died  in  Paris.  He 
is  said  to  have  produced  the  fullest 
tone  of  any  pianist  of  his  day.  He 
wrote  a  number  of  nocturnes,  ro- 
mances and  other  salon-music;  med- 
leys; and  transcriptions  of  works  by 
Mendelssohn,  Schumann  and  Wagner. 

Jahn  (yan),  Otto.    1813-1869. 

Eminent  German  archaeologist, 
philologist  and  musical  critic.  Born 
at    Kiel,    where    he    began    to    study 


408 


BIOGRAPHIES 


Jahn 

archaeology  and  philology  under 
Nitzsch,  continuing  at  Leipsic  with 
Hermann  and  Lachmann,  and  with 
Gerhard  at  Berlin.  From  1836  to 
1839  he  traveled  about  France  and 
Italy,  returning  to  Kiel,  as  a  lecturer, 
in  1839.  He  became  professor  at 
Greifswald  in  1842,  and  was  called  to 
the  Museum  at  Leipsic,  as  director, 
in  1847.  In  1851  he  retired  to  private 
life,  but  was  appointed  professor  at 
Bonn  University  in  1855,  and  became 
director  of  the  National  Art  Museum 
there.  In  1869  he  retired  to  Got- 
tingen,  where  he  died.  He  wrote 
numerous  philological  works  and  val- 
uable works  on  archaeology,  but  is 
of  interest  here  on  account  of  his 
biography  of  Mozart.  This  great 
work.  The  Life  of  W.  A.  Mozart, 
written  at  Leipsic  from  1856  to  1860, 
and  considered  the  best  authority  on 
that  musician,  was  translated  by  Pau- 
line D.  Townsend,  and  published  in 
1883.  Beside  the  life  of  Mozart,  the 
music  and  musical  conditions  of  the 
period  are  discussed  with  such  ability 
that  the  work  takes  the  highest  rank 
among  biographies  of  musicians. 
Articles  on  Wagner,  Berlioz  and  the 
Lower  Rhine  Festivals  are  found  in 
Gesammelte  Aufsatze  iiber  Musik.  He 
wrote  on  Ludwig  Uhland  and  on 
Mendelssohn's  Paulus.  He  composed 
four  books  of  songs  and  one  of  part- 
songs  for  mixed  voices,  and  published 
a  vocal  score  of  Fidelio,  by  Beethoven, 
He  had  material  collected  for  a  biog- 
raphy of  Beethoven,  which  was  after- 
wards used  by  Thayer,  and  Pohl 
utilized  his  notes  on  Haydn. 


Jahns     (yans), 
1809-1888. 


Friedrich     Wilhelm. 


German  writer,  singer,  composer 
and  pianist.  Born  and  died  at  Berlin. 
Took  vocal  lessons  from  Stiimer  and 
Grell,  and  piano  and  theory  from  De- 
troit and  Horzizky.  He  was  chorus- 
boy  at  the  Royal  Opera,  and  took 
up  concert-singing,  in  which  he 
achieved  great  success.  He  was  also 
highly  esteemed  as  a  vocal  teacher, 
having  nearly  a  thousand  pupils  dur- 
ing his  career.  He  was  the  founder 
of  a  singing  society,  1845,  which  he 
he  conducted  until  1870.  Meanwhile, 
in  1849,  he  became  music-director  for 
the  King;  then^  professor,  and  later 
taught  rhetoric  in  Scharwenka's  Con- 
servatory. His  most  important  work 
'  is  the  catalogue  of  Weber's  works, 
with  all  available  information  on  the 


Janiewica 

manuscripts,  autograph  letters  and 
many  other  interesting  papers.  This 
exhaustive  work  was  a  labor  of  love 
with  Jahns,  who  was  an  ardent 
admirer  of  Weber.  Carl  Maria  von 
Weber  in  seinen  Werken,  as  it  was 
called,  came  out  in  1871,  and  a  bio- 
graphical sketch  appeared  later. 
Jahns  arranged  much  piano-music, 
and  composed  a  trio  for  that  instru- 
ment and  strings;  a  grand  sonata,  for 
piano  and  violin;  marches;  and  other 
piano  pieces;  also  vocal  compositions 
to  the  number  of  one  hundred  and 
fifty. 

Jakabowski  (yak-a-bof'-shki),  Eduard. 

Dramatic  composer,  residing  in 
London.  He  is  the  composer  of 
Ermine,  a  musical  comedy,  first  pre- 
sented at  the  Grand  Theatre,  Birming- 
ham, and  then  at  the  Comedy  Theatre, 
London,  in  1885.  It  has  since  been 
played  almost  three  thousand  times, 
so  popular  has  it  become.  Its  first 
performance  in  New  York  took  place 
at  the  Casino,  March  10,  1886.  The 
libretto  of  Ermine  was  written  by 
Bellamy  and  Paulton,  the  latter  of 
whom  is  also  author  of  the  text  of 
Jakabowski's  operetta,  Paolo,  which 
was  not  so  successful.  The  music  of 
Ermine  is  light  and  charming,  the 
most  pleasing  number  being  the  lul- 
laby. Dear  Mother,  in  Dreams  I  See 
Her.  Ermine  was  revived  in  America 
in  1904  by  Francis  Wilson,  its  original 
star.  Other  operas  by  Jakabowski 
are  The  Three  Beggars,  and  Dick. 
With  Stanislaus,  he  wrote  The  Pal- 
ace of  Pearl.  Myheer  Jan,  for  which 
he  wrote  the  music,  was  followed  by 
La  Rosiere,  and  A  Venetian  Singer, 
in  one  act.  He  also  composed  six 
songs. 

Janiewicz  (yan'-e-vech),  Felix.     1762- 
1848. 

Spelled  Yaniewicz  in  England. 
Noted  Polish  violinist  and  excellent 
conductor.  Born  at  Wilna.  About 
1784  he  went  to  Vienna,  where  he 
heard  Haydn  and  Mozart's  works  con- 
ducted by  those  masters.  He  was 
about  to  study  composition  from 
Haydn,  when  a  Polish  Princess  took 
him  to  Italy.  There  he  heard  the 
famous  violinists,  Nardini  and  Pugn- 
ani,  and  the  best  singers  of  the  time. 
In  three  years  he  left  Italy  for  Paris, 
where  he  took  part  in  the  Concerts 
Spirituels  and  Olympiens.  He  was 
given     a    pension    by    the    Duke    of 


BIOGRAPHIES 


409 


Janiewicz 

Orleans  and  made  musician  in  his 
family,  but  was  forced  to  leave  the 
Duke  on  the  reduction  of  the  latter's 
expenses.  After  a  short  stay  in 
Poland  he  went  to  London  in  1792. 
His  first  appearance  was  at  Salomon's 
concerts,  and  later  he  played  under 
Rauzzini  at  Bath.  After  several  visits 
to  Ireland^  he  married  and  settled  in 
Liverpool  in  1803  as  a  music-seller  and 
publisher.  For  many  years  he  was 
conductor  of  subscription  concerts  in 
that  city  and  Manchester;  was  one  of 
the  thirty  charter  members  of  the 
London  Philharmonic  Society,  and  led 
its  orchestra  during  the  first  season. 
In  Scotland  he  extended  his  reputa- 
tion, and  led  some  of  the  festivals  at 
Edinburgh,  appearing  for  the  last  time 
in  1829.  He  died  in  that  city,  nineteen 
years  later.  Mention  may  be  made 
of  his  concertos,  and  three  trios  for 
two  violins  and  a  bass,  which  are 
considered  his  best  works. 

Janko   (yang'-ko),  Paul  von.     1856- 

Hungarian  pianist;  born  at  Totis, 
where  his  father  managed  Count 
Esterhazy's  estate.  Paul  received  his 
musical  instruction  at  the  Polytechnic 
and  the  Conservatory  in  Vienna,  from 
Hans  Schmitt,  Krenn  and  Bruckner. 
From  1881  to  1882  he  took  mathe- 
matics at  the  Berlin  University,  study- 
ing the  piano  with  Ehrlich.  On 
account  of  the  difficulty  he  had  in 
reaching  an  octave,  he  invented  a  new 
keyboard,  in  1882,  which  can  be  used 
on  any  kind  of  a  piano.  The  inven- 
tion was  intended  to  do  away  with 
some  of  the  difficulties  of  the  ordi- 
nary keyboard.  The  space  has  been 
lessened  so  that  the  octave  is  equal 
to  an  ordinary  sixth.  Although  it  has 
been  used  by  a  number  of  pianists, 
is  taught  at  the  Conservatory  in  Leip- 
sic  and  was  introduced  into  England 
by  Mr.  Ames,  in  1888,  and  in  New 
York,  in  1890,  its  permanent  adop- 
tion has  not  become  certain.  Janko 
was  for  a  time  teacher  in  the  Leipsic 
Conservatory,  and  has  resided  in  Con- 
stantinople since  1892. 

Jannaconi   (yan-na-ko'-ne),   Giuseppe. 
1741-1816. 

Sometimes  spelled  Janaconi.  Italian 
composer  of  church-music;  about  the 
last  of  the  Roman  School.  Born  and 
died  at  Rome.  He  studied  with  Rinal- 
dini  and  Carpani  and  his  friend,  Pisari, 
with  whom  he  scored  many  of  the 
works    of    his    favorite,     Palestrina. 


Jansa 

From  1811  to  the  time  of  his  death 
he  was  chapelmaster  of  St.  Peter's 
Cathedral.  He  established  a  school 
of  composition,  and  had  among  his 
pupils  Baini  and  Basili.  Among  Jan- 
naconi's  works  are  over  thirty  masses, 
ranging  for  from  two  to  sixteen 
voices,  some  with  organ  or  orchestral 
accompaniments,  some  without;  a  Te 
Deum;  a  Tu  es  Petrus;  a  Dixit  Dom- 
inus;  a  Magnificat;  nearly  fifty  psalms 
for  from  four  to  eight  voices,  ten 
with  orchestra;  many  motets;  offer- 
tories; anthems;  a  canon  for  sixty-four 
voices,  and  others  of  from  four  to 
twenty-four  parts;  Ecce  terras  Motus, 
for  six  basses;  and  a  tenor  and  bass 
oratorio,  L'Agonia  _di  Gesit  Christo. 
Some  of  his  works  in  manuscript  are 
in  Santini  College,  Rome,  and  a  few 
in  libraries  in  other  countries. 

Jannequin   (zhan-kah),  Clement. 

Sometimes  spelled  Janequin,  Jenne- 
quin  or  Jennekin.  Celebrated  com- 
poser of  the  Sixteenth  Century, 
considered  by  some  authorities  a 
Frenchman  or  Belgian.  Others  place 
him  in  the  Netherland  School.  He  was 
probably  a  pupil  of  Josquin's  and  cer- 
tainly was  a  follower  of  that  great 
musician.  He  imitated  Gombert  in 
writing  program  music.  Almost  noth- 
ing is  known  of  his  life,  except  that 
he  lived  to  be  poor  and  old,  a  fact 
which  he  mentions  in  the  dedication 
of  his  Psalms.  It  is  supposed  that 
he  was  connected  with  the  Papal 
Chapel  at  Rome,  where  some  of  his 
manuscripts  are  said  to  be.  Although 
he  wrote  some  church-music,  sacrae 
cantiones  seu  motectae  for  four 
voices;  masses;  Proverbs  of  Solomon; 
and  eighty  Psalms  of  David,  his  most 
important  works  are  secular.  He 
wrote  a  great  many  songs,  published 
in  various  collections.  In  1545 
appeared  his  most  famous  "  inven- 
tion "  or  song.  La  Bataille,  descriptive 
of  the  defeat  of  the  Swiss  at  Marignan 
in  1515.  The  Cries  of  Paris,  a  won- 
derfully vivid  tone-picture  of  the 
streets  of  Paris,  preceded  La  Bataille. 
Among  his  other  pieces  of  program 
music,  the  hunting  scenes,  After  the 
Deer,  and  Hunting  the  Hare;  and  his 
bird  songs,  The  Lark,  Song  of  the 
Birds,  and  The  Nightingale  are  splen- 
did imitations. 

Jansa   (yan'-sa),  Leopold.     1794-1875. 

Bohemian  violinist  and  teacher. 
Studied  music  with  Jahada  and  Zizius 


410 


BIOGRAPHIES 


Jansa 

in  his  native  town,  Wildenschwest. 
His  father  intended  him  to  be  a  law- 
yer, and  sent  him  to  Vienna  to  study, 
but,  abandoning  the  law,  he  studied 
the  vioHn  under  Worzischek  and  com- 
position under  Forster.  Was  made 
chamber-musician  to  Count  Von 
Brunswick  of  Hungary  in  1823;  joined 
the  Imperial  band  in  1824,  and  was 
placed  at  the  head  of  music  in  Vienna 
University  in  1834.  He  lost  his  posi- 
tion in  1849,  and  was  banished  for 
helping  in  a  concert  in  London  to 
benefit  the  Hungarian  insurgents.  He 
therefore  stayed  in  London  until  1868, 
teaching  and  appearing  in  concerts. 
He  lived  for  seven  years  after  his 
return  to  Vienna,  dying  in  that  city. 
He  was  a  good  violinist  and  teacher, 
but  not  original  in  composition. 
Among  his  works  are  concertos  for 
violin  and  orchestra;  a  two-violin 
concertant;  quartets  and  trios,  for 
stringed  instruments;  duets  for  vio- 
lins; and  some  sacred  vocal  music. 

Janssens  (yans'-sens),  Jean  Fransois 
Joseph.    1801-1835. 

Belgian  composer.  Born  and  died 
in  Antwerp.  He  studied  with  his 
father,  who  directed  music  at  St. 
Charles'  Church,  then  with  De  Loeuw, 
of  St.  Paul's,  and  later  at  Paris,  with 
Lesueur.  His  parents  wished  him  to 
study  law,  and  accordingly  he  became 
notary  at  Hoboken  in  1826.  He  held 
the  same  position  in  Berchem  in  1829 
and  at  Antwerp  in  1831,  but  his  spare 
time  was  given  to  composition.  ^  The 
siege  of  Antwerp,  in  1832,  sent  him  to 
Cologne,  where,  after  his  arrival  a  fire 
destroyed  his  compositions  and  other 
possessions,  causing  him  to  go  insane. 
His  works  include  the  operas,  La 
jolie  fiancee,  and  Le  pere  rival;  the 
cantatas,  Les  Grecs,  or  Missolonghi, 
and  Winterarmoede;  the  symphonies, 
Le  Lever  du  soleil,  and  one  vi^hich 
took  a  prize  at  Ghent;  Le  roi,  an 
ode;  a  Te  Deum  for  orchestra 
and  chorus;  five  masses  for  four 
voices  and  orchestra;  songs;  anthems; 
hymns;  motets;  psalms.  His  compo- 
sitions were  not  appreciated  until  after 
his  death. 

Japha  (ya'-fa),  Georg  Joseph.     1835- 

1892. 

Hungarian  violinist;  born  at 
Konigsberg.  Studied  under  David 
and  Dreyschock  in  the  Conservatory 
at  Leipsic,  1850  to  1853;  with  Edmund 
Singer  in  his  native  village,  and  at 


Jamovic 
Paris  with  Alard.  He  gave  concerts 
and  performed  in  the  Gewandhaus 
Orchestra  from  1855  to  1857.  Toured 
Russia  the  following  winter;  then  for 
five  years  taught  in  Konigsberg, 
where  he  aided  Jensen  in  establish- 
ing chamber-music  concerts.  He 
appeared  successfully  in  London,  and 
later  settled  in  Cologne.  There  he  led 
the  Giirzenich  concerts  and  taught  at 
the  Conservatory.  He  died  in  that 
city. 

Japha,  Louise.     1826- 

German  pianist  and  composer;  no 
relation  to  the  preceding.  She  was 
born  in  Hamburg,  and  studied  piano 
with  Warendorf  and  composition  with 
Grund  and  Gross,  taking  lessons  also 
from  Robert  and  Clara  Schumann  at 
Dusseldorf.  She  and  W.  Langhans, 
whom  she  married  in  1858,  have  been 
very  successful  in  concerts.  Since 
1874  she  has  lived  in  Wiesbaden.  Her 
works  include  an  opera;  songs;  a 
piano  trio,  and  sonatas;  and  string- 
quartets,  but  not  all  have  yet  been 
published.  Among  the  women  musi- 
cians of  Germany  she  holds  an  hon- 
orable place. 

Jamovic  (yar'-no-vek),  Giovanni  Mane. 

1745-1804. 

Also  spelled  Jarnowick  and  Gior- 
novichi.  Italian  violinist  and  com- 
poser. Born  at  Palermo,  in  Sicily. 
Studied  under  the  celebrated  Lully, 
whose  style  he  closely  followed.  Made 
his  debut  at  Paris  in  1770  at  the  Con- 
certs Spirituels,  gaining  a  reputation 
by  playing  his  own  first  concerto. 
He  left  Paris  in  1779  and  went  to 
Germany,  playing  there  in  the  Royal 
Orchestra  at  Berlin  until  1783.  He 
visited  Vienna,  Warsaw,  St.  Peters- 
burg and  other  cities,  attended  by 
great  success,  and  appeared  in  Lon- 
don in  1791.  Viotti,  his  old  rival  at 
Paris,  arrived  the  next  year,  and 
Jarnovic,  because  of  his  behavior 
toward  him  and  J.  B.  Cramer,  had 
to  quit  London  in  disgrace  in  1796. 
Going  to  Hamburg,  he  resided  there 
until  1802,  revisiting  Berlin,  where  he 
regained  his  accustomed  applause,  and 
returning  finally  to  St.  Petersburg. 
In  that  city  he  died  from  a  stroke  of 
apoplexy.  As  a  violinist  his  style  was 
Jight  and  easy,  charmingly  pure  in 
tone  and  elegantly  polished,  but  lacking 
in  strength.  He  composed  a  number 
of  concertos;  duos;  quartets;  sona« 
tas;  and  symphonies. 


BIOGRAPHIES 


411 


Jarvis 
Jarvis,  Charles  H.    1837-1895. 

American  pianist  and  teacher;  born 
in  Philadelphia.  His  father,  an  excel- 
lent teacher,  devoted  much  time  to 
instructing  his  son.  At  four  years, 
the  lad  began  to  study  piano-playing, 
becoming  a  remarkable  sight  reader. 
At  seven  he  appeared  in  public  at 
Musical  Fund  Hall,  playing  his  own 
arrangement  of  Don  Pasquale.  He 
graduated  from  the  Philadelphia  High 
School  at  seventeen.  His  father  died 
the  same  year,  and  Jarvis  at  once 
began  his  career  as  teacher,  in  which 
he  made  a  great  success,  instructing 
in  all  about  a  thousand  students.  He 
played  at  the  New  York  Philharmonic 
Society  in  1869;  with  the  Thomas 
Orchestra  in  1875  and  1876,  and  in 
many  other  cities,  but  most  of  his 
work  was  done  in  Philadelphia,  where, 
from  1862  to  the  time  of  his  death, 
excepting  about  four  years,  he  gave 
annually  a  series  of  classical  con- 
certs. In  1887  and  1888  he  gave  his- 
torical piano  recitals,  for  which  Dr. 
Hugh  A.  Clarke  furnished  the  literary 
material.  His  compositions  were  few 
and  were  never  published.  A  noc- 
turne in  D  flat  was  printed  after  his 
death  by  the  Philadelphia  Manuscript 
Society-  He  was  a  representative  of  the 
best  school  of  piano  music  in  America 
and  a  wonderfully  fine  teacher.  His  im- 
mense library  is  now  in  the  Drexel 
Institute,  Philadelphia. 

Jehin  (zha-an),  Frantz  Henry.    1839- 
1899. 

Sometimes  written  Jehin-Prume. 
Noted  violinist  of  the  Belgian  School. 
Born  at  Spa.  Began  to  study  with 
Servais  when  only  four  years  old,  and 
later  went  to  the  Conservatory  at 
Liege,  where  he  was  a  pupil  of  his 
uncle,  Francois  Prume.  He  appeared 
in  concert  when  he  was  six  years  old, 
and  three  years  later  took  a  prize. 
After  his  uncle's  death  he  went  to 
Brussels  at  public  expense,  to  be  in 
Leonard's  and  De  Beriot's  classes  at 
the  Conservatory.  There  he  won  first 
prize  for  violin  in  1851  and  a  prize 
for  harmony.  He  completed  his 
education  with  Wieniaksky  and  Vieux- 
temps,  and  made  his  debut  in  Dres- 
den in  1855,  afterward  appearing  with 
Jenny  Lind  and  the  Rubinsteins  in 
Russia.  He  toured  northern  Europe; 
became  violinist  to  the  King  of  Bel- 
gium in  1862;  spent  the  next  year  in 
Mexico,  Cuba,  New  York  and  Mon- 
treal,   where    he    married    Rosita    de 


Jenkins 
Vecchio,  a  singer.  He  again  toured 
Europe  in  1866  and  the  United  States 
from  1869  to  1871.  In  1887  he  took 
up  his  residence  in  Montreal,  becom- 
ing professor  at  Trafalgar  Institute. 
He  established  a  chamber-music  soci- 
ety, the  Artistic  Association,  in  1893, 
but  retired  from  active  work  in  1896, 
after  a  brilliant  career,  having  received 
many  honors.  He  died  at  Montreal. 
Wrote  two  violin  concertos,  and  more 
than  thirty  solos,  besides  setting 
songs.  His  playing  was  excellent  in 
technique  and  pure  in  tone.  He 
taught  Eugene  Ysaye. 

Jenkins,  David.     1849- 

English  composer  and  conductor. 
Born  at  Trecastell,  Breconshire.  He 
studied  music  first  alone,  but  later 
was  a  pupil  of  Dr.  Joseph  Parry  at 
the  University  College  of  Wales, 
Aberystwith.  Graduated  as  Bachelor 
of  Music  from  Cambridge  in  1878. 
In  1885  he  visited  America,  con- 
ducting at  a  number  of  festivals.  He 
is  joint  editor  of  the  Musician,  exam- 
iner in  the  Royal  College  of  Music, 
member  of  the  Council  and  examiner 
of  the  Tonic  Sol-fa  College  and  pro- 
fessor of  music  in  the  University  Col- 
lege of  Wales.  Among  his  works  are 
three  cantatas,  David  and  Goliath, 
The  Ark  of  the  Covenant,  and  A 
Psalm  of  Life;  two  oratorios,  David 
and  Saul,  and  the  Legend  of  Saint 
David;  an  operetta.  The  Village  Chil- 
dren; anthems;  part-songs;  and  songs. 
A  collection  of  tunes,  chants  and 
anthems,  written  in  both  Welsh  and 
English  text,  and  Gems  of  Praise,  are 
also  mentioned. 

Jenkins,  John.     1592-1678. 

English  lutenist,  in  the  service  of 
Charles  I.  and  Charles  II.;  believed  to 
be  the  first  instrumental  composer  in 
England.  He  was  born  in  Maidstone, 
Kent,  and  died  at  Kimberley,  Nor- 
folk. He  is  best  known  for  his  num- 
berless fancies  for  viols  and  for  the 
organ.  In  1660  Jenkins  boldly  pub- 
lished twelve  sonatas  for  two  vio- 
lins and  bass  with  a  thorough-bass 
for  organ  or  theorbo,  at  a  time  when 
the  violin  was  considered  by  English- 
men a  vulgar  instrument.  This  work 
was  reprinted  in  Amsterdam  in  1664. 
In  Playford's  Musick's  Handmaid, 
1678,  appeared  Jenkin's  Mitter  Rant. 
The  Fleece  Tavern  Rant  and  the 
Peterborough  Rant  were  printed  in 
Playford's    Apollo's     Banquet,     1690. 


412 


BIOGRAPHIES 


Jenkins 
Two  years  later  his  popular,  The 
Lady  Katherine  Audley's  Bells,  or  the 
Five  Bell  Concert,  came  out  in  Play- 
ford's  Courtly  Masquing  Ayres.  He 
wrote  also  anthems;  ronds;  and 
songs,  many  of  which  were  printed 
by  Smith  in  his  Musica  Antiqua,  1812. 
Many  of  his  fancies  are  preserved  in 
manuscript  at  Christ  Church,  Oxford. 

Jensen   (yen'-sen),  Adolf.     1837-1879. 

German  composer;  noted  for  his 
songs,  and  best  known  in  America 
for  his  piano  etudes.  He  was  born 
of  a  musical  family  in  Konigsberg, 
and  was  to  a  great  degree  a  self- 
made  musician,  having  only  two  years 
of  training  under  Marpurg  and  Ehlert, 
after  studying  for  a  short  time  with 
his  father  and  then  under  Sobelewski 
and  Kohler.  He  was  a  passionate 
admirer  of  Schumann,  and  the  desire 
to  study  under  that  master  led  to  a 
journey  to  Russia  to  earn  money  by 
teaching.  When  he  returned  Schu- 
mann was  dead,  and  Jensen  had  to 
accept  the  position  of  chapelmaster  in 
Posen.  He  soon  went  to  Copenhagen, 
where  he  was  intimately  associated 
with  Niels  Gade.  In  1860  he  went 
back  to  Konigsberg  and  devoted  him- 
self to  composition.  In  1866  he  went 
to  Berlin  to  teach  in  Tausig's  School, 
but  was  compelled  by  poor  health  to 
go  to  Dresden,  from  there  to  Graz 
and  other  cities  in  southern  Germany, 
finally  to  Baden-Baden.  He  was  a 
gifted  song  composer.  In  rank  he 
approaches  very  near  to  Schumann. 
His  vocal  compositions  number  about 
one  hundred  and  sixty.  Among  these 
are  Nonnengesang  (The  Chorus  of 
Nuns),  with  horn,  harp  and  piano 
accompaniment;  Brautlied;  the  can- 
tatas, Jephtha's  Daughter,  and  The 
Journey  to  Emmaus;  and  The  Song- 
cycles,  Gaudeamus  and  Dolorosa, 
which  show  the  influence  of  Wagner. 
His  best  known  songs  are  O  Press 
thy  Cheek  against  my  Cheek;  Mur- 
muring Breezes  of  Scented  Air;  the 
Six  Love  Songs,  Liebeslieder;  and 
Art  Sleeping,  my  Maiden?  His  other 
cantatas,  The  Feast  of  Adonis,  given 
by  the  London  Musical  Society,  and 
Donald  Caird  ist  weider  da,  from 
Scott,  are  also  noteworthy.  While  at 
Graz  he  composed  thirty  English 
songs,  written  for  poems  by  Burns, 
Cunningham,  Mrs.  Hemans,  Moore 
and  Tennyson.  He  left  an  unfinished 
opera,  Turandot,  which  was  completed 
by  Kienzl.     Essentially  a  song-writer, 


Joachim 

Jensen's  piano  compositions  partake 
of  the  song  character.  His  Erotikon 
is  sometimes  considered  his  best  piano 
composition.  Among  other  piano 
compositions  are  two  books,  called 
Wanderbildcr;  three  Idylls;  Inner 
Voices;  Lebensbilder;  and  Wed- 
ding Music.  He  further  wrote  a  con- 
cert overture  in  E,  and  Geistliches 
Tonstiick,  a  sacred  orchestral  work. 
Although  Jensen  was  greatly  influ- 
enced by  Schumann  and  later  by- 
Wagner,  he  nevertheless  preserved  his 
originality. 

Arnold  Niggli,  of  Berlin,  published 
a  life  of  Jensen  in  1900. 

Joachim  (yo'-a-khem),  Amalie  Weiss. 
1839-1899. 

Celebrated  concert  singer  and  for- 
mer operatic  performer.  Born  at 
Marburg,  Styria.  She  made  her  first 
appearance  in  opera  at  Troppau  in 
1853;  then  went  to  Hermannstadt  and 
Vienna,  1854,  where  she  played  at 
the  KJirnthner  Theatre  under  the 
name  of  Weiss.  Her  real  name  was 
Schneeweiss.  She  was  engaged  at  the 
Royal  Opera  House  at  Hanover  in 
1862.  Made  her  farewell  the  next 
year  as  Fidelio,  her  first  contralto 
part,  having  hitherto  sung  first  and 
second  soprano.  She  then  married 
Joseph  Joachim  and  took  up  concert 
singing.  Her  mezzo  is  at  its  best  in 
the  cantatas  and  oratorios  of  Bach, 
Handel  and  Mendelssohn,  and  the 
songs  of  Beethoven,  Brahms,  Franz, 
Rubinstein,  Schubert  and  Schumann, 
the  latter  of  whom  she  interpreted 
wonderfully. 

Joachim,  Joseph.     1831-1907. 

The  most  distinguished  teacher  and 
the  greatest  violinist  of  recent  times. 
Was  born  of  Jewish  parents  in  Hun- 
gary, at  Kittsee,  near  Presburg.  His 
was  not  a  musical  family,  as  is  so  often 
the  case  with  great  musicians,  but  on 
the  contrary  his  father  was  a  mer- 
chant of  moderate  means.  He  had, 
however,  one  sister,  Regino,  who 
sang,  and  his  taste  for  music  devel- 
oped, very  probably,  from  hearing  her 
practise.  It  is  said  that  at  five  years 
of  age  he  learned  to  accompany  her 
on  the  toy  violin  with  such  ability 
that  he  was  sent  to  Serwacziniski, 
concertmaster  at  Pesth,  where  his 
family  were  now  living.  When  only 
seven  years  old  he  appeared  in  pub- 
lic at  his  master's  opera,  pla3'ing  with 
him  Eck's  double-concerto.    Such  tal- 


BIOGRAPHIES 


413 


Joachim 

ent  did  he  show  that  the  family  moved 
to  Vienna,  that  lie  might  have  better 
teachers.  Here,  with  Mayseder  and 
the  violinist,  Clement,  for  friends,  he 
studied.  His  training  was  hard  but 
excellent,  and  it  was  not  long  before 
he  appeared  at  the  Conservatory. 
While  there  developed  his  deep  love 
for  Schumann  and  Beethoven.  In 
1843  he  went  to  Leipsic,  the  great 
music  center  of  Germany,  where  he 
formed  his  beautiful  friendship  with 
Mendelssohn,  who  superintended  the 
boy's  work.  He  studied  the  violin 
with  David  and  composition  with 
Hauptmann,  and  received  a  good  gen- 
eral education  as  well.  During  that 
first  year,  then  but  twelve  years  old, 
he  appeared  at  one  of  Viardot-Garcia's 
concerts,  and  made  his  debut  at  the 
Gewandhaus  in  a  concert  given  by 
Clara  Schumann  and  Mendelssohn, 
with  the  latter  of  whom  he  played. 
He  continued  his  studies  at  Leipsic 
until  1850,  appearing  meanwhile  occa- 
sionally at  concerts,  and  going  to 
London  in  1844  with  Mendelssohn, 
who  fondly  called  him  "  My  Hun- 
garian Boy,"  and  proudly  introduced 
him  at  Drury  Lane  to  an  audience  who 
thoroughly  appreciated  and  marveled 
at  his  rendering  of  the  Othello  Fan- 
tasie  and  the  Beethoven  Concerto. 
He  again  visited  London  in  1847  with 
Mendelssohn,  who  went  to  conduct 
the  Elijah,  and,  after  visits  in  1849, 
1852,  1859  and  1860,  he  appeared  annu- 
ally at  England's  capital  at  the  Mon- 
day Popular  concerts. 

Mendelssohn's  death  in  1847  was  a 
great  blow  to  Joachim,  and  since, 
without  the  great  master,  Leipsic  had 
no  attraction  for  him,  he  accepted 
Liszt's  offer  to  lead  the  orchestra  at 
Weimar.  He  arrived  there  in  1850, 
but  remained  only  three  years,  for  he 
abhorred  the  principles  of  Liszt  and 
the  New  School,  though  personally 
he  was  very  fond  of  the  great  pianist. 
At  Hanover,  in  1863,  he  married  the 
talented  Amalie  Weiss,  who  was  sing- 
ing in  the  Court  Opera.  In  1878  he 
became  director  of  the  Hochschule  of 
the  Royal  Academy  of  Arts  at  Berlin, 
and  that  city  henceforth  became  his 
home.  There,  in  1869,  he  founded 
the  famous  Joachim  Quartet,  with 
Schiever,  de  Ahna  and  Miiller,  in 
which  many  changes  took  place,  Halir, 
Wirth  and  Hausmann  being  the  last 
combination.  His  life  at  Berlin  was 
largely  taken  up  with  his  duties  at  the 
Academy,   of   which   he   became    the 


Joachim 

head  in  1882-  Yet,  he  also  played  at 
concerts  and  many  charity  benefits, 
and  traveled  with  his  quartet,  even  as 
his  age  advanced.  As  a  violinist,  Joa- 
chim was  remarkable  for  his  mar- 
velous depth  and  variety  of  tone,  and 
is  possibly  the  only  one  whose  into- 
nation was  perfect,  a  characteristic 
which  rendered  his  playing,  at  times, 
apparently  discordant  to  the  untrained 
listener.  Dignified  and  serious,  never 
reverting  to  tricks  of  execution,  he 
appeared  quietly  before  his  hearers, 
depending  solely  on  his  art  to  attract. 
He  conscientiously  lived  up  to  his 
standard,  never  playing  anything  but 
the  purely  classical.  With  this  some- 
what limited  repertory  he  continued 
to  hold  his  audience  through  a  long 
career,  during  which  his  popularity 
never  waned.  Joachim  always  tried 
to  execute  a  composition  from  the 
view-point  of  its  composer,  and,  as 
he  was  himself  a  composer  of  rare 
ability  and  delicate  sensitiveness,  he 
seems  to  have  been  able  to  perceive  the 
ideals  of  the  old  masters.  He  was 
not  only  unrivaled  as  an  interpreter 
of  Bach,  Beethoven  and  the  other 
great  masters,  but  recreated  their  com- 
positions; made  them  live.  Fortu- 
nately his  influence  will  not  be  lost, 
for  to  the  coming  generations,  as  has 
been  suggested,  his  few  compositions 
will  stand  as  a  mirror  to  the  playing, 
which  they  will  long  to  have  heard. 
Among  these  works  the  greatest  is 
the  Hungarian  Concerto,  which  is  the 
longest  extant  example  of  a  perfect 
classical  form,  and  singularly  like 
Bach's  Concerto  in  C  minor.  For  the 
violin  and  piano  he  has  written:  Ro- 
mance, Fantasiestiick,  Spring  Fancjs 
The  Murmuring  of  the  Lindens,  Even- 
ing Bells,  Ballade,  and  Romance  in 
C;  for  viola  and  piano,  Hebrew  Melo- 
dies, and  Variations  on  an  Original 
Theme;  for  violin  and  orchestra,  an- 
dantino  and  allegro  scherzoso,  con- 
certo in  G  minor,  nocturno  in  A, 
variations  in  E  minor,  five  orchestral 
overtures  —  to  Hamlet,  to  Grimm's 
Demetrius,  to  Henry  IV.,  to  two  com- 
edies by  Gozzi,  and  to  Dem  Audenken 
Kleist,  which  was  played  at  Cam- 
bridge when  Joachim  was  made  Doc- 
tor of  Music;  for  the  violin  —  three 
cadenzas  to  Beethoven's  Concertos, 
transcriptions  of  Brahms'  Hungarian 
Dances,  and  a  concerto  in  G.  He 
has  also  written  Scena  der  Marfa, 
from  Schiller's  Demetrius,  as  a  con- 
tralto   solo    with    orchestral    accom- 


414 


BIOGRAPHIES 


Joachim 

paniment;  and  two  songs,  Ich  hab'  in 
Traum  geweinet,  and  a  selection  from 
Tennyson's  King  Arthur,  Rain,  Rain 
and  Sun,  in  which  he  preserved  the 
natural  accent,  greatly  to  the  poet's 
delight;  besides  two  marches  in  C 
and  D,  with  trios. 

Joachim's  greatest  influence,  how- 
ever, was  exerted  as  a  teacher.  He  thor- 
oughly enjoyed  his  work  at  the  Hoch- 
schule,  and  the  great  number  of  pupils 
in  his  classes  testify  to  his  excellence  in 
this  line.  He  took  no  pupils  at  any  price 
who  were  not  well  grounded  in  the 
principles  of  music,  and  an  artist  of 
talent,  no  matter  how  poor,  found  a 
place  with  him.  Joachim,  as  a  man, 
was  modest,  and  in  no  way  sought  the 
honors  bestowed  upon  him.  He  was 
decorated  with  the  badges  of  many 
orders,  and  held  the  degrees  of  Doc- 
tor of  Music  from  Cambridge,  1877, 
Doctor  of  Civil  Law  from  Oxford, 
Doctor  of  Law  from  Glasgow  and 
Doctor  of  Philosophy  from  Gottingen. 
At  the  Hochschule,  in  1889,  a  grand 
concert  of  Joachim's  compositions 
was  given  and  he  was  made  honorary 
president  of  the  Beethoven  House 
Society,  which  since  1890,  has  given 
occasional  festivals  at  Bonn.  But  the 
great  jubilee  was  held  at  Berlin  in 
1899,  when  his  pupils  and  friends 
from  all  parts  of  the  globe  assembled 
to  welcome  him.  Every  member  of 
the  orchestra,  which  Steinbach  con- 
ducted, had  been  his  pupil.  The  climax 
of  the  evening  came,  when  much 
against  his  will,  the  beloved  master 
was  persuaded  to  play  one  of  Bach's 
solos  and  the  Beethoven  Concerto. 
Kurfurstdam,  a  suburb  of  Berlin, 
where  he  had  lived  for  some  years, 
saw  the  close  of  Joseph  Joachim's 
illustrious  career  as  violinist,  com- 
poser and  teacher,  on  August  15,  1907. 
He  died  after  a  lingering  attack  of 
asthma,  and  was  buried  in  Berlin, 
where  many  prominent  persons  at- 
tended his   funeral. 

Johns,  Cla3^on.     1857- 

American  composer,  pianist  and 
teacher;  best  known  for  his  songs. 
Born  of  American  parents  at  New 
Castle,  Delaware,  and  educated  at 
public  and  private  schools  and  at 
kugby  Academy,  Wilmington.  On 
going  to  Boston  to  enter  the  School 
of  Technology,  he  heard  the  Sym- 
phony Orchestra  and  decided  to  study 
music.  He  entered  Harvard  as  a  spe- 
cial student  in  Professor  Paine's  class 


Jommelli 

in  theory,  from  1879  to  1881,  and  took 
lessons  on  the  piano  from  William 
H.  Sherwood;  studied  for  two  years 
in  Berlin  under  Kiel  in  composition, 
and  Garabau,  Rummel  and  Raif  in 
piano.  On  his  return,  in  1884,  he  took 
up  his  residence  in  Boston,  where 
he  still  lives,  teaching  and  appearing 
occasionally  in  concerts.  His  songs 
are  popular  in  England  and  Germany 
as  well  as  in  America.  He  has  written 
some  instrumental  music,  a  ber- 
ceuse and  scherzino  for  string-orches- 
tra, played  at  a  Boston  Symphony 
concert,  and  by  the  Damrosch  Or- 
chestra and  others.  For  the  piano 
he  has  written  an  impromptu  capric- 
cietto;  canzone;  promenade;  ma- 
zurka; waltz;  introduction  and  fugue; 
for  violin  and  piano  an  excellent  in- 
termezzo; berceuse;  and  romance 
and  scherzino.  He  has  written  over 
one  hundred  songs,  among  them  ex- 
cellent settings  of  songs  by  Dobson, 
Herford  and  Bates  and  Uhland's 
Wander  Songs;  three  French  songs; 
four  songs  by  Ada  Christen;  Song  of 
Four  Seasons;  Were  I  a  Prince 
Egyptian,^  and  No  Lotus  Flower  on 
Ganges  Grows,  two  very  successful 
Egyptian  songs;  four  German  songs, 
nine  songs  by  Herrick,  Dickinson  and 
others;  and  his  most  popular,  I  Love 
and  the  World  is  Mine;  When  Blooms 
the  Rose;  and  I  Cannot  Help  Loving 
Thee. 

Jommelli  (yom-mel'-li),  Nicolo.   1714- 
1774. 

Frequently  spelled  Niccolo  or  Nicola 
Jomelli.  A  celebrated  composer  of 
the  school  of  Scarlatti  and  Pergolesi, 
and  noted  both  for  his  numerous 
operas  and  his  excellent  sacred  music, 
being  the  last  of  the  great  Roman 
church  composers.  Born  at  Aversa, 
formerly  Avellino,  a  little  town  not 
far  from  Naples,  where  he  received 
his  first  instruction  in  music  under 
the  canon,  Mozillo.  In  1730  he  went 
to  Naples,  where  he  studied  at  the 
Conservatory  of  San  Onofrio  and  the 
Conservatory  degli  Poveri  di  Gesvi 
Criste,  later  at  Pieta  der  Turchini, 
where  he  was  in  the  classes  of  Leo, 
Feo,  Prato  and  Marchini.  His  first 
compositions  were  ballets  of  no  par- 
ticular worth,  but  in  1737,  then 
twenty-three  years  old,  he  wrote  his 
first  opera,  L'Errore  Amoroso,  under 
the  assumed  name  of  Valentino.  So 
great  was  its  success  that  he  wrote 
another  called  Oroardo,  the  following 


BIOGRAPHIES 


415 


Jommelli 


year,  produced  under  his  own  name. 
He  was  called  to  Rome  in  1740,  and 
under  the  patronage  of  the  Cardinal 
of  York  he  wrote  Ricimero,  his  first 
grand  opera,  and  Astiannasse.  He 
then  went  to  Bologna,  where  he  be- 
came acquainted  with  Martini  and 
there  his  Ezio  came  out  in  1741. 
Later  went  to  Naples,  Venice  and 
Vienna,  where  he  met  the  famous 
poet,  Metastasio,  with  whom  he 
formed  a  lasting  friendship,  and 
where  he  had  the  honor  of  teaching 
Empress  Maria  Theresa.  He  returned 
to  Rome  in  1749  and  took  the  position 
of  chapelmaster  at  St.  Peter's  Cathe- 
dral. Here  he  wrote  many  sacred 
compositions.  In  1754  he  became 
chapelmaster  to  the  Duke  of  Wiirtem- 
berg.  On  his  return  to  Naples  in 
1770,  Armida,  one  of  his  best  operas, 
was  hissed  of¥  the  stage  and  Demo- 
foonte  and  Ifigenia  were  also  dis- 
tasteful to  the  Neapolitans.  His 
disappointment  at  their  failure  is 
thought  to  be  the  cause  of  a  stroke 
of  paralysis  in  1773.  It  did  not  prove 
fatal,  however,  and  he  was  afterwards 
able  to  compose  a  cantata  in  honor 
of  the  birth  of  a  Prince  of  Naples, 
and  his  last  composition  in  1774,  the 
beautiful  and  elaborate  Miserere  for 
two  soprano  voices  and  chorus,  set 
to  a  version  of  the  51st  Psalm  by  his 
friend  Mattei.  This  composition  is 
considered  by  some  his  masterpiece, 
but  it  is  too  difficult  to  perform  to 
advantage.  The  King  of  Portugal 
tried  in  vain  to  bring  him  to  Lisbon 
but  had  to  be  content  with  the  operas 
written  annually  for  him.  Death  pre- 
vented Jommelli  from  fulfilling  one 
of  the  commissions  of  His  Highness 
for  two  operas  and  a  cantata. 

Jommelli  was  buried  in  state,  a 
requiem  especially  composed  for  the 
occasion  being  sung  at  the  funeral, 
in  which  all  the  musicians  of  Naples 
took  part.  Among  his  sacred  music 
are  the  oratorios,  Isacco  Figura  del 
Redentore,  Betulia  Liberata,  Santa 
Elena  al  Calvario,  La  Nativita  di 
Maria  Vergini,  and  La  Passione,  for 
four  voices,  chorus  and  orchestra, 
which  is  the  best  of  this  class;  can- 
tatas; masses;  a  Te  Deum;  graduals; 
psalms;  responses;  a  motet  for  five 
voices;  ofFertorios,  one  with  an 
Alleluja  chorus  in  four  parts;  a  re- 
quiem; and  misereres.  Some  espe- 
cially good  works  for  double  chorus 
are  a  Dixit;  two  Inconvertendos;  a 
Laudate,  written  in  Venice;  a  Mag- 


Jonis 

nificat  with  echo;  and  a  hymn  to  St. 
Peter,  sung  annually  at  Rome  on  the 
Festival  of  St.  Peter  as  late  as  1852. 
For  the  above  mentioned  Laudate  he 
was  appointed  director  of  the  Con- 
servatorio  degl'  Incurabili.  In  addi- 
tion to  the  operas  already  named  he 
wrote  Penelope;  Enea  nel  Lazio;  II 
re  Pastore;  Nitteti;  La  Clemenzo  di 
Tito;  Alessandro  nell  Indie;  II  Fe- 
donte;  L'OIympiade;  Endimone;  II 
Pastorelle  Illustra;  LTsola  Disabilita; 
and  the  comic  operas  II  Matrimonio 
per  Concorso;  La  Schiava  Liberata; 
II  Cacciatore  Deluse;  Ifigenia  in 
Tauride;  and  Ifigenia  in  Aulide.  Dur- 
ing his  long  stay  at  Rome  he  brought 
out  Artaserse;  LTncantato;  Atillo 
Regolo;  Talestri;  and  Semiramida. 
Of  his  operas  which  number  about 
fifty,  Didone  is  considered  the  best, 
and  Merope  the  most  popular.  Though 
Jommelli  was  Mozart's  model,  that 
master  considered  his  dramas  "  too 
lofty  and  antique  for  theatrical  per- 
formance." The  dance  music  in  his 
operas  has  been  a  model  for  European 
composers.  Jommelli  was  the  first  to 
break  Scarlatti's  rule  of  using  the  da 
capo  or  repeat,  and  tended  to  make 
the  music  of  the  opera  more  natural 
and  better  in  accord  with  the  senti- 
ment expressed.  For  this  reason  he 
may  be  called  the  predecessor  of 
Gluck. 

Jonas  (zho-nas),  Alberto.    1868- 

Pianist  and  composer;  since  1900 
president  of  the  University  of  Michi- 
gan Music  School,  where  he  became 
director  of  the  piano  department  in 
1894.  Born  at  Madrid  of  German 
parents,  he  studied  under  Olave  and 
others  privately,  and  was  in  Gevaert's 
class  at  the  Royal  College  of  Music 
in  Brussels,  taking  first  prize  in  piano- 
playing  and  second  in  harmony.  Made 
his  debut  in  1880  at  Brussels  and 
toured  Belgium,  Germany,  Russia, 
England,  Holland,  France,  Mexico, 
Cuba  and  Canada,  and  was  in  the 
United  States  from  1893  to  1899.  In 
1890  he  studied  under  Rubinstein  at 
the  Conservatory  in  St.  Petersburg. 
First  appeared  in  New  York  with 
Walter  Damrosch's  Orchestra  at  Car- 
negie Hall  in  1893,  and  afterwards 
gave  recitals  in  that  city.  Also  played 
with  the  Boston  Symphony  Orchestra 
and  in  other  cities.  In  1899  he  mar- 
ried Miss  Elsa  von  Grave,  at  Ann 
Arbor,  Michigan.  He  is  an  honorary 
member  of  the  Red  Cross  Society  of 


416 


BIOGRAPHIES 


Jonis 

Belgium;  member  of  the  Cercle  des 
Arts  et  de  la  Presse,  Brussels.  He 
has  written  Northern  Dances,  con- 
taining a  valse  in  C  minor;  fantasie 
pieces,  a  toccata  among  them;  ro- 
mances; and  a  capriccio.  He  trans- 
lated into  Spanish  Gevaert's  work  on 
instrumentation  and  wrote  an  article 
on  rhythm  for  the  New  York  Musical 
World. 

Jonas,  fimile.    1827-1905. 

French  composer  of  opera  bouflfe. 
Born  at  Paris  of  Jewish  parents  and 
studied  at  the  Conservatory,  beginning 
1841,  in  Le  Couppey's  and  Caraflfa's 
classes,  taking  second  and  first  prize 
in  harmony,  and  the  second  Grand 
Prize  of  Rome  in  1849  for  his  cantata, 
Antonio.  From  1847  to  1870  he  taught 
singing  and  harmony  at  the  Conserv- 
atory. Published  in  1854  a  Collection 
of  Hebrew  Songs.  Was  leader  of 
one  of  the  bands  of  the  National 
Guards  and  secretary  of  the  committee 
on  the  organization  of  Military  Fes- 
tivals at  the  Exposition  of  1867,  for 
which  he  was  made  Chevalier  of  the 
Legion  of  Honor.  His  first  opera,  Le 
Duel  de  Benjamin,  was  played  at 
Bouflfes  Parisiens  in  1855.  Then  fol- 
lowed La  Parade;  Le  Roi  Boit;  Les 
Petits  Prodiges;  Job  et  Son  Chien; 
Avant  la  Noce;  and  Desire,  Sire  de 
Champigny.  Les  Deux  Arlequins 
and  Le  Canard  a  Trois  Bees,  were 
produced  in  Paris  and  London.  Ja- 
votte  was  given  under  the  name  of 
Cinderella  the  Younger.  Le  Chignon 
d'Or,  La  Bonne  a  Venture  and  Le 
Premier  Basier  appeared  later.  Jonas 
died  at  St.  Germain. 

Joncieres  (zhon-si-ars),  Felix  Ludger 

Victorin  de.     1839-1903. 

French  composer  and  critic,  whose 
real  name  was  Felix  Ludger  Ros- 
signol.  Born  and  died  at  Paris.  His 
father  was  a  journalist,  and  Victorin 
set  out  to  be  a  painter,  but  when  his 
Sicilien,  after  Moliere,  was  played  by 
the  students  at  ficole  Lyrique  in  1859, 
he  was  advised  to  study  music.  He 
studied  at  the  Conservatory  and  from 
1871  was  critic  on  the  staff  of  La 
Liberte.  Became  Chevalier  of  the 
Legion  of  Honor  in  1877.  Was  presi- 
dent of  the  Music  Composers'  Society 
and  a  public  instructor.  His  first  two 
operas,  Sardanapale  and  Le  Dernier 
Jour  de  Pompei  were  practically  fail- 
ures, as  was  also  La  Reine  Berthe. 
His    best    opera    was    Dimitri.     Le 


Jones 


Chevalier  Jean  was  well  received  in 
Germany,  but  was  not  a  success  in 
Paris.  His  last  opera  was  Lancelot 
du  Lac.  Among  his  other  works  are 
incidental  music  to  Hamlet;  La  Mer, 
a  symphonic  ode;  a  Chinese  piece,  Li 
Tsin;  a  romantic  symphony;  a  suite 
for  orchestra,  Les  Nubiennes;  a  con- 
cert overture;  Hungarian  serenade; 
and  a  Slavonic  march. 

Jones,  Arthur  Barclay.     1869- 

English  pianist  and  composer;  born 
at  London;  he  entered  the  choir  of 
the  Brompton  Oratory,  where  he  sang 
for  fifteen  years.  When  Thomas 
Wingham,  his  teacher,  died,  he  be- 
came director  of  music  there,  1893,  in 
which  capacity  he  still  officiates.  At 
fifteen  he  entered  Guildhall  School  of 
Music,  winning  a  scholarship.  In 
1899  he  became  an  associate  of  that 
school;  then  professor  of  piano,  1892, 
and  of  harmony,  1896,  which  he  had 
studied  with  H.  C.  Banister.  Was 
made  licentiate  by  the  Royal  Acad- 
emy of  Music,  1891.  Among  his  com- 
positions are  a  symphony  in  C 
minor,  dedicated  to  Thomas  Wing- 
ham;  a  concerto  overture  in  C 
minor;  a  sonata  for  violin  and  piano; 
an  Ave  Maria  for  soprano;  piano  and 
organ  music;  and  hymns  for  children. 

Jones,  Edward.     1752-1824. 

Called  Bardy  Brenin,  or  the  King's 
bard.  Born  at  Llanderfel,  Merioneth- 
shire. He  and  one  of  his  brothers 
were  taught  by  their  father  to  play 
the  Welsh  harp.  Edward  went  to 
London  in  1775  and  in  1783  was  made 
bard  to  the  Prince  of  Wales.  Pub- 
lished Musical  and  Poetical  Relics  of 
Welsh  Bards  and  The  Bardic  Museum 
of  Primitive  British  Literature.  He 
died  in  London.  Is  also  the  author  of 
Cheshire  Melodies;  Lyric  Airs,  con- 
sisting of  specimens  of  Greek,  Al- 
banian, Walachian,  Turkish,  Arabian, 
Persian,  Chinese  and  Moorish  melo- 
dies; The  Minstrel's  Serenade;  Musi- 
cal Miscellany;  Terpsichore's  Banquet; 
Maltese  Melodies;  a  Choice  Collection 
of  Italian  Songs;  Musical  Remains  of 
Handel,  Bach,  Abel,  etc;  and  Trifles 
for  Beginners  on  the  Harp. 

Jones,  Robert. 

Prolific  English  composer,  poet  and 
noted  lutenist  of  the  Elizabethan  Age. 
Took  the  degree  of  Bachelor  of  Music 
from  Oxford  in  1597.  He  resided  in 
London  and  published  his  First  Booke 


BIOGRAPHIES 


417 


Jones 

of  Ayres,  in  which  appeared  Farewell, 
Deere  Love,  quoted  by  Shakespeare 
in  Twelfth  Night,  also  a  Second 
Booke  of  Songs  and  Ayres  containing 
My  Love  Bound  Me  With  a  Kiss.  Both 
these  songs  are  found  in  Smith's  Musica 
Antiqua.  These  works  were  followed 
by  the  First  set  of  Madrigals;  Ultimum 
Vale,  the  Third  Booke  of  Ayres,  a 
copy  of  which  is  in  the  Royal  College 
of  Music;  a  Musicall  Dreame  or  the 
Fourth  Booke  of  Ayres;  The  Muses' 
Gardin  for  Delight  or  the  Fifth  Booke 
of  Ayres.  Also  wrote  Faire  Oriana, 
Semming  to  Wink  at  Folly,  for 
Morley's  Triumphs  of  Oriana,  and 
three  pieces  published  in  Leighton's 
Teares  or  Lamentacions  of  a  Sorrow- 
full  Soule  in  1614.  Some  of  his  songs 
are  also  found  in  a  collection  of 
Sacred  Music  for  four  and  five  voices, 
in  the  British  Museum,  and  the  words 
to  many  of  them  were  published  by 
Bullen  in  his  Lyrics  from  Elizabethan 
Song  Books  and  More  Lyrics. 

Jones,  Sidney.     1869- 

English  contemporary  composer  and 
conductor;  born  at  Leeds;  son  of  a 
musician  and  director.  Educated  at 
Leeds  and  became  a  piano-teacher. 
Learned  most  of  his  music  from  his 
father,  but  took  lessons  in  harmony 
from  Sir  Robert  Stewart.  After  lead- 
ing a  military  band  he  became  con- 
ductor of  a  traveling  company  in  1881, 
toured  through  the  provinces  and  in 
Australia,  and  on  his  return  was  en- 
gaged by  the  Gaiety  Company,  the 
Prince  of  Wales  Theatre,  and  the 
Shaftesbury  Theatre.  His  first  at- 
tempt at  composition  was  Linger 
Longer  Lou,  but  his  first  important 
success  was  the  music  to  A  Gaiety 
Girl  in  1893.  This  was  followed  by 
An  Artist's  Model;  The  Greek  Slave; 
The  Geisha,  a  Japanese  operetta,  pro- 
duced at  Daly's  Theatre,  London, 
with  immediate  success,  and  later  at 
New  York,  Berlin  and  elsewhere;  and 
San  Toy,  which  was  almost  as  popu- 
lar. Later  composed  My  Lady  Molly. 
Became  conductor  of  the  Empire 
Theatre  and  has  set  to  music  for  it 
the  ballets,  The  Bugle  Call  and  Cin- 
derella. He  belongs  to  the  Eccentric 
Club. 

Jordan,  Jules.     1850- 

American  teacher,  composer  and 
conductor.  Also  a  favorite  singer  in 
oratorio  and  concert.  Born  of  Colo- 
nial   ancesters,    at    Willimantic,    Con- 


Jose£fy 

necticut.  He  sang  at  Grace  Church, 
Providence,  Rhode  Island,  and  later 
took  vocal  lessons  from  George 
Osgood  in  Boston,  Sbriglia  in  Paris, 
and  Shakespeare  in  London.  For 
thirteen  years  was  choirmaster  of 
Grace  Church,  Providence,  and  has 
led  the  Arion  Club  since  its  founda- 
tion in  1880.  He  was  the  first  to  sing 
the  part  of  Faust  when  Berlioz's 
Damnation  of  Faust  was  given  for 
the  first  time  in  America  in  1880.  He 
is  a  successful  teacher;  is  the  leading 
vocal  conductor  in  Providence  and 
has  gained  a  name  for  his  composi- 
tions as  well.  Among  them  are  an 
opera.  Rip  Van  Winkle;  the  cantatas, 
The  Night  Service  and  Wind-Swept 
Wheat,  both  for  solos,  chorus  and  or- 
chestra; the  ballad,  Barbara  Frietchie, 
for  chorus  and  orchestra;  and  songs 
both  sacred  and  secular,  the  best 
known  of  which  are  the  national 
hymn.  Great  Western  Land,  and  the 
sacred  songs,  The  Lost  Sheep,  for 
tenor  solo  and  chorus;  I  Am  the  Vine; 
and  Tantum  Ergo,  for  bass  and 
chorus.  His  best  secular  songs  are 
Love's  Sacrifice;  An  Old  Song; 
Dutch  Lullaby;  and  Stay  by  and  Sing. 
His  dramatic  scene,  Joel,  was  sung 
by  Nordica  at  a  musical  festival  in 
Worcester.  In  1895  Brown  College 
conferred  upon  him  the  degree  of 
Doctor  of  Music. 

Joseffy   (yo-zef'-fi),  Rafael.     1853- 

Celebrated  pianist  and  teacher;  born 
in  Hungary  at  Miskolcz,  near  Pres- 
burg,  or  according  to  Grove,  at  Hun- 
falu.  He  began  to  take  piano-lessons 
at  eight,  and  later  studied  under 
Brauer  in  Budapest.  Became  a  pupil 
of  the  Leipsic  Conservatory,  studying 
under  Wenzel  and  Moscheles  there, 
then  with  Tausig  in  Berlin,  and  spent 
the  summers  of  1870  and  1871  with 
Liszt  at  Weimar.  Made  his  debut  in 
Berlin  in  1872.  Toured  Holland,  Ger- 
many and  Austria.  In  1879  he  made 
his  New  York  debut  with  the  Dam- 
rosch  Orchestra,  appeared  in  concerts 
of  the  Philharmonic,  and  toured  with 
Theodore  Thomas.  In  1899  was  ap- 
pointed professor  of  piano  at  the 
National  Conservatory.  His  reper- 
tory includes  the  works  of  all  the 
master  composers  for  the  piano,  espe- 
ciallj'  Brahms.  In  1902,  published  the 
School  of  Advanced  Piano  Playing. 
Has  composed  some  small  pieces  for 
the  piano,  Hungarian  Album,  contain- 
ing six  pieces;  an  Idylle;  Dei  Muhle; 


418 


BIOGRAPHIES 


Joseffy 

Marche  Turque;  polkas  nobles;  a 
mazurka;  waltzes;  concert-pieces,  etc.; 
and  edited  an  altered  version  of  the 
Czerny  unison  of  Tschaikowsky,  and 
other  piano  works.  Kelley  dedicated 
to  him  his  Headless  Horseman,  be- 
cause JoseflFy's  home  is  at  North 
Tarrytown,  near  Sleepy  Hollow. 

Josquin.  See  Despres. 
Juch,  Emma  Johanna  Antonia.  1863- 
Operatic  soprano;  born  in  Vienna. 
Her  father,  an  inventor,  artist  and 
musician,  was  a  native  of  Vienna  but 
a  naturalized  American;  and  her 
mother  possessed  a  fine  voice.  When 
Emma  was  two  years  old  the  family 
returned  to  the  United  States  and 
settled  in  New  York.  She  studied 
with  Mme.  Murio-Celli  and  made  her 
debut  with  great  success  at  a  concert 
in  Chickering  Hall.  Her  voice  de- 
veloped remarkable  flexibility,  clear- 
ness and  power.  In  1881  she  was 
engaged  at  the  Grand  Italian  Opera 
in  London,  where  she  made  a 
triumphant  debut  in  the  role  of  Felina 
in  Mignon.  For  three  seasons  she 
played  there  and  then  joined  Nilsson, 
Materna,  Scaria  and  Winkelmann  in 
Wagner  repertory,  under  the  manage- 
ment of  Theodore  Thomas,  and  on 
the  founding  of  the  American  Opera 
Company  was  engaged  in  it.  After 
its  failure  she  appeared  in  festivals 
and  concerts  of  the  Philharmonic  So- 
cieties of  various  cities.  She  also 
played  in  her  own  English  Opera 
Company.  In  1894  she  married 
Francis  S.  Wellman  and  now  lives  in 
New  York  and  Bar  Harbor.  While 
on  the  stage  she  appeared  as  Violetta 
in  Traviata,  Queen  of  Night  in  the 
Magic  Flute,  Martha,  Marguerite,  the 
Queen  in  Les  Huguenots,  Isabella  in 
Robert  le  Diable,  Elsa  in  Lohengrin, 
and  others. 

Jullien    (zhul-yan),    Jean    Lucien 

Adolphe.     1845- 

French  musical  critic;  born  at  Paris. 
Studied  music  with  Bienaime.  Has 
been  musical  critic  for  the  Revue  et 
Gazette  Musical,  the  Chronique  Musi- 
cal, Le  Menestrel  and  a  number  of 
others.  Succeeded  Berlioz  and  Reyer 
on  the  staff  of  the  Journal  des  Debats, 
and  has  been  on  the  Moniteur  Uni- 
versel  since  1887.  Wrote  many  his- 
torical and  critical  articles,  among 
them  being  L'Opera  in  1788;  La 
Musique  et  les  Philosophes  au  XVIII 
3iecle;  La  comedie  a  la  cour  de  Louis 


Jullien 
XVI;  A  Potentate  Musical;  Weber  a 
Paris;  Airs  varies:  histoire,  critique, 
biographic  musicales  et  dramatiques; 
L'figlise  et  I'Opera  en  1735;  Marie- 
Antoinette  et  Sacchini,  Salieri,  Favart 
et  Gluck;  Histoire  des  Costumes  au 
Theatre;  Goethe  et  la  Musique;  Musi- 
ciens  d'  aujourd'hui.  His  two  great- 
est works  are  Richard  Wagner,  savie 
et  ses  oeuvres;  and  Hector  Berlioz. 
Contributed  to  Grove's  Dictionary  and 
wrote  the  life  of  Berlioz  in  Famous 
Composers  and  their  Works,  edited 
by  Professor  Paine  and  his  associates. 

Jullien,  Louis  Antoine.     1812-1860. 

A  popular  but  eccentric  conductor. 
His  father  was  a  band-master  in  the 
Pope's  body-guard.  Louis  was  born 
near  Sisteron  in  the  French  Alps  and 
spent  his  early  years  there.  He 
learned  some  French  and  Italian  songs 
from  his  father  and  was  presented  at 
concerts  but  lost  his  voice  when  he 
was  only  five  and  returned  to  Sisteron 
to  study  the  violin.  He  soon  became 
proficient  and  toured  Italy  with  his 
father,  being  well  received  everywhere. 
While  at  Marseilles  both  father  and 
son  entered  the  navy  and  were  pres- 
ent at  the  battle  of  Navarino.  On 
his  return  Louis  became  a  soldier.  On 
his  discharge  he  went  to  Paris,  where 
he  entered  the  conservatory  in 
Halevy's  and  Le  Carpentier's  classes. 
In  1836  he  obtained  the  position  of 
director  to  the  Jardin  Turc,  where 
his  dance-music  concerts  became  the 
rage.  Encouraged  by  his  success  he 
established  a  musical  periodical  which 
failed  and  the  debts  which  he  incurred 
forced  him  to  go  to  London  in  1838. 
There  in  1840  he  began  his  immensely 
popular  Promenade  concerts  at  Drury 
Lane  and  the  Lyceum.  His  policy 
was  to  please  and  at  the  same  time 
to  educate  the  public.  He  engaged 
large  bands  of  excellent  musicians, 
and  selected  the  attractive  music, 
gradually  adding  more  and  more  of 
the  works  of  the  great  masters  as 
he  cultivated  the  taste  of  his  audi- 
ences. He  came  to  America  in  1853, 
conducting  at  Castle  Garden,  New 
York.  His  was  the  first  large  or- 
chestra that  this  country  had  ever 
known,  and  to  the  enthusiasm  which 
he  then  created  is  due  no  small  part 
of  the  progress  of  orchestral  work 
here.  The  band  which  he  brought 
with  him  numbered  about  a  hundred 
members,  among  them  the  great  con- 
trabass,    Bottesini;     the     clarinettist. 


BIOGRAPHIES 


419 


Jullien 

Wuille;  Hughes,  the  famous  ophi- 
cleidist,  and  the  coronetist  Konig.  It 
is  interesting  to  note  that  Theodore 
Thomas,  then  a  boy,  played  with 
Jullien. 

Jullien's  ambition  caused  his  ulti- 
mate ruin.  He  undertook  to  establish 
an  English  opera  in  London,  renting 
the  Drury  Lane  Theatre  in  1847,  pro- 
ducing Lucia;  the  Maid  of  Honor; 
Linda;  and  Figaro,  with  Gye  as  mana- 
ger, Berlioz  as  conductor,  and  Sir 
Henry  Bishop  as  inspector  of  re- 
hearsals. So  great  were  the  expenses 
and  so  small  the  receipts  that  even 
the  sale  of  his  music  shop  could  not 
prevent  bankruptcy.  He  gave  con- 
certs at  Surrey  Gardens  and  later 
conducted  oratorios  without  much 
success.  In  1852  he  wrote  an  opera, 
Pietro  il  Grande,  and  presented  it  at 
his  own  expense  at  Covent  Garden. 
Its  failure  involved  his  affairs  more 
deeply.  When  he  returned  from 
America  he  lost  all  his  music  in  the 
Covent  Garden  Theatre  fire  in  1856, 
and  his  Farewell  concerts,  given  in 
London  and  the  provinces,  did  not 
mend  his  lost  fortune.  He  went  back 
to  Paris,  but  was  arrested  and  thrown 
into  the  debtor's  prison.  He  Was 
soon  released,  but  as  he  attempted  to 
commit  suicide,  was  taken  to  the 
insane  asylum,  and  very  shortly  died. 
His  compositions  are  chiefly  dance- 
music,  among  them  the  popular 
British  Army  and  Navy  Quadrilles; 
Havelock's  March;  and  Nightingale 
Waltzes.  Monsieur  Jullien  introduced 
Dorus  Gras,  Fannie  Persiani,  Anna 
Thellon  and  Sim  Reeves  to  the  Eng- 
lish public,  and  Ernst,  Pischek,  Sain- 
ton, Sivori,  Vivier,  Vieuxtemps, 
Wieniawski  and  other  celebrated  per- 
formers played  at  his  concerts.  As 
a  conductor  he  was  the  subject  of 
much  ridicule,  and  has  been  criticized 
as  over-emotional  and  too  fond  of 
noisy  effects,  yet  his  very  popularity 
proves  that  he  possessed  considerable 
worth. 

Junck  (yoonk),  Benedetto.    1852-1905. 

Italian  composer;  born  at  Turin. 
His  father  forced  him  to  pursue  a 
commercial  career.  He  decided  to 
devote  himself  to  music,  and  after  a 
year's  military  service,  his  father 
being  now  dead,  he  went  to  Milan 
in  1872,  where  he  studied  at  the  Con- 
servatory under  Bazzini  and  Mazzu- 
cato.  He  wrote  songs,  notably  La 
Simona,  a  collection  of  twelve  songs 


Juon 


published  in  1878;  romances;  violin- 
sonatas  in  D  and  G;  a  string  quartet 
in  E;  and  other  compositions. 

Jungmann  (yoong'-man),  Albert.  1824- 
1892. 

German  composer  and  teacher;  born 
at  Langensalza,  Prussia,  and  died  at 
Pandorf,  near  Vienna.  Studied  theory 
from  Leibrock,  and  piano  from 
Korner;  was  professor  in  the  St. 
Cecilia  Academy  at  Rome  for  some 
time,  and  finally  settled  in  Vienna  in 
1853.  Managed  Diabella  &  Company 
for  Mr.  C.  A.  Spina,  whom  he  ulti- 
mately succeeded  under  the  name 
Jungmann  and  Lerch.  He  wrote 
hundreds  of  piano-pieces,  mostly 
salon-music,  which  were  very  popular 
because  of  their  melody  and  practical 
value.  He  also  composed  songs,  and 
some  good  orchestral  music.  His 
Heimweh  (Homesickness)  has  had  a 
wide  circulation. 

Jungst  (yinkst),  Hugo.     1853- 

German  composer  of  part-music; 
born  at  Dresden,  where  he  went  to 
the  Conservatory  from  1871  to  1876, 
being  in  J.  Riets'  class.  He  is  leader 
of  the  Julius  Otto  Society;  the  Male 
Choral  Society,  which  he  founded  in 
1876,  and  the  Singing  Society,  Erato. 
He  was  made  professor  in  1898  by  the 
King  of  Saxony.  His  works  include 
the  song.  Spin,  Spin;  and  male 
choruses,  of  which  those  in  Op.  66 
were  published  in  1897. 

Juon  (yu'-6n),  Paul.     1872- 

Russian  composer,  residing  in  Ger- 
many. Born  at  Moscow,  and  studied 
at  the  Conservatory.  Hrimaly  in- 
structed him  in  violin,  and  Taneiev 
and  Arensky  in  harmony.  Later  went 
to  the  Hochschule  at  Berlin,  where 
he  was  given  the  Mendelssohn 
scholarship,  finishing  his  studies  there 
under  Woldemar  Bargiel.  He  taught 
for  a  short  time  at  Baku,  but  soon 
returned  to  Berlin.  Has  written  two 
symphonies;  some  music  for  string 
orchestra;  a  string  and  piano  sextet; 
violin  and  viola  sonata;  and  two  string 
quartets.  He  has  composed  piano- 
music  in  small  forms,  of  which 
Satyrs  of  Nymphs;  preludes  and 
capriccios;  and  concert  pieces  have 
become  known.  His  symphony  in 
A  was  produced  at  a  Promenade  con- 
cert in  London  in  1904,  and  at  a 
concert  of  the  Philharmonic  in  1905. 
His  themes  are  Russian,  developed  in 
German  style. 


420 


BIOGRAPHIES 


Jupin 
Jupin    (zhti-paii),    Charles    Frangois. 
1805-1839. 

French  violinist  and  composer; 
born  at  Chambery.  Took  violin  les- 
sons from  Monticelli  and  Georgis; 
made  a  success  of  concert-playing 
when  only  twelve  years  old,  and  later 
studied  under  Baillot  at  the  Paris 
Conservatory,  winning  first  prize  in 
1823.  He  was  first  violin  at  the 
Odeon,  and  was  for  nine  years  pro- 
fessor of  vioHn  and  conductor  of  the 


Kalbeck 

orchestra  in  Strasburg.  He  returned 
to  Paris  in  1835,  where  he  died.  His 
real  name  was  Louvet,  but  it  was 
changed  because  the  assassin  of  Due 
de  Berry  bore  the  same  cognomen. 
He  is  the  author  of  a  comic  opera, 
La  vengeance  Ttalienne;  brilliant  vari- 
ations for  orchestra;  a  concerto  for 
violin  and  orchestra;  trios  for  both 
strings  and  piano;  and  a  fantaisie, 
concertantes,  and  other  compositions 
for  piano  and  violin. 


K 


Kade  (ka'-de),  Otto.    1819-1900. 

Musical  editor,  historian,  composer 
and  conductor.  He  was  born  at  Dres- 
den, and  studied  with  J.  Otto,  Haupt- 
mann  and  J.  G.  Schneider.  He  went 
to  Italy  and  made  a  study  of  ancient 
vocal  music,  when  he  returned  start- 
ing a  mixed  choir,  called  the  Cacil- 
ien-Verein,  for  its  performance.  In 
1860  he  accepted  the  position  of  Grand 
Ducal  Musical  director,  and  was 
palace  choir-conductor  and  singing- 
teacher  at  the  Gymnasiums.  He  gave 
up  this  post  in  1894.  He  edited  a 
Cantionale  and  Choralbuch  for  the 
church,  and  assisted  Eitner  in  other 
important  editorial  work.  In  1862  he 
began  a  work  on  the  famous  musi- 
cians of  the  Fifteenth  and  Sixteenth 
Centuries,  a  labor  of  twenty  years,  in 
which  he  took  up  thirty-five  com- 
posers. In  1892  he  published  a 
volume  on  the  Passion  Compositions 
of  the  Sixteenth  Century,  and  in  1896 
his  Catalogue  of  the  Grand-Ducal 
Musical  Collection  appeared.  His  own 
musical  compositions  may  be  found 
in  his  Cantionale.  He  retired  in  1893, 
and  died  seven  years  later  at  Doberan, 
near  Rostock. 

♦Kahn  (kan),  Robert.    1865- 

Teacher  and  composer;  was  born 
at  Mannheim,  where  he  attended  the 
Gymnasium  and  studied  music  under 
Vincenz  Lachner.  In  1882  he  went  to 
the  High  School  at  Berlin  and  studied 
with  Kiel  and  Ruddorf,  and  in  1885 
became  the  pupil  of  Rheinberger  and 
Schwartz  at  the  Conservatory  of 
Munich.  Living  several  years  in 
Vienna  he  profited  greatly  by  an 
intimate     friendship     with     Brahms. 


Later  he  moved  to  Berlin,  where 
he  was  associated  with  Joachim,  and 
in  1891  to  Leipsic,  where  he  founded 
a  Ladies'  Choral  Union.  In  1893  he 
became  teacher  of  composition, 
theory,  and  ensemble-playing  in  the 
Berlin  Hochschule,  a  position  which 
he  is  still  filling.  His  compositions 
consist  of  three  violin  sonatas;  four 
piano  quartets;  four  piano  trios;  sev- 
eral works  for  chorus;  and  a  number 
of  songs  for  one  or  more  voices. 

Kalbeck,  Max.    1850- 

Critic,  translator,  and  writer,  em- 
ployed on  the  staff  of  the  Wiener 
Montags-Revue  and  the  Neues  Wiener 
Tageblatt;  was  born  at  Breslau.  He 
studied  in  Munich  at  the  University 
and  also  at  the  School  of  Music.  In 
1875  he  became  musical  critic  for  the 
Schlesische  Zeitung  of  Breslau,  and 
later  of  the  Breslauer  Zeitung. 
Through  the  influence  of  Hanslick  he 
was  put  on  the  staff  of  the  Allgemeine 
Zeitung  of  Vienna  in  1880.  Besides 
his  work  on  these  papers  he  has  made 
some  excellent  German  translations  of 
operas,  as  Mozart's  Don  Giovann"", 
Bastien  et  Bastienne,  and  Gartneriii 
aus  Liebe;  Massenet's  Cid  and 
Werther;  Mascagni's  Amico  Fritz  and 
I  Rantzau;  Smetana's  Bartered  Bride 
and  Dalibor;  Verdi's  Otello  and  Fal- 
staff;  and  Giordano's  Mala  Vita.  He 
has  also  published  studies  on  Wag- 
ner's Nibelungen  and  Parsifal,  and 
his  collected  critiques,  Wiener 
Opernabende,  which  appeared  in 
1881.  As  a  poet  he  has  published  two 
collections  of  original  poems,  en- 
titled, Aus  Natur  und  Leben;  and  Aus 
Alter  und  Neuer  Zeit. 


BIOGRAPHIES 


421 


Kalinnikov 
Kalinnikov,    Basil    Sergeivich.     1866- 

1901. 

Modern  Russian  composer,  whose 
early  death  ended  a  very  brilHant  and 
promising  career.  He  was  born  in 
Orlov,  where  his  father  was  on  the 
police  force;  went  to  the  Orlovsky 
Seminary  and  became  a  chorister 
there.  Though  he  was  very  poor  he 
succeeded  in  getting  to  Moscow, 
where  he  attended  the  Philharmonic 
Society  School  of  Music  as  the  pupil 
of  Ilyinsky  and  Blaramberg.  He  was 
then  appointed  assistant  conductor  of 
the  Italian  Opera  at  Moscow,  but  his 
health  began  to  fail  from  the  hard- 
ships he  had  undergone,  and  he  went 
to  the  Crimea,  where  he  spent  the 
rest  of  his  life  composing.  He  died 
at  Yalta.  His  music  was  national  in 
character  and  was  well  received 
throughout  Europe.  Among  his  works 
are  two  symphonies;  St.  John 
Chrysostom,  a  cantata;  music  to 
Tolstoi's  play,  Tsar  Boris;  The  Rous- 
salka,  a  ballad;  and  songs. 

Kalkbrenner    (kalk'-bren-ner).   Fried- 
rich  Wilhelm  Michael.    1788-1849. 

Early  Nineteenth  Century  pianist 
and  teacher,  of  Jewish  extraction, 
popular  in  Paris  and  London,  and  a 
rival  of  Chopin.  His  father.  Chris- 
tian Kalkbrenner,  was  a  well-known 
musician,  who  was  constantly  making 
extensive  tours,  and  it  was  during 
one  of  them  that  the  younger  Kalk- 
brenner was  born  in  a  post-chaise  on 
the  road  from  Cassel  to  Berlin. 
When  very  young  he  accompanied  his 
father  on  a  two  years'  journey  through 
Italy,  and  his  musical  education  was 
begun  so  early  that  he  played  a 
Haydn  concerto  before  the  Queen  of 
Prussia  at  the  age  of  five.  His 
precocity  was  shown  in  other  than 
musical  lines  also,  for  at  eight  years 
he  could  speak  four  languages  flu- 
ently. At  thirteen  he  was  graduated 
with  a  piano  prize  from  the  Paris 
Conservatory.  A  few  years  later  his 
residence  in  Paris  led  him  into  dis- 
sipation, and  through  the  influence  of 
Haydn,  who  was  his  teacher  for  a 
time,  he  went  to  Vienna,  where, 
under  the  inspiration  of  such  men  as 
Beethoven,  Hummel  and  Clementi,  he 
began  more  serious  work.  In  1814  he 
went  to  England,  where  he  stayed  for 
ten  years,  and  became  very  popular 
and,  incidentally,  wealthy.  Then  he 
returned  to  Paris,  married  a  lady  of 
wealth  and  good  social  position,  in- 


Kalliwoda 

vested  his  money  in  the  piano  factory 
of  Pleyel  &  Co.,  and  settled  down  to 
enjoy  his  success.  He  died  at 
Enghien  of  the  cholera. 

Kalkbrenner's  popularity  was  due, 
not  entirely  to  genius,  though  his 
ability  was  far  above  mediocre,  but 
to  his  business  management  and  self- 
esteem.  He  used  to  speak  of  himself 
as  the  only  improviser  of  his  time, 
and  when  Chopin  came  to  Paris  he 
offered  to  "  make  an  artist  of  him," 
though  Chopin,  to  quote  Mendels- 
son,  was  "  worth  twenty  Kalkbren- 
ners."  Lahee  says  of  him:  "His 
execution  was  indeed  prodigious,  but 
he  could  play  scarcely  any  other 
compositions  than  his  own  with  any- 
thing like  grace  or  proficiency,  and 
the  almost  total  absence  of  genuine 
method  or  phrasing  therein  caused  a 
repetition  to  be  both  tedious  and 
wearisome."  However,  his  teaching 
was  successful,  and  some  composi- 
tions for  the  piano  are  brilliant, 
though  they  lack  true  greatness.  His 
best  work  was  perhaps  his  Method 
for  the  Piano. 

Kalliwoda    (kal'-li-vo-da),    Johann 

Wenzel.     1800-1866. 

German  violinist  and  composer;  a 
good  representative  of  the  Prague 
violin  school  as  directed  by  F.  W. 
Pixis.  He  was  born  at  Prague  and 
studied  at  the  Conservatory  as  a  pupil 
of  Pixis,  Tomaschek  and  Dionys 
Weber.  He  played  in  the  town  band 
for  a  while,  and  then  went  to  Munich, 
where  he  succeeded  in  making  such  a 
favorable  impression  on  Prince 
Fiirstenberg  that  he  became  his  Court 
conductor  at  Donaueschingen,  and 
held  the  position  until  1853,  when  he 
retired.  He  died  at  Carlsruhe.  His 
playing  was  more  remarkable  for 
polish  and  fine  technique  than  for  any 
great  depth  of  sentiment  or  feeling. 
His  compositions  were  in  keeping 
with  his  musical  style.  He  wrote  two 
operas,  Blanda,  and  Prinzessin  Chris- 
tine; seven  symphonies;  overtures; 
fantasias;  concertos;  and  a  few  songs, 
among  them  the  well-known  Deutsches 
Lied.  Some  of  his  compositions  have 
been  praised  by  Schumann. 

Kalliwoda,  Wilhelm.    1827-1893. 

Pianist,  teacher  and  composer;  was 
the  son  of  Johann  Wenzel  Kalliwoda. 
He  was  born  at  Donaueschingen;  first 
studied  music  with  his  father,  then 
went  to  the  Leipsic  Conservatory,  and 
became  the  pupil  of  Mendelssohn  and 


422 


BIOGRAPHIES 


Kalliwoda 


Kastner 


Hauptmann.  He  began  his  career  as 
musical  director  of  the  Catholic 
Church  at  Carlsruhe,  took  his  father's 
place  as  Court  conductor  in  that 
town  in  1853,  and  also  conducted  the 
Philharmonic  concerts.  He  gave  up 
work  in  1875  on  account  of  ill  health. 
He  died  at  Carlsruhe.  He  was  a  good 
teacher  and  pianist  and  wrote  some 
admirable  songs  and  piano-pieces. 

Kamienski   (kam-i-en'-shki),  Mathias. 

1734-1821. 

First  composer  to  write  Polish 
operas;  was  born  at  Odenburg,  Hun- 
gary, and  went  to  Vienna  for  his 
musical  education.  He  played  the 
violin  in  the  chapel  of  Count  Henkel, 
and  later  went  to  Warsaw  to  teach. 
His  opera,  Comfort  in  Misfortune, 
was  given  there  by  Polish  singers  in 
1778,  and  was  very  successful.  His 
six  Polish  operas  were  all  produced 
with  favorable  results,  and  he  wrote 
two  German  operas  which  never 
appeared.  His  other  works  are  a  can- 
tata, given  when  King  Sobieski's 
statue  was  unveiled  in  1792;  some 
church-music;  and  polonaises. 

Kandler      (kant'-ler),     Franz     Sales. 

1792-1831. 

Writer  on  musical  history  and  an 
imperial  military  draughtsman;  was 
born  at  Kloster-Neuberg,  in  Lower 
Austria.  He  was  sent  to  Venice  and 
Naples,  in  1817,  as  an  army  inter- 
preter, and  while  he  was  there  he 
studied  and  wrote  on  Italian  music 
and  its  history  as  an  amusement.  His 
principal  works  are  Cenni  storico- 
critici  alia  vita  ed  opere  del  .  .  . 
G.  Ad.  Hasse,  which  appeared  in 
Venice  and  Naples  in  1820;  and  Uber 
das  Leben  und  die  Werke  des  .  .  . 
Palestrina,    published    posthumously. 

Kapsberger  (kaps'  -  berkh  -  cr),  Jo- 
hannes Hieronymus.  -1650. 
German  lute-player  and  composer, 
who  spent  most  of  his  life  in  Italy, 
where  he  was  a  rival  of  Palestrina. 
The  date  of  his  birth  is  unknown  and 
he  is  first  heard  of  through  some  of 
his  songs  published  in  1604.  Some 
authorities  give  the  date  of  his  death 
as  1650,  but  this  is  uncertain,  as  1633 
is  the  last  positive  record  of  him.  He 
played  several  instruments  of  the  lute 
variety.  He  lived  in  Venice  and  Rome 
and  other  Italian  cities,  was  a  great 
friend  of  the  Jesuits,  and  a  follower 
and  flatterer  of  Pope  Urban  VIII., 
whose  verses  he  set  to  music.     He 


tried  to  supplant  Palestrina  with  the 
Pope,  but  as  the  singers  in  the  Papal 
Choir  strenuously  objected  the  at- 
tempt was  unsuccessful.  He  was  a 
good  musician,  however,  and  wrote 
simple  and  clever  music  for  the  lute 
and  voice.  He  published  Intavola- 
tura  di  Chitarrone,  and  Villanelle, 
books  of  vocal  music  and  accompani- 
ments; an  Apotheosis  of  Ignatius 
Loyola;  Fetonte,  a  musical  drama;  a 
Wedding  Chorus;  motets;  and  other 
works.  He  assisted  Athanasius 
Kircher  with  his  great  work,  Mu- 
surgia. 

Karaswoski  (ka-ra-shof'-shki),  Moritz. 

1823-1892. 

Contributor  to  both  German  and 
Polish  musical  literature;  was  born 
at  Warsaw  and  died  at  Dresden.  He 
studied  the  piano  and  violoncello  from 
Kratzer,  and  in  1851  began  playing 
the  cello  in  the  Grand  Opera  Orches- 
tra at  Warsaw.  He  started  -on  a  two 
years'  tour  in  1858,  and  in  1860  was 
made  Royal  chamber-virtuoso  at 
Dresden.  He  wrote  The  History  of 
Polish  Opera;  Life  of  Mozart;  and 
Chopin's  Youth,  all  in  Polish;  Fried- 
erich  Chopin,  sein  Leben,  seine 
Werke  und  Briefe,  in  German,  and 
some  violoncello  comnositions. 

Kashkin,  Nicholas  Dmitrievich.     1839- 

Interesting  chiefly  because  of  his 
devoted  friendship  for  Tschaikowsky; 
was  born  at  Voronezh,  Russia.  He 
seems  to  have  been  poor,  for  he  re- 
ceived his  first  musical  instruction 
from  his  father,  who  was  self-taught 
in  the  art,  and  at  the  age  of  thirteen 
he  started  out  as  an  instructor  him- 
self. In  1860  he  went  to  Moscow  to 
study  the  piano  under  Dubuque,  and 
was  so  fortunate  as  to  obtain  the 
favor  of  N.  Rubinstein,  who  gave 
him  classes  in  piano  and  theory  at 
the  Musical  Society  which  in  1866 
became  the  Conservatory.  He  worked 
here  until  1896.  From  1877  to  1878, 
and  from  1886  to  1897  he  was  musical 
critic  on  the  Russky  Viedonosti, 
besides  writing  for  the  Moscow 
Viedonosti.  An  able  writer  and  crijtic, 
Kashkin  is  the  author  of  several  books 
and  pamphlets,  the  most  important 
being  his  Reminiscences  of  Tschai- 
kowsky, published  in  1906. 

Kastner    (kast'-ner),  Johann    Georg. 
1810-1867. 

Prolific    composer  and    writer    on 

musical    topics;    was  born   at    Stras- 


BIOGRAPHIES 


423 


Kastner 


burg  and  died  in  Paris.  He  began 
studying  with  Maurer  and  Romer  at 
Strasburg,  and  got  a  position  as  an 
organist  when  only  ten  years  old. 
His  family  were  determined  to  have 
him  enter  the  ministry,  and  he  was 
accordingly  sent  to  a  Lutheran  Theo- 
logical Seminary,  but  his  heart  was 
not  in  the  work  and  he  studied  music 
as  much  as  possible,  giving  up  all 
idea  of  the  ministry  when  he  was 
twenty-two.  In  1835,  after  four  of 
his  operas  had  been  produced,  the 
town  council,  recognizing  his  ability, 
sent  him  to  Paris,  where  he  became 
the  pupil  of  Berton  and  Reicha. 
There  he  taught  and  composed  and 
devoted  himself  to  musical  research 
work  and  to  writing  on  musical  theory. 
He  was  much  interested  in  military 
music  and  organized  a  competition  for 
national  bands.  He  started  the  Asso- 
ciation of  Musical  Artists,  substan- 
tially aided  the  Orpheons,  was  made  a 
Doctor  of  Philosophy  and  Music  by 
Tubingen  University,  and  a  member 
of  numerous  honorary  societies, 
among  them  The  Legion  of  Honor. 
Among  his  works  are  the  operas, 
Gustav  Wasa,  the  first;  Der  Tod 
Oscar's;  Der  Sarazene;  Die  Konigin 
der  Sarmaten;  Beatrice;  La  Marchera, 
in  French;  Les  Nonnes  de  Robert  le 
Diable;  and  The  Last  King  of  Juda, 
a  biblical  opera,  considered  his  mas- 
terpiece. Beside  these  he  wrote 
some  Livres-Partitions,  musical  com- 
positions with  introductory  essays  of 
a  philosophical  and  historical  char- 
acter; an  Encyclopaedia  of  Music; 
many  didactic  works,  as  a  General 
Treatise  on  Instrumentation,  which 
was  praised  by  the  Academy  and 
used  at  the  Conservatory;  a  Musical 
Grammar,  an  Abridged  Theory  of 
Counterpoint  and  the  Fugue;  and  nu- 
merous others,  all  valuable. 

Kauer  (kow'-er),  Ferdinand.    17  5  1- 
1831. 

Was  chiefly  known  as  a  writer  of 
the  Singspiel  or  musical  farce.  He 
was  born  at  Klein-Thaya  in  Moravia 
and  died  at  Vienna.  He  began  his 
musical  career  as  organist  of  a  Jesuit 
College  at  Znaim  as  a  boy.  He  taught 
at  Rumburg,  studied  medicine  at 
Tyrnau,  then  went  to  Vienna,  where 
he  taught  piano  and  became  a  pupil 
of  Heidenreich  in  counterpart.  In 
1795  he  was  first  vioHn  at  Marinelli's 
Theatre,  then  played  or  led  at  other 
theatres,    at    last    becoming    violon- 


Kaufmann 

cellist  at  the  Leopoldstadter  Theatre. 
He  wrote  two  hundred  operas,  light 
operas  and  singspiels;  twenty  masses; 
other  church-music;  oratorios;  sym- 
phonies; and  cantatas.  The  best 
known  of  his  works  are  the  operas, 
Die  Sternenkonigen,  and  Das  Donau- 
weibchen,  and  an  oratorio.  Die  Sund- 
fluth. 

Kauffmann  (kowf'-man),  Emil.    1836- 

Son  of  Ernst  Friedrich  Kaufifmann; 
is  a  violinist,  teacher,  and  composer. 
He  was  born  in  his  father's  native 
town,  Ludwigsburg.  He  studied  in 
the  Stuttgart  Conservatory  under 
Keller,  Faiszt,  Jung  and  Singer.  In 
1863  he  joined  the  Court  Orchestra 
as  violinist.  From  1868  until  1877  he 
taught  in  the  music  school  at  Basel. 
Since  1877  he  has  filled  the  position 
of  director  of  music  at  Tubingen 
University,  where  in  1885  he  received 
the  degree  of  Doctor  of  Philosophy. 
He  has  written  over  sixty  songs;  male 
choruses;  sonatas  and  other  piano- 
pieces;  also  several  essays,  among 
them  Entwickelung  der  Ton  Kunst 
von  der  Mitte  des  Achtzehnten  Jahr- 
hunderts  bis  zur  Gegenwart,  and 
Justinus  Heinrich  Kenecht;  ein 
schwiibischer  Tonsetter.  As  a  writer 
he  also  contributed  to  the  Musi- 
kalisches   Wochenblatt   of  Leipsic. 

Kauffmann,   Ernst   Friederich.     1803- 

1856. 

German  composer  of  songs;  was 
born  at  Ludwigsburg,  and  died  at 
Stuttgart.  He  successfully  taught 
himself  the  piano,  attended  the  Uni- 
versity of  Tiibingen,  and  became 
director  of  the  Realschule  at  Lud- 
wigsburg. He  was  forced  to  give  up 
this  position  on  account  of  his  revo- 
lutionary tendencies,  and  was  im- 
prisoned for  four  years.  It  was 
during  this  time  that  he  composed 
his  thirty-six  songs,  all  of  which  are 
beautiful  and  artistic. 

Kaufmann    (kowf  -  man),    Friederich. 

1785-1866. 

An  inventor  of  musical  instruments; 
was  born  and  died  at  Dresden.  He 
first  brought  out  the  belloneon  in 
1808,  a  trumpet-automaton,  and  later 
constructed  the  chordaulodion,  the 
claviatur-harmonichord  and  the  sym- 
phonion.  By  improving  the  last 
named  instrument  his  son,  Friedrich 
Theodor  (1823-1872),  finally  produced 
the  present  form  of  orchestrion. 


424 


BIOGRAPHIES 


Kaufmann 
*  Kaufmann,  Fritz.     1855- 

Composer  and  teacher;  born  at 
Berlin.  He  received  his  first  instruc- 
tion in  piano  and  violin  from  Her- 
mann Mohr  and  Wilhelm  Hellmich. 
From  1874  to  1877  he  studied  natural 
science  and  was  apprenticed  to  a 
druggist  at  Leipsic.  Entering  the 
Akademische  Hochschule  in  1878  he 
studied  composition  under  Kiel  and 
piano  under  Rudorff,  winning  the 
Mendelssohn  Prize  in  1881.  From 
1881  to  1882  he  lived  in  Vienna,  then 
returned  to  Berlin,  where  he  was  a 
composer  and  teacher  until  1889,  when 
he  went  to  Magdeburg,  where  he  has 
since  occupied  the  position  of  conduc- 
tor of  the  city  concerts  and  of  the 
music  festivals  arranged  by  the  Music 
Society.  He  received  the  title  of 
Royal  Music  Director  in  1893.  He  has 
written  songs  for  solo  voice  with 
piano  accompaniment;  quartet  for 
male  chorus;  several  quartets  for 
mixed  chorus;  a  terzet  for  female 
chorus;  dramatic  overture;  violin  con- 
certo in  D  minor;  a  symphony  in  A 
minor;  piano  concerto  in  C  minor; 
piano  sonata  in  A  major  and  B  minor; 
a  fantasie;  two  piano  trios;  variations 
for  stringed  quartet  in  G.  His  other 
variations  are  the  Tanz  Improvisa- 
tionem;  and  comic  opera.  Die  Herzs- 
krankheit. 

Kaun,  Hugo.    1863- 

Conductor  and  teacher;  was  born 
at  Berlin.  He  received  his  training 
at  the  Meisterschule  under  Kiel,  and 
in  1887  came  to  the  United  States, 
settling  in  Milwaukee,  where  he 
founded  the  Mannerchor,  which  gave 
concerts  with  Theodore  Thomas.  He 
taught  harmony,  counterpoint  and 
composition,  and  lectured  on  Oratorio 
and  Symphony  at  the  Wisconsin 
Conservatory  of  Music  at  Milwaukee 
in  1899.  Several  of  his  compositions 
were  played  under  the  direction  of 
Theodore  Thomas  in  Chicago.  He 
returned  to  Berlin  in  1902.  He  has 
composed  the  two  operas,  Der  Maler 
von  Antwerpen,  of  which  the  overture 
was  performed  in  Chicago,  and  Der 
Pietist;  the  symphony.  An  Mein 
Vaterland;  the  cantata,  Normannen- 
abschied;  a  festival  march  dedicated 
to  the  American  nation;  a  car- 
nival suite  which  won  much  success 
in  Mil\vaukee;  Vineta;  Maria  Magda- 
lena,  which  was  given  at  Meiningen  in 
1904;  and  the  symphonic  poems,  Hia- 
watha and  Minnehaha. 


Keiser 


Kazynski  (ka-zen'-shki),  Victor.   1812- 

Dramatic  composer  and  writer  of 
songs;  was  born  at  Wilna,  Lithuania. 
From  1837  until  1839  he  was  a  pupil 
of  Eisner  at  Warsaw.  He  returned 
to  Wilna  in  1840,  and  during  that 
year  wrote  the  music  of  his  opera, 
Fenella,  and  of  an  opera.  The  Wan- 
dering Jew,  which  he  produced  un- 
successfully in  1842.  In  1843  he 
moved  to  St.  Petersburg,  where  in 
1845  he  published  a  musical  diary  of 
his  travels  through  Germany  and 
Austria  with  General  Lyoff.  In  1848 
he  was  made  conductor  at  the  Im- 
perial Theatre  and  brought  out  his 
opera,  Man  and  Wife,  which  was  only 
moderately  successful.  He  has  pub- 
lished a  number  of  musical  composi- 
tions; overtures;  cantatas;  concertos 
for  piano  and  violin;  fantasias  on 
Russian  themes  and  tarantellas; 
beside  his  popular  Album  of  Song, 
which  came  out  in  1855. 

Keiser  (ki'-zer),  Reinhard.     1673-1739. 

German  opera  composer,  who  per- 
formed a  service  for  Germany  cor 
responding  to  that  of  Lully  in  France 
and  Purcell  in  England.  He  was 
born  at  Teuchern,  near  Weissenfels, 
Leipsic,  where  his  father,  a  church 
composer,  gave  him  his  first  lessons. 
He  went  to  the  Thomasschule,  Leip- 
sic, where  he  studied  under  Johann 
Schelle,  and  began  playing  at  con- 
certs. In  1692  he  wrote  a  pastoral, 
Ismene,  for  the  Brunswick  Court, 
which  made  a  most  favorable  im- 
pression. In  1694  he  went  to  Ham- 
burg, where  forty  years  of  his  life 
were  spent  writing  the  one  hundred 
and  sixteen  operas  which  won  for 
him  at  least  a  temporary  fame.  In 
1703,  with  Driisicke,  Keiser  took 
entire  charge  of  the  opera,  but  the 
combination  was  unsuccessful  as 
Driisicke  afterwards  absconded.  How- 
ever the  bad  fortune  did  not  overcome 
Keiser,  for  he  wrote  eight  new  operas, 
married  the  daughter  of  a  wealthy 
patrician  of  Hamburg,  and  in  a  year's 
time  was  again  living  in  his  accus- 
tomed ease  and  luxury. 

He  was  at  the  Stuttgart  Court  for 
two  years,  and  in  1722  went  to  Den- 
mark and  became  chapelmaster  to  the 
King  at  Copenhagen.  This  turned 
his  attention  to  church-music,  which 
he  composed  very  well  in  spite  of  his 
somewhat  unreligious  temperament, 
and  the  dramatic  form  which  he  used. 
He  continued  composing  operas,  how- 


BIOGRAPHIES 


425 


Keiser 


ever,  until  the  year  of  his  death. 
Keiser's  influence  on  German  opera 
was  important  though  not  lasting. 
His  work  was  powerful  at  first,  but  it 
degenerated  and  his  original  standard 
was  lowered.  He  cast  aside  all  Italian 
influence  and  wrote  music  which  was 
strictly  German.  He  used  popular 
subjects,  usually  either  mythological 
or  historical,  and  the  vernacular  of 
the  people,  which  largely  accounts 
for  his  popularity  with  the  masses. 
One  important  thing  he  accomplished 
was  the  destruction  of  the  Singspiel, 
or  musical  farce.  His  music  was 
sweet  and  spontaneous,  but  his  great 
mistake  was  the  use  of  the  oratorio- 
opera  form,  which  caused  the  operas 
of  Scarlatti  and  Handel  even  to 
perish.  Elson  speaks  of  him  as  "  a 
brilliant  but  decidedly  careless  com- 
poser," but  admits  that  he  was  a 
master  of  expression  and  that  he 
labored  earnestly  if  somewhat  spas- 
modically for  dramatic  truth.  Among 
his  numerous  operas  are  Irene,  the 
first,  which  appeared  in  1697;  Storte- 
becker  und  Godge  Michaels;  Die 
Leipziger  Messe;  Der  Hamburger 
Jahrmarkt;  Die  Hamburger  Schlacht- 
zeit;  and  Circe,  the  last,  produced  in 
1734.  His  church-music  includes  ora- 
torios, which  he  wrote  very  success- 
fully; cantatas;  psalms;  passions; 
motets;  and  songs  and  duets  with  the 
harpsichord. 

Keler-Bela    (ka'-ler    ba'-Ia),    (Albert 
von  Keler  right  name.)     1820-1882. 

Hungarian  writer  of  dance  and 
orchestra  music;  born  at  Bartfeld. 
His  career  is  quite  picturesque,  for  he 
tried  the  law  and  farming  before  he 
gave  up  his  desire  to  become  a  musi- 
cian. He  studied  with  Sechter  and 
Schlesinger  at  Vienna,  then  played 
the  violin  in  a  theatre,  directed  several 
orchestras,  and  became  bandmaster  to 
an  infantry  regiment,  finally  ending  as 
conductor  of  the  Kur  Orchestra  at 
Wiesbaden  in  1770,  which  was  the  last 
position  his  health  permitted  him  to 
hold.  He  wrote  some  very  popular 
dance-music,  overtures  and  violin 
solos. 

Kelley,  Edgar  Stillman.     1857- 

American  composer  of  great  talent 
and  brilliancy;  was  born  at  Sparta, 
Wisconsin.  His  mother,  a  well 
trained  musician,  began  his  piano  edu- 
cation when  he  was  eight  years  old, 
and  continued  to  teach  him  until  he 


Kelley 

was  seventeen.  He  gave  up  work  at 
college  on  account  of  ill  health,  and 
in  1874  went  to  Chicago  to  study 
counterpoint  and  harmony  under 
Clarence  Eddy,  and  piano  under 
Ledochowski.  After  two  years  in 
Chicago  he  went  to  Stuttgart,  where 
he  studied  composition  and  orches- 
tration with  Max  Seiflritz,  organ  with 
Finck,  and  piano  with  Kruger  and 
Speidel.  In  1880  he  returned  to 
America  and  went  to  San  Francisco, 
where  he  soon  became  known  as  one 
of  the  leading  musicians  and  musical 
critics  of  California.  Here  he  wrote 
his  first  large  composition,  the  music 
to  Macbeth,  a  piece  full  of  originality 
and  intensely  interesting  as  descrip- 
tive music,  but  too  daring  and  un- 
conventional ever  to  become  popular. 
His  next  work  was  a  comic  opera, 
which,  however,  was  not  staged.  It 
was  followed  by  the  capital  music  for 
the  comic  opera,  Puritania,  brought 
out  in  Boston  in  1892,  where  it  ran 
for  over  a  year,  during  a  part  of 
which  time  Mr.  Kelley  himself  con- 
ducted. This  was  followed  by  Gulli- 
ver in  Lilliput,  a  most  graceful  and 
charming  symphony.  After  this  he 
wrote  the  Chinese  suite,  Aladdin, 
unique  because  of  the  employment  in 
it  of  the  Chinese  scale  of  five  tones 
and  Chinese  idea  of  harmony.  Mr. 
Kelley's  conscientiousness  and  musical 
thoroughness  may  be  seen  by  the  fact 
that  in  connection  with  this  composi- 
tion he  studied  Chinese  music  and 
harmony  from  the  Chinese  themselves. 
Mr.  Kelley's  thoroughness  is  shown 
not  only  in  Aladdin,  but  also  in  music 
for  an  adaptation  of  Prometheus  Bound 
by  George  Parsons  Lathrop.  For  this 
composition  he  carefully  studied  the 
theory  of  Greek  music.  Another  im- 
portant piece  of  work  is  his  arrange- 
ment of  music  for  the  stage  produc- 
tion of  General  Lew  Wallace's  Ben 
Hur.  In  this,  too,  there  are  evidences 
of  careful  study,  and  in  several  places 
the  use  of  Greek  scales  and  progres- 
sions and  even  of  Arabic  scales  has 
lent  it  an  interest  and  appropriateness 
not  to  be  denied.  The  song  of  Iras 
is  particularly  beautiful  and  has  an 
unusually  fine  accompaniment.  Among 
Mr.  Kelley's  smaller  works,  two  of 
the  best  are  settings  of  Poe's  poems, 
Eldorado  and  Israfel.  Another  well- 
known  one  is  the  quaint  Lady  Picking 
Mulberries.  His  setting  of  Walt 
Whitman's  beautiful  poem,  O,  Cap- 
tain, My  Captain,  is  well  worthy  the 


426 


BIOGRAPHIES 


Kelley 


"words,  and  is  becoming  known  as  a 
patriotic  song.  Beside  his  work  as  a 
composer,  Mr.  Kelley  has  worked  at 
journalism  and  proved  himself  an 
able  and  conscientious  critic,  and  has 
entered  the  lecture  field  in  University 
Extension  work.  At  present  he  is 
professor  of  composition  in  the  New 
York  College  of  Music. 

Kellner,  Ernst  August.    1792-1839. 

Singer  and  pianist;  a  phenomenal 
case  of  musical  precocity.  Was  born 
at  Windsor,  England,  where  his 
father  played  in  Queen  Charlotte's 
band,  and  began  to  study  the  piano 
when  he  was  two  years  old,  playing 
a  Handel  concerto  when  he  was  five. 
At  the  request  of  the  King  his  voice 
was  trained,  and  when  eight  years 
old  he  sang  at  a  Court  concert.  He 
studied  with  Rauzzini  at  Bath,  sang 
at  the  theatre  there,  made  a  tour  with 
Incledon,  and  finally  married  and 
went  to  Italy,  where  he  continued  his 
studies  with  Porri,  Casella,  Nozzari 
and  Crescentini.  He  sang  at  the 
Fenice  Theatre  at  Venice  and  then 
made  some  extensive  tours,  winning 
much  applause  at  Paris  and  St.  Peters- 
burg. He  returned  to  London  and 
became  choirmaster  at  the  Bavarian 
Chapel,  devoting  some  of  his  time  to 
teaching  and  composing.  He  died 
there  when  only  forty-seven  years 
old.  He  published  many  songs  which 
became  popular,  as  County  Guy;  The 
Lasses  With  a  Simpering  Air;  The 
Blind  Mother;  The  Shepherd's  Chief 
Mourner;  ,  Medora's  Song;  and 
Through  All  My  Dreams.  He  also 
began  an  opera,  Poland,  which  was 
never  finished;  masses;  and  a  sym- 
phony and  fugue  for  voices. 

Kellner,  Johann  Christoph.    1735-1803. 

Son  of  Johann  Peter  Kellner,  an 
organist,  and  a  quite  voluminous 
composer.  He  studied  first  with  his 
father,  and  later  with  the  famous 
Benda  at  Gotha.  In  1785  he  had  pro- 
duced fifteen  operas  of  harpsichord 
music;  besides  a  number  of  organ- 
pieces;  and  several  passions  and 
cantatas  for  the  church.  At  the  time 
of  his  death  he  was  living  at  Mann- 
heim, where  he  held  the  position  of 
Court  musician.  His  best  known 
works  are  a  book  on  thorough-bass, 
and  an  opera,  Die  Schadenfreude. 
Kellner,  Johann  Peter.    1705-1788. 

Organist  and  devoted  admirer  of 
Bach.     Was   a  native   of   Grafenrode 


Kellogg 

in  Thuringia.  Was  first  instructed 
in  music  and  taught  to  admire  Bach 
by  J.  C.  Schmidt.  He  held  the  place 
of  cantor  at  Frankenhain,  but  soon 
took  the  same  position  in  his  own 
town,  which  he  refused  to  leave  for 
the  rest  of  his  life.  He  became 
acquainted  with  Bach  and  Handel,  and 
many  of  the  present  editions  of 
Bach's  works  are  taken  from  Kellner's 
copies  of  the  originals.  He  composed 
a  number  of  successful  figured 
chorals;  trios;  preludes;  fugues;  and 
some  dance-music,  all  of  which  show 
Bach's  influence. 

Kellogg,  Clara  Louise.    1842- 

One  of  America's  most  noted  opera 
singers.  She  was  born  at  Sumterville, 
South  Carolina,  but  of  northern  par- 
ents. Her  mother  was  musical  and 
undertook  the  first  musical  instruction 
of  her  daughter.  In  1856  she  went  to 
New  York  to  continue  her  education. 
Her  debut  was  made  as  Gilda  in 
Rigoletto  in  1861.  In  1867  she  made 
her  English  debut  as  Margherita  in 
Faust,  at  Her  Majesty's  Theatre  at 
London,  and  was  sufficiently  suc- 
cessful to  be  engaged  at  Drury  Lane 
the  following  year.  She  then  made  a 
four-year  concert  tour  in  the  United 
States,  and  in  1872  returned  to  Her 
Majesty's  Theatre.  In  1874  she 
began  her  great  enterprise  of  organ- 
izing an  English  Opera  Company  to 
tour  America.  She  did  an  enormous 
amount  of  work  herself,  including  the 
translation,  staging  and  training  of 
performers.  In  the  season  of  1874- 
1875  she  appeared  a  hundred  and 
twenty-five  times,  and  the  result  of 
her  untiring  energy  and  ambition  was 
all  that  she  could  desire.  In  1876  she 
established  another  troupe,  an  Italian 
Opera  Company.  In  1879  she  appeared 
again  at  Her  Majesty's  Theatre,  and 
in  1881  began  concert  work  in 
America.  In  1887  she  married  her 
manager,  Carl  Strakosch,  and  left 
the  stage  soon  after.  Her  greatest 
role  was  Margherita  in  Faust;  other 
parts  she  has  taken  being  Violetta, 
Martha,  Zerlina  in  Don  Giovanni, 
Aida,  Philine  in  Mignon,  and  Susanna 
in  The  Marriage  of  Figaro.  Her 
repertory  included  over  forty  operas. 
Her  voice  was  a  high,  pure  soprano, 
admirably  trained.  She  has  done  a 
great  deal  to  advance  music  in 
America  and  has  been  a  great  favorite 
both  in  England  and  in  her  own 
country. 


BIOGRAPHIES 


427 


Kelly 
Kelly,  Michael.    1762-1826. 

Irish  tenor  singer,  composer  and 
wine  merchant,  who  appeared  in  the 
first  performance  of  Mozart's  Mar- 
riage of  Figaro,  and  was  called  by 
Sheridan  "  a  composer  of  wines  and 
importer  of  music."  He  was  a  native 
of  Dublin,  the  son  of  a  wine  merchant 
and  dancing-master.  His  first  teachers 
were  Passerini,  Peretti,  St.  Giorgio 
and  Rauzzini,  and  he  first  appeared 
on  the  stage  at  Dublin.  In  1779  he 
took  up  his  studies  again  with 
Fenaroli  and  Aprile  at  Naples,  and 
then  went  to  Vienna,  where  he  sang 
at  the  Court  Theatre  for  four  years, 
becoming  a  great  friend  of  Mozart. 
He  returned  to  England  in  1787  and 
was  at  once  engaged  at  Drury  Lane, 
where  he  held  the  position  of  first 
tenor  until  he  retired  from  the  stage. 
He  also  took  part  in  the  Handel  con- 
certs in  Westminster  Abbey.  In  1789 
he  published  his  first  two  songs,  False 
Appearances,  and  Fashionable  Friends, 
and  afterwards  wrote  and  compiled 
the  music  for  sixty-two  dramas,  and 
composed  numerous  other  English, 
French  and  Italian  songs.  The  Wood- 
pecker being  the  only  one  that  is 
well  known  at  present.  He  was  for  a 
number  of  years  acting  manager  of 
the  King's  Theatre,  and  in  1802  he 
started  a  music-shop  and  went  into 
the  wine  business  also.  Neither  of 
these  enterprises  prospered,  and  in 
1811  he  found  himself  penniless.  He 
made  his  last  public  appearance  in 
that  year  at  his  own  benefit,  where 
he  sang  The  Bard  of  Erin,  one  of  his 
own  compositions.  He  died  at  Mar- 
gate and  was  buried  at  St.  Paul's, 
Covent  Garden.  His  Reminiscences, 
published  in  1826,  are  very  interesting 
and  contain  many  anecdotes  of 
Mozart. 

Kemble,  Adelaide.     1814-1879. 

English  opera  singer  and  writer,  of 
the  famous  theatrical  family  of  that 
name;  was  the  daughter  of  Charles 
Kemble,  the  sister  of  Fanny  Kemble 
and  the  niece  of  Mrs.  Siddons.  She 
was  born  in  London,  and  early  showed 
signs  of  musical  talent.  Appeared 
first  at  a  Concert  of  Ancient  Music 
and  a  York  Festival  in  1835,  with 
only  moderate  success.  She  then 
went  abroad  and  studied  in  Paris  and 
Germany,  and  later  in  Italy,  where  for 
a  year  she  was  instructed  by  Pasta. 
In  1839  she  made  her  operatic  debut 
in   Vienna,    as    Norma,    with    decided 


Kennedy 

success.  She  then  appeared  in  other 
Italian  cities,  and  in  1841  returned  to 
England,  where  she  gave  an  English 
version  of  Norma  and  was  received 
enthusiastically  by  London  society. 
Other  operas  in  which  she  appeared 
successfully  were  The  Marriage  of 
Figaro,  II  Matrimonio  Segreto,  La 
Sonnambula,  and  Semiramide.  In 
1843  she  married  Mr.  Edward  Sar- 
toris,  retired  from  her  brilliant  stage 
career  and  took  up  the  profession  of 
letters,  publishing  a  number  of  books. 
Chorley  has  called  Adelaide  Kemble 
"  the  greatest  though  not  the  best 
English  singer  of  the  century."  Her 
power  lay  rather  in  her  intellect 
than  her  voice,  and  according  to  her 
sister,  her  singing  interfered  with 
than  aided  her  excellent  actmg. 

Kemp,  Joseph.     1778-1824. 

An  Englishman,  who  did  much  to 
advance  musical  education.  He  was 
born  at  Exeter  and  began  his  musical 
career  in  the  Cathedral  choir  there. 
Later  he  became  an  organist  in 
Bristol,  and  finally  went  to  London 
in  1809.  Aside  from  a  trip  to  France 
the  rest  of  his  life  was  spent  in 
alternate  sojourns  at  London  and 
Exeter.  He  attained  to  the  degree  of 
Doctor  of  Music  at  Cambridge.  The 
most  important  work  he  did  was  to 
evolve  a  system  of  teaching  music 
to  entire  classes  at  once  rather  than 
to  individuals  separately,  a  new  Jdea 
in  his  time.  His  theories  on  this 
subject  are  treated  of  in  his  pamphlet. 
New  System  of  Musical  Education. 
He  also  wrote  musical  illustrations 
to  poems,  such  as  the  works  of 
Shakespeare  and  The  Lady  of  the 
Lake;  and  many  songs  and  psalms. 

Kemp,  Robert.     1820-1897. 

New  England  musician,  who  started 
the  Old  Folks'  concerts  and  was  nick- 
named Father  Kemp.  He  was  born 
at  Wellfleet,  Mass.,  and  began  con- 
ducting his  concerts  in  1854.  He 
settled  in  Boston  and  opened  a  shoe 
store,  and  in  1868  he  published  a  book 
there  entitled.  Father  Kemp  and  His 
Old  Folks,  an  autobiography.  He 
remained  at  Boston  until  his  death. 

Kennedy,  David.    1825-1886. 

A  Scotch  singer,  who  struggled 
through  poverty  and  obscurity,  and 
finally  made  an  international  reputa- 
tion for  himself.  He  was  born  at 
Perth  and  was  first  taught  music  by 
his  father.     He  was  made   precentor 


428 


BIOGRAPHIES 


Kennedy 

in  several  churches,  but  when  very 
young  was  sent  out  as  an  apprentice 
to  a  house  painter  at  Perth,  and  later 
worked  as  a  journeyman  in  London 
and  Edinburgh.  When  he  went  back 
to  his  native  town  he  started  in  busi- 
ness for  himself,  but  as  his  desire 
to  become  a  public  singer  was  in  no 
degree  lessened,  he  took  many  trips 
to  Edinburgh,  where  he  was  taught 
singing  by  Mr.  Edmund  Edmunds. 
He  was  finally  appointed  precentor  in 
an  Edinburgh  church  and  then  took 
up  music  as  his  life-work,  teaching 
and  giving  concerts  to  support  his 
family.  He  was  at  last  engaged  to 
sing  at  the  Burns  Centenary  at 
Liverpool,  and  from  that  time  he 
became  better  known.  He  made  a 
tour  of  Scotland,  appeared  in  London, 
and  later  made  extensive  tours  in  the 
United  States  and  Canada,  Australia, 
New  Zealand,  South  Africa  and  India; 
his  trips  to  Canada  being  the  most 
frequent.  He  appeared  for  the  last 
time  in  public  at  a  Burns  Night  at 
Sarnia,  and  died  a  few  days  later  at 
Stratford,  Ontario. 

Kerl,  Johann  Caspar.  1621-1693.  Also 
spelled  Kerll,  Kherl,  or  Cherl. 
One  of  the  first  great  German 
organists  and  composers  for  the 
organ;  is  considered  by  some  the  fore- 
runner of  Sebastian  Bach.  He  was 
born  at  Gaimersheim,  in  Bavaria,  but 
when  quite  young  went  to  Vienna, 
where  he  studied  with  Valentini. 
Later  he  was  sent  by  Emperor  Ferdi- 
nand III.  to  Rome,  where  he  became 
a  pupil  of  Clarissimi,  and  probably  of 
Frescobaldi.  When  he  returned  to 
Germany  he  was  given  a  position  in 
the  service  of  the  Elector  of  Bavaria 
at  Munich  in  1656,  and  was  invited  to 
play  some  of  his  compositions  for 
the  coronation  of  Emperor  Leopold 
I.,  which  he  did  so  successfully  that 
his  fame  as  an  organist  dated  from 
that  event.  He  was  Court  chapel- 
master  at  Munich  from  1658  to  1673, 
but  left  the  position  and  went  to 
Vienna,  where  for  four  years  he  did 
little  beside  teaching.  He  became 
organist  at  St.  Stephen's  in  1677  and 
Court  organist  in  1680.  He  went 
back  to  Munich  in  1692  and  died  there 
a  year  later.  One  characteristic  of 
his  style  is  his  skilful  use  of  discord, 
a  quality  for  which  Bach  also  was 
known.  He  wrote  a  Black  Mass, 
so-called  because  it  was  composed 
entirely  on  the  black  keys;   O   Bone 


Kessler 

Jesu,  a  duet;  sonatas  for  two  violins 
and  a  viol  da  gamba;  other  church- 
music  for  the  organ;  two  operas, 
Oronte,  and  Erinto;  and  a  serenata. 
Handel  used  one  of  his  canzonas  in 
his  Israel  in  Egypt. 

Kerle  (kerl),  Jacob  van. 

Sixteenth  Century  Flemish  musi- 
cian, the  date  of  whose  birth  and 
death  are  unknown.  He  was  born  at 
Ypres,  in  Flanders,  but  seems  to  have 
spent  much  of  his  life  in  Italy,  for 
his  first  musical  compositions  were 
published  in  Venice  about  1562,  and 
from  that  date  until  1575  he  was  a 
member  of  the  suite  of  the  Cardinal- 
Archbishop  of  Augsburg,  Otto  von 
Truchsess,  both  in  Rome  and  Augs- 
burg. He  was  also  choir-director  and 
canon  at  Cambrai,  and  at  the  same 
time  served  Emperor  Rudolph  II.  at 
Vienna  and  Prague.  He  died  sorne 
time  after  1590.  Ambros  praises  his 
church  compositions.  One  of  his 
motets,  Exurge  quare  obdormis 
Domine;  a  Te  Deum;  and  three  of  his 
masses  are  still  used.  He  is  said  to 
have  written  some  special  services  for 
the  Council  of  Trent. 

Kes  (kas).  Willem.    1856- 

Conductor  and  violinist,  who  was 
born  in  Dordrecht,  Holland.  His  vio- 
lin education  was  begun  under  Tys- 
sens  and  Bohm  and  his  piano  training 
under  Northgurft.  From  1871  until 
1873  he  was  a  pupil  of  Ferdinand 
David  at  the  Leipsic  Conservatory, 
then  of  Wieniawski  at  Brussels,  and 
in  1876  of  Joachim  at  Berlin.  In 
1876  he  was  made  conductor  of  the 
Park  Orchestra  and  leader  of  the 
Felix  Mentis  Society  at  Amsterdam. 
In  1890  he  was  directing  the  Society 
concerts  at  Dordrecht.  In  1895  he 
was  appointed  leader  of  the  Scottish 
Orchestra  at  Glasgow,  where  he  suc- 
ceeded Henschel,  and  in  1898  he  left 
Scotland  to  lead  the  Moscow  Phil- 
harmonic Society  and  to  fill  a  position 
of  director  in  the  Moscow  Conserva- 
tory. In  1904  he  returned  to  Leipsic 
and  is  now  at  Blasewitz,  near  Dres- 
den. He  is  best  known  as  a  conductor 
and  violinist,  but  is  an  accomplished 
pianist  and  has  written  some  violin 
music. 

Kessler,  Joseph  Christoph.    1800-1872. 

Also  written  Kotzler.  German  pian- 
ist and  composer,  chiefly  known  for 
his  piano  etudes,  which  were  approved 


BIOGRAPHIES 


429 


Kessler 

by  Liszt  and  Moscheles.  He  was 
born  at  Augsburg  and  studied  with 
the  organist  Bilek  at  Feldsberg  and 
at  a  seminary  at  Nicolsburg.  He 
studied  philosophy  at  Vienna,  and 
afterward  entered  the  household  of 
Count  Potocki  as  piano  teacher  at 
Lemberg  and  Landshut.  Later  he 
lived  at  Vienna,  Warsaw  and  Breslau, 
and  for  twenty  years  at  Lemberg.  In 
1855  he  went  to  Vienna  again,  where 
he  died.  His  works  were  praised  by 
very  many  musicians,  but  though 
technically  excellent  they  are  for  the 
most  part  uninteresting.  He  pub- 
lished various  compositions,  as,  noc- 
turnes; polonaises;  concertos;  pre- 
ludes; church-music;  and  songs;  one 
of  his  best-known  works  being  Blii- 
then  und  Knospen. 

Ketten,  Henri.     1848-1883. 

Pianist,  composer  and  conductor; 
born  at  Baja,  Hungary,  and  died  at 
Paris.  He  studied  at  the  Paris  Con- 
servatory under  Marmontel,  Halevy 
and  Reber.  He  made  several  success- 
ful tours  as  a  pianist  and  conductor, 
and  finally  returned  to  Paris.  He  was 
a  prolific  composer  for  the  piano, 
and  his  pieces  were  much  admired 
during  his  lifetime.  They  were  not, 
however,  of  lasting  value.  Among 
them  are  Romance  without  words; 
Tranquillity;  Melancholy;  The  Chase 
of  the  Butterflies;  and  a  Persian 
march. 

Ketterer    (ket-tu-ra),   Eugene.     1831- 
1870. 

French  pianist  and  composer;  born 
at  Rouen,  and  died  at  Paris  during 
the  siege  of  1870.  '  He  studied  at  the 
Paris  Conservatory  under  Marmontel, 
and  won  some  honors  there.  He  be- 
came known  as  a  concert  pianist,  and 
wrote  almost  three  hundred  piano 
compositions  of  a  very  light  char- 
acter. Some  of  them  were  exceed- 
ingly popular,  as  his  Grand  Caprice 
hongrois;  I'Argentine;  La  Chatelaine; 
Gaetana;  and   Rondo   oriental. 

Keurvels      (kur'-vels),     Edward     H. 
1853. 

Composer  and  conductor,  who  was 
born  in  Antwerp.  After  studying  for 
some  years  under  Benoit,  he  became 
chorusmaster  of  the  Royal  Theatre 
at  Antwerp.  Until  1882  he  conducted 
the  Flemish  National  Theatre,  into 
which,  in  1890,  he  introduced  opera 
with     dialogue.       He     brought     out 


Kienzl 

Benoit's  Pacificatie  van  Gent  and 
Charlotte  Corday,  Beethoven's  Fidelio 
and  Waelput's  Stella.  He  wrote  the 
operas  Parisina,  Hamlet,  and  Rolla; 
operettas;  cantatas;  ballads  and  songs; 
and  a  mass  with  organ. 

Kiel  (kel),  Friedrich.    1821-1885. 

Prussian  pianist;  considered  one  of 
the  best  examples  of  the  classical 
school.  He  was  born  at  Puderbach, 
and  studied  music  first  with  his 
father,  who  was  a  schoolmaster  in  the 
town.  He  continued  his  education  by 
himself,  and  began  composing  dance- 
music.  Some  of  his  simple  pieces 
finally  came  to  the  notice  of  Prince 
Karl  von  Wittgenstein,  who  at  once 
had  the  young  man  instructed,  and 
gave  him  a  position  in  his  orchestra. 
He  first  became  a  pupil  of  Kummer 
at  Coburg,  and  then  led  the  Court 
Orchestra  and  taught  the  Duke's  chil- 
dren. With  financial  aid  from  King 
Frederick  William  IV.,  he  was  able 
to  continue  his  studies  under  Dehn 
at  Berlin,  and  took  up  his  residence 
in  that  city  permanently.  In  1862 
his  Requiem  was  given  at  the  Stern 
Gesangverein.  He  taught  privately 
until  1856,  and  then  became  composi- 
tion teacher  at  Stern's  Conservatory, 
and  in  1870  at  the  Hochschule  fiir 
Musik.  In  1865  he  became  a  member 
of  the  Academy  of  Fine  Arts,  and  in 
1868  a  Royal  professor.  His  work 
as  a  teacher  was  admirable,  but  his 
compositions  lack  spontaneity  and 
originality.  He  wrote  for  the  piano 
and  orchestra  and  his  works  include 
much  sacred  music. 

*  Kienzl  (kents-'l),  Wilhelm.     1857- 

Composer  of  operas  and  songs;  born 
at  Waisenkirchen,  Upper  Austria. 
Moved  to  Gratz  about  1861  and 
became  a  student  at  the  Gratz  Gym- 
nasium, where  he  studied  piano  under 
Ignaz  Uhl,  Buva,  Remy,  Mortier  de 
Fontaine  and  composition  of  Dr.  W. 
Mayer.  He  studied  at  the  University 
of  Prague  in  1875  and  took  counter- 
point of  Joseph  Krejci.  In  Leipsiche 
followed  lecture  courses  with  Over- 
beck,  Paul  and  Springer.  In  1877  he 
went  to  Vienna,  and  there  took  the 
degree  of  Doctor  of  Philology,  with 
the  treatise,  Die  Musikalische  Decla- 
mation. He  also  studied  with  Liszt 
at  Weimar.  He  was  an  ardent  admirer 
of  Wagner,  and  for  a  time  lived  at 
Bayreuth,  but,  owing  to  the  great  mas- 
ter's   intolerance    of    the    success    of 


430 


BIOGRAPHIES 


Kienzl 

others,  their  friendship  was  not  last- 
ing. Wagner  had  a  very  strong 
influence  on  Kienzl's  work.  In  1880 
he  lectured  on  musical  subjects  at 
Munich,  and  during  1881  and  1882  he 
made  a  successful  concert  tour 
through  northern  Germany  and  Hun- 
gary with  Sahla  and  Aylaja  Orgeni. 
He  held  a  position  as  opera  director 
at  Amsterdam  and  later  at  Crefeld, 
then  went  to  Gratz  as  director  of  the 
Styrian  Musicverein,  and  conductor 
of  other  local  societies.  In  1890  he 
went  to  Hamburg,  where  for  two 
S'-ears  he  held  the  position  of  Kapell- 
meister, then  for  a  year  to  Munich 
as  Hofkapellmeister.  Since  1899  he 
has  lived  at  Gratz,  devoting  himself  to 
composition.  His  first  opera  was  Ur- 
vasi,  produced  at  Dresden  in  1886; 
it  was  followed  by  Heilmar  der  Narr, 
then  by  Evangelimann,  his  most  suc- 
cessful opera,  which  has  been  trans- 
lated into  seven  languages  and  heard 
in  over  a  hundred  and  fifty  different 
theatres.  In  1898  his  Don  Quixote 
was  produced  in  Berlin.  Kienzl  is 
also  noted  for  a  great  number  of 
songs  and  piano  pieces;  for  an  edi- 
tion of  Mozart's  Titus;  and  for  Mis- 
cellen,  a  prose  writing  treating  of 
Wagner  and  Bayreuth. 
Kieserling,  Richard  jr. 

Composer;  of  Cincinnati.  In  1891 
was  a  pupil  of  Homeyer,  Reinecke, 
Rust,  Jadassohn,  Schreck,  and  of  Sitt 
in  conducting  at  the  Leipsic  Conserv- 
atory. On  graduating,  he  conducted 
a  performance  of  his  own  composi- 
tion, entitled  Jeanne  d'Arc.  Returning 
to  Cincinnati  in  1895,  he  established 
himself  there  as  a  teacher  and  con- 
ductor. He  has  written  many  compo- 
sitions, among  them  being,  A  May 
Song,  for  woman's  chorus  and  piano; 
If  It  Were  Not  for  Love,  for  male 
chorus;  a  ballad,  Harold,  for  male 
chorus,  barytone  solo  and  orchestra; 
several  sets  of  male  choruses;  six 
pieces  for  violin  and  piano;  a  motet 
for  mixed  chorus  a  cappella;  marche 
Nuptiale  for  grand  orchestra,  and 
berceuse  for  string  orchestra. 
Kiesewetter   (ke'-ze-vet-ter),   Raphael 

Georg.    1773-1850. 

Austrian  government  official  and 
amateur  musician,  who  devoted  his 
life  to  musical  research.  Born  at 
Holleschau,  Moravia.  At  an  early  age 
went  to  Vienna,  entered  the  service  of 
the  Minister  of  War,  and  traveled 
some  years  in  that  capacity.    In  1801 


King 

he  returned  to  Vienna  and  began  his 
work  of  collecting  old  musical  manu- 
scripts and  writing  on  numerous  musi- 
cal topics  for  magazines.  Studied 
with  Albrechtsberger  and  Hartmann, 
and  became  known  as  an  authority  on 
music.  His  house  was  frequented  by 
musicians  and  music-lovers,  and  he 
was  made  a  member  of  many  musical 
societies.  He  was  finally  ennobled 
for  his  services.  He  died  at  Baden, 
leaving  many  of  his  musical  manu- 
scripts and  letters  of  value  to  Aloys 
Fuchs,  and  his  wonderful  collection 
of  old  scores  to  the  Vienna  Court 
Library. 

Kimball,  Josiah.     1761-1826. 

Some  authorities  give  his  name  as 
Jacob  instead  Josiah.  An  old  New 
England  composer  of  psalm  tunes, 
like  William  Billings  and  others  of 
his  time,  who,  as  Elson  says,  helped 
to  break  "  the  ice  which  was  con- 
gealing New  England's  music."  He 
was  born  at  Topsfield,  Mass.,  and  at 
first  became  a  lawyer.  He  abandoned 
his  business  for  a  musical  career, 
which  ended  in  failure.  In  1793  he 
published  a  volume  called  Rural  Har- 
mony, consisting  of  psalm  tunes  and 
fugue  pieces,  most  of  the  contents 
being  composed  by  himself.  He  tried 
teaching  in  several  neighboring  towns 
but  with  so  little  success  that  he  died 
in  the  poorhouse  of  his  native  town. 

Kindermann     (kint-er-man),     Johann 

Erasmus.     1616-1655. 

Early  German  composer,  principally 
of  church-music,  whose  best  known 
work,  Harmonia  Organica  in  Tabula- 
turam  Germanican  Composita,  is  one 
of  the  oldest  samples  of  German 
copper-plate  engraving  in  existence. 
He  was  born  at  Nuremberg,  probably 
about  1616,  though  that  date  is  un- 
certain and  there  is  some  reason  to 
believe  an  earlier  one  more  probable. 
Was  the  organist  of  St.  Egidius,  at 
Nuremberg  and  was  well  known  in 
his  time.  Most  of  his  music  was 
written  for  the  church  and  the  old 
tablature  form  of  notation  was  used, 
but  he  also  composed  some  choruses 
and  instrumental  music  not  for  the 
church.  His  organ  works  are  of  some 
value  as  examples  of  the  old  form  of 
organ-playing  and  composition. 

King,  Matthew  Peter.     1773-1823. 

English  dramatic  composer,  who 
spent  most  of  his  life  in  London,  the 
place  of  his  birth  and  death.    Charles 


BIOGRAPHIES 


431 


King 

Frederick  Horn  was  his  teacher  in 
composition.  He  first  wrote  three 
sonatas  for  the  piano;  eight  songs; 
and  a  cantata.  Later  he  produced  a 
treatise  on  thorough-bass  and  one  on 
music  in  general,  both  of  which  are 
valuable.  The  works  for  which 
he  is  best  known  are  his  operas, 
which  were  written  for  the  Lyceum 
Theatre.  Some  of  them  were  written 
in  collaboration  with  other  composers, 
as  Braham,  Kelly  and  Davy.  They  are 
light  in  character,  as  suggested  by 
their  titles,  The  Invisible  Girl;  False 
Alarms;  Up  All  Night;  Oh  this  Love; 
and  One  O'clock,  or  the  Wood 
Demon.  He  also  wrote  an  oratorio. 
The  Intercession,  given  at  Covent 
Garden,  and  popular  glees  and  duets. 

King,  Oliver  A.    1855- 

Piano  virtuoso  and  teacher;  born  in 
London.  Apprenticed  to  Joseph 
Barnby,  under  whom  he  learned  to 
play  the  organ  and  piano  and  studied 
composition  and  harmony.  In  1871 
he  took  piano  lessons  from  W.  H. 
Holmes  and  from  1874  to  1877  he 
studied  under  Reinecke,  Hermann, 
Jadassohn  and  Paul  at  the  Leipsic 
Conservatory.  In  1877  he  toured  Ger- 
many with  Mme.  Pesechka-Leutner. 
In  1879  he  became  pianist  to  Princess 
Louise  and  was  a  member  of  her 
suite  when  she  went  to  Canada  on 
the  appointment  of  Marquis  of  Lome 
as  Governor-General  of  the  Domin- 
ion. While  in  America,  Mr.  King 
gave  concerts  in  the  principal  cities 
of  the  United  States  and  Canada  and 
for  some  months  acted  as  organist  in 
the  Church  of  The  Holy  Innocents, 
New  York.  In  1883  he  returned  to 
England  and  made  a  concert  tour 
through  England,  Scotland  and  Ire- 
land. From  1884  to  1886  he  was  pre- 
centor of  St.  Marylebone  Parish 
Church,  London.  He  has  played  the 
organ  at  the  Novello  Oratorio  con- 
certs since  they  began.  He  has  di- 
rected many  official  concerts  and  some 
of  his  more  important  compositions 
have  been  played  at  the  Philharmonic 
Society  concerts  and  at  the  Crystal 
Palace.  He  is  now  a  professor  of 
piano  at  the  Royal  Academy  of  Music. 
Among  his  compositions  are  the  one 
hundred  and  thirty-seventh  psalm  for 
solo,  chorus  and  orchestra;  a  sym- 
phony. Night;  three  cantatas,  The 
Romance  of  the  Rose,  Proserpina,  and 
the  Naiades;  violin  concerto  in  G 
minor;  and  two  concert  overtures. 


Kinkel 
King  (re-va  king),  Julie  Riv6-.    1857- 

One  of  the  foremost  piano  virtuosos 
of  America;  born  at  Cincinnati.  Her 
mother,  Madam  Caroline  Rive,  had 
been  a  pupil  of  Manuel  Garcia,  and  a 
successful  teacher  in  New  York  and 
Cincinnati,  and  undertook  her  daugh- 
ter's education  with  such  good  re- 
sults that  when  Madam  Rive-King 
was  only  eight  years  old  she  played 
Thalberg's  brilliant  transcriptions  of 
themes  from  Don  Juan.  When  the 
family  moved  to  New  York,  the  young 
musician  came  under  the  instruction 
of  such  teachers  as  Doctor  William 
Mason,  De  Korbay,  Pruckner  and 
S.  B.  Mills.  With  this  excellent 
foundation  she  went  abroad  in  1872 
and  studied  at  Leipsic  under  Reinecke, 
at  Dresden  under  Blassmann  and 
Rischpieter,  and  at  Weimar  with 
Liszt.  She  made  her  debut  at  Leipsic 
in  1874  at  one  of  the  Euterpe  concerts 
which  Reinecke  conducted,  and  on 
which  occasion  she  played  Liszt's 
Second  Rhapsodie  and  Beethoven's 
Third  Concerto,  and  was  most  enthu- 
siastically received.  Called  home  by 
the  sudden  death  of  her  father,  she 
made  her  debut  in  concert  during  the 
winter  of  1874-1875  at  Cincinnati.  This 
was  followed  by  other  concerts, 
among  them  one  in  New  York  at 
which  she  played  Liszt's  E  flat 
concerto  and  Schumann's  Faschings- 
schwank.  She  played  at  the  Philhar- 
monic concerts  in  Philadelphia  and 
with  the  Apollo  Club  in  Chicago,  and 
she  was  everywhere  greeted  with 
great  applause.  She  toured  through 
the  United  States  under  the  manage- 
ment of  Frank  H.  King  whom  she 
afterward  married.  She  played  from 
a  brilliant  repertory  which  included 
compositions  by  Beethoven,  Chopin, 
Liszt,  Schumann  and  Tausig.  She 
performed  in  more  than  two  hundred 
concerts  with  Theodore  Thomas. 
After  a  time  her  health  suffered  under 
this  strain  and  she  played  only  in 
private  concerts  in  New  York.  She 
has  composed  a  number  of  piano- 
pieces  and  some  for  orchestra,  and 
has  carefully  edited  pieces  in  her 
repertory.  Her  well-known  piano- 
piece.  On  Blooming  Meadows,  has 
been  scored  for  orchestra.  She  was 
a  charter  member  of  the  American 
College  of  Musicians. 

Kinkel,  Johanna.     1810-1858. 

Wife  of  the  German  poet,  art  his- 
torian    and     revolutionist.     Gottfried 


I 


432 


BIOGRAPHIES 


Kinkel 

Kinkel,  was  a  composer  of  reputation. 
She  was  born  at  Bonn,  was  the  pupil 
of  Karl  Bohmer  at  Berlin,  and  was 
married  in  1843.  She  has  writen  a 
Bird  Cantata;  an  operetta,  Otto  der 
Schiitz,  the  libretto  of  which  was 
written  by  her  husband;  a  well-known 
quartet.  The  Soldier's  Farewell;  Acht 
Briefe  an  eine  Freundin  iiber  Clavier- 
unterricht;   and  many  popular  songs. 

Kipper,  Herman.    1826- 

Writer  for  the  stage;  born  at 
Coblentz,  where  he  began  his  musical 
education  under  Anschiitz.  At  Cologne 
he  studied  under  H.  Dorn  and  after- 
ward became  a  professor  of  music. 
Many  of  his  operettas  written  for 
male  voices,  proved  popular  with  the 
choral  societies  of  Germany.  Among 
of  his  works  some  of  the  best  known 
are  Incognito;  Der  Quacksalber; 
Kellner  und  Lord;  Der  Haifisch; 
Fidelia;  and  Die  Barden.  He  is  also 
known  as  a  writer  of  songs  and  duets. 

Kirbye,  George.    -1634. 

English  writer  of  madrigals,  of 
whom  the  first  positive  record  is  a 
Whole  Book  of  Psalms  published  in 
1592,  Kirbye  having  been  one  of  the 
composers  employed  to  furnish  the 
music  of  the  volume.  The  date  of  his 
birth  is  unknown.  The  place  was 
probably  Bury  St.  Edmunds.  In  1597 
he  became  the  house  musician  of  Sir 
Robert  Jermyn  of  Rushbrooke,  and 
later  he  dedicated  to  his  employer's 
daughters  his  next  published  work, 
The  First  Fruites  of  my  Poore 
Knowledge  of  Musicke,  the  first  set  of 
English  madrigals.  He  next  com- 
posed two  madrigals  for  the  Triumphs 
of  Oriana,  in  1601,  his  last  published 
work.  In  1626  his  home  was  in  St. 
Mary's  parish,  Bury  St.  Edmunds, 
where  he  died  in  1634.  The  manu- 
script of  many  of  his  works  may  be 
found  at  The  Royal  College  of  Music 
and  the  Bodleian  Library. 
Kirchner  (kerkh'-ner),  Theodor.  1823- 

1903. 

German  organist  and  composer;  a 
devoted  follower  of  Schumann,  whom 
he  resembled  not  only  in  his  work  but 
also  in  the  circumstances  of  his  life. 
He  was  born  at  Neukirchen  in  Saxony 
and  was  taught  the  organ  first  by 
his  father,  who  was  a  schoolmaster. 
In  1831  he  went  to  Dresden  and  be- 
gan studying  with  J.  G.  Schneider, 
attended  the  Biirgerschule  at  Chem- 
nitz, and  went  to   Leipsic   where   he 


Kirnberger 
met  Mendelssohn  and  Weinlig.  He 
studied  there  with  K.  F.  Becker,  or- 
ganist at  the  Nicolaikirche,  and  began 
then  to  admire  and  imitate  Schumann. 
He  went  back  to  Dresden  for  a  year 
to  finish  his  course  with  Schneider, 
but  returned  to  Leipsic  and  was  the 
first  student  to  enter  the  new  con- 
servatory there.  In  1843  he  was  made 
organist  at  Winterthiir  where  he 
stayed  twenty  years.  He  then  went 
to  Zurich,  where  he  conducted  con- 
certs and  festivals.  He  was  director 
at  the  Court  of  Meiningen  and  later  of 
a  music  school  at  Wiirzburg  but  re- 
signed and  went  back  to  Leipsic  to 
compose  and  teach.  He  won  recog- 
nition slowly  and  was  unable  to  get 
much  teaching,  and  was  forced  to 
write  popular  music.  He  was  finally 
given  a  position  in  the  Dresden  Con- 
servatory, but  in  1884  he  was  obliged 
to  accept  a  subscription  raised  through 
the  efforts  of  Brahms,  Stockhausen, 
Joachim  and  Billow.  In  1890  he  went 
to  Hamburg  where  he  died.  He  wrote 
one  hundred  works  modeled  after 
Schumann  which  similarity  did  not 
prevent  them  from  showing  some 
good  original  qualities.  They  were 
mostly  songs  and  short  pieces  for  the 
piano,  except  one  serenade  for  piano 
and  stringed  instruments,  and  a  string 
quartet.  They  were  type  pieces  like 
those  of  Schumann  and  were  full  of 
pretty  sentiment.  Among  the  best  are 
a  Gedenkblatt;  a  Novelletten;  Still  und 
bewegt;  Nachtstiicke;  and  Olbumblat- 
ter,  played  by  Mme.  Schumann. 

Kirnberger    (kern'-berkh-er),   Johann 

Philipp.     1721-1783. 

German  musician,  composer  and 
theoretical  writer;  born  at  Saalfeld, 
in  Thuringia,  and  died  at  Berlin.  He 
studied  the  organ  under  Kellner  and 
Gerber,  and  the  violin  under  Meil  and 
was  later  a  pupil  of  Bach.  He  worked 
for  a  number  of  years  in  Poland,  at 
one  time  as  musical  director  of  a 
convent  at  Lemberg,  and  then  went 
back  to  Germany  and  took  up  the 
violin  again  as  a  pupil  of  Zickler  at 
Dresden.  In  1751  he  entered  the  ser- 
vice of  Frederick  the  Great  at  Berlin 
as  violinist,  and  later  that  of  Princess 
Amalie  as  chapelmaster.  In  her  serv-- 
ice  he  remained  until  he  died.  Zelter, 
Schulz  and  Fasch  were  his  pupils. 
Kirnberger  labored  all  his  life  under 
the  mistaken  idea  that  he  had  reduced 
all  music  to  two  chords,  but  his  ideas 
were    of   no   value.      Die    Kunst   des 


BIOGRAPHIES 


433 


I 


Kirnberger 

reinen  Stazes  is  his  only  book  on 
theory  which  has  lived.  Many  of  his 
musical  compositions,  as  motets,  can- 
tatas and  fugues,  may  be  found  at 
the   Imperial  Library  at   Berlin. 

Kistler  (kest'-ler),  CyrUl.     1848-1907. 

German  composer  of  the  music- 
drama,  thought  by  some  to  be  the 
successor  of  Wagner.  He  was  humbly 
born  in  the  village  of  Grossaitingen, 
near  Augsburg.  His  parents  died 
when  he  was  young,  so  he  lived  with 
his  grandfather,  a  shoemaker.  As  a 
boy  he  entered  the  choir  and  learned 
to  play  the  flute,  and  was  encouraged 
in  his  musical  inclination  by  his  grand- 
father. The  old  man  first  wanted 
Kistler  to  enter  the  ministry,  but  gave 
up  this  idea,  and  had  him  trained  as 
a  school-teacher.  He  taught  from 
1867  until  1875,  learning  as  much 
music  as  he  could  by  his  own  efforts, 
and  in  1876  he  gave  up  teaching  and 
went  to  the  Conservatory  at  Munich. 
He  studied  under  Rheinberger,  Wiill- 
ner  and  Franz  Lachner,  and  was 
sternly  admonished,  especially  by 
Lachner,  for  tendencies  towards  Wag- 
ner, which  were  already  apparent.  He 
began  by  composing  some  very  light 
music,  such  as  dance-pieces.  In  1883 
he  produced  his  first  opera,  Kunihild, 
which  was  thoroughly  Wagnerian.  Its 
revival  in  1893  was  more  successful 
than  its  first  appearance.  He  taught 
theory  at  the  Sondershausen  Conserv- 
atory for  two  years,  then  went  to 
Kissengen  as  a  publisher,  composer 
and  head  of  a  private  school.  Kunihild 
is  replete  with  characteristics  of  Wag- 
ner, such  as  elaborate  "leading- 
motives,"  and  harmonic  progressions, 
but  this  style  is  interrupted  fre- 
quently with  chorus  effects,  not  like 
those  of  Wagner.  The  story  contains 
the  enchanted  castle,  beautiful  prin- 
cess, brave  knight  and  hermit  of 
mediaeval  romance.  The  opera  is  a 
masterly  piece  of  work,  but  adds  noth- 
in|f  original  to  Wagner's  methods. 
His  comic  opera,  Eulenspiegel,  in 
which  the  music  carries  out  the 
humorous  effect,  shows  no  traces  of 
Wagner.  Others  of  his  works  are 
Baldur's  Tod,  which  greatly  resembles 
Wagner's  Die  Meistersinger,  and  has 
never  appeared  on  the  stage;  Arm 
Elslein;  Roslein  im  Hag;  Im  Honig- 
mond,  a  stage  idyl;  Der  Vogt  von 
Miihlstein,  his  latest  work;  and  some 
harmony  methods,  based  on  Wagner's 
principles. 


Kjerulf 
Kittl  (kit-tcl),  Johann  Friedrich.  1806- 
1868. 

Bohemian  writer  of  operas;  was 
born  at  Schloss  Worlik,  in  Bohemia, 
and  died  at  Lissa,  in  Posen.  He  first 
studied  law,  but  was  devoted  to  music 
and  finally  studied  at  Prague  with 
Tomaschek  and  Sawora.  He  was 
made  director  of  the  Prague  Con- 
servatory, in  1843,  taking  Dionys 
Weber's  place.  In  1865  he  gave  up 
his  work  and  went  to  Polisch-Lissa, 
where  he  died  three  years  later.  He 
composed  some  operas,  the  best 
known  being  Daphnis'  Grab;  Bianca 
und  Giuseppe,  with  text  by  Richard 
Wagner;  Waldblume;  and  Die  Bilder- 
stiirmer.  He  also  wrote  some  church 
and  instrumental  music. 

Kjerulf  (k'ya'-roolf),  Halfdan.     1815- 
1868. 

Northern  composer  of  songs,  whose 
music  aptly  expressed  the  national 
sentiments  of  Norway  during  her 
struggles  for  freedom.  He  was  born 
at  Christiania,  and  graduated  from  the 
Christiania  University  in  1834,  having 
studied  law  on  account  of  his  father's 
high  position  in  the  government.  In 
1840  when  his  father  died,  he  gave  up 
the  law  and  began  his  professional 
musical  career.  He  began  by  teaching 
and  published  a  few  songs  which  at- 
tracted public  notice.  In  1850  he  was 
sent  by  the  government  to  Leipsic, 
where  he  became  a  pupil  of  Richter. 
When  he  returned  to  Norway  he  made 
an  effort  to  organize  some  subscrip- 
tion concerts  at  Christiania,  but 
while  his  countrymen  could  appre- 
ciate the  simple  songs  which  he  com- 
posed they  were  not  ready  as  yet  for 
any  more  advanced  form  of  music. 
Kjerulf  retired  to  Grefsen,  where  he 
continued  composing,  working  from 
1860  to  1865  in  collaboration  with  the 
poet  Bjornson,  encouraged  such  music- 
lovers  and  students  as  sought  him 
out.  He  died  at  Grefsen  in  1868. 
Kjerulf's  quartets  and  songs  of  na- 
tional character  were  admirably  suited 
to  their  subjects  and  were  full  of 
vigor  and  enthusiasm  though  they 
were  of  little  technical  musical  value. 
His  music  is  intensely  suggestive, 
coloring  the  words  of  the  songs. 
Among  his  works  are  the  music  to 
Bjornson's  Synnove's  Song,  Ingrid's 
Song,  Young  Venevil  and  Evening 
Song;  the  Scotch  "Taylor's  Song;" 
Munch's  Night  on  the  Fjord;  and 
Theodor  Kjerulf's  Longing;  several  of 


434 


BIOGRAPHIES 


Kjerulf 

Moore's  verses,  as  Love  Thee,  Dear- 
est, Love  Thee,  and  My  Heart  and 
Lute,  which  inspired  the  composer  to 
his  most  passionate  mood;  many  suc- 
cessful Spanish  songs;  and  beautiful 
settings  of  Victor  Hugo's  Romances. 
Many  of  these  songs  were  produced 
in  England  by  Jenny  Lind,  Niljson 
and  Sontag.  Among  his  piano  com- 
positions are  A  Spring  Song;  Shep- 
herd's Song;  Cradle  Song;  Album- 
leaf;  Elfin  Dance;  capriccio;  scherzo; 
scherzino;  intermezzo;  berceuse; 
polonaise;  rondino;  several  sketches; 
and  forty  Norse  folk-songs.  A  monu- 
ment was  erected  to  him  in  1874  at 
Christiania. 

Klafsky  (klaf'-shki),  Katharina.    1855- 
1896. 

German  operatic  artist  of  interna- 
tional reputation,  said  to  have  been 
the  finest  Britnnhilde  ever  heard  on 
the  stage.  She  was  born  at  St.  Johann, 
in  Hungary,  where  her  father  was  a 
poor  shoemaker.  Both  her  father 
and  mother  were  musical,  however, 
and  she  showed  signs  of  talent  at  an 
early  age,  singing  in  a  church  at 
eight.  In  1870  her  mother  died  and 
she  left  home  and  went  to  Odenburg, 
where  she  begged  in  the  streets  for 
her  living.  Later  she  became  a  nur- 
sery maid,  and  the  people  for  whom 
she  worked,  noticing  her  voice,  had 
her  taught  singing  by  Neuwirth.  She 
then  went  into  the  chorus  of  the 
Komische  Opera.  There  the  younger 
Hellmesberger  became  interested  in 
her  and  persuaded  Mme.  Marchesi  to 
give  her  some  lessons.  In  1875  she 
went  into  the  chorus  at  Salzburg,  and 
a  year  later  married  a  merchant,  Herr 
Liebermann,  and  temporarily  retired 
from  the  stage.  She  became  tired  of 
domestic  life  after  six  years,  however, 
got  a  divorce  from  Liebermann,  went 
on  the  stage  again,  and  i)layed  small 
parts  in  Angelo  Neumann's  Company 
at  the  Leipsic  Theatre.  Her  popu- 
larity increased  and  she  was  ap- 
plauded as  Venus  in  Tannhauser, 
Alice,  Bertha,  and  especially  as 
Brangane  in  Tristan,  given  at  Leipsic 
in  1882.  The  same  year  she  accom- 
panied Neumann  on  a  Wagner  tour, 
playing  minor  parts  most  of  the  time, 
but  giving  Sieglinde  and  Briinnhilde 
successfully  at  Danzig  and  Berlin, 
during  the  absence  of  the  regular  star. 
She  was  finally  hired  at  Bremen  to 
take  Reichter-Kindermann's  place  as 
leading  lady  and  made  her  debut  as 


Klauwell 

Fidelio  in  1883.  From  that  time  she 
continued  in  leading  roles  and  by  1895 
was  everywhere  recognized  as  one  of 
the  greatest  of  German  singers.  In 
1892  her  second  husband,  Franz 
Greve,  a  barytone,  died,  and  she  went 
to  England,  where  she  appeared  at 
Drury  Lane  and  Covent  Garden  as 
Fidelio,  Leonora,  Briinnhilde  and 
other  Wagnerian  characters.  In  1894 
she  again  sang  at  Drury  Lane,  giving 
Elsa  and  Agatha  in  Der  Freischiitz. 
Later  the  same  year,  she  appeared  at 
the  Lamoureux  concerts  at  Paris.  In 
1895  she  created  the  character  of  La 
Navarraise  of  Massenet,  in  German  at 
Hamburg,  married  Otto  Lohse,  and 
went  with  him  to  America,  where  she 
became  the  star  and  he  the  conductor 
of  the  Damrosch  German  Opera  Com- 
pany, appearing  in  New  York,  Boston, 
Cincinnati,  St.  Louis  and  New  Orleans. 
The  next  year  she  returned  to  Ham- 
burg. Her  last  appearance  was  as 
Fidelio,  September  11,  1896.  She  died 
about  ten  days  later  from  an  unsuc- 
cessful operation  for  brain  tumor. 

Klauser  (klow'-zer),  Karl.    1823- 

His  work  is  chiefly  that  of  editor  and 
compiler  of  classic  and  modern  com- 
positions. Born  of  Swiss  parentage, 
in  St.  Petersburg,  Russia.  He  is  prac- 
tically self-educated,  having  picked  up 
most  of  his  musical  knowledge  in 
Germany.  He  came  to  New  York 
in  1850  and  in  1856  went  to  Farming- 
ton,  Conn.,  where  he  was  for  many 
years  musical  director  in  Miss  Por- 
ter's School.  With  Theodore  Thomas 
and  J.  K.  Paine  he  edited  Famous 
Musicians.  He  also  edited  Half  Hours 
with  the  Best  Composers,  and  the 
compositions  of  Beethoven,  Mozart, 
Schumann,  Field  and  Wagner. 

♦  Klauwell  (klow'-vel),  Otto  F.    1851- 

Composer  and  writer  on  musical 
subjects;  born  at  Langensalza,  Thu- 
ringia.  For  a  time  he  went  to  the 
local  Realschule,  then  to  the  Gymna- 
sium at  Schulpforta.  After  taking  an 
active  part  in  the  Franco-Prussian 
War  he  entered  the  University  of 
Leipsic,  and  there  studied  mathemat- 
ics and  natural  history.  From  1872 
to  1874  he  studied  at  the  Leipsic  Con- 
servatory under  Reinecke  and  Richter, 
and  at  the  University  he  took  his  de- 
gree of  Doctor  of  Philosophy.  In 
1875  he  became  professor  of  theory, 
history  of  inusic  and  piano  at  the 
Cologne    Conservatory,    and    in    1885 


BIOGRAPHIES 


435 


Klauwell 

he  was  given  charge  of  classes  estab- 
Hshed  by  Wiillner  and  known  as  the 
Teachers'  Seminary.  In  1894  he  was 
given  the  title  of  Royal  Prussian 
Professor.  In  1895  he  became  assist- 
ant of  F.  Steinbach,  musical  conduc- 
tor-general, who  succeeded  Franz 
Hiller.  He  has  composed  some  cham- 
ber-music, piano-pieces,  overtures  and 
songs,  and  an  opera,  Das  Madchen 
vom  See,  and  has  written  many 
treatises  on  musical  subjects  among 
them  being  The  Historical  Develop- 
ment of  the  Alusical  Piano;  Musikal- 
ische  Bckenntnisse,  Formen  der  In- 
strumental-Musik;  Der  Vortrag  in  der 
Musik;  Der  Fingersatz  des  Klavier- 
spiels;  Geschichte  Konservatorium 
der  Musik  in  Koln,  Festschrift  der 
Feier  seanes  50  jahrigen  Bestcheus; 
Theodore  Young,  his  life  and  works; 
Studien  und  Erinnerungen,  a  series  of 
essays  about  music.  He  has  also 
finished  an  edition  of  Cherubini's 
Kontrapunkt.  Besides  the  romantic 
opera,  Das  Madchen  vom  See,  he  has 
written  the  comic  opera,  Die  heimli- 
chen  Richter;  Abendfrieden,  for  choir 
of  eight  voices  and  orchestra;  numer- 
ous songs  and  piano-pieces. 

Kleeberg  (kla-bar),  Clotilde.     1866- 

Celebrated  pianist,  whose  perform- 
ance is  said  to  greatly  resemble  that 
of  Mme.  Schumann.  Born  at  Paris 
and  received  her  musical  education  at 
the  Conservatory,  winning  the  first 
prize  for  piano-plaj'ing  when  only 
twelve  years  old.  In  the  same  year 
she  appeared  in  public  for  the  first 
time  with  phenomenal  success,  giving 
Beethoven's  Concerto  in  C  minor. 
She  toured  Austria,  Russia,  Den- 
mark and  Holland,  and  finally  went  to 
England,  where  she  played  at  the 
Philharmonic  concerts  and  elsewhere. 
She  won  the  approval  of  Richter,  who 
invited  her  to  play  at  the  Vienna 
Philharmonic  concerts,  at  Vienna,  at 
which  she  became  very  popular.  In 
1864  she  was  made  a  member  of  the 
Academy,  later  she  married  Charles 
Samuel,  a  sculptor.  Her  repertory 
includes  the  works  of  Bach,  Schu- 
mann and  Liszt,  and  her  execution  is 
forceful  and  intelligent. 

Kloffel  (klef'-fel),  Arno.     1840- 

Conductor  and  composer;  born  at 
Possneck,  Thuringia.  Studied  theol- 
ogy at  Meiningen,  then  turned  his  at- 
tention to  music  and  for  a  short  time 
attended  the  Leipsic  Conservatory,  but 


Klein 
most  of  his  musical  training  he  re- 
ceived as  the  private  pupil  of  Moritz 
Hauptmann.  In  1863  he  became  con- 
ductor of  the  musical  society  at  Riga, 
remaining  in  that  position  for  four 
years,  was  then  chapelmaster  at 
Cologne,  Detmold,  Breslau,  Amster- 
dam, Stettin  and  Gorlitz.  Between 
1873  and  1880  he  was  chapelmaster  of 
the  Friedrichs-Wilhelmstadt  Theatre 
at  Berlin  and  afterward  he  held  simi- 
lar positions  at  Augsburg  and  Magde- 
burg, and  from  1886  to  1892  at 
Cologne.  Soon  after  this  he  obtained 
the  position  of  teacher  of  theory  at 
Stern's  Conservatory  in  Berlin,  and  in 
1895  was  made  professor.  In  1898 
he  became  chapelmaster  at  Hamburg. 
He  has  written  music  to  the  Christ- 
mas legend.  Die  Wichtelmannschen; 
Goethe's  Faust;  overtures;  the  opera, 
Des  Meermanns  Horfe;  choral  works; 
songs;  and  a  string  quartet. 

Klein  (klin),  Bemhard.    1793-1832. 

German  composer  for  the  church 
and  stage;  was  born  at  Cologne  and 
died  at  Berlin.  His  early  education 
was  interrupted  by  the  French  War. 
He  went  to  Paris,  where  he  studied 
with  Cherubini.  He  directed  the 
music  of  the  Cologne  Cathedral,  and 
in  1819  went  to  Berlin  to  study  Zel- 
ter's  instructive  methods,  staying 
there  as  a  teacher  in  the  Royal  In- 
stitute for  church-music  and  the  uni- 
versity. In  1823  he  married  and 
visited  Italy,  meeting  Baini  at  Rome. 
He  worked  constantly  on  his  compo- 
sitions up  to  the  time  of  his  sudden 
death.  He  wrote  a  great  deal  of 
church-music,  including  psalms;  mo- 
tets; a  Paternoster  and  Magnificat; 
three  oratorios,  David,  Hiob  and 
Jephtha;  Worte  des  Glaubens,  a  can- 
tata on  Schiller's  work;  and  three 
operas,  Dido,  Ariadne,  and  Irene,  the 
last  being  unfinished. 

Klein,  Bruno  Oscar.     1858- 

Usually  regarded  as  an  American 
composer  owing  to  his  long  residence 
in  this  country.  Born  at  Osnabriick, 
in  Hanover.  Graduated  from  the 
Gymnasium  Carolinum  at  Osnabruck 
and  after  receiving  lessons  in  piano 
and  composition  from  his  father  who 
was  organist  at  the  Cathedral,  he 
went  to  the  Conservatory  at  Munich, 
where  he  studied  piano  under  Baer- 
mann,  counterpoint  under  Rheinber- 
ger  and  score  reading  with  Wiillner. 
He  came  to  America  in  1878,  and  after 


436 


BIOGRAPHIES 


Klein 
five  years  spent  in  traveling  and  giv- 
ing concerts,  he  settled  in  New  York. 
Since  1884  has  directed  the  depart- 
ment of  piano  at  the  Convent  of  the 
Sacred  Heart.  From  1887  to  1892  he 
taught  composition  and  counterpoint 
at  the  National  Conservatory  of 
Music,  and  from  1884  to  1894  held  the 
position  of  organist  at  the  church  of 
St.  Francis  Xavier.  He  traveled  in 
Germany  in  1894  and  1895.  His  grand 
opera,  Kenilworth,  was  produced  at 
Hamburg,  in  1895.  Among  his  many 
fine  compositions  are  an  Italian  suite; 
three  masses;  concerto;  and  concert- 
stiick  for  piano;  two  overtures  for 
orchestra;  concerto  in  E  minor  for 
violin;  two  sonatas  for  piano  and 
violin;  suite  for  violoncello  and 
orchestra  and  arias  for  soprano  and 
orchestra. 

Kleinmichel    (klin'-mikh-'l),    Richard. 
1846- 

Son  of  Herman  Kleinmichel,  a  band- 
master and  musical  director  at  Pots- 
dam and  Posen;  was  born  at  Posen, 
in  1846.  He  began  his  piano  studies 
with  his  father,  studying  later  in 
Hamburg,  and  from  1863  to  1866  at 
the  Leipsic  Conservatory  under 
Hauptmann,  Richter,  Mocheles,  Plaidy 
and  Reinecke.  Taught  music  in  Ham- 
burg, but  in  1876  went  to  Leipsic, 
where  in  1882  he  became  musical  di- 
rector at  the  City  Theatre.  He  mar- 
ried Clara  Monhaupt,  a  dramatic 
soprano,  singing  at  Leipsic.  Among 
his  compositions  are  the  operas, 
Manon  and  Der  Pfeiflfer  von  Dusen- 
bach,  besides  a  trio  for  piano  and 
strings;  concert  overture;  and  other 
songs  and  piano-pieces. 

Klengel     (kleng'-el),     August     Alex- 
ander.    1783-1852. 

German  composer  and  pianist,  called 
Kanon-Klengel  on  account  of  his 
very  careful  and  precise  style.  Born 
and  died  at  Dresden,  where  his  father 
was  well  known  as  a  painter  of  land- 
scapes and  portraits.  Studied  with 
Milchmeyer  and  Clementi,  with  whom 
he  afterwards  traveled  in  Russia  and 
Germany.  After  leaving  Russia  in 
1811  he  studied  two  years  at  Paris, 
and  then  went  to  Italy.  In  1814  he 
returned  to  Dresden  and  played  at  the 
court,  visiting  England  for  a  year, 
resuming  his  position  at  the  Dresden 
court,  which  he  held  the  rest  of  his 
life.  He  is  said  to  have  played  much 
jike  Clementi,    but    his    canons    and 


Klengel 

fugues  resemble  the  works  of  Bach. 
Among  his  best  known  compositions 
are  The  Forerunners;  forty-eight 
canons  and  forty-eight  fugues,  similar 
to  Bach's  Well-tempered  Clavichord, 
and  published  by  Hauptmann;  and  a 
rondo,  A  Walk  by  the  Sea  Interrupted 
by  a  Storm. 

Klengel,  Julius.     1859- 

One  of  the  finest  players  of  the 
violoncello  of  the  present  day;  born 
at  Leipsic.  He  took  private  violon- 
cello lessons  of  Emil  Hegar,  and 
studied  composition  with  Jadassohn. 
In  1874,  when  only  fifteen  years  old, 
he  became  a  member  of  the  famous 
Gewandhaus  Orchestra,  and  the  fol- 
lowing year  made  his  first  appearance 
as  a  virtuoso  in  Frankfort.  In  1881 
he  became  a  teacher  at  the  Leipsic 
Conservatory  where  he  held  the  title 
of  Royal  Professor.  As  a  quartet- 
player  he  is  identified  with  the 
Gewandhaus  Quartet  and  was  a  mem- 
ber of  a  quartet  organized  by  Adolf 
Brodsky,  which  was  said  to  have 
equaled  the  famous  Joachim  Quartet 
of  Berlin.  As  a  virtuoso  he  has  ap- 
peared in  all  the  large  cities  of  Eng- 
land, Germany,  Holland  and  Russia, 
and  at  present  he  is  first  violoncello 
in  the  Gewandhaus  Orchestra.  He  has 
composed  several  numbers  for  his 
instrument,  among  them  being  a  con- 
certino for  violoncello  and  piano; 
three  violoncello  concertos;  a  con- 
certstiick  for  violoncello  and  piano; 
a  suite  in  D  minor  for  two  violon- 
cellos; a  suite  in  E  minor  for  two 
violoncellos,  many  solos  and  some 
compositions  for  string  quartet. 

Klengel,  Paul.     1854- 

A  violinist  and  pianist,  brother  of 
Julius  Klengel;  was  born  at  Leipsic. 
He  studied  at  the  Leipsic  Conserv- 
atory from  1868  to  1872  and  took  the 
degree  of  Doctor  of  Philosophy  for 
his  Zur  .i^sthetik  der  Tonkunst.  In 
1881  he  became  conductor  of  the 
Euterpe  concerts  at  Leipsic,  a  post 
he  held  until  1886.  From  1888  to 
1893  he  was  vice-Hofkapellmeister  at 
Stuttgart,  then  returned  to  Leipsic 
and  was  conductor  of  the  Student 
Choral  Society,  Arion,  until  1898  when 
he  came  to  America.  He  remained  in 
this  country  five  years,  and  during  that 
time  conducted  the  Deutscher  Lieder- 
kranz  of  New  York  City.  On  his  re- 
turn to  Leipsic  in  1903  he  again  be- 
came conductor  of  the  Arion  Society. 


BIOGRAPHIES 


437 


Klenovsky 
Klenovsky,      Nicholas      Semenovich. 

1857- 

Russian  composer  and  orchestra 
conductor;  born  at  Odessa.  At  the 
Conservatory  of  Moscow  he  studied 
under  Hubert  and  Tschaikowsky,  and 
in  1849  was  appointed  to  assist 
Nicolai  Rubinstein  in  organizing  the 
initial  performance  of  Eugene  Onegin 
by  Tschaikowsky.  He  became  con- 
ductor of  the  University  Orchestra 
and  assistant  conductor  of  the  Im- 
perial Opera  at  Moscow,  and  in  1893 
director  of  the  Music  School  at  Tiflis. 
In  1902  he  obtained  the  position  of 
subdirector  of  the  Imperial  Chapel. 
Deeply  interested  in  music  from  the 
historical  and  ethnological  point  of 
view,  he  assisted  Melgounow  in  col- 
lecting and  arranging  Russian  folk- 
songs, and  gave  much  attention  to 
the  music  of  the  different  Caucasian 
nations.  He  has  written  some  music, 
notably,  a  Georgian  Liturgy  a  cap- 
pella;  several  successful  ballets,  and 
incidental  music  to  the  plays,  Antony 
and  Cleopatra  and  Messaline. 

Klindworth  (klint'-vort),  Karl.    1830- 

Eminent  German  pianist,  teacher 
and  conductor,  a  favorite  pupil  of 
Liszt.  As  a  child  he  showed  remark- 
able musical  talent.  Instruction  being 
beyond  his  means  he  learned  both 
piano  and  violin  by  studying  alone, 
and  at  the  age  of  six  appeared  at  his 
first  public  concert.  His  greatest  am- 
bition up  to  his  sixteenth  year  was 
to  study  the  violin  with  Spohr,  but 
finding  it  impossible  to  gratify  this 
desire  he  finally  abandoned  it,  and 
commenced  his  musical  career  by 
conducting  the  orchestra  of  a  travel- 
ing opera  company.  In  1852  he  made 
a  tour  as  a  concert  pianist  and  it  was 
during  this  time  that  he  met  Liszt 
at  Weimar,  with  whom  he  studied 
for  two  years.  He  then  went  to  Lon- 
don, where  he  lived  for  a  number  of 
years  teaching  and  appearing  at  con- 
certs. In  1868  Rubinstein  sent  for 
Klindworth  to  come  to  Moscow  as 
piano  instructor  in  the  Imperial  Con- 
servatory, and  he  remained  there  until 
1882,  when  he  went  to  Berlin  and 
started  a  school  of  his  own.  There 
he  conducted  the  Berlin  Wagner  So- 
ciety, and  with  Joachim  and  Wiillner, 
the  Philharmonic  concerts.  In  1893 
he  gave  up  his  work  and  went  to 
Potsdam,  which  has  since  been  his 
home.  As  a  teacher  he  is  very  broad, 
and  many  of  his  pupils  have  become 


Knabe 

well  known.  He  advocated  general  as 
well  as  musical  education  for  musical 
students.  His  greatest  work  has  been 
his  arrangement  for  the  piano  of  vari- 
ous masterpieces  of  Bach,  Mendels- 
sohn, Chopin,  Schubert,  Tschaikowsky 
and  Wagner,  especially  Der  Ring  des 
Nibelungen.  He  has  composed  a  few 
successful  pieces  for  the  piano. 


Klughardt      (klookh'-hart), 
1847-1902. 


August. 


German  conductor,  composer  of 
operas  and  church  and  instrumental 
music;  was  a  follower  of  Liszt.  Born 
at  Cothen,  and  studied  with  Thiele 
and  Diedicke  at  Dessau,  and  Blass- 
mann  and  Reichel  at  Dresden.  Was 
conductor  at  the  theatres  of  Posen, 
L^iibeck  and  Weimar,  for  a  number  of 
years.  In  1873  he  entered  the  serv- 
ice of  the  Grand  Duke  at  Neustrelitz 
and  later  at  Dessau,  where  he  died. 
He  composed  after  the  manner  of 
Liszt's  followers,  but  was  less  extrav- 
agant than  most  of  them.  He  wrote 
four  operas,  Miriam,  Iwein,  Gudrun 
and  Die  Hochzeit  des  Monchs,  given 
at  Prague  as  Astorre;  Leonore,  a 
symphonic  poem;  several  oratorios, 
one  of  them.  Die  Zerstorung  Jeru- 
salems,  being  considered  his  best 
work;  other  instrumental  composi- 
tions; and  songs. 

Knabe  (k'na-be),  William.    1803-1864. 

Founder  and  for  a  long  time  head 
of  one  of  the  largest  piano  manufac- 
turing companies  in  the  United  States, 
the  headquarters  of  which  are  now  at 
Baltimore,  Maryland.  He  was  born 
at  Kreutzberg,  in  Prussia,  and  as  a 
boy  was  apprenticed  to  a  cabinet- 
maker; later  to  a  piano-maker  at 
Gotha,  in  whose  service  he  re- 
mained for  three  years.  He  then 
came  to  the  United  States  and  set- 
tled in  Baltimore,  where  he  worked 
four  years  for  Mr.  Hartge,  a  piano 
manufacturer.  He  then  started  his 
own  factory  with  H.  Gaehle  as  his 
partner.  Upon  Mr.  Gaehle's  death  in 
1855,  William  Knabe  bought  his  in- 
terests and  became  owner  of  the  en- 
tire business.  In  1860  he  rebuilt  the 
factory  on  a  large  scale.  Upon  his 
death  his  two  sons,  William  and 
Ernest  and  his  son-in-law,  Charles 
Keidel,  took  charge  of  the  business. 
On  account  of  the  Civil  War  the 
business  spread  into  the  North  and 
West  where  many  of  its  branch  oflli- 
ces  are  now  located. 


438 


BIOGRAPHIES 


Knecht 
Knecht     (knekht),    Justin    Heinrich. 

1752-1817. 

Organist  and  composer  for  the 
church  and  stage,  who  as  a  theorist 
was  the  rival  of  Abbe  Vogler.  He 
was  born  at  Biberach,  Wiirtemburg, 
and  was  professor  of  literature  for  a 
time  there.  He  studied  music  first 
with  his  father,  then  with  Kramer 
and  Boeckh,  and  finally  made  it  his 
profession.  He  became  musical  di- 
rector and  organist  at  Biberach,  then 
director  of  the  Court  concerts  and 
opera  at  Stuttgart,  but  in  1809,  he  re- 
turned to  Biberach,  where  he  died. 
As  a  composer  he  is  chiefly  interest- 
ing because  his  Le  Portraite  Musicale 
de  la  Nature  and  Tongemalde  der 
Natur  are  in  arrangement  and  idea 
almost  identical  with  Beethoven's 
Pastoral  Symphony.  He  composed 
nine  operas;  several  successful  sym- 
phonies and  other  instrumental  music; 
and  various  kinds  of  church-music. 
His  reputation  as  a  theoretical  writer 
is  excellent. 

Kneisel  (kni'-zel),  Franz.    1865- 

Roumanian  violinist;  conductor  of 
the  well-known  Kneisel  Quartet.  He 
was  born  at  Bucharest,  where  his 
father,  a  military  band  leader,  was  his 
first  teacher.  He  then  studied  at  the 
Bucharest  Conservatory,  from  which 
he  was  graduated  at  fifteen  with  the 
first  prize  for  violin.  He  continued 
his  study  under  Griim  and  Hellmes- 
berger  at  the  Vienna  Conservatory, 
winning  another  first  prize  for  his 
excellent  violin  performance,  in  1882. 
He  was  soon  appointed  concertmaster 
of  the  Hofburg  Theatre  orchestra  and 
later  of  the  Bilse  Orchestra  at  Berlin. 
In  1885  he  was  offered  the  place  of 
solo  violinist  of  the  Boston  Symphony 
Orchestra  by  Wilhelm  Gericke,  its 
conductor,  and  he  remained  in  this 
position  for  eighteen  years.  In  1886 
he  founded  the  Kneisel  Quartet,  in 
which  the  performers  were  Otto  Roth, 
Louis  Svecnski,  Alwin  Schroeder  and 
himself.  This  has  been  his  most 
important  work.  The  quartet  is 
known  abroad  as  well  as  in  America, 
and  has  performed  in  London  and  in 
all  the  larger  American  cities.  Mr. 
Kneisel  acted  as  leader  of  the  Boston 
Symphony  Orchestra  at  the  World's 
Fair  in  Chicago  in  1893,  assisted  with 
the  Worcester  Festivals  in  Massa- 
chusetts in  1902  and  1903,  and  in  1905 
became  violin  instructor  in  the  In- 
stitute of  Musical  Art  in  New  York. 


Knorr 
Knight,    Rev.    Joseph    Philip.     1812- 
1887. 

English  song-writer,  principally 
known  for  his  Rocked  in  the  Cradle 
of  the  Deep.  He  was  born  at  Brad- 
ford-on-Avon,  where  his  father.  Rev. 
Francis  Knight,  was  vicar.  In  1828 
he  began  studying  the  organ  and 
musical  theory  with  the  organist 
Corfe  at  Bristol,  published  several 
songs,  using  an  assumed  name.  These 
were  successful,  so  he  continued  com- 
posing and  used  his  own  name.  It 
was  during  a  visit  to  the  United  States 
from  1839  to  1841  that  he  wrote 
Rocked  in  the  Cradle  of  the  Deep, 
which  was  sung  by  Braham.  In  1841 
he  went  to  Dublin  with  Liszt.  Soon 
after  he  returned  to  England  he  was 
appointed  vicar  and  organist  of  St. 
Agnes  in  the  Scilly  Islands.  He 
stayed  there  for  some  time,  and  when 
he  gave  up  the  post  devoted  all  his 
time  to  composing.  Among  his  best 
known  songs  are  Venice;  Say,  What 
Shall  My  Song  Be  Tonight?;  Of 
What  is  the  Old  Man  Thinking?;  The 
Veteran;  The  Dream;  and,  Why 
Chime  the  Bells  so  Merrily?  He  also 
wrote  some  instrumental  music. 

♦Knorr  (knor),  I  wan.     1853- 

Exceedingly  popular  teacher  and 
composer;  born  at  Mewe,  Western 
Prussia.  In  1856  his  parents  moved 
to  Southern  Russia  and  soon  after  his 
mother  began  giving  him  piano  les- 
sons. Living  in  small  Russian  towns, 
he  heard  only  the  Slav  folk-music, 
until  the  removal  of  the  family  to 
Leipsic  in  1868.  His  Leipsic  sur- 
roundings fully  decided  Knorr  to  be 
a  musician,  and  he  entered  the  Con- 
servatory in  1869,  studying  composition 
with  Reinecke,  theory  and  counter- 
point with  Richter  and  piano  with 
Moscheles.  At  the  close  of  his  Con- 
servatory studies  in  1874  Knorr  went 
to  Russia  and  became  professor  of 
music  at  the  Imperial  Institute  for 
Noble  Ladies  and  at  the  Conservatory 
at  Charkov.  While  filling  this  posi- 
tion he  wrote  many  compositions, 
some  of  which  he  submited  to 
Brahms,  who  gave  him  great  encour- 
agement. Five  years  later  Brahms' 
recommendation  secured  him  the  ap- 
pointment of  head  master  of  compo- 
sition of  the  Hoch  Conservatory, 
Frankfort  -  on  -  the  -  Main,  a  position 
which  he  is  still  filling.  As  a  teacher 
his  wide  knowledge  and  broadness  of 
method  leaves  great  play  for  the  in- 


BIOGRAPHIES 


439 


Knorr 

dividuality  of  the  student,  while  his 
conscientiousness  and  zeal  inspire 
them  to  industry.  His  method  of 
teaching  composition  is  especially 
broad.  He  has  written  a  number  of 
compositions,  variations  on  a  Ukraine 
folk-song  for  orchestra,  which 
Brahms  warmly  commended;  two 
suites  and  a  symphonic  fantasie  for 
orchestra;  a  piano  quartet  and  trio; 
variations  on  a  theme  by  Schumann; 
The  Legend  of  Mary,  for  solos, 
chorus  and  orchestra;  some  Ukraine 
folk-songs  for  vocal  quartet  and 
piano;  besides  many  other  songs  and 
piano-pieces.  Another  interesting 
composition  is  Dunja,  a  musical  vil- 
lage ballad  in  two  acts,  which  was 
given  successfully  at  Coblentz  in  1904, 
but  which  is  still  in  manuscript.  As 
an  author  he  is  represented  by  a  life 
of  Tschaikowsky  and  the  text-book, 
Aufgaben  fiir  den  Unterricht  in  der 
Harmonielehre. 
Knorr,  Julius.     1805-1861. 

Successful  teacher,  pianist  and 
writer.  He  introduced  the  simple  ex- 
ercise method  which  are  now  used 
at  the  basis  of  all  piano  studies.  He 
was  born  and  died  at  Leipsic  and  first 
appeared  in  public  at  the  Gewandhaus. 
He  was  the  editor  of  the  Neue  Zeit- 
schrift  fiir  Musik,  in  the  first  year  of 
its  publication.  He  has  written  many 
valuable  technical  works  as  Neue 
Pianoforteschule  in  one  hundred  and 
eighty-four  Ubungen;  Die  Piano- 
forteschule der  neuesten  zeit;  Das 
Clavierspiel  in  two  hundred  and 
eighty  iJbungen;  Schule  der  Mech- 
anik;  and  others. 

Knyvett,  Charles.    1773-1852. 

London  organist  and  accompanist; 
was  a  son  of  the  elder  Charles  Kny- 
vett, at  one  time  Court  organist,  and 
a  brother  of  William  Knyvett,  the 
singer.  He  studied  singing  with  Wil- 
liam Parsons,  and  instrumental  music 
with  Samuel  Webbe.  With  Greatorex, 
Bartleman  and  his  brother  William, 
he  reorganized  the  Vocal  concerts 
which  his  father  had  started,  played 
the  organ  at  St.  George's,  Hanover 
Square,  and  taught  for  many  years. 
He  wrote  a  few  songs  and  psalms. 

Knyvett,  William.     1779-1856. 

London  tenor  singer  and  composer 
of  songs,  brother  of  Charles  Knyvett; 
was  well  known  for  almost  forty 
years.  He  was  born  in  London, 
where  most  of  his  life  was  spent,  and 


Koczalski 

died  there.  He  first  appeared  in  the 
Concerts  of  Ancient  Music,  which  he 
afterwards  conducted.  He  held  the 
positions  of  gentleman  of  the  Chapel 
Royal,  lay  vicar  of  Westminster  and 
Royal  Chapel  composer.  He  was  also 
director  of  some  of  the  Birmingham 
and  York  Festivals.  He  composed 
several  glees,  and  coronation  anthems 
for  George  IV.,  and  Queen  Victoria. 

Kobbe  (kob-ba),  Gustav.    1857- 

Writer  on  musical  topics,  journalist 
and  composer;  was  born  in  New 
York.  He  studied  music  with  Adolf 
Hagen  in  Germany  and  with  Joseph 
Mosenthal  in  New  York.  He  attended 
Columbia  College  and  was  graduated 
from  the  school  of  arts  and  the  law 
department.  He  writes  on  musical, 
dramatic  and  other  subjects  for  the 
daily  papers  and  for  such  magazines 
as  Century,  Forum  and  Scribner's. 
Among  his  works  are  The  Ring  of  the 
Nibelung;  Wagner's  Life  and  Works; 
Plays  for  Amateurs;  New  York  and 
its  Environs;  My  Rosary,  and  Other 
Poems;  Opera  Singers;  Signora,  a 
Child  of  the  Opera  House;  Famous 
Actors  and  Actresses  and  Their 
Homes;  Wagner's  Music-Dramas  An- 
alyzed; Loves  of  the  Great  Com- 
posers; and  Wagner  and  his  Isolde. 

Koch     (kokh),     Heinrich    Christoph. 

1749-1816. 

A  violinist  of  some  reputation, 
chiefly  known  for  his  writings  on 
musical  topics.  He  was  born  and  died 
at  Rudolstadt,  where  his  father  played 
in  the  Duke's  orchestra.  He  was  him- 
self given  the  position  of  violinist  in 
the  band  in  1768,  after  he  had  studied 
at  Weimar  with  Gopfert.  In  1777  he 
was  given  the  title  of  Kammermusiker. 
He  composed  some  rather  unimpor- 
tant music,  but  his  great  works  are 
Versuch  einer  Anleitung  zur  composi- 
tion, published  in  three  parts;  Musik- 
alisches  Lexikon,  which  has  appeared 
in  three  editions,  and  other  theoreti- 
cal works. 

Koczalski  (ko-chal'-ski),  Raoul.  1885- 
Is  said  by  some  musical  authorities 
to  have  begun  his  public  career  at  the 
age  of  four.  He  was  born  in  Warsaw, 
where  he  received  his  early  musical 
training  from  his  parents,  and  later 
from  Godowski.  He  played  in  Vienna 
in  1892,  and  in  1893  in  London,  St. 
Petersburg,  Moscow,  Paris  and  other 
European  cities.  He  is  said  to  have 
been    Court    pianist    to    the    Shah    of 


440 


BIOGRAPHIES 


Koszalski 
Persia.  Since  the  celebration  of  his 
one-thousandth  appearance  before  the 
public,  in  1896,  he  seems  to  have 
abandoned  concert  work.  Among  the 
compositions  he  has  thus  far  written 
are  a  one-act  opera,  Hagar;  and  for 
the  piano,  a  scherzo-fantasia,  a  fan- 
tasia in  F  minor,  a  grand  fantasia  in 
D,  besides  a  gavotte  and  some 
waltzes. 

Koelling,  Adolph  B.    1840. 

Composer  and  teacher,  who  was 
born  at  Hamburg,  Germany.  His 
father  was  a  prominent  orchestra 
player  in  Hamburg  and  his  elder 
brother,  Karl,  was  his  first  musical 
instructor.  In  1850  he  began  to 
study  with  Degenhardt,  organist  at 
St.  Katherine's  Church  in  Hamburg, 
and  in  1856  he  studied  theory  and 
composition  under  Edward  Monen, 
who  had  taught  Johannes  Brahms.  In 
1857  he  brought  out  some  piano  vari- 
ations, playing  them  himself  and  re- 
ceiving great  praise  for  them.  He 
studied  counterpoint  and  fugue  with 
Gradener,  and  then  went  to  London, 
where  he  taught  for  a  while,  but  finally 
returned  to  Hamburg,  where  he  stud- 
ied instrumentation  with  A.  Riccius. 
His  piano  quartet  received  praise 
from  Brahms,  and  his  sonata  for 
piano  and  violin  was  favorably 
noticed  by  David.  In  1872  he  came 
to  America  and  taught  at  Cottage 
Hill  Seminary,  Poughkeepsie,  N.  Y. 
Later  he  became  head  of  the  depart- 
ment of  free  composition  at  the  Chi- 
cago Musical  College.  Among  his 
compositions  are  a  quartet  in  C  minor 
for  piano,  violin,  viola  and  violon- 
cello; trio  for  violin,  violoncello  and 
piano  in  E  major;  two  romanzes  for 
violin  and  piano;  three  pieces  for 
cello  and  piano;  quartet  in  C  minor; 
quartet  in  B  major;  a  gavotte  for 
stringed  orchestra,  and  many  songs. 

♦  Koemmenich  (kem'-me-nikh),  Louis. 
1866- 

Composer  and  conductor  of  choral 
societies;  was  born  in  Elberfeld,  Ger- 
many. When  he  was  eight  years  old 
he  began  to  study  violin  with  Weisel, 
and  later  he  studied  piano  and  theory 
with  Anton  Krause  at  Barmen.  From 
1885  to  1887  he  studied  at  Kullak's 
Academy  in  Berlin,  where  he  had  the 
benefit  of  instruction  from  Franz 
Kullak,  W.  Pfeiflfer,  A.  Hollander  and 
W.  Tappert.  In  189(1  he  came  to  New 
York  and  began  teaching  singing  and 


Kohler 

piano.  For  eight  years  he  conducted 
the  Brooklyn  Sangerbund,  and  since 
1902  he  has  conducted  the  Philadel- 
phia Junger  Mannerchor,  one  of  the 
leading  German  male  choruses  in 
America,  which  won  the  Emperor 
Prize  at  the  National  Sangerfest  in 
Brooklyn  in  1900  and  in  Baltimore 
in  1903.  Besides  his  successful  work  in 
this  line  he  has  published  a  number 
of  compositions;  songs;  a  cantata,  Der 
Schmjed  und  das  Grafenkind;  a  ballad, 
Der  Zaubrische  Spielmann;  Morgen- 
lied,  for  male  chorus  and  orchestra. 

Koessler  (kes'-ler),  Hans     1853- 

Composer,  who  is  chiefly  interesting 
on  account  of  his  tone-portrait  of 
Brahms.  He  was  born  in  1853  at 
Waldeck.  He  is  well  known  as  a 
teacher  at  Dresden  and  Budapest. 
Among  his  writings  are  a  cantata;  a 
violin  concerto;  a  symphony;  his  tone- 
portrait  of  Brahms,  more  interesting 
as  a  musical  composition  than  true 
as  a  portrait;  and  many  other  unim- 
portant compositions. 

Koffler  (kof-lcr),  Leo.    1837- 

Well-known  writer,  singing  teacher 
and  musical  critic  of  New  York.  Was 
born  at  Brixen,  Austrian  Tyrol. 
Since  1877  he  has  been  organist  and 
choirmaster  of  St.  Paul's  Chapel, 
Trinity  Parish,  New  York.  He  has 
written  some  excellent  works  on  the 
art  of  singing.  Among  them  are 
Take  Care  of  Your  Voice,  or  the 
Golden  Rule  of  Health;  and  The  Art 
of  Breathing  as  the  Basis  of  Tone- 
production,  published  in  New  York,  a 
German  translation  of  which  was  pub- 
lished in  Leipsic  in  1897.  He  has  also 
written  selected  Hymn-Tunes  and 
Hymn-Anthems. 

Kohler     (kah-ler),     Christian     Louis 
Heinrich.     1820-1886. 

Pianist,  instructor,  composer  and 
writer,  who  has  been  called  "  the  heir 
of  Czerny."  He  was  born  at  Bruns- 
wick, studied  there  with  Sonnemann 
and  some  others,  and  continued  later 
at  Vienna  with  Sechter,  Seyfried  and 
Bocklet.  He  was  conductor  at  the 
theatres  of  Marienburg,  Elbing  and 
Konigsberg,  and  finally  began  teach- 
ing at  Konigsberg.  He  also  directed 
a  singing  society  there,  took  up  the 
work  of  a  critic,  and  assisted  Liszt, 
Wagner  and  Bulow  in  the  founding  of 
the  Allgemeiner  Deutscher  Musik- 
verein,  at  Leipsic  in  1859.  In  1880 
he   became  a   Royal  professor.     His 


BIOGRAPHIES 


441 


Kohler 

critical  works,  written  for  the  Signale 
and  other  similar  publications,  showed 
excellent  judgment.  His  instructive 
methods  and  studies  were  for  a  long 
time  very  popular,  and  were  used 
by  the  best  piano  teachers.  He  com- 
posed three  operas,  one  of  them 
Maria  Dolores;  and  a  ballet,  Der 
Zauberkomponist. 

Kohler,  Ernst.    1799-1847. 

Organist  and  pianist,  a  pupil  and 
brother-in-law  of  Hauptmann.  He 
was  born  at  Langenbielau,  in  Silesia, 
and  died  at  Breslau.  He  studied  with 
F.  A.  Kahler,  at  Peterswaldau,  and 
with  Berner  for  piano  and  Forster 
for  violin  at  Breslau.  He  played  the 
organ  in  the  Elizabethkirche  for  a 
number  of  years,  and  then  went  to 
Vienna,  Berlin,  Leipsic,  Hamburg, 
Dresden  and  other  cities,  where  his 
organ  work  was  greatly  admired.  He 
composed  very  good  pieces  for  the 
organ  and  piano;  also  church-music; 
cantatas;  symphonies;  and  elaborate 
vocal  music. 

Kolbe  (kol'-be),  Oscar.    1836-1878. 

German  composer  and  teacher. 
Most  of  his  life  was  spent  at  Berlin, 
where  he  was  born  and  died.  He 
studied  at  the  Royal  Institute  for 
Church  Music,  and  then  at  the  Royal 
Academy,  his  teachers  being  Loschorn, 
Grell  and  A.  W.  Bach.  He  taught 
musical  theory  at  Stern's  Conserva- 
tory for  sixteen  years,  then  on  the 
success  of  an  oratorio  he  composed, 
Johannes  der  Tiiufer,  he  was  made 
Royal  music-director.  He  composed 
music  for  the  piano  and  songs;  also 
books  on  thorough-bass  and  harmony. 

KoUmann  (kol'-man),  August  Fried- 
rich  Christoph.  1756-1824. 
Composer  and  organist,  who  spent 
his  life  in  England,  although  he  was 
of  foreign  origin.  His  name,  August 
Friedrich  Christoph,  is  sometimes 
confused  with  that  of  his  brother,  and 
is  given  in  some  authorities  as  August 
Friedrich  Karl.  He  was  born  at 
Engelbostel,  near  Hanover,  where  his 
father  taught  school  and  played  the 
organ.  He  first  studied  music  with 
the  village  minister,  then  with  J.  C. 
Bottner  and  at  the  Hanover  Normal 
School.  He  played  in  a  private  chapel, 
went  to  London  as  a  tutor,  and  finally 
became  chapelmaster  at  the  German 
Chapel,  St.  James'  Palace.  He  wrote 
The   Shipwreck,   a  symphony;   twelve 


Konius 

fugues;  melody  on  the  One  Hundredth 
Psalm;  a  rondo  on  the  Chord  of 
Diminished  Seventh.  He  also  wrote  a 
number  of  critical  and  didactic  works, 
as.  An  Introduction  to  the  Art  of 
Preludizing  and  Extemporizing;  an 
Essay  on  Musical  Harmony;  an  Essay 
on  Practical  Musical  Composition;  a 
Guide  to  Thorough-Bass;  and  a  New 
Theory  of  Musical  Harmony.  He 
began  a  Quarterly  Musical  Register, 
which  was  unsuccessful,  and  edited 
some  of  Bach's  works. 

Kompel    (kem'-pel),    August.      1831- 
1891. 

Violin  virtuoso,  said  to  be  Spohr's 
favorite  pupil.  He  was  born  at  Bruck- 
enau  and  died  at  Weimar.  He  attended 
the  Wiirzburg  School  of  Music,  and 
was  afterward  a  pupil  of  David,  Joa- 
chim and  Spohr.  He  was  a  member 
of  the  Court  orchestras  of  Cassel  and 
Hanover,  and  then,  after  a  tour, 
accepted  a  position  in  and  finally  led 
the  Weimar  Orchestra.  He  gave  up 
his  work  in  1884,  and  was  given  a 
pension.  His  style  was  much  like 
that  of  Spohr. 

Koning  (ko'-ning),  David.    1820-1876. 

Pianist,  composer  and  teacher  of 
merit;  was  born  at  Rotterdam,  Hol- 
land. He  was  a  pupil  of  Hutschen- 
ruyter,  and  from  1834  to  1838  of  Aloys 
Schmitt  at  Frankfort.  After  this  he 
traveled,  visiting  Vienna,  Paris  and 
London,  returning  to  Rotterdam  and 
receiving  the  prize  from  the  Nether- 
land  Musical  Society  in  1839.  In 
1840  he  was  appointed  director  of  the 
Felix  Meritis  Choral  Society  at  Am- 
sterdam, where,  from  1848  to  1858,  he 
was  secretary  of  the  Cacilia,  and  from 
1858  to  18t)2  its  president.  In  1844  he 
became  a  member  of  the  St.  Cecilia 
Society  of  Rome,  and  he  was  also  a 
member  of  the  Amsterdam  Society  for 
the  Promotion  of  Music.  Among  his 
works  are  his  Domine  salvun  fac 
regem,  with  orchestra  accompani- 
ment; his  comic  opera.  The  Fisher 
Maiden;  Elegy  on  the  Death  of  an 
Artist,  for  solos,  chorus  and  orches- 
tra; string  quartets;  a  great  variety 
of  vocal  music;  and  seven  piano 
etudes. 

Konius,  George  Edwardovich.    1862- 

Russian  composer;  born  at  Moscow. 
Studied  at  the  Moscow  Conservatory 
under  Arensky  and  Taneiev.  In  1891 
he  became  professor  at  the  Moscow 


442 


BIOGRAPHIES 


Konius 

Conservatory,  where  he  taught  for 
eight  years,  and  in  1902  became  pro- 
fessor at  the  Music  School  and  the 
Philharmonic  Society.  His  writings 
include  a  cantata  in  memory  of  Alex- 
ander III.;  a  symphonic  poem,  enti- 
tled From  the  World  of  Illusion;  an 
orchestral  suite,  Child-life;  the  ballet, 
Daita;  over  thirty  songs  and  about 
twenty  piano-pieces. 

Kontski     (kont'-shke),     Antoine     de. 

1817-1899. 

Polish  pianist  and  composer;  born 
at  Cracow.  He  studied  with  Johann 
Markendorf  at  Warsaw  and  Field  at 
Moscow.  He  was  a  great  traveler, 
living,  respectively,  at  Paris,  Berlin, 
where  he  was  Court  pianist;  St.  Peters- 
burg, from  which  city  he  made  many 
concert  tours;  London,  where  he 
taught  and  produced  an  opera,  Les 
Deux  Distraits;  Buffalo,  N.  Y.,  where 
he  lived  after  touring  the  United 
States,  and  Warsaw,  where  he  settled 
after  a  professional  tour  around  the 
world.  In  1899,  the  year  of  his  death, 
he  appeared  at  concerts  in  St.  Peters- 
burg. His  compositions,  most  of 
which  are  chamber-music,  are  unim- 
portant, the  best  known  being  The 
Awakening  of  the  Lion. 

Kontski,  ApoUinaire  de.     1825-1879. 

Polish  violin  virtuoso,  brother  of 
Antoine,  said  to  have  been  the  favorite 
pupil  of  Paganini.  He  studied  first 
with  his  brother  Charles,  and,  when 
only  four  years  old,  played  Rode's 
concerto  in  public.  He  made  many 
very  brilliant  concert  tours  in  France, 
Germany  and  Russia,  and  at  one  of 
his  concerts  at  Paris  is  said  to  have 
won  the  approval  and  friendship  of 
Paganini.  In  1853  he  was  made  solo 
virtuoso  to  the  Czar  of  Russia,  and 
in  1861  he  started  the  Warsaw  Con- 
servatory, of  which  he  was  director 
until  he  died.  His  compositions  are 
few  and  of  no  value. 

Korbay     (kor'-ba-e),    Francis    Alex- 
ander.    1846- 

Tenor  and  concert  pianist,  godson 
of  Liszt;  was  born  in  Budapest.  His 
parents  were  both  amateur  musicians 
and  gave  him  his  first  musical  educa- 
tion, after  which  he  studied  composi- 
tion under  Michel  Mosonyi  and  Robert 
Volkmann,  and  singing  under  Gus- 
tave  Roger.  From  1865  to  1868  he 
sang  grand  opera  in  the  National 
Theatre   at    Budapest,   but   his   voice 


Korn 

gave  out  at  the  end  of  that  time  and 
he  turned  his  attention  to  piano  play- 
ing, perfecting  himself  under  Liszt. 
After  traveling  in  England  and  Ger- 
many as  a  concert  pianist  he  came 
to  America,  and  in  the  autumn  of 
1871  settled  in  New  York,  where  he 
lived  for  two  years  teaching,  lecturing 
and  giving  song  recitals,  at  which  he 
accompanied  himself.  In  1894  he 
went  to  London,  where  he  has  since 
lived,  and  where,  from  1894  to  1903,  he 
taught  singing  at  the  Royal  Academy 
of  Music.  He  has  written  some  inter- 
esting compositions,  among  which  the 
Nuptiale  and  his  arrangements  of 
Hungarian  songs  to  themes  of  his 
own  are  perhaps  best  known.  Other 
compositions  are  a  set  of  songs  to 
Lenau's  Schilflieder;  piano-pieces  and 
songs;  duets  for  soprano  and  alto 
voices;  and  Le  Matin,  a  solo  with 
piano  accompaniment,  which  Liszt 
arranged  for  orchestra. 

Korestchenko,    Arsene    Nicholaevich. 

1870- 

Teacher,  pianist  and  composer.  Was 
born  in  Moscow.  At  the  Moscow 
Conservatory  of  Music  he  studied 
piano  under  Taneiev  and  theory  under 
Arensky,  and  carried  off  the  first 
medal  in  both  these  branches.  He 
teaches  harmony  at  the  Conservatory 
and  counterpoint  and  musical  form  at 
the  Moscow  Synodal  School.  He  has 
written  many  compositions,  among 
them  The  Magic  Mirror;  The  Angel 
of  Death;  Balthasar's  Feast;  The  Ice 
Palace;  and  incidental  music  to  Iphi- 
genia  in  Aulis,  and  The  Trojans  of 
Euripides.  He  has  also  written  a  can- 
tata, Don  Juan;  some  choruses; 
Armenian  songs;  Georgian  songs; 
compositions  for  violin  and  piano  and 
for  piano  and  cello;  beside  two  sym- 
phonic sketches;  the  First  Symphony, 
Armenian  Suite  and  Scene  Poetique, 
all  orchestral  works. 

♦  Korn,  Mrs.  Clara  A.    1866- 

Musical  composer  and  song-writer; 
born  in  Berlin,  Germany.  Her  father 
was  a  native  of  Konigsberg,  but  her 
mother  was  a  Philadelphian,  and  Mrs. 
Korn  was  brought  to  America  when 
she  was  three  years  old.  She  received 
her  general  education  in  Jersey  City. 
She  married  when  she  was  eighteen 
and  went  to  live  in  New  York,  and 
it  was  not  until  1888  that  she  turned 
her  attention  to  music.  Her  talent 
for   composition    was    recognized   by 


BIOGRAPHIES 


443 


Kom 

Mr.  William  G.  Vogt,  who  began  pre- 
paring Mrs.  Korn  for  a  concert  career 
in  1889.  In  1891  she  entered  upon  a 
ten-months'  tour  through  the  South 
and  West,  but  her  health  would  not 
allow  her  to  continue  this  work.  She 
received  several  letters  from  Tschai- 
kowsky  advising  her  to  devote  herself 
to  composition  and  praising  the  work 
she  had  already  done  in  that  line. 
Late  in  1891  she  obtained  a  free 
scholarship  at  the  National  Conserva- 
tory, where  she  studied  theory  and 
composition  under  Dr.  Antonin 
Dvorak,  Bruno  Oscar  Klein  and  Hora- 
tio Walker.  From  1893  to  1898  she 
taught  harmony  at  the  National  Con- 
servatory at  New  York.  Soon  after 
she  took  up  her  residence  at  East 
Orange,  N.  J.,  and  has  since  divided 
her  time  between  New  York  and  New 
Jersey.  Mrs.  Korn  has  held  many 
offices  in  American  societies.  At 
present  she  is  special  correspondent 
for  the  Musical  Courier,  a  position 
she  has  filled  for  four  years.  She  has 
written  articles  for  the  fitude,  The 
Musical  Record  and  other  musical 
magazines  and  papers.  Among  her 
compositions  her  orchestral  suite, 
Rural  Snapshots,  was  played  at  the 
St.  Louis  Exposition.  Among  her 
other  works  are  Six  Pieces;  Five 
Pieces  dedicated  to  Rafael  JosefTy; 
Waltz  Caprice,  for  violin  and  piano; 
Air  de  Ballet,  and  the  suite,  Modern 
Dances;  An  Album  of  Nine  Songs  for 
Voices. 

Koschat  (ko'-shat),  Thomas.    1845- 

Composer  and  bass  singer;  born  at 
Viktring,  near  Klagenfurt.  He  went 
to  Vienna  as  a  student  of  natural 
science,  but,  through  Esser,  joined  the 
Court  opera  chorus,  where  he  soon 
became  leader.  In  1874  he  joined  the 
Cathedral  Choir,  and  in  1878  the  Hof- 
kapelle.  He  is  best  known  as  a 
writer  of  Carinthian  quartets  for  male 
voices,  the  first  of  which  appeared  in 
1871.  These  proved  so  popular  that 
he  has  written  over  a  hundred,  the 
poems  as  well  as  the  music  being  in 
Carinthian  dialect.  In  1875  he  organ- 
ized the  Karnthner  Quintet,  which 
has  become  very  well  known.  Among 
his  collections  of  songs  his  Lieder- 
spiel  am  Worthersee,  which  contains 
many  of  his  favorites,  is  perhaps  most 
popular.  He  has  also  written  Volks- 
stuck  mit   Gesang,  in   four   acts;   Die 

^  Rosenthaler  Nachtigall;  and  Der  Bur- 

'  germeister  von   St.  Anna. 


Kotzeluch 
Kosleck  (kos'-lek),  Julius.    1835- 

Was  born  in  Neugard,  Pomerania. 
He  is  a  member  of  the  Royal  band, 
Berlin,  and  is  teacher  of  trombone  and 
trumpet  at  the  Hochschule.  In  1871 
he  founded  and  led  the  Kaiser  Cor- 
net Quartet,  now  so  well  known. 
He  is  a  virtuoso  on  the  trumpet  and 
cornet,  and  has  written  a  method  for 
trumpet  and  cornet. 

Kossmaly    (kos'-ma-le),   Karl.     1812- 

1893. 

Musical  director  of  theatres,  com- 
poser and  writer  on  musical  subjects. 
He  was  born  at  Breslau,  and  received 
his  musical  education  in  Berlin  from 
Berger,  Zelter  and  Klein.  He  spent 
the  greater  part  of  twenty  years  of 
his  life,  1830  to  1849,  as  a  theatre  direc- 
tor, holding  positions  at  Wiesbaden, 
Mainz,  Amsterdam,  Detmold,  Bremen 
and  Stettin.  When  he  gave  up  the 
theatre  he  remained  at  Stettin  until 
his  death,  composing,  writing  musical 
articles,  teaching  and  giving  concerts. 
He  wrote  overtures,  symphonies,  and 
songs,  only  a  part  of  which  have  been 
published;  and  critical  works,  espe- 
cially against  the  new  German  move- 
ment of  his  time. 

Kotzeluch      (kot'-ze-lookh),     Johann 
Anton.    1738-1814. 

Bohemian  church  musical  director 
.nd  dramatic  and  church  composer.  He 
was  born  at  Welwarn,  and  began  his 
musical  career  as  a  chorister  at  St. 
Veit's  Church.  He  studied  at  Prague, 
became  choirmaster  at  Welwarn  and 
Rakonitz,  then  returned  to  Prague 
and  took  up  the  study  of  composition 
under  Segert,  later  continuing  his  edu- 
cation at  Vienna  with  Gluck,  Gass- 
mann  and  Hasse.  When  he  went 
back  to  Prague  he  became  choirmas- 
ter of  the  Kreuzherrn,  and  then  chap- 
elmaster  of  the  Metropolitan  Church, 
or  cathedral,  a  position  which  he  held 
the  rest  of  his  life.  He  wrote  church- 
music;  oratorios;  and  operas;  but  very 
few  of  his  works  were  published. 

Kotzeluch,     Leopold    Anton.      1754- 
1818. 

Bohemian  dramatic  and  instrumen- 
tal composer  and  teacher,  chiefly 
known  for  his  connection  with  Mozart. 
He  was  born  at  Welwarn,  in  Bohemia, 
and  in  1765  went  to  Prague  to  study 
law.  In  1771  he  composed  a  phe- 
nomenally successful  ballet,  and  dur- 
ing the  following  six  years  produced 


444 


BIOGRAPHIES 


Kotzeluch 

twenty-four  other  ballets  and  three 
pantomimes.  In  1778  he  went  to 
Vienna,  and  became  a  favorite  teacher. 
In  1781  the  Archbishop  of  Salzburg 
offered  him  Mozart's  position  in  his 
service,  with  a  larger  salary  than  that 
of  Mozart,  but  Kotzeluch  refused  the 
offer  on  grounds  of  his  regard  for 
the  master,  though  he  had  previously 
shown  no  very  kindly  feelings  toward 
him.  However,  he  accepted  the  posi- 
tion in  1792,  and  was  Court  composer 
from  that  time  until  his  death,  which 
occurred  in  1818,  though  some  author- 
ities have  disputed  this  date  in  favor 
of  1814.  He  was  a  brilliant  pianist, 
though  his  compositions  are  mostly 
forgotten  at  present.  He  composed 
two  grand  operas,  Judith,  and  Debora 
and  Sisara;  other  operas,  including 
Le  Mazet,  and  Didone  abbandonata; 
an  oratorio,  Moses  in  Egypt;  thirty 
symphonies;  fifty  concertos  for  the 
piano;  ballets;  cantatas;  and  an 
arrangement  of  Scotch  songs. 

*  Kotzschmar  (kotsch-mar),  Hermann. 
1829. 

Organist,  teacher  and  conductor  of 
orchestra  and  choral  societies.  Was 
born  at  Finsterwalde,  Prussia.  When 
six  years  old  his  father  began  to 
teach  him  piano  and  when  eight  the 
violin,  beside  teaching  him  to  play 
the  flute,  clarinet,  trombone,  French 
horn  and  the  organ.  In  1842  he  went 
to  Dresden,  where  he  studied  violin 
and  piano  with  Hayne,  and  composi- 
tion and  theory  with  Julius  Otto.  He 
played  in  the  band  of  the  Royal  Body 
Guard  and  in  the  Opera  Orchestra. 
In  1848  he  came  to  America  with 
the  Saxonia  band,  and  in  1849  settled 
in  Portland,  Maine,  where  he  has 
since  remained.  Besides  teaching 
piano  and  organ  Mr.  Kotzschmar  was 
for  forty-seven  years  organist  of  the 
First  Parish  Church,  afterward  becom- 
ing organist  of  the  State  Street 
Church.  For  over  thirty  years  he 
has  conducted  the  local  Haydn  Asso- 
ciation and  at  various  times  other 
orchestras  and  choral  societies  in  the 
state  of  Maine.  Among  his  published 
works  are  church-music,  Te  Deum, 
Benedictus,  Deus  misereatur;  vocal 
pieces;  piano-pieces;  romance;  three 
mazurkas;  Magic  Top  Galop;  Fairy's 
Evening  Song,  and  Arcturus. 

Kraft  (kraft),  Anton.    1752-1820. 

Brilliant  violoncellist.  He  was  a 
Bohemian,  born  at  Rokitzan,  near  Pil- 


Kramer 
sen.  He  studied  with  Werner  at 
Prague,  and  later  at  Vienna  became  a 
pupil  of  Haydn,  who  valued  his  ability 
very  highly,  and  is  said  to  have  com- 
posed some  of  his  works  especially 
for  Kraft's  execution.  Haydn  found 
a  position  for  him  in  the  chapel  of 
Prince  Estcrhazy,  which  he  held  from 
1778  to  1790.  He  was  then  employed 
for  five  years  by  Prince  Grassalkovics, 
finally  becoming  musician  to  Prince 
Lobkowitz,  in  whose  service  he 
remained  for  twenty-five  years,  until 
the  time  of  his  death.  His  concert 
tours  were  marked  by  great  success. 
He  at  one  time  took  up  composing, 
but  was  dissuaded  from  it  by  Haydn, 
who  thought  he  was  neglecting  his 
playing  because  of  it.  Kraft  was  noted 
for  his  beautiful  intonation  and  great 
expression.  Among  his  works  are 
concerto  for  violoncello  and  orches- 
tra; six  sonatas  for  violoncello  and 
bass;  divertissement  for  the  same; 
three  duos  concertants  for  violin  and 
violoncello;  and  two  duos  for  two 
violoncellos. 

Kraft,  Nicolaus.     1778-1853. 

Like  his  father,  Anton  was  a  vio- 
loncellist of  distinction.  He  was  born 
at  Esterhazy,  Hungary,  and  when  very 
young  played  with  his  father  in  con- 
cert tours.  He  studied  first  with  his 
father  and  later  was  sent  by  Prince 
Lobkowitz  to  Berlin  to  study  with 
Louis  Duport.  He  was  at  one  time  a 
member  of  the  quartet  of  Prince  Karl 
Lichnowsky.  Later  he  made  concert 
tours  in  Leipsic,  Dresden,  Prague  and 
Vienna,  and  finally  entered  the  service 
of  the  King  of  Wiirtemberg  at  Stutt- 
gart in  1814.  This  he  held  until  1834, 
when  he  retired  on  a  pension  on 
account  of  an  accident  to  his  hand. 
His  son,  Friedrich,  with  whom  he  had 
played  in  some  of  his  concert  tours, 
also  took  a  position  in  the  chapel  at 
Stuttgart  in  1824.  His  best  known 
works  are  five  cello  concertos;  six 
duos  and  three  divertissements  for 
two  violoncellos;  a  cello  fantasia  with 
string  quartet;  and  polonaise  and 
bolero  for  cello  with   orchestra. 

*  Kramer,  Leopold.     1870- 

Excellent  violinist  and  concertmas- 
ter  of  the  Thomas  Orchestra  of  Chi- 
cago. Was  born  in  1870,  at  Milevsky, 
Bohemia,  and  received  his  musical 
education  under  Bennewitz  at  the 
Prague  Conservatory  of  Music.  After 
his   graduation   from   this   school   he 


BIOGRAPHIES 


445 


Kramer 

played  in  various  orchestras  in  Ham- 
burg, Berlin,  Amsterdam  and  Cologne, 
and  in  the  year  1897  came  to  the 
United  States  and  settled  in  Chicago, 
where  he  has  ever  since  been  the 
leader  of  the  first  violins  in  the 
Thomas  Orchestra.  He  has  appeared 
annually  as  soloist  with  this  organiza- 
tion and  has  been  very  well  received, 
especially  on  his  performance  of 
Vieuxtemps'  concerto  in  D  minor  for 
violin,  in  January,  1908,  when  his  play- 
ing was  enthusiastically  encored,  and 
some  of  the  musical  critics  pro- 
nounced it  as  surpassing  all  of  his 
previous  performances.  He  was 
called  to  London  for  the  summer  sea- 
son at  Covent  Garden  in  1899.  Mr. 
Kramer  is  also  teacher  of  violin  in  the 
Cosmopolitan  School  of  Music  and 
Dramatic  Art,  Chicago. 

Krantz  (krants),  Eugen.    1844-1898. 

German  pianist,  musical  critic  and 
teacher,  who  at  one  time  owned  and 
directed  the  Dresden  Conservatory. 
Dresden  was  the  place  of  his  birth  and 
death,  and  he  was  himself  educated  at 
the  Conservatory,  where  he  studied 
under  Fiirstenau,  Reitz  and  Leon- 
hard.  He  first  held  a  position  in  the 
Court  Opera,  then  began  teaching  in 
the  Conservatory,  was  made  a  pro- 
fessor in  1882,  and  took  control  of 
the  institution  in  1890.  He  was  espe- 
cially known  for  playing  Bach  excel- 
lently. He  composed  some  songs; 
published  a  work  called  Lehrgang  im 
Klavierunterricht;  and  wrote  musical 
criticisms  for  the  papers. 

Krause  (krow'-se),  Anton.     1834- 

Pianist,  conductor  and  composer. 
Was  born  in  Geithan,  Germany.  He 
began  his  musical  education  at  the 
age  of  six  under  Cantor  Deitrich.  At 
Dresden  he  was  a  pupil  of  Wieck, 
Reissiger  and  Spindler.  In  1846  he 
made  his  debut  at  Geithan  as  a 
pianist.  Between  1850  and  1853  he 
studied  at  the  Leipsic  Conservatory 
under  Wenzel,  Moscheles,  Haupt- 
mann,  Richter,  Rietz  and  David. 
From  1853  until  1859  he  taught  music, 
assuming  the  conductorship  of  the 
Leipsic  Liedertafel  in  1856.  He  suc- 
ceeded Reinecke  at  Barmen  in  1859  as 
director  of  the  city  Gesangverein, 
which  position  he  held  until  1897. 
In  1877  he  was  made  Royal  music- 
director.  He  wrote  two  operas;  a 
Kyrie,  Sanctus  and  Benedictus  for 
^horus,  solo  and  orchestra;  songs  for 


Krause 

mixed  chorus;  a  score  of  single  songs; 
and  much  instructive  piano-music. 
He  published,  besides,  lii<^  Library  for 
Two  Pianos,  and  a  collection  of  clas- 
sical sonatas. 

*  Krause,  Emile.     1840- 

Composer  and  writer  on  musical 
subjects.  Was  born  at  Hamburg. 
When  seventeen  years  old  he  entered 
Leipsic  Conservatory,  and  for  three 
years  studied  under  Hauptmann, 
Moscheles,  Plaidy  and  Richter.  After 
leaving  the  Conservatory  in  1860  he 
returned  to  Hamburg,  and  became 
known  as  a  teacher,  a  composer  and 
a  contributor  to  musical  periodicals. 
In  1863  he  became  editor  of  the  Ham- 
burger Freudenblatt,  and  since  1870 
has  contributed  to  various  professional 
papers.  In  1885  he  became  teacher  of 
aesthetics,  theory  and  history  of  music 
at  Hamburg  Conservatory,  and  in  1893 
Duke  Ernst  von  Gotha  gave  him  the 
title  of  professor.  He  was  a  member 
of  the  committee  of  management  of 
the  Hamburg  Tonkiinstlerverein  and 
an  honorary  member  of  several  other 
musical  societies.  His  principal  com- 
positions are  Ave  Maria  for  female 
double  choir  with  orchestra;  twenty- 
three  cantatas  with  orchestra;  cham- 
ber-music; choruses  with  orchestra; 
songs  and  duets;  piano  and  organ- 
music;  beside  some  pedagogical 
works  for  piano,  chief  among  them 
Gradus  ad  Parnassum.  His  scientific 
writings  are  Didactics  for  Young 
Musicians;  Sketch  of  Operatic  His- 
tory; History  of  the  Oratorio;  History 
of  Chamber-Music;  Art  of  Song  and 
Vocal  Music;  Monographs  on  Felix 
Weingartner,  Johannes  Brahms,  Wil- 
helm  Berger  and  Sigismund  von 
Hauseger;  a  gfuide  for  the  study  of 
History  of  Music;  Lessons  in  Har- 
mony; and  cadences  and  preludes. 

*  Krause,  Martin.    1853. 

One  of  the  greatest  of  living  teach- 
ers of  the  piano.  Was  born  at  Lob- 
stadt,  near  Leipsic.  His  father,  who 
was  cantor  of  the  church  of  Lobstadt, 
often  called  upon  Martin  to  serve 
as  organist,  and  in  this  capacity  to 
transpose  chorales  and  improvise  upon 
them.  When  eleven  years  old  his 
father  presented  him  with  the  sona- 
tas of  Beethoven  and  the  Well-tem- 
pered Clavichord  of  Bach,  two  works 
which  seemed  to  arouse  his  latent 
musical  talent.  His  parents  wished 
him  to  become  a  teacher,  so  sent  him 


446 


BIOGRAPHIES 


Krause 

first  to  the  seminary  for  teachers  at 
Borna,  where  he  laid  the  foundation 
of  his  broad  musical  knowledge  and 
gained  his  first  ideas  of  pedagogy. 
He  later  went  to  Leipsic,  where  for 
two  and  a  half  years  he  studied  under 
Reinccke  and  afterward  under  Wenzel 
and  Coccius.  After  completing  his 
studies  in  Leipsic  he  taught  for  a 
year  in  Switzerland,  then  went  to 
Bremen,  where  he  remained  three 
years  and  founded  the  Eberhardt  and 
Torleberg  chamber-music  concerts. 
Between  1878  and  1880  he  gave  con- 
certs in  Hanover,  Cassel,  Leipsic  and 
other  important  German  towns.  In 
1880  he  settled  in  Leipsic  as  teacher 
of  piano  and  critic  on  the  Musi- 
kalischen  Wochenblatt  and  the  Leip- 
siger  Tageblatt.  In  1883  he  met 
Lizst,  and,  after  playing  for  him, 
became  a  regular  attendant  of  his 
lessons  in  Weimar.  In  1885  he 
arranged  two  grand  concerts  in  Leip- 
sic, at  which  the  programs  were 
entirely  made  up  of  the  compositions 
of  Lizst,  and  from  these  concerts 
sprang  the  Lizst- Verein,  of  which 
Krause  was  the  founder  and  for  four- 
teen years  the  president.  In  1901 
Krause  went  to  Munich,  where  for 
three  years  he  was  Royal  professor 
of  piano  at  the  Academy.  This  posi- 
tion he  resigned  to  become  head 
teacher  of  piano  at  Stern's  Academy, 
where  he  is  now  teaching.  It  is  his 
custom  to  give  weekly  recitals  by  his 
pupils  in  his  home,  to  which  come 
as  guests  the  greatest  pianists  of  the 
world.  At  these  concerts  the  pupils 
become  familiar  with  all  of  the  most 
important  works  for  the  piano  and 
gain  confidence  and  poise  for  public 
playing.  One  of  his  most  promising 
pupils  is  Robert  Adams  Buell,  whose 
debut  concerts  at  Berlin  and  Leipsic 
won  extravagant  praise  for  both 
teacher  and  pupil. 

Krauss     (krows),     Marie     Gabrielle. 
1842-1903. 

Called  by  the  French  "  the  singing 
Rachel."  Celebrated  actress  and  opera 
singer,  who  appeared  with  remarkable 
success  in  Vienna,  Paris,  Naples  and 
St.  Petersburg.  She  was  born  at 
Vienna,  and  studied  music  at  the  Con- 
servatory there,  and  vocal  from  Linif. 
Marchesi.  She  took  part  in  Schu- 
mann's Paradise  and  Peri  when  it  was 
given  for  the  first  time  in  1858  at 
Vienna,  and  made  her  first  appearance 
in  the  opera  there  as  Mathilde  in  Tell 


Krebs 

in  1859.  She  became  very  popular  in 
her  native  city,  and  in  1867  went  to 
Paris,  where  she  played  at  the  Italian 
Theatre  as  Leonora  in  Trovatore,  and 
in  many  other  successful  parts.  She 
made  a  tour  through  Italy,  being  suc- 
cessful at  Naples,  and  less  so  at  Milan, 
and  finally  was  offered  a  position  at 
the  Academic  in  Paris,  where,  after 
another  tour  to  St.  Petersburg  in 
1874,  she  appeared  first  as  Racliel  in 
La  Juive,  and  for  many  years  in  the 
leading  roles  of  forty  or  more  operas. 
After  she  left  the  stage  she  sang  at 
concerts  and  also  taught.  She  was 
noted  almost  as  much  for  her  brilliant 
and  impassioned  acting  as  for  her 
voice. 

Krebs    (kraps),    Carl    August.     1804- 
1880. 

Head  of  a  very  musical  family. 
Showed  signs  of  great  talent  from 
his  earliest  childhood.  His  father 
and  mother  were  theatrical  people  of 
Nuremberg,  where  he  was  born,  and 
bore  the  name,  Miedcke.  He  took  the 
name  Krebs  from  a  Stuttgart  singer, 
who  adopted  him  after  his  mother's 
death.  He  studied  v-^''-  Schelble  first, 
and  later  with  Seyfried  at  Vienna. 
He  was  able  to  play  the  concertos  of 
Mozart  and  Dussek  when  only  six 
years  old,  and  when  he  was  seven 
wrote  an  opera,  Feodore,  some  parts 
of  which  were  published.  In  1827  he 
became  conductor  of  the  theatre  at 
Hambur"-.  a  position  he  filled  success- 
fully for  twenty-three  years.  Then 
he  was  made  Court  conductor  at  Dres- 
den, remaining  in  that  office  until 
1871,  when  he  was  given  the  place 
of  conductor  in  the  Catholic  Court 
Chapel.  He  composed  along  several 
different  lines,  his  works  including 
masses;  the  operas,  Silva,  and  Agnes 
Bernauer;  a  Te  Deum;  orchestra  and 
piano-pieces;  and  songs.  He  married 
a  famous  opera  singer,  Aloysia 
Michalesi,  and  their  daughter,  Marie, 
made  an  international  reputation  as  a 
pianist. 

Krebs,  Johann  Ludwig.    1713-1780, 

Supposed  to  have  been  Bach's  favor- 
ite organ  pupil.  Was  born  at  Buttel- 
stadt,  Thuringia,  and  his  father,  Johann 
Tobias  Krebs,  himself  a  musician  and 
pupil  of  Bach,  did  much  to  start  the 
young  Krebs'  musical  education  prop- 
erly. In  1726,  when  he  entered  the 
Thomasschule  at  Leipsic,  the  son 
began  lessons  with  Bach,  under  whose 


BIOGRAPHIES 


447 


Krebs 

instruction  he  remained  for  nine  years. 
Beside  the  organ,  he  played  the  cla- 
vier. When  his  course  in  philosophy 
was  completed  he  became  an  organist, 
first  at  Zwickau  and  then  at  Zeitz, 
later,  in  1756,  being  made  Court  organ- 
ist at  Altenburg,  .where  he  remained 
the  rest  of  his  life.  His  best  known 
works  are  Klavier-iibungen;  concerto 
for  piano;  sonatas  for  piano  and  flute; 
trios  for  flute;  suites  and  preludes  for 
piano;  organ  music;  and  vocal  music 
for  the  church.  His  two  sons,  Ehren- 
fried  Christian  Traugott  and  Johann 
Gottfried,  were  also  musical,  and  both 
held  their  father's  position  at  the 
Altenberg  Court,  although  their  abil- 
ity was  by  no  means  as  great  as  his. 

Krebs-Brenning,  Mary.     1851-1900. 

Daughter  of  the  conductor  and  com- 
poser, Karl  August  Krebs,  and  the 
opera  singer,  Aloysia  Michalesi.  Was 
a  pianist  of  international  reputation. 
She  was  born  at  Dresden,  made  a 
brilliant  debut  at  Meissen  when  only 
eleven  years  old,  and  a  year  later 
made  a  four-year  engagement  with 
Mr.  Gye  for  a  series  of  concerts  at 
Covent  Garden,  London,  appearing 
one  hundred  and  seventy  times.  She 
toured  Italy  and  France  with  Adelina 
Patti,  and  later  visited  Belgium,  Hol- 
land and  Russia.  She  came  to  Amer- 
ica twice.  The  first  time,  in  1870,  she 
gave  two  hundred  concerts,  and  was 
in  Chicago  at  the  time  of  the  great 
fire.  On  her  return  from  this  trip 
she  married  Theodore  Brenning.  She 
appeared  for  the  second  time  in  the 
United  States  in  1877.  She  was  very 
popular  both  in  America  and  Europe, 
and  was  at  one  time  Royal  Saxon 
chamber-virtuosa. 

*  Krehbiel  (kra'-bel),  Henry  Edward. 
1854- 

Celebrated  American  musical  critic, 
writer  on  musical  and  other  topics 
and  lecturer.  Has  done  much  to 
advance  modern  music  in  this 
country.  He  was  born  at  Ann 
Arbor,  Michigan,  receiving  his  pre- 
liminary education  in  that  state 
and  in  Ohio.  He  studied  law  at  Cin- 
cinnati, but  gave  it  up  for  literary 
pursuits  and  musical  journalism.  He 
became  the  musical  critic  of  the  Cin- 
cinnati Gazette  in  1874,  a  position 
which  he  held  for  six  years.  Then 
went  to  New  York,  where  he  became 
the  editor  of  the  Musical  Review  and 
the    critic    of    music    for    the    New 


Kreisler 

York  Tribune,  a  position  which  he 
still  holds.  In  1896  he  married  Marie 
Van.  In  1900  he  was  a  member  of 
the  International  Jury  of  Awards  at 
the  Paris  Exposition,  and  the  next 
year  was  made  a  member  of  the 
Legion  of  Honor.  He  devotes  part 
of  his  time  to  lecturing  and  does  much 
valuable  writing  aside  from  his  news- 
paper work,  his  articles  appearing  in 
many  of  the  leading  magazines.  His 
works  are  An  Account  of  the  Fourth 
Cincinnati  Musical  Festival  in  1880; 
Notes  on  the  Cultivation  of  Choral 
Music  and  the  Oratorio  Society  of 
New  York;  Review  of  the  New  York 
Seasons  from  1885  to  1890,  in  five 
volumes;  Studies  in  the  Wagnerian 
Drama;  The  Philharmonic  Society  of 
New  York;  How  to  Listen  to  Music; 
and  Music  and  Manners  in  the  Classi- 
cal Period.  He  has  also  translated 
The  Technic  of  Violin  Playing,  by 
Carl  Courvoisier;  and  edited  an  Anno- 
tated Bibliography  of  the  Fine  Arts; 
and  Lavignac's  Music  and  Musicians. 
Mr.  Krehbiel's  influence  in  introduc- 
ing the  Wagner  music-drama  in 
America  has  been  valuable,  and  he 
was  among  the  first  of  the  critics  to 
appreciate  Brahms,  Dvorak  and 
Tschaikowsky.  He  has  assisted  in  the 
arrangement  of  many  New  York 
musical  events,  and  has  done  much 
to  stimulate  study  of  the  music  of 
the  North  American  Indians  and  the 
black  slaves  of  the  Southern  States. 

Kreisler  (kris'-ler),  Fritz.    1875. 

Austrian  violinist,  who  began  his 
musical  career  as  an  infant  prodigy 
of  wonderful  talent,  and  after  many 
years  of  musical  inactivity  has  now 
regained  the  international  reputation 
of  his  childhood  as  a  virtuoso  of 
maturer  years.  He  was  born  at 
Vienna,  where  his  father  was  a  well- 
known  physician.  The  child's  talent 
appeared  very  early,  and  his  father, 
who  was  himseif  something  of  a  musi- 
cian, gave  him  all  possible  musical 
advantages.  When  the  boy  was  seven 
he  played  at  a  concert  for  children  at 
Vienna,  and  then  began  studying  at 
the  Vienna  Conservatory,  at  which 
he  was  the  youngest  child  ever 
entered.  When  he  was  ten  he  won 
the  first  violin  prize  there.  He  then 
went  to  the  Paris  Conservatory,  where 
he  was  the  pupil  of  Massart  and 
Delibes,  and  after  two  years'  study 
won  a  gold  medal  in  a  competition 
of    forty,    all    the    other   competitors 


448 


BIOGRAPHIES 


Kreisler 

being  a  number  of  years  older  than 
himself.  In  1889  he  toured  America 
with  Moritz  Rosenthal.  Then  for  a 
time  almost  entirely  abandoning  musi- 
cal pursuits,  he  tried  several  other 
branches  of  work,  including  art,  med- 
icine and  military  life.  After  serving 
in  the  army  for  a  year  his  desire  for 
a  musical  career  returned.  He  soon 
regained  his  mastery  of  the  violin,  and 
appeared  at  Berlin  in  1889,  playing 
selections  from  Paganini  and  Vieux- 
temps,  and  in  the  same  year  came 
again  to  America.  He  appeared  at 
London  in  1901  at  a  Richter  concert, 
and  in  1904  was  given  a  gold  medal  by 
the  Philharmonic  Society.  His  play- 
ing appeals  more  to  musicians  than 
to  the  general  public,  and  he  has 
become  widely  known  for  his  inter- 
pretation of  the  classic  music.  His 
technique  and  style  are  very  original, 
and  he  is  said  to  be  almost  as  excel- 
lent a  performer  on  the  piano  as  he 
is  on  the  violin. 

Krejcx  (kra'-che),  Joseph.  1822-1881. 
Bohemian  organist,  teacher  and 
composer.  Born  at  Milostin  and  died 
at  Prague.  Led  an  orchestra  at 
Senomat  when  he  was  thirteen  years 
old.  In  1837  he  began  studying  at 
Prague  under  Fiihrer,  Wittassek  and 
Joseph  Proksch.  He  then  held  the 
position  of  choir  director  of  two 
churches,  and  later  taught  harmony 
and  the  organ  at  the  Bohemian  School. 
He  soon  became  director  of  the  Organ 
School,  and  in  1865  of  the  Prague 
Conservatory.  His  organ  composi- 
tions are  excellent.  He  wrote  church- 
music;  orchestra  overtures;  quartets; 
and  songs. 

Kremser  (krem'-ser),  Edward.  1838- 
Composer  of  vocal  music;  born  in 
Vienna.  In  1869  he  was  made  the 
conductor  of  the  Mannergesangverein, 
of  Vienna,  for  which  he  has  com- 
posed many  choruses  that  are  now 
well  known.  Among  his  works  are 
Eine  Operetta;  Der  Schlosserkonig; 
Der  Kritische  Tag;  the  cantata,  Balken 
bilder,  for  soloists,  male  chorus  and 
orchestra;  as  well  as  many  part-songs, 
among  them  the  well-known  Six 
altneiderlandische  Volksleider;  Das 
Herzklopfen;  Erinnerungen;  Frohliche 
Armuth,  for  male  chorus  and  orches- 
tra; two  songs  from  Der  Trompeter 
von  Siikkingen,  with  cornet  solo;  and 
Jagdlied,  with  accompaniment  of  four 
horns.  He  has  written  besides  some 
excellent  piano-music. 


Kretzschmar 


Kretschmer    (kretsh'-mer),    Edmund. 

1830- 

German  organist  and  composer. 
Was  born  at  Ostritz,  Saxony,  in  1830. 
He  studied  first  with  his  father,  then 
went  to  Dresden,  where  he  was  a 
pupil  of  Julius  Otto  and  Johann 
Schneider.  He  was  made  organist  of 
the  Catholic  Court  Chapel  of  Dresden 
in  1854,  and  in  1863  he  became  Court 
organist,  a  position  which  he  filled 
until  his  retirement  in  1897.  He 
founded  and  conducted  the  Cacilia 
Singing  Society  and  between  1850  and 
1870  conducted  several  other  musical 
societies.  He  received  a  first  prize  for 
a  mass  at  Brussels  in  1868  and,  in 
1874,  he  won  success  with  his  first 
opera,  which  subsequently  was  per- 
formed in  many  cities  in  Germany. 
He  wrote  the  libretto  as  well  as  the 
score  of  his  operas.  Die  Volkungen, 
produced  in  Dresden  in  1874,  and 
Heinrich  der  Lowe,  brought  out  at 
Leipsic.  By  some  authorities,  these 
operas  are  looked  upon  as  among  the 
most  important  works  of  the  period 
which  preceded  Wagner.  Among  his 
other  works  are  the  operetta,  Der 
Fliichtling;  and  the  romantic  opera, 
Schon  Rotrant. 

Kretzschmar     (kretsh'-mar),    August 
Ferdinand  Hermann.     1848- 

Teacher,  critic  and  composer;  born 
at  Olbernhau.  Studied  under  J.  Otto 
at  the  Kreuzschule,  in  Dresden,  and 
later  under  Richter,  Reinecke,  Paul 
and  Papperitz  at  the  Leipsic  Conserv- 
atory, where  he  was  given  the  degree 
of  Doctor  of  Philosophy  for  a  thesis 
he  wrote  on  Musical  notation  prior  to 
Guido.  In  1871  he  was  made  teacher 
of  harmony  and  of  organ  at  the  Leip- 
sic Conservatory.  He  became  con- 
ductor at  the  Metz  Theatre  in  1876, 
and  in  1877  was  made  musical  director 
at  Rostock  University,  becoming 
musical  director  for  the  town  three 
years  later.  In  1887  he  became  musi- 
cal director  of  the  Leipsic  University, 
and  was  also  conductor  of  the  Aca- 
demic Male  Choir.  In  1888  he  suc- 
ceeded Riedel  as  conductor  of  the 
Riedel-Verein,  which  he  conducted 
until  1897,  retiring  then  on  account 
of  ill  health.  He  organized  the  Aca- 
demic Orchestral  concerts  in  1890, 
and  during  his  five  years'  conductor- 
ship  of  them  gave  some  especially 
interesting  historical  programs.  In 
1898  he  gave  up  his  conductorship, 
but,  as  a  professor,  is  still  lecturing  on 


BIOGRAPHIES 


449 


Kretzschmar 
musical  history.  His  compositions 
consist  of  only  some  organ-music  and 
songs,  but  as  a  critic  he  is  well  known 
as  a  contributor  to  the  MusikaHsches 
Wochenblatt  and  the  Grenzboten. 
Among  his  published  lectures  are 
Choral  Music,  and  Peter  Cornelius. 
His  Fiihrer  durch  den  Concertsaal  are 
somewhat  akin  to  our  analytical  musi- 
cal programs. 

Kreutzer  (kroi'-tser),  Conradin.    1780- 

1849. 

Opera  composer,  pianist,  singer  and 
conductor.  He  was  a  German,  born 
at  Messkirch,  and  began  his  musical 
career  in  the  choir,  first  at  Messkirch 
and  then  at  Zwiefalten  and  Scheussen- 
ried.  He  studied  medicine  for  a  short 
time  at  Freiburg,  but  soon  gave  all 
his  attention  to  music.  His  first 
operetta.  Die  lacherliche  Werbung, 
appeared  in  Freiburg  in  1800,  and  four 
years  later  he  went  to  Vienna  to  make 
a  special  study  of  opera  composition 
under  Albrechtsberger.  He  brought 
out  .i^sop  in  Phrygien  and  Jery  und 
Bately  there,  and  later  two  grand 
operas,  Conradin  von  Schwaben,  and 
Der  Taucher,  at  Stuttgart,  where  the 
former  was  received  so  enthusiasti- 
cally that  the  composer  was  given  the 
position  of  chapelmaster  to  the  King 
of  Wiirtemberg  in  1812.  Later  he 
entered  the  service  of  Prince  von 
Furstenberg.  He  returned  to  Vienna 
soon  and  produced  Libussa,  and  after 
that  became  conductor  in  several  the- 
atres. He  wrote  thirty  operas,  only 
three  of  which,  Das  Nachtlager  von 
Granada,  his  best  work,  Verschwender, 
and  Jery  und  Bately,  are  still  played; 
an  oratorio;  some  excellent  male  cho- 
ruses; some  church-music;  and  lighter 
pieces. 

Kreutzer,  Rodolphe.    1766-1831. 

Remarkable  violin  virtuoso  and 
composer,  the  third  of  the  group  of 
four  violinists,  the  others  being  Viotti, 
Rode  and  Baillot,  who  are  the  best 
representatives  of  the  French  classical 
violin  school.  He  was  born  at  Ver- 
sailles, where  his  father,  a  German 
violinist,  played  in  the  Royal  band. 
He  began  studying  with  Stamitz  when 
he  was  five  years  old,  appeared  at  his 
first  concert  at  twelve,  and  played  one 
of  his  own  compositions  in  public  at 
thirteen.  In  1782  his  father  died,  and 
the  young  Kreutzer  was  befriended 
by  Marie  Antoinette,  who  had  him 
made    first    violinist    in    the    King's 


Kreutzer 

Chapel.  Until  his  twenty-fourth  year, 
he  spent  all  his  time  in  violin  study 
and  violin  composing,  bringing  out, 
in  1784,  six  duets  for  the  violin  and 
violoncello.  He  then  became  violin 
soloist  in  the  Italian  Theatre,  and 
began  composing  operas.  The  first, 
Jeanne  d'Arc,  given  in  1790,  was  suc- 
cessful, and  was  followed  by  Paul 
and  Virginia  with  even  greater  suc- 
cess. His  next  effort,  Lodoiska,  failed 
because  of  its  poor  libretto,  and 
Imogene,  ou  la  Gageure  indiscrete, 
based  on  one  of  Boccaccio's  tales, 
won  little  approval.  Kreutzer  then 
toured  Italy,  Germany  and  the  Neth- 
lands  as  a  violinist,  with  brilliant  suc- 
cess. He  returned  to  Paris,  taught 
in  the  Conservatory  there,  was  made 
first  violin  of  the  Grand  Opera 
Orchestra  in  1801,  and  again  tried 
writing  operas.  He  produced  Astya- 
nax;  Aristippe;  and  La  Mort  d'Abel. 
He  also  played  in  the  private  band  of 
Napoleon,  and  when  this  same  band 
came  into  the  possession  of  Louis 
XVIII.,  in  1815,  Kreutzer  was  made 
its  director.  He  was  at  that  time  sec- 
ond leader  at  the  Italian  Theatre. 
In  1817  he  became  conductor,  and  in 
1824  was  given  entire  charge  of  the 
Grand  Opera,  and  made  a  Chevalier 
of  the  Legion  of  Honor.  In  1826  his 
health  broke  down  and  he  was  obliged 
to  retire  to  Geneva,  where  he  was 
treated  for  paralysis.  He  soon  began 
to  feel  that  he  was  being  forgotten, 
and  was  greatly  depressed  because 
he  was  unable  to  get  his  last  opera, 
Mathilde,  on  the  boards  This  con- 
dition and  his  poor  health  weakened 
his  mind,  and  he  died  after  a  wretched 
existence  of  five  years  at  Geneva. 
Kreutzer  has  been  called  the  great 
tone-producer  of  his  time.  His  execu- 
tion on  the  violin  was  clear  and 
faultless,  and  he  handled  the  bow  like 
a  master.  With  Marschner  and  Lortz- 
ing  he  also  forwarded  the  modern  ten- 
dencies of  German  Opera.  He  is 
known  at  present,  however,  chiefly 
for  his  excellent  violin  method,  writ- 
ten with  Baillot.  He  composed  thirty- 
nine  operas  and  ballads,  all  of  which 
appeared  at  some  time  in  Paris,  and 
a  great  deal  of  orchestral  and  instru- 
mental music,  little  of  which  has 
lived.  Kreutzer's  name  has,  in  one 
way,  been  immortalized  by  Beethoven 
through  the  widely-known  Kreutzer 
Sonata,  dedicated  to  the  violinist, 
though  he  is  said  never  to  have 
played  it. 


450 


BIOGRAPHIES 


Kreuz 
Kreuz  (kroits),  Emil.    1867- 

Excellent  viola  player  and  a  writer 
of  beautiful  compositions  for  that 
instrument.  Was  born  at  Elberfeld, 
Germany.  He  began  to  play  when 
only  three  years  old,  and  at  ten 
studied  under  Japha  at  Cologne. 
When  sixteen,  he  won  an  open  schol- 
arship at  the  Royal  College  of  Music, 
where  he  remained  until  1888,  study- 
ing violin  with  Holmes  and  composi- 
tion with  Stanford.  For  two  years  he 
gave  special  attention  to  the  viola, 
making  his  debut  as  a  soloist  at  a 
Henschel  concert  in  1888.  He  became 
well  known  in  England.  He  was 
violin  soloist  at  the  Leeds  Festival  in 
1889;  from  1888  to  1903  one  of  the 
Gompertz  Quartet,  and  from  1900  to 
1903  a  member  of  the  Queen's  band. 
In  1903  he  became  assistant  musical 
director  of  the  Covent  Garden  Opera, 
and  on  the  advice  of  Richter  joined 
the  Halle  Orchestra  to  study  con- 
ducting with  its  leader.  At  present 
he  has  almost  given  up  playing  and 
composing  for  the  viola,  intending  to 
turn  his  attention  to  operatic  work, 
the  training  of  singers  and  conducting. 
His  compositions  for  the  viola  are  of 
a  very  high  order,  among  them  being 
a  trio  in  C;  a  prize  quintet  for  horn 
and  string  quartet;  a  concerto  for 
viola  and  orchestra;  many  viola  solos; 
other  chamber-music;  and  also  a  num- 
ber of  beautiful  songs. 


Krieger 

1735. 


(kre'-ger),    Johann.       1652- 


Brother  of  Johann  Philipp.  An 
organist  and  composer,  especially 
known  for  his  double  fugues,  and 
classed  by  some  as  approaching  Han- 
del and  Sebastian  Bach  in  excellence. 
He  was  born  at  Nuremberg,  and  stud- 
ied first  with  his  brother,  whom  he 
succeeded  as  organist  at  Bayreuth. 
He  next  went  to  Weissenfels  and 
then  to  Zittau,  where  he  directed  the 
town  music  and  was  organist  of  two 
churches,  and  where  he  died.  He 
wrote  three  extensive  musical  works, 
Musikalische  Ergetzlichkeiten,  con- 
sisting of  arias  for  the  voice;  Musi- 
kalische Parthien,  a  collection  of 
dance-music  for  the  clavichord;  and 
Anmuthige  Clavieriibungen,  a  work  on 
fugrues  and  preludes,  highly  valued 
by  Handel.  He  also  left  some  excel- 
lent unpublished  sacred  music  and 
organ  pieces,  the  manuscripts  of 
which  are  in  the  Berlin  Library. 


Kroeger 
Krieger,  Johann  Philipp.    1649-1725. 

German  dramatic  composer;  born  at 
Nuremberg  and  died  at  Weissenfels. 
He  was  first  instructed  by  J.  Drechsel 
and  Gabriel  Schiitz,  then  was  for  five 
years  the  pupil  and  assistant  of  J. 
Schroter,  Court  organist  at  Copen- 
hagen. He  studied  composition  with 
Georg  Forster  there.  He  was  Court 
organist  at  Bayreuth,  and  then  went 
to  Italy  and  studied  under  Rose- 
miiller,  Rovetta,  Abbatini  and  Pas- 
quini.  When  he  returned  to  Bayreuth 
he  was  ennobled  by  Emperor  Leopold 
I.  He  was  later  chapelmaster  at 
Cassel,  Court  organist  at  Halle,  and 
finally  Court  chapelmaster  at  Weissen- 
fels. He  was  successful  as  an  opera 
composer  and  a  writer  of  the  sing- 
spiel;  and  he  also  composed  instru- 
mental music  ranked  by  some 
authorities  with  Handel's  and  a  great 
number  of  sacred  works. 

*  Kroeger  (kra'-ger),  Ernest  Richard. 
1862- 

Successful  American  composer  and 
teacher;  born  at  St.  Louis,  Mo.  He 
began  studying  violin  and  piano  when 
he  was  five  years  old,  and  received  his 
entire  musical  education  in  this  coun- 
try, principally  in  St.  Louis,  where  he 
is  located  at  present,  and  holds  a 
prominent  position  as  a  teacher,  pian- 
ist and  composer.  He  is  director  of 
the  College  of  Music  at  the  Forest 
Park  University  for  Women  and  is 
concert  pianist  of  the  Kroeger  School 
of  Music.  Was  president  of  the  Music 
Teachers'  National  Association  from 
1895  to  1896,  and  of  the  Missouri  State 
Music  Teachers*  Association  from 
1897  to  1899.  Is  a  fellow  of  the  Ameri- 
can Guild  of  Organists  and  was  mas- 
ter of  programs  of  the  Bureau  of 
Music  at  the  St.  Louis  Exposition  in 
1904.  He  has  written  a  great  many 
different  kinds  of  music,  and  is  one 
of  a  very  few  Americans  who  have 
published  fugues.  Mr.  Kroeger  says 
that  some  of  his  ideas  are  entirely 
musical,  while  others  are  attempts  to 
illustrate  poems  in  tones,  such  as  his 
symphony^  a  suite,  and  overtures  on 
Endymion,  Thanatopis,  Sardanapalus 
and  Hiawatha.  He  has  also  published 
a  very  clever  group  of  sonnets,  on 
various  themes;  Twelve  Concert 
Studies,  which  Hughes  says  "  show 
the  influence  of  Chopin  upon  a  com- 
poser who  writes  with  a  strong  Ger- 
man   accent;"   an    etude,    Castor   and 


BIOGRAPHIES 


451 


Kroeger 

Pollux;  a  Romanze;  and  other  studies, 
A  Danse  Negre  and  Caprice  Negre 
resemble  similar  works  of  Gottschalk; 
and  his  Dance  of  the  Elves  is  dedi- 
cated to  Mme.  Rive-King. 

Kroll  (krol),  Franz.    1820-1877. 

Pianist,  critic  and  writer  on  musical 
topics,  rather  than  a  composer.  He 
was  born  at  Bromberg  and  died  at 
Berlin.  He  studied  with  Liszt  at 
Weimar  and  Paris,  and  later  went  to 
Berlin,  where  for  a  short  time  he 
taught  at  Stern's  Conservatory.  He 
edited  one  edition  of  the  Well-tem- 
pered Clavichord,  also  published 
critical  editions  of  other  works  of 
Bach  and  works  of  Mozart  and  other 
composers.  He  had  a  wonderful  un- 
derstanding of  music  and  was  a  clever 
and  thorough  pianist. 

Krommer  (krom'-mer),  Franz.    1760- 
1831. 

Violinist,  organist  and  composer, 
contemporary  with  Mozart  and 
Haydn.  He  was  born  at  Kamenitz, 
Moravia,  and  began  the  study  of 
music  by  learning  to  play  the  organ 
from  an  uncle,  who  was  choirmaster 
at  Turas,  in  Hungary.  His  first  posi- 
tion was  as  organist  there  and  during 
the  seven  years  he  remained  there  he 
composed  some  church-music,  only  a 
small  part  of  which  was  published. 
Then  he  gave  up  organ  music  and  be- 
came a  violinist  in  the  orchestra  of 
Count  Ayrum,  at  Simontornya,  which 
he  afterward  conducted.  He  held 
several  other  positions,  among  them 
that  of  bandmaster  of  the  Karoly 
regiment,  then  chapelmaster  to  Prince 
Grassalkovics  and  finally  Court  chapel- 
master in  1814,  in  which  position  he 
went  with  Emperor  Francis  to  France 
and  Italy.  His  most  important  compo- 
sitions were  military  pieces  for  wind- 
instruments.  His  published  works 
are  a  mass  for  four  voices  with 
orchestra;  five  s3'mphonies  for  full 
orchestra;  five  concertos  for  the  vio- 
lin; duets  for  the  clarinet  and  for  the 
flute;  eighteen  quintets  for  strings; 
trios  for  strings;  and  symphonies  for 
other  instruments. 

Krug  (krookh),  Arnold.     1849- 

Talented  composer  and  conductor; 
born  at  Hamburg.  After  receiving 
some  musical  instruction  from  his 
father,  he  studied  with  Gurlitt  and  in 
1868  entered  the  Leipsic  Conservatory, 
where  in  .1869  he  won  the  Mozart 
foundation     scholarship     and     began 


Kriiger 
study  with  Reinecke  and  Kiel.  In 
1871  he  went  to  E.  Frank  in  Berlin 
for  piano.  In  1872  he  became  a 
teacher  in  Stern's  Conservatory  at 
Berlin,  remaining  there  five  years. 
On  winning  the  Meyerbeer  scholar- 
ship he  went  to  France  and  Italy  for 
study  during  1877  and  1878.  On  his 
return  he  settled  in  Hamburg,  where 
he  organized  a  Gesangverein,  and  in 
1885  he  became  a  teacher  at  the  local 
Hamburg  Conservatory  and  conduc- 
tor of  the  Altona  Singakademie.  He 
has  composed  many  interesting  pieces 
of  music,  among  them  Romanesque 
Dances  for  orchestra;  Italianische 
Reiseskizzen  for  orchestra  of  strings; 
prologue  to  Othello;  a  suite;  a  violin 
concerto;  a  symphony;  and  several 
large  choral  works,  including  Herr 
Oluf,  Sigurd,  Am  die  Hoflfnung  and 
Nomadenzug. 

Krug,  Wenzel  Joseph.     1858- 

Conductor  and  composer;  born  at 
Waldsee,  Upper  Swabia.  He  was  very 
precocious,  but  in  his  early  years  re- 
ceived little  instruction,  until  1872, 
when  he  went  to  Stuttgart  Conserv- 
atory, where  he  studied  composition, 
singing,  violin  and  piano  until  1880. 
He  taught  for  a  short  time  at  Hofwyl, 
near  Bern,  and  in  1882  went  to  Stutt- 
gart to  conduct  the  Neuer  Singverein, 
a  position  which  he  held  until  1889, 
when  he  became  chorusmaster  and 
music-director  at  the  Municipal  Thea- 
tre of  Hamburg.  From  1892  to  1893 
he  was  conductor  at  the  Theatre  of 
Briinn;  in  1894  he  became  conductor 
at  Nuremberg;  and  in  1896  held  the 
same  position  at  Augsburg.  In  1901 
he  went  to  Magdeburg  as  conductor 
for  the  theatre  there.  He  is  a  com- 
poser of  unusual  individuality  and  has 
written  many  especially  good  grand 
concert  cantatas.  Among  his  works 
are  a  dramatic  Christmas  Tale, 
Heinzelmannchen;  the  secular  ora- 
torio, Konig  Rother;  the  ballet,  Das 
Marchen;  the  concert  cantatas,  Seebil- 
der,  Dornroschen,  Geiger  zu  Gonumd 
and  Hochzeitslied;  a  concert  overture 
in  E  for  full  orchestra;  a  one-act 
comic  opera,  Der  Procurador  von  San 
Juan;  the  opera,  Astorre;  the  piano 
trio  in  D;  songs  and  other  music. 

Kriiger    (krii'-ger),    Wilhelm.      1820- 

1883. 

Eminent  pianist  and  composer.  Was 
born  and  died  at  Stuttgart.  He 
studied    first    with     Lindpainter   and 


452 


BIOGRAPHIES 


Kriiger 

Ziegele  and  was  sent  to  Paris  by  the 
King  of  Wiirtemberg,  remaining  there 
four  years  studying,  teaching  and 
playing.  He  then  went  to  Berlin, 
where  he  became  Court  pianist  and 
was  a  pupil  of  Dehn.  He  returned  to 
Paris  in  1845  and  remained  there  as  a 
teacher,  until  the  beginning  of  the 
Franco-Prussian  War  in  1870,  when 
he  went  back  to  Stuttgart  and  taught 
in  the  Conservatory  there.  He  com- 
posed one  hundred  and  sixty-eight 
piano-pieces  of  many  different  kinds, 
mcludmg  type  pieces;  etudes,  of  which 
The  Six  Days  of  the  Week  is  espe- 
cially well  known;  a  Polonaise  Bolero; 
and  others.  He  also  brought  out  an 
admirable  edition  of  Handel's  clavi- 
chord works. 

Krumpholtz   (kroomp'-holts),  Johann 
Baptist.    About  1745-1790. 

Famous  harpist,  composer  and  in- 
ventor of  a  two-pedal  harp.  He  was 
born  at  Zlonitz,  near  Prague,  and 
spent  much  of  his  life  in  Paris.  His 
father,  who  was  bandmaster  in  a 
Paris  regiment,  gave  him  his  first 
music  lessons,  and  later,  when  he  be- 
came a  member  of  Prince  Esterhazy's 
Orchestra  at  Esterhazy,  he  studied  un- 
der Haydn.  He  made  a  tour  through 
Germany  and  then  returned  to  France, 
where  he  married  one  of  his  pupils, 
Fraulien  Meyer,  who  won  a  greater 
reputation  as  a  player  than  himself. 
They  made  a  number  of  successful 
tours  together,  but  finally  the  wife 
eloped  to  England  and  Krumpholtz, 
overcome  with  grief,  drowned  himself 
in  the  Seine.  His  greatest  work  was 
in  improving  the  harp.  His  best  com- 
positions for  the  harp  are  six  grand 
concertos;  thirty-six  sonatas;  and 
preludes;  duets,  quartets  and  sym- 
phonies for  the  harp  with  other  in- 
struments. 

Krumpholtz,    Wenzel.      About    1750- 
1817. 

Violinist;  brother  of  Johann  Bap- 
tist; principally  known  for  his  strong 
friendship  with  Beethoven.  He  was 
one  of  the  first  violins  at  the  Vienna 
Court  Opera,  and  while  there  it  is 
possible  that  he  gave  Beethoven  some 
violin  lessons.  At  any  rate,  he  was 
among  the  first  to  recognize  the 
greatness  of  the  master  and  his  in- 
fluence did  much  to  bring  about  Bee- 
thoven's first  prominence.  Krumpholtz 
also  played  the  mandolin,  and  Bee- 
thoven composed  the  sonata  for  that 


KubeUk 

instrument  for  him.  His  only  pub- 
lished works  are  Abendunterhaltung, 
for  one  violin;  and  Eine  Viertelstunde 
fiir  eine  Violine. 

Kruse    (kroo'-ze),   Johann    Secundus. 

1859- 

Born  at  Melbourne,  Australia,  where 
at  the  age  of  nine  he  occupied  the 
first  desk  in  the  concerts  of  the  local 
Philharmonic  Society.  In  1875  he 
went  to  study  with  Joachim  in  the 
Hochschule  at  Berlin,  where  later  he 
also  taught.  In  1882  he  was  appointed 
principal  violin  and  subconductor  of 
the  Berlin  Philharmonic  Society,  and 
in  the  same  year  founded  a  string 
quartet.  He  went  to  Australia  in 
1885,  but  was  recalled  to  Germany  to 
relieve  Joachim  of  some  of  the  work 
at  the  Hochschule,  where  he  con- 
tinued to  teach  until  1891,  when  he 
went  to  Bremen  to  lead  the  Philhar- 
monic Orchestra.  In  1892  he  joined 
the  Joachim  Quartet,  although  he 
conducted  a  quartet  of  his  own  in 
Bremen,  where  he  still  lived.  In  1895 
he  made  a  short  tour  of  Australia,  and 
in  1897  he  went  to  London,  where  his 
musical  activity  began  with  the  found- 
ing of  a  quartet  and  the  giving  of  a 
series  of  concerts  in  St.  James'  Hall. 
In  1902  he  conducted  the  Saturday 
Popular  concerts,  reducing  them  to 
ten  programs.  In  1903  he  restored 
them  to  their  original  number,  twenty, 
beside  conducting  the  twenty  Mon- 
day Popular  concerts  and  arranging 
several  other  important  series  of  con- 
certs. He  has  became  well  known  in 
London  as  a  performer  of  chamber- 
music,  in  which  branch  he  particularly 
excels.  His  chief  characteristics  as 
a  violin-player  are  his  brilliant  stac- 
cato bowing  and  his  trill. 

Kubelik  (koo'-be-lik),  Jan.     1880- 

One  of  the  most  popular  violin 
virtuosos  of  the  present,  considered 
by  many  as  a  second  Paganini.  His 
parents  were  of  Czech  origin  and  he 
was  born  at  Michle,  a  little  town  near 
Prague.  His  father,  who  was  a  mar- 
ket-gardener of  very  scanty  means, 
had  a  good  deal  of  musical  ability, 
playing  several  instruments  and  con- 
ducting a  village  orchestra,  and  his 
ambition  for  his  son,  Jan,  whose 
talent  was  apparent  from  the  first, 
was  very  great.  The  boy  was  given 
his  first  lessons  by  his  father  with 
such  good  results,  that  when  only 
eight  years  old  he  appeared  in  public 


BIOGRAPHIES 


453 


Kubelik 

at  Prague,  playing  a  Vieuxtemps  con- 
certo. At  the  age  of  twelve  he  en- 
tered the  Prague  Conservatory  of 
Music  and  remained  there  for  six 
years,  under  the  special  care  of 
Seveik.  In  1898  he  appeared  twice 
at  student  musical  events  with  marked 
success;  but  just  before  his  first  great 
public  triumph,  his  father,  who  had 
hoped  so  much  for  him,  died,  leaving 
the  support  of  the  family  largely  to 
the  youthful  violinist.  Late  in  1898 
he  appeared  at  Vienna  and  from  that 
time  his  success  was  assured.  Other 
performances  soon  followed  at  Buda- 
pest, many  of  the  large  Italian  cities 
and  Paris.  His  appearance  at  a  Rich- 
ter  concert  and  some  concerts  of  his 
own  at  London,  in  1900,  made  him 
enormously  popular  in  England  and 
his  American  visit  in  1902  was  not 
less  successful.  After  this  tour  he  re- 
turned to  England  and  the  English 
Provinces,  and  also  traveled  on  the 
Continent,  where,  however,  he  is  less 
popular  than  in  England  and  America. 
In  1903  he  married  Countess  Czaky 
Szell.  Kubelik  has  appeared  many 
times  before  the  Royalty  of  Europe. 
He  was  decorated  with  the  Order  of 
St.  Gregory  by  Pope  Leo  XIII. ;  at 
London  he  was  presented  with  the 
Beethoven  grand  medal  of  honor  by 
the  Philharmonic  Society,  and  at  Bel- 
grade was  given  a  decoration  by  King 
Alexander.  The  virtuoso  is  a  small, 
slender,  young  man,  absolutely  lacking 
in  afifectation.  The  marvelous  im- 
pression which  he  makes  upon  his 
audience  is  created  by  his  music  alone. 
Technical  difficulties  are  of  no  con- 
cern to  him  and  he  takes  an  almost 
childish  delight  in  conquering  them. 
He  considers  showy  music  requiring 
merely  mechanical  mastery  far  below 
the  level  of  the  simpler  type  contain- 
ing more  sentiment.  Expression  is 
his  chief  aim,  and  his  music  is  won- 
derful for  its  melody  and  singing 
quality.  E.  H.  Krehbiel  says  of  him: 
"  There  is  nothing  that  the  violin  has 
been  asked  to  say  that  he  cannot 
bring  to  utterance  in  a  manner  that 
compels  amazed  attention.  He  is  a 
wonderful  youth,  and  if  he  shall  turn 
out  to  be  the  greatest  violinist  of  the 
next  half  century  his  severest  critics 
today  will  not  be  surprised." 

Kucken   (kik'-'n),  Friedrich  Wilhelm. 
1810-1882. 

German    song-writer;    well    known 
and  loved  by  the  people,  but  consid- 


Kufferath 


ered  of  small  importance  by  musi- 
cians. He  was  born  at  Bleckede,  in 
Hanover,  and  his  father,  a  plain  man 
with  very  practical  ideas,  did  what 
he  could  to  discourage  the  son's  musi- 
cal ambitions.  Young  Kiicken,  how- 
ever, studied  with  his  brother-in-law, 
Liihrss,  and  with  Aron  at  Schwerin, 
where  he  played  in  the  Duke's  Orches- 
tra. His  first  efforts  in  composition 
were  so  favorably  received  that  he 
was  hired  as  a  teacher  in  the  Royal 
family,  but  his  ambitions  led  him  to 
Berlin  in  1832,  where  he  studied  with 
Birnbach,  and  in  1839  successfully 
brought  out  his  first  opera.  The  Flight 
to  Switzerland.  In  1841  he  studied 
with  Sechter  at  Vienna,  and  in  1843 
directed  the  festival  of  male  singers 
at  St.  Gall.  He  then  studied  three 
years  at  Paris  under  Halevy  and 
Bordogni,  after  which  he  returned  to 
Germany  and  produced  another  suc- 
cessful opera.  The  Pretender.  In  1851 
he  accepted  a  position  as  chapelmas- 
ter  at  Stuttgart,  and  kept  it  until  1861. 
He  died  at  Schwerin.  He  composed 
some  instrumental  music,  but  is  cele- 
brated chiefly  for  his  songs  which 
were  widely  known  and  enjoyed  great 
popularity  for  a  generation  at  least, 
even  though  they  were  not  stamped 
with  the  seal  of  professional  approval. 
The  Thuringian  folk-songs  were 
among  the  best  and  most  popular, 
and  such  others  as  Das  Sternelein; 
O  weine  nicht;  Trab,  trab;  The  Maid 
of  Judah;  and  The  Swallows,  being 
sung  in  England  as  well  as  on  the 
Continent. 

Kuff  erath      (koof '-£  er-at) ,     Hubert 
Ferdinand.     1818-1896. 

Prominent  member  of  a  Prussian 
musical  family;  the  brother  of  Johann 
Hermann  Kufferath,  director  of  a 
music  school  at  Utrecht,  and  of  Louis 
Kufferath,  director  of  conservatories 
at  Leeuwarden,  Ghent  and  Brussels. 
Hubert  Kufferath  was  born  at  Miihl- 
heim,  and  was  first  taught  music  by 
Joseph,  who  later  sent  him  to  Cologne 
to  study.  He  played  the  violin  at  a 
festival  at  Diisseldorf  so  well  that 
Mendelssohn,  who  heard  him,  per- 
suaded him  to  come  to  Leipsic  where 
he  could  give  him  some  lessons.  He 
also  studied  with  Hauptmann  and 
David  there.  From  1841  to  1844  he 
conducted  the  Mannergesangverein  at 
Cologne,  then,  after  some  tours,  lo- 
cated at  Brussels,  where  he  conducted 
several   musical   societies,   became   an 


454 


BIOGRAPHIES 


KufFerath 


instructor  in  the  Royal  family,  and 
was  finally  made  Court  pianist  to  Leo- 
pold I.  He  wrote  a  School  of  the 
Choral;  symphonies;  concertos  and 
other  compositions  for  the  piano;  and 
songs. 

Kufferath,  Maurice.    1852- 

Well-known  writer  on  musical 
topics.  Was  the  son  of  Hubert  Fer- 
dinand Kuflferath,  and  first  studied 
music  with  his  father.  He  was  born 
at  Brussels.  Was  educated  in  philoso- 
phy and  law  and  studied  the  violon- 
cello under  Servais.  He  has  been 
editor  and  proprietor  of  the  Musical 
Guide,  and  has  published  many  valu- 
able works  on  modern  music,  among 
them  Richard  Wagner  and  the  New 
Symphony;  The  Theatre  of  Wagner 
from  TannhJiuser  to  Parsifal;  Berlioz 
and  Schumann;  Vieuxtemps;  The  Art 
of  Directing  the  Orchestra;  an  article 
on  musical  instruments;  and  transla- 
tions of  several  texts  of  Brahms  and 
Wagner. 
Kuhe  (koo'-e),  Wilhelm.    1823- 

Pianist,  who  even  as  a  very  small 
child  showed  a  great  talent  for  music; 
born  at  Prague.  He  studied  prin- 
cipally with  Tomaschek,  and  made  a 
very  successful  tour  through  Germany 
in  1844.  In  1845  he  went  to  England 
with  the  singer,  Pischek,  and  has  re- 
sided there  ever  since,  either  at  Lon- 
don or  Brighton,  where  he  has  both 
taught  and  performed  successfully. 
Pie  directed  an  annual  festival  from 
1870  to  1882,  at  which  the  works  of 
many  modern  English  composers  were 
brought  out.  He  gave  annual  con- 
certs in  London  for  many  years,  and 
was  given  a  professorship  in  the 
Royal  Academy  of  Music  in  1886,  a 
position  which  he  held  until  1904. 
Among  his  works  are  some  very 
popular  drawing-room  compositions, 
as,  Le  Carillon;  Chanson  d'Amour; 
Romance  sans  Paroles;  Victoria  Fan- 
tasia on  National  anthem;  and  Fan- 
tasia on  Austrian  anthem. 

Kuhlau    (koo-low),    Friedrich.     1786- 
1832. 

German  composer,  who  did  much 
to  improve  Danish  opera.  He  was 
born  of  very  humble  parentage  at 
Uelzen,  in  Hanover,  and  when  quite 
young  lost  one  of  his  eyes.  The 
French  occupation  of  Germany  at  that 
time  made  him  fear  conscription  so 
he  went  from  place  to  place,  learning 
what  he  could  of  music  by  his  own 


KiihnaU 

efforts,  and  finally  found  himself  in 
Denmark.  He  soon  got  the  position 
of  first  flute  in  the  King's  band  at 
Copenhagen.  He  then  began  com- 
posing operas,  was  made  Court  com- 
poser and  given  the  title  of  professor. 
He  was  by  this  time  in  very  com- 
fortable circumstances  and  settled 
with  his  parents  at  Lyngbye,  near 
Copenhagen.  In  1830,  however,  the 
burning  of  many  of  his  works  and  the 
death  of  his  parents  broke  down  his 
health  and  he  died  at  Copenhagen  two 
years  later.  Among  his  works  are 
The  Robber's  Castle,  Elisa,  Lulu,  The 
Magic  Harp,  and  Hugo  and  Adelaide, 
all  successful  operas;  Euridice,  a  dra- 
matic scene;  music  to  Heiberg's  drama, 
Elverhoi;  many  instrumental  works 
and  some  choruses. 

Kuhmstedt     (kiim'-shtet),    Friedrich. 
1809-1858. 

German  organist,  composer  and 
writer  on  musical  subjects,  who  rose 
to  eminence  after  overcoming  many 
difficulties.  He  was  born  at  Oldisle- 
ben,  in  Saxe-Weimar,  and  when  nine- 
teen, in  opposition  to  the  desire  of 
his  parents,  who  wished  to  make  him 
a  minister,  he  left  the  University  of 
Weimar  and  went  to  Darmstadt,  where 
he  stayed  three  years  studying  com- 
position with  C.  H.  Rinck.  He  taught 
music  at  Weimar  and  also  wrote,  but 
had  to  struggle  with  threatened  par- 
alysis of  his  right  hand,  and  was  able 
to  earn  only  a  very  scanty  living, 
until  1836,  when  he  became  musical 
director  and  teacher  in  the  Eisenach 
Seminary.  More  trouble  was  in  store 
for  him  however,  for  he  married  and 
his  wife  died  suddenly  on  the  wedding 
day  before  they  left  the  church.  When 
he  roused  himself  from  this  great  sor- 
row, be  began  the  works  which  soon 
brought  him  into  prominence  and 
good  circumstances.  He  died  at 
Eisenach.  He  wrote  some  operas  and 
oratorios  which  had  only  temporary 
popularity,  but  his  name  has  lived 
through  his  excellent  organ  works 
such  as  The  Art  of  Preluding;  Intro- 
duction to  the  works  of  J.  S.  Bach; 
many  fugues  and  preludes;  and  a 
work  on  harmony  and  modulation. 

Kuhnau    (koo'-now),    Johann.      1660- 
1722. 

A  German  scholar  and  musician, 
widely  known  and  beloved  in  his  time. 
Was  the  predecessor  of  Bach  as  can- 
tor at  Leipsic.    He  was  the  son  of  a 


BIOGRAPHIES 


455 


Kuhnau 

Bohemian  fisherman  and  was  born  at 
Geising,  about  1660,  though  the  date 
is  not  positively  known.  As  a  boy 
he  went  to  school  at  Dresden  and  be- 
came a  chorister  there,  returning 
home  in  1680  on  account  of  the 
plague.  Finding,  however,  that  his 
native  town  lacked  the  proper  oppor- 
tunities for  exercising  his  genius,  he 
went  to  Zittau,  where  he  gave  French 
lectures  and  assisted  at  the  school  for 
his  living.  Soon  a  motet  which  he 
composed  for  a  town  election  at- 
tracted so  much  attention  that  he  was 
set  on  his  feet  financially,  and  went 
to  Leipsic  where  he  was  already  well 
known.  In  1684  he  became  organist 
at  the  Thomaskirche;  in  1700  took 
charge  of  the  music  at  the  University 
and  in  1701  became  cantor,  a  position 
which  he  held  with  honor  until  his 
death.  Aside  from  being  a  thorough 
musician,  he  was  a  good  lawyer,  a 
scholar  and  philologist,  and  a  poet. 
The  greatest  work  he  did  along  musi- 
cal lines  was  to  invent  a  sonata  form 
in  several  movements.  He  wrote 
fourteen  of  these  sonatas,  among 
them  Fine  Sonata  aus  dem  B,  having 
three  movements;  Frische  Clavier- 
Friichte,  oder  sieben  Sonaten;  and 
Biblische  Historien  nebst  Auslegung 
in  sechs  Sonaten.  He  also  wrote  some 
admirable  dance-mvisic. 

Kullak    (kool'-lak),    Theodor.      1818- 
1882. 

Successful  pianist,  composer  and 
teacher;  born  at  Krotoschin,  Posen, 
and  died  at  Berlin.  When  a  child,  his 
talent  was  discovered  by  Prince 
Radziwill,  who  had  the  boy  instructed 
by  Agthe.  Kullak's  father  was  op- 
posed to  a  musical  career  and  would 
have  preferred  to  have  him  take  up 
the  law  or  medicine.  He  did  make 
some  efforts  along  these  branches,  but 
finally  gave  up  his  time  entirely  to 
music,  and  studied  under  Dehn  and 
Agthe  again  in  Berlin  and  under 
Czerny,  Sechter  and  Nicolai  in  Vienna. 
He  then  made  a  very  successul  tour 
through  Austria  and  when  he  returned 
was  appointed  piano  teacher  in  the 
Royal  family  and  in  1846  became  Court 
pianist  to  the  King  of  Prussia.  With 
Stern  and  Marx  he  started  a  conserv- 
atory in  Berlin  in  1850,  but  as  his 
business  relations  with  them  became 
strained  he  left  and  started  a  school 
of  his  own,  also  in  Berlin,  called  Neue 
Akademie  der  Tonkunst.  This  enter- 
prise prospered  and  he  soon  had  one 


Kummer 


hundred  teachers  and  over  one  thou- 
sand pupils.  Among  the  instructors 
was  his  brother  Adolf,  who  wrote  a 
few  pieces  and  published  some  very 
good  instructive  methods,  and  his 
son,  Franz,  who  had  studied  with  his 
father  and  a  little  with  Liszt.  Franz 
had  charge  of  the  orchestra  class,  and 
at  his  father's  death  took  the  entire 
control  of  the  school  until  1890  when 
it  was  closed.  Some  of  the  distin- 
guished pupils  of  the  elder  Kullak 
were  Arthur  Mees,  Hans  Bischofif, 
A.  Griinfeld,  O.  Neitzel,  C.  Sternberg, 
Moritz  Moszkowski,  Erica  Lie,  Mar- 
tha Remmert  and  Helene  Geissler. 
Kullak's  most  important  works  are  a 
grand  concerto  in  C  minor  for  piano 
and  orchestra;  trio  for  piano  and 
strings;  duos  for  piano  and  violin; 
ballades  and  boleros  for  piano;  many 
brilliant  fantasias  and  paraphrases  for 
piano;  collections  of  small  pieces; 
Ondine;  Concert-etude;  and  his  Oc- 
tave-school, a  book  on  musical  in- 
struction. 

Kummer    (koom'-m'r),    Friedrich 
August.     1797-1879. 

Violoncellist  and  composer  for  that 
instrument,  who  was  born  at  Mein- 
ingen,  but  spent  most  of  his  life  at 
Dresden,  where  he  was  taught  to  play 
the  violoncello  by  Dotzauer.  From 
an  early  age  the  boy  longed  for  a 
position  in  the  King's  band,  and  when 
the  place  of  oboist  became  vacant  he 
studied  that  instrument,  and  very 
soon  became  so  proficient  at  it  that 
he  was  given  the  desired  position  in 
1814.  He  kept  it  only  three  years, 
however,  at  the  end  of  which  period 
he  went  back  to  the  violoncello,  and 
made  such  a  reputation  for  himself 
that  he  soon  became  a  member  of  the 
Dresden  Orchestra  and  remained  with 
it  for  fifty  years.  During  this  time 
he  taught  in  the  Dresden  Conserv- 
atory, and  aside  from  professional 
tours  in  Italy  and  Germany,  was 
seldom  away  from  that  city.  Coss- 
mann,  Hausmann  and  Gottermann 
are  among  his  distinguished  pupils. 
He  did  a  great  deal  of  composing  for 
his  instrument  and  published  one 
hundred  and  sixty-three  works  includ- 
ing concertos;  fantasias;  and  a  method 
for  the  violoncello.  He  also  wrote 
two  hundred  entr'  actes  for  the  Royal 
Theatre.  His  playing  was  marked  by 
great  calmness  and  command  of  the 
instrument,  and  is  said  to  have  had 
at  once  much  power  and  melody. 


456 


BIOGRAPHIES 


Kundinger 
Kundinger   (kin'-ding-er),   Rudolf. 

1832- 

Distinguished  pianist;  son  of  Georg 
Wilhelm  Kundinger,  a  musician.  Was 
born  at  Nordlingen  in  1832.  He  stud- 
ied piano  and  organ  with  his  father  and 
harmony  and  counterpoint  with  Blum- 
roder.  He  went  to  St.  Petersburg  as 
private  tutor,  and  appeared  there  in 
the  concerts  of  the  Imperial  Music 
Society.  In  1850  he  was  made  musi- 
cal instructor  to  the  children  of  the 
Grand  Duke  Constantin,  and  since 
then  has  remained  instructor  at  the 
Imperial  Court.  During  the  year  1879 
to  1880  he  was  a  professor  at  the  St. 
Petersburg  Conservatory.  He  has 
published  but  few  compositions, 
among  which  are  a  trio  for  piano  and 
strings  and  a  few  chamber-pieces. 

Kuntzen    (koonts'-'n),    Adolph    Karl. 

1720-1781. 

Organist  and  pianist;  son  of  Johann 
Paul  Kuntzen.  He  was  born  at  Wit- 
tenburg  and  appeared  in  public  first 
as  an  infant  prodigy  in  a  tour  through 
England  and  Holland  at  the  age  of 
eight.  He  was  made  chapelmaster  at 
Schwerin  in  1750,  and  in  1757,  upon 
his  father's  death,  took  his  place  as 
organist  at  Liibeck.  In  1772  his  hands 
became  paralyzed,  but  with  the  assist- 
ance of  his  pupil,  Konigslowe,  he  was 
able  to  hold  his  position  until  his 
death.  He  wrote  a  great  deal  of 
church-music,  passions,  cantatas,  and 
oratorios;  instrumental  pieces,  includ- 
ing symphonies,  concertos  and  sere- 
natas  for  special  occasions;  twelve 
harpsichord  sonatas;  and  three  collec- 
tions of  songs. 

Kuntzen,  Johann  Paul.    1696-1770. 

German  organist,  singer  and  com- 
poser; father  of  Adolph  Karl,  and 
grandfather  of  Friedrich  Ludwig 
!mmilius  Kuntzen.  He  was  born  at 
Leisnig,  Saxony,  and  was  educated  at 
the  University  of  Leipsic,  where  he 
played  and  sang  in  the  Opera.  He 
was  made  chapelmaster  at  Zerbst  and 
went  to  Hamburg  as  an  opera  com- 
poser, finally  becoming  organist  to 
the  Marienkirche  at  Liibeck.  Be- 
sides his  operas,  he  wrote  cantatas; 
a  passion;  and  an  oratorio;  but  his 
works  were  not  published. 

Kuntzen,  Friedrich  Ludwig  .ffimilius. 

1761-1817. 

Writer  of  Danish  operas.  Was  a 
son  of  Adolph  Karl  Kuntzen.    He  was 


Kurpinsld 
born  at  Liibeck,  and  like  his  father, 
made  his  debut  as  a  child  in  London, 
where  he  played  the  clavier  with  a 
sister  about  his  own  age.  He  began 
to  study  law  at  Kiel  University,  but 
gave  it  up  on  the  advice  of  Professor 
K.  F.  Cramer,  and  took  a  position  in 
the  Opera  at  Copenhagen.  There  he 
successfully  brought  out  his  first 
opera,  Holger  Danske,  in  1789.  He 
then  went  into  musical  journalism 
with  Reichardt  at  Berlin.  He  later 
conducted  an  orchestra  in  the  Frank- 
fort and  Prague  Theatres  and  then 
became  Grand  Opera  director  at 
Copenhagen  in  1795.  In  the  same 
year  he  produced  another  opera,  Das 
Fest  der  Winzer,  also  successful.  He 
became  a  royal  professor  and  member 
of  the  Stockholm  Academy,  and  was 
decorated  with  the  Order  of  Dane- 
brog.  He  remained  at  Copenhagen  the 
rest  of  his  life,  and  composed  many 
Danish  operas  with  piano  scores,  most 
of  them  appearing  there. 

Kunz  (koonts),  Konrad  Max.     1812- 
1875. 

Conductor,  composer  of  songs  and 
writer.  Was  born  at  Schwandorf,  in 
Bavaria,  and  died  at  Munich.  He  be- 
gan his  musical  study  in  the  Gymna- 
sium at  Amberg,  and  continued  it 
under  Hartmann  Stuntz  at  Munich, 
where  he  also  studied  medicine.  He 
helped  found  the  Munich  Liedertafel, 
became  interested  in  other  singing 
societies  and  composed  many  success- 
ful choruses,  quartets  and  songs, 
among  them  Elstein,  and  Odin  der 
Schlachtengott.  He  is  chiefly  famous 
for  his  two  hundred  canons  for  the 
piano,  a  collection  of  very  good 
studies  highly  praised  by  von  Biilow. 
He  published  a  pamphlet  also,  of  a 
humorous  and  satirical  character,  Die 
Griindung  der  Moosgau-Briiderschaft 
Moosgrillia. 

Kurpinski      (koor-pin'-shki),      Karl 

Kasimir.     1785-1857. 

Composer  of  many  Polish  operas 
and  ballets.  Was  born  at  Luschwitz, 
in  Posen,  and  died  at  Warsaw.  He 
first  played  in  the  orchestra  of 
Starosty  Polanowski  in  Galicia,  then 
became  assistant  conductor  at  the 
National  Theatre  at  Warsaw,  finally 
taking  Eisner's  place  as  conductor  in 
1825.  He  was  also  in  the  service  of 
Emperor  Alexander  I.,  and  was  made 
a  member  of  the  order  of  St.  Stanis- 
laus.     He   devoted    his    life    to   com- 


BIOGRAPHIES 


457 


Kurpinsid 

posing  and  to  studying  the  musical 
conditions  of  various  European  coun- 
tries. He  wrote  twenty-four  operas, 
among  them  Two  Huts;  Lucifer's 
Palace;  Martin's  Wife  in  the  Harem; 
The  Ruins  of  Babylon;  Hagar  in  the 
Desert;  The  Siege  of  Dantzic; 
Father's  Bad  Example;  and  The 
Charlatan;  several  ballets,  including 
Le  bourgeois  gentilhomme;  and  Terp- 
sichore^ sur  la  Vistule;  and  consid- 
erable instrumental  music. 

Kusser,  Johann  Siegmund.    1657-1727. 

Also  written  Cousser.  Hungarian 
musician  and  dramatic  composer.  Was 
the  first  man  to  introduce  Italian  sing- 
ing methods  into  Germany  and  to 
raise  the  Hamburg  Opera  to  its  great- 
est prominence.  He  was  born  at 
Presburg,  where  he  was  first  taught 
music  by  his  father,  and  later  studied 
six  years  with  Lully  in  Paris.  He 
then  went  to  Stuttgart  as  chapelmas- 
ter,  was  in  the  service  of  the  Bishop 
of  Strasburg,  and  conducted  the 
opera  at  Hamburg.  He  studied  some 
in  Italy  between  1700  and  1705,  then 
settled  in  London  to   teach   singing. 


Lablache 

and  finally  in  1710  was  made  organist 
of  the  Christ's  Church  Cathedral  in 
Dublin,  conductor  of  the  Viceroy's 
orchestra,  and  "  master  of  the  musick 
attending  his  Majesty's  state  in  Ire- 
land." He  died  at  Dublin.  He  wrote 
many  operas,  the  best  being  Erindo, 
Porus,  Pyramus  and  Thisbe,  Scipio- 
Africanus,  and  Jason;  many  operatic 
overtures;  an  ode  on  the  death  of 
Arabella  Hunt;  and  a  serenade. 

Kwast  (kwast),  James.    1852- 

Pianist,  teacher  and  composer  of 
piano-music;  was  born  in  Nijkerk, 
Holland.  His  musical  education  was 
begun  by  his  father,  and  continued 
under  Ferdinand  Bohme.  He  studied 
later  at  the  Leipsic  Conservatory, 
under  Reinecke  and  Richter,  then  at 
Berlin  under  Theodor  Kullak  and 
Wuerst,  and  at  Brussels  under  Bras- 
sin  and  Gevaert.  He  began  teaching 
in  the  Cologne  Conservatory  in  1874, 
and  in  1883  was  made  piano  teacher 
at  the  Hoch  Conservatory  at  Frank- 
fort. Among  his  writings  are  a  piano 
concerto  in  F;  romanze  in  F;  a  piano 
trio;  and  other  piano-music. 


Labarre    (la-bar),    Theodore.      1805- 
1870. 

Parisian  harpist;  studied  privately 
under  Cousinean,  Bochsa  and  Nader- 
mann  and  in  the  Conservatory  under 
Dourlen,  Eler,  Fetis  and  Boieldieu. 
In  1824  he  visited  England  and  there- 
after he  lived  alternately  in  London 
and  Paris.  From  1847  to  1849  was 
director  of  the  Opera  Comique  or- 
chestra, and,  after  having  been  in 
England  again,  returned  to  conduct 
Louis  Napoleon's  private  orchestra. 
Succeeded  Prumier  as  professor  of 
the  harp  at  the  conservatory  in  1867. 
Among  his  compositions  are  a  number 
of  operas,  Les  deux  families,  S'aspir- 
ant  de  marine,  Le  menetrier,  and 
Pantagruel;  ballets,  duos  and  trios  for 
harp  and  other  instruments.  He  wrote 
a  complete  method  for  the  harp. 
Labitzky  (la-bit-shki),  Joseph.     1802- 

1881. 

Violinist  and  composer  of  dance- 
music.  He  was  born  at  Schonfeld, 
Bohemia,  and  received  his  first  violin 


instruction  from  Veit  at  Petschau  and 
composition  from  Winter  in  Munich. 
In  1820  he  was  given  a  place  as  first 
violin  in  the  orchestra  at  Marienbad, 
the  next  year  holding  the  same  at 
Carlsbad.  He  organized  a  band  of 
his  own  and  made  many  tours,  going 
to  St.  Petersburg  and  London,  scoring 
much  success.  His  work  has  been 
compared  favorably  with  Lanner  and 
Strauss.  The  best  of  his  waltzes  are 
Sirenen,  Grenzboten,  Aurora,  Carls- 
bader,  and  Lichtensteiner.  He  died  in 
Carlsbad. 

Lablache  (la-blash),  Luigi.    1794-1858. 

Singer,  whose  mother  was  Irish  and 
his  father  French;  was  born  at 
Naples.  At  twelve  he  was  placed  in 
a  conservatory,  afterwards  called  San 
Sebastiano,  where  he  studied  singing 
under  Valesi  and  the  elements  of 
music  under  Gentilli.  He  also  had 
instruction  on  the  violin  and  cello. 
His  voice  at  this  time  was  a  beautiful 
contralto,  and  just  before  it  broke  he 
sang   the    solos    in    the    Requiem    of 


458 


BIOGRAPHIES 


Lablache 

Mozart  on  the  death  of  Haydn.  After 
his  voice  changed  it  was  a  magnificent 
bass,  which  steadily  developed  until  it 
became  the  finest  of  its  kind  on 
record.  Lablache  was  possessed  with 
the  desire  to  go  on  the  stage,  and 
when  eighteen  years  old  he  obtained 
an  engagement  at  the  San  Carlo 
Theatre.  Two  years  later  he  married 
and  his  young  wife  recognized  his 
genius  and  persuaded  him  to  study  in 
order  to  fit  himself  for  a  better  posi- 
tion. In  1821  the  opera,  Elisa  e 
Claudio,  was  written  for  him  and  his 
reputation  was  made.  He  made  a  tour 
of  Italy,  going  also  to  Vienna,  and 
everywhere  scoring  great  success. 
Returning  to  Naples  he  sang  in  the 
chapel  of  Ferdinand  I.  and  at  the  San 
Carlos.  His  debut  in  London  was 
made  in  1830,  and  he  appeared  in 
Paris  the  same  year.  Of  great  size 
and  enormous  strength,  Lablache  had 
a  voice  in  proportion  and  he  could 
make  it  humorous,  tender  or  sorrow- 
ful at  ease.  His  acting  was  equally 
good.  At  one  time  he  gave  instruc- 
tion to  Queen  Victoria.  Alexander  II. 
of  Russia  decorated  him  with  a  medal 
and  an  order. 

Lachmund     (lakh'-moont),     Carl    V. 

1854- 

American  composer;  born  at  Boone- 
ville,  Missouri.  His  musical  educa- 
tion began  early.  At  thirteen  he 
went  to  Cologne,  where  he  studied 
under  Heller,  Jensen  and  Seiss,  He 
next  studied  in  Berlin  under  the 
Scharwenka  brothers,  Kiel  and  Mosz- 
kowski,  followed  by  four  years  under 
the  great  Liszt  at  Weimar.  Liszt 
became  very  strongly  attached  to  this 
brilliant  pupil,  a  portrait  taken  with 
Lachmund  and  his  wife  testifying  to 
it,  and  he  gave  him,  what  he  seldom 
bestows,  a  written  recommendation. 
Lachmund's  compositions  gained  a 
name  for  him  in  Germany,  a  trio  for 
harp,  violin  and  cello  played  by  the 
Berlin  Philharmonic  Orchestra  bring- 
ing him  into  prominence.  A  concert 
prelude  for  piano  received  high  praise 
from  Liszt  and  was  played  through- 
out Germany  by  the  best  performers. 
He  was  connected  with  the  Opera  at 
Cologne,  and  later  was  for  a  time 
professor  of  advanced  classes  at  the 
Berlin  Conservatory  of  Music,  Xavier 
Scharwenka  being  director.  Return- 
ing to  the  United  States  he  took  up 
his  residence  in  New  York  City.  His 
Japanese    Overture,    produced    under 


Lachner 

the  direction  of  Thomas  and  Seidl, 
has  placed  him  prominently  before  the 
public. 

Lachner    (lakh'-ner),    Franz.     1803- 
1890. 

Born  at  Rain,  Bavaria.  His  father 
was  an  organist  and  his  brothers 
were  also  musicians.  After  some 
study  he  went  to  Vienna,  in  1822, 
where  he  studied  under  Stadler  and 
Sechter.  Here  he  became  a  com- 
panion of  Schubert.  He  became 
vice-chapelmaster  and  in  1828  chapel- 
master  at  the  Karnthnerthor  Theatre, 
all  the  while  composing  in  his  spare 
time.  In  1834  he  went  to  Mannheim 
to  conduct  the  opera,  and  two  years 
later  was  appointed  Court  chapel- 
master  in  Munich,  in  1852  being  made 
music  director-general.  The  Munich 
University  conferred  a  doctor's  degree 
upon  him  in  1872.  His  reputation 
was  gained  principally  by  his  opera, 
Catharina  Cornaro,  his  symphony  in 
p  minor  and  his  sacred  music.  He 
is  a  _  thorough  contrapuntist,  being 
held  in  the  same  esteem  in  Southern 
Germany  as  Hiller  is  in  the  North. 
His  orchestral  suites  in  the  style  of 
Bach  and  Handel  are  perhaps  his  best 
work.  His  compositions  are  numer- 
ous, oratorios,  operas,  a  requiem, 
masses,  overtures,  vocal  music  and  a 
great  deal  besides.  He  died  in 
Munich. 

Lachner,  Ignaz.    1807-1895. 

Brother  of  Franz;  also  born  at  Rain, 
Bavaria.  Taught  first  by  his  father, 
then  by  Neugebauer  on  the  violin, 
Keller  on  the  piano  and  Witschka  for 
composition.  He  was  appointed  sec- 
ond chapelmaster  at  Munich,  under  his 
brother.  In  1858  he  became  Court 
conductor  at  Stockholm.  From  1861 
to  1875  he  was  first  chapelmaster  at 
Frankfort,  after  which  he  was  pen- 
sioned. His  works  are  of  all  kinds, 
operas,  ballets,  string  quartets,  trios, 
symphonies,  concert  pieces  for  differ- 
ent instruments  piano  sonatas,  and 
many  songs.  His  brother,  Vincenz, 
1811  to  1893,  was  also  born  at  Rain 
and  received  musical  instruction  from 
their  father.  Studied  in  Vienna  under 
his  brother,  in  1831  succeeding  Ignaz 
as  organist  of  the  Evangelical  Church. 
He  followed  Franz  as  chapelmaster  at 
Mannheim,  from  1836  to  1873.  In  1842 
he  conducted^  the  German  Opera  in 
London,  and  in  1848  the  Stadttheatre 
at  Frankfort. 


BIOGRAPHIES 


459 


Lachnith 
Lachnith   (lak'-nit),  Ludwig  Wenzel. 

1746-1820. 

Born  at  Prague,  where  he  received 
his  first  lessons  from  his  father  and 
others  on  the  vioHn,  piano  and  horn, 
becoming  a  virtuoso  on  the  last 
named.  He  spent  several  years  in 
the  service  of  the  Duke  of  Zwei- 
briicken,  going  to  Paris  in  1773,  where 
he  studied  the  horn  under  Rodolphe. 
He  is  noted  for  his  adaptations  of 
great  operas  and  for  working  up  sev- 
eral compositions  into  one.  He  com- 
posed operas,  all  kinds  of  instrumental 
music,  and  published,  with  Adam,  a 
piano  method. 

Lacombe  (la-kohb),  Louis.    1818-1884. 

Born  at  Bourges,  France.  Became 
a  pupil  of  Zimmermann  at  the  Paris 
Conservatory.  When  thirteen  years 
old  he  took  the  first  piano  prize  and 
the  next  year  made  a  concert  tour 
with  his  sister.  He  then  settled  in 
Vienna,  where  he  studied  under 
Czerny,  Sechter,  Seyfried  and  Fisch- 
hof.  In  1840  he  again  traveled  through 
Germany,  then  went  to  Paris.  There 
he  studied  harmony  under  Barbereau, 
devoting  himself  to  composition  and 
becoming  very  successful  as  a  teacher. 
He  was  influenced  in  his  compositions 
by  Berlioz.  In  1847  he  produced  in 
Paris  his  dramatic  choral  symphony, 
Manfred;  three  years  later  appeared 
Arva,  ou  les  Hongrois,  a  similar  work. 
His  cantata,  Sappho,  won  a  prize  at 
the  exhibition  of  1878.  Among  his 
compositions  are  operas,  dramatic 
symphonies,  music  for  strings,  sonatas 
for  piano  and  many  songs.  Only  one 
of  his  operas  was  performed  during 
his  lifetime.  His  four-act  opera, 
Winkelried,  was  given  at  Geneva  in 
1892. 

Lacombe,  Paul.    1837- 

Pianist  and  composer;  born  at  Car- 
cassonne, France.  He  studied  with 
Teysseyre,  a  pupil  of  the  Paris  Con- 
servatory, and,  by  correspondence, 
with  Bizet.  His  best  works  are  his 
orchestral  and  chamber-music.  His 
compositions  include  a  symphonic 
overture,  pastorale  for  orchestra,  so- 
natas for  piano  and  violin,  trio  for 
piano  and  strings,  besides  piano-pieces 
and  songs. 

Lacome  (la-kum),  Paul  Jean  Jacques. 
1838- 

Dramatic  composer;  born  at  Houga, 
France.     He   first   studied   at   home, 


Lafage 


afterwards  under  Don  Jose  Puig  y 
Absubide.  In  1860  he  went  to  Paris, 
where  one  of  his  operettas  won  a 
first  prize  offered  by  the  Bouflfes 
Parisiens.  He  has  been  a  reporter  on 
musical  papers.  He  has  composed  a 
number  of  operas,  Amphitryon; 
Jeanne,  Jeannette  et  Jeanneton;  La 
dot  mal  placee;  operettas;  trios, 
dances  and  other  pieces  for  piano; 
songs;  pieces  for  cornet  and  saxo- 
phone. 

Lacy,  Michael  Rophino.    1795-1867. 

Violinist  and  composer;  born  at 
Bilboa,  Spain.  His  father  was  an 
Englishman  and  his  mother  was 
Spanish.  He  made  his  debut  when 
only  six  years  of  age,  having  to  stand 
on  a  table  so  the  audience  could  see 
him.  He  attended  college  at  Bor- 
deaux and  finished  his  education  in 
Paris.  Kreutzer  was  his  principal 
instructor  in  music.  He  could  speak 
French,  Italian,  Spanish  and  English. 
In  1804  he  played  before  Napoleon  at 
the  Tuileries,  and  on  the  way  to  Lon- 
don he  played  at  several  Dutch  towns. 
In  London  he  was  a  pupil  of  Viotti 
and  played  with  much  success.  He 
was  called  the  young  Spaniard.  Later 
he  became  an  actor,  performing  in 
Dublin,  Edinburgh  and  Glasgow.  In 
1818  he  was  made  concert  director  at 
Liverpool.  He  made  skilful  adapta- 
tions for  the  English  stage  of  a  num- 
ber of  popular  operas  by  Rossini, 
Meyerbeer,  Weber  and  others.  He 
composed  a  quintet  for  piano  and 
strings;  fantasias,  rondos,  etc.  for 
piano;  and  songs. 

Lafage  (la-fazh),  Juste  Adrien  Lenoir 

de.     1801-1862. 

Church  composer  and  writer  on 
music;  born  in  Paris.  He  at  first 
studied  for  the  church,  then  for  the 
army,  and  finally  took  up  music.  First 
a  pupil  of  Perne's,  he  afterwards 
studied  under  Choron,  eventually 
becoming  his  assistant  master.  In 
1828  he  was  sent  by  the  government 
to  Rome,  where  he  studied  under 
Baini,  the  next  year  appointed  chapel- 
master  of  Saint-£tienne-du-Mont  in 
Paris.  In  1848  he  visited  Italy,  Ger- 
many, Spain  and  England.  He  was 
an  author  and  editor-in-chief  of  Le 
Plain-Chant,  a  periodical  which  he 
founded  in  1859.  ^  Lafage  composed 
both  vocal  and  instrumental  music 
of  all  kinds,  but  is  more  famous  for 
his  writings,  Cours  complet  de  Plain- 


460 


BIOGRAPHIES 


Lafage 

chant,  in  two  volumes;  Nouveau 
traite  de  Plain-chant  romain;  and  his 
Histoire  generale  de  la  musique.  The 
last  named  is  incomplete,  treating 
only  of  Chinese,  Indian,  Egyptian  and 
Hebrew  music.  Overwork  brought  on 
a  nervous  affection  which  unbalanced 
his  mind  and  he  was  taken  to  the 
asylum  for  the  insane  at  Charenton, 
where  he  died. 

Lafont  (la-foii),  Charles  Philippe. 

1781-1839. 

Born  in  Paris,  this  eminent  violinist 
received  his  first  instruction  from  his 
mother,  who  was  a  sister  of  Ber- 
thaume,  a  well-known  violinist  of  that 
period.  As  a  boy  he  traveled  with 
this  uncle  through  Germany,  giving 
many  successful  performances.  Going 
to  Paris  he  studied  under  Kreutzer, 
Navoigille  and  Berton,  afterwards 
under  Rode.  In  the  meantime  he  cul- 
tivated his  voice  and  sang  at  the 
Theatre  Feydeau.  He  made  concert 
tours  through  Belgium,  Holland, 
Germany,  Italy,  England  and  North- 
ern Europe,  and  in  1808  succeeded 
Rode  as  solo  violinist  to  the  Emperor 
of  Russia.  In  1815  he  returned  to 
Paris  and  held  a  similar  position  for 
Louis  XVIII.  The  next  year  he  had 
a  public  contest  with  Paganini  at 
Milan.  He  lost  his  Ufe  in  a  carriage 
accident  in  Southern  France  while 
touring  with  Henri  Herz,  the  pianist. 
Lafont  composed  some  works,  but 
they  were  not  important.  His  fame 
lies  in  his  playing,  which  was  with 
perfect  intonation,  energy  and  grace- 
fulness. 

Lahee,  Henry.    1826- 

English  composer;  born  at  Chelsea. 
He  was  a  pupil  of  Sterndale  Bennett, 
Goss  and  Cipriani  Potter.  Organist 
at  Holy  Trinity  Church,  Brompton, 
from  1847  to  1874,  at  the  same  time 
teaching  and  composing.  He  has 
taken  prizes  for  several  of  his  glees 
and  madrigals,  some  of  which  are 
Hark,  How  the  Birds;  Hence,  Loathed 
Melancholy;  Away  to  the  Hunt;  and 
Ah!  Woe  is  Me.  Of  his  songs  the 
best  are  The  Unfaithful  Shepherd; 
Love  Me  Little,  Love  Me  Long;  and 
Bells.  Beside  his  songs  he  has  writ- 
ten beautiful  anthems  and  instru- 
mental pieces.  Longfellow's  words 
seem  to  suit  his  style.  The  cantata. 
The  Building  of  the  Ship,  was  written 
in  1869  and  performed  with  magnifi- 
cence in  the  Hanover  Square  Rooms. 


Lajarte 
It  has  since  attained  much  popularity 
in  the  provinces  and  other  countries. 
Another  cantata.  The  Sleeping  Beauty, 
has  been  given  on  the  Continent  and 
in  America.  His  songs  for  female 
voices  are  especially  good. 

Lahoussaye  (la-oos-sey')>  Pierre.  1735- 
1818. 

Distinguished  violinist,  who  first 
taught  himself.  Born  in  Paris,  where 
he  was  a  pupil  of  Piffet  and  Pagin, 
later  going  to  Padua  to  study  under 
Tartina  and  to  Parma  to  study  com- 
position under  Traetta.  He  toured 
Italy,  where  he  played  for  the  Prince 
of  Monaco.  Going  to  London  in 
1770  he  spent  five  years  as  director  of 
the  Italian  Opera.  He  then  returned 
to  Paris,  where  he  directed  the  Con- 
cert Spirituel  and  the  Comedie  Ital- 
ien,  in  1890  the  Theatre  de  Monsieur, 
and  afterwards  the  Theatre  Feydeau. 
He  also  held  a  professorship  at  the 
Conservatory.  He  became  deaf  in 
1813  and  his  last  years  were  spent  in 
poverty.     He  died  in  Paris. 

Laidlaw,  Anna  Robena.     1818-1901. 

Born  in  Bretton,  Yorkshire.  She 
became  a  distinguished  pianist,  having 
a  Fantasiestiicke  by  Schumann  dedi- 
cated to  her.  She  attended  her  aunt's 
school  in  Edinburgh,  studying  music 
there  under  Robert  Miiller.  After 
successfully  appearing  in  Berlin  she 
went  to  London  in  1834,  where  she 
studied  with  Herz  and  played  at 
Paganini's  farewell  concert.  She 
played  at  a  Gewandhaus  concert  in 
Leipzic  in  1837.  About  this  time  she 
made  the  acquaintance  of  Schumann. 
A  long  tour  through  Prussia,  Russia 
and  Austria  followed  and  she  returned 
to  London  in  1840.  The  same  year 
she  became  Court  pianist  to  the  Queen 
of  Hanover.  After  her  marriage,  in 
1852,  to  a  Mr.  Thomson,  she  retired 
from  public  life. 

Lajarte  (la-zhart),  Theodore  fidouard 

Dufaure  de.    1826-1890. 

French  composer  and  writer  on 
music.  Born  at  Bordeaux,  he  began 
his  education  there,  later  entering  the 
Paris  Conservatory,  where  he  studied 
under  Leborne.  In  his  youth  he  wrote 
a  number  of  small  operettas,  the  first 
work  of  importance  being  a  one-act 
comic  opera,  Le  secret  de  I'oncle 
Vincent,  having  quite  a  run.  A  num- 
ber of  his  operas  were  produced,  but 
he  is  best  known  by  his  writings. 
Besides  contributing  to  various  daily 


BIOGRAPHIES 


461 


Lajarte 

papers,  he  published  La  Bibliotheque 
Musicale  du  Theatre  de  I'Opera,  a 
very  important  catalogue  of  the 
operas  produced  at  the  Opera  in 
Paris,  with  annotations  based  upon 
the  archives  of  the  institution.  He 
was  connected  with  the  opera 
archives  from  1873,  becoming  librarian 
there  in  1882.  He  wrote  military 
music,  a  collection  of  Airs  a  danser, 
from  Lully  to  Mehul,  and  a  number 
of  old  operas  and  ballets  in  vocal 
score. 

Laland  (la-lan).  Desire.     1867-1904. 

Born  in  Paris.  Studied  at  the  Con- 
servatory, and  received  his  first  posi- 
tion of  importance  in  Lamoureux's 
famous  band.  In  1886  he  went  to 
England,  where  he  played  in  Halle's 
Orchestra  at  Manchester  for  five 
years.  He  then  played  in  the  Scottish 
Orchestra  when  conducted  by  Hen- 
schel,  and  afterwards  in  the  Queen's 
Hall  Orchestra  until  his  death.  His 
instrument  was  the  oboe,  and  he  made 
an  envied  reputation.  His  technique 
was  perfect  and  his  power  of  expres- 
sion very  great.  His  English  horn 
solos  were  in  great  demand. 

Lalande  (la-lahd),  Henriette  Clemen- 
tine Meric.  1798-1867. 
Born  in  Dunkirk,  France.  Her 
father  was  the  chief  of  a  provincial 
operatic  company  and  taught  her 
singing.  She  made  a  successful  debut 
in  1814  at  Naples,  followed  by  a  tour 
of  France  and  an  engagement  at  the 
Gymnase  Dramatique  in  Paris.  Real- 
izing her  imperfections  she  placed 
herself  under  Garcia's  instruction. 
About  1823  she  married  M.  Meric,  a 
horn  player  at  the  Opera  Comique. 
She  received  further  instruction  from 
Bonfichi  and  Banderali  at  Milan,  and 
sang  in  many  Italian  cities.  Her  ap- 
pearance in  Londin  in  1830  was  a  dis- 
appointment, as  the  English  did  not 
care  for  the  trembling  of  her  voice,  a 
habit  she  had  acquired.  However, 
she  sang  again  in  London  the  next 
year.    She  retired  in  1833. 

Lalande,    Michel    Richard    de.    1657- 
1726. 

Organist  and  church-composer, 
forty-five  years  of  his  life  being  spent 
at  Court  as  director  of  music  under 
Louis  XIV.  and  XV.  Born  in  Paris 
he  studied  under  Chaperon  and  was  a 
chorister  of  St.  Germain  I'Auxerrois. 
He  learned,  almost  alone,  to  play  the 


Lalo 


violin,  bass  viol,  and  harpsichord. 
When  his  voice  broke  he  sought 
employment  for  his  violin.  Being 
refused  admission  to  Lully's  orches- 
tra he  abandoned  the  violin  and  took 
up  organ-playing.  He  made  such  a 
success  of  this  that  he  was  appointed 
organist  to  four  churches,  St.  Gervais, 
St.  Jean,  Petit  St.  Antoine,  and  at  the 
Church  of  the  Jesuits,  who  also  en- 
trusted to  him  compositions  for  their 
college.  Then  on  the  recommendation 
of  the  Marechal  de  Noailles  to  Louis 
XIV.  he  was  chosen  musicmaster  for 
the  princesses  who  afterwards  became 
the  Duchesse  d'Orleans  and  Madame 
la  Duchesse.  Later  he  became  master 
of  chamber-music  for  the  King,  and 
later  superintendent  of  chapel-music. 
Though  far  superior  to  the  composers 
of  church-music  of  his  time,  he  could 
not  be  compared  to  Handel  and  Bach, 
who'  were  almost  his  contemporaries. 
He  wrote  no  fewer  than  forty-two 
motets  for  chorus  and  orchestra  for 
the  chapel  at  Versailles,  published  ele- 
gantly at  the  King's  expense.  He 
composed  a  number  of  works  fof  the 
Court  Theatre  besides  many  other 
compositions.     He  died  in  Paris. 

Lalo  (Ia-16),  fiduard  Victor  Antoine. 

1823-1892. 

Distinguished  orchestral  and  con- 
cert-room composer.  Born  at  Lille 
and  studied  under  Baumann  at  the 
Conservatory  there.  He  went  to  Paris 
in  1858  and  played  the  viola  in  the 
Armingaud-Jacquard  string  quartet. 
He  began  to  compose  with  enthusi- 
asm, entering  a  competition  at  the 
Theatre  Lyrique  in  1867  with  his 
opera,  Fiesque,  which  took  a  third 
place.  But  it  has  never  been  per- 
formed, something  always  happening 
to  prevent,  even  when  it  once  reached 
rehearsal.  Lalo  subsequently  used 
much  of  the  music  in  other  works,  the 
ballet  music,  under  the  title  of  Diver- 
tissement, was  successfully  given  at 
the  Concert  Populaire  in  1872.  De- 
voting himself  to  the  composition  of 
instrumental  works  he  next  produced 
for  Sarasate  a  violin  concerto  in  F 
which  was  played  by  him  at  the  Con- 
cert Nationale  in  1874  and  at  the 
London  Philharmonic  Society  later. 
A  Symphonic  Espagnole,  for  violin 
orchestra,  was  also  played  by  Sarasate 
the  next  year.  Lalo  had  struggled 
hard  for  recognition  and  these  two 
productions  gave  him  his  much  de- 
sired position  of  first-class  composer. 


462 


BIOGRAPHIES 


Lalo 


He  next  composed  an  allegro  sym- 
phonique,  the  overture  to  his  opera, 
Le  Roi  d'Ys,  a  violoncello  concerto, 
and  a  scherzo  for  orchestra,  all  per- 
formed in  Paris.  A  serenade  and 
Fantaisie  Norvegienne  for  violin  and 
orchestra  was  first  given  in  Berlin. 
His  last  concert-room  compositions 
of  importance  were  his  Rhapsodic 
Norvegienne  and  his  Concerto  Russe. 
His  grand  ballet,  Namouna,  was  per- 
formed at  the  Opera  in  1882,  but  being 
coldly  received  he  rearranged  it  to  a 
grand  orchestral  suite  in  five  move- 
ments and  it  scored  a  great  success. 
Lalo's  greatest  success,  however,  came 
when  he  was  sixty-five  years  old,  with 
the  production  of  his  opera,  Le  Roi 
d'Ys.  The  libretto  of  this  opera  had 
been  set  to  music  some  years  before, 
but  at  this  time  it  had  been  entirely 
rewritten.  Though  not  a  prolific  writer, 
he  composed,  besides  the  \^orks 
already  named,  a  symphony  in  G 
minor,  an  allegro  for  piano  and  vio- 
loncello, a  sonata  for  the  same,  a 
serenade  and  chanson  villageoise  for 
violin  and  piano,  and  many  songs. 
Lalo  possessed  much  individuality  of 
style,  formed  greatly  by  intense 
study  of  Beethoven,  Schubert  and 
Schumann,  whom  he  preferred.  At 
this  time  the  French  were  much 
opposed  to  anything  Wagnerian,  but 
Lalo  recognied  his  genius  and  upheld 
him.  Lalo  received  the  decoration  of 
the  Legion  of  Honor  in  1880.  He 
died  in  Paris. 

*  Lambert  (lam'-bert),  Alexander. 
1863- 

Born  in  Warsaw,  Poland.  His 
father,  Henry  Lambert,  was  also  a 
gifted  musician,  and  from  him  he 
received  his  first  instruction,  begin- 
ning when  ten  years  old.  He  made 
rapid  advancement  and  at  twelve 
years  of  age,  on  the  advice  of  Rubin- 
stein, he  was  sent  to  the  Vienna  Con- 
servatory. There  he  studied  under 
Jul.  Epstein,  and  at  sixteen  graduated 
with  the  highest  honors.  The  next 
four  years  were  devoted  to  the  study 
of  music,  unaided,  until  in  the  sum- 
mer of  his  twentieth  year,  he  spent 
several  months  with  Liszt  at  Weimar. 
The  next  year  he  made  his  first  con- 
cert tour,  traveling  through  Germany 
with  Joachim.  Later  he  played  in 
Russia  with  Sarasate.  His  debut  was 
made  in  Berlin  with  the  Philharmonic 
Orchestra,  and  he  also  played  with 
many  other  orchestral  organizations. 


Lambeth 
In  1885  he  arrived  in  New  York  and 
appeared  with  the  New  York  and 
Boston  Symphony  Orchestra  and  all 
other  prominent  organizations,  and 
gave  recitals  in  Chicago,  Boston,  New 
York  and  other  cities.  He  accepted 
the  position  of  director  of  the  New 
York  College  of  Music  in  1887,  which 
he  held  until  1904.  He  is  best  known 
by  a  valuable  practical  piano  method 
for  beginners.  Among  his  composi- 
tions are  a  mazurka,  an  _  etude  and 
bourree,  tarantella,  valse-impromptu, 
and  canzonetta  for  piano,  a  romanze 
for  cello,  and  an  Ave  Maria  for 
soprano. 

Lambert  (lah-bar),  Lucien.    1859- 

French  pianist  and  composer.  Born 
in  Paris,  he  began  his  musical  in- 
struction with  his  father  and  toured 
as  a  piano  virtuoso  on  the  Continent 
and  in  America.  Returning  to  Paris 
he  continued  his  studies  under 
Massenet  and  Theodore  Dubois.  He 
gained  the  Rossini  prize  at  the  Con- 
servatory in  1883  with  his  cantata, 
Promethee  enchaine.  Following  this 
was  produced  a  two-act  fantaisie- 
vaudeville,  Sire  Olaf;  the  fairy-opera, 
Broceliande;  the  four-act  lyric  drama, 
Le  Spahi;  an  overture;  the  four-act 
opera,  La  Flamenca;  an  andante  and 
fantaisie  tzigane  for  piano  and  orches- 
tra; a  Moorish  rhapsody  for  orchestra, 
Tanger  le  soir;  and  other  music. 

Lambert,  Michel.    1610-1696. 

Born  at  Vivonne,  Poitou;  died  in 
Paris.  Virtuoso  on  the  lute  and 
theorbo  and  became  a  famous  sing- 
ing-teacher of  Paris.  When  a  boy 
he  went  to  Paris  and  became  music 
page  to  Gaston  d'Orleans,  a  brother 
of  Louis  XIII.  About  1650  he 
became  master  of  chamber-music  to 
Louis  XIV.  Among  his  works  are 
Airs  et  brunettes,  and  Airs  et  dia- 
logues. He  was  a  father-in-law  of 
Lully. 

Lambeth,   Henry  Albert.    1822-1895. 

English  organist  and  composer; 
born  at  Hardway,  near  Gosport.  He 
studied  under  Thomas  Adams;  going 
to  Glasgow  about  1853  as  city  organ- 
ist, in  1859  becoming  conductor  of 
the  Glasgow  Choral  Union,  which 
position  he  held  until  1880.  He  or- 
ganized the  Glasgow  Select  Choir, 
whose  concerts  were  very  successful. 
He  was  organist  and  choirmaster 
successively  at  St.  Mary's   Episcopal 


BIOGRAPHIES 


463 


Lambeth 

Church  and  at  Park  Church,  and 
organist  to  the  Corporation  of  Glas- 
gow. Among  his  compositions  are 
the  cantatas,  Bow  Down  Thine  Ear, 
and  By  the  Waters  of  Babylon;  sev- 
eral songs  and  piano-pieces,  and  set- 
tings of  the  Psalms  eighty-six,  and 
one  hundred  and  thirty-seven.  With 
D.  Baptie  he  edited  the  Scottish  Book 
of  Praise  in  1876.  He  died  in  Glas- 
gow. 

Lambillotte  (lari-bi-yot),  Pere  Louis. 
1797-1855. 

Organist  and  sacred  composer,  as 
well  as  author  on  music.  Born  at 
Charleroi,  Hainault,  where  he  held  his 
first  position  as  organist.  Later  he 
went  to  Dissant,  and  in  1822  was 
chapelmaster  in  the  Jesuits'  College 
at  Saint-Acheul.  Three  years  later  he 
joined  the  order  and  lived  in  various 
monasteries,  having  been  ordained 
priest.  He  died  at  Vangirard,  France. 
He  composed  masses  for  organ  and 
orchestra,  fugues  for  the  organ,  mo- 
tets, hymns,  canticles,  and  other 
church-music. 

Lamond,  Frederic  A.    1868- 

Concert  pianist.  Born  in  Glasgow; 
his  brother  David  was  his  first 
teacher.  In  1880  he  became  organist 
of  the  Laurieston  Parish  Church.  He 
had  been  taking  violin  lessons  of  H.  C. 
Cooper  in  Glasgow,  and  in  1882  he 
went  to  Frankfort  and  entered  the 
Raff  Conservatory,  where  he  studied 
violin  under  Heermann,  piano  under 
Max  Schwarz,  and  composition  under 
Urspruch.  He  completed  his  piano 
studies  under  Liszt  and  von  Billow. 
He  made  a  successful  debut  in  Berlin* 
in  1885,  soon  after  appearing  in 
Vienna.  His  first  appearance  in  Great 
Britain  was  in  Glasgow  in  1886,  soon 
followed  by  recitals  in  London.  He 
has  played  in  Russia  and  has  spent 
much  time  in  Germany  and  London. 
Lamond  occupies  a  high  position 
among  pianists,  his  sympathetic  inter- 
pretations of  Beethoven  especially 
displaying  his  feeling  and  skill.  He 
ranks  high  among  composers,  his 
works  being  piano-pieces,  symphonies 
and  overtures,  and  some  music  for 
strings. 

Lamoureux  (lam-oo-ru'),  Charles. 
1834-1899. 

French  violinist  and  conductor; 
born  at  Bordeaux.  His  first  study 
was  under  Beaudoin,  followed  by  in- 


Lamoureux 


struction  in  the  Paris  Conservatory 
under  Girard.  In  1854  he  won  the 
first  prize  for  violin.  He  studied  har- 
mony under  Tolbecque  and  attended 
the  counterpoint  course  of  Leborne 
and  finished  his  theoretical  studies 
under  Alexis  Chauvet,  a  celebrated 
organist.  He  was  solo  violinist  in 
the  Gymnase  Orchestra,  and  after- 
wards played  at  the  Opera  for  many 
years.  With  Colonne,  Adam  and  A. 
Pilet  he  founded  a  society  for  cham- 
ber-music which  produced  much  new 
music.  After  traveling  in  Germany 
and  England  he  wished  to  produce 
more  pretentions  performances,  simi- 
lar to  those  of  Hiller  and  Costa.  He 
finally  succeeded  in  organizing  the 
Societe  de  I'Harmonie  sacree,  modeled 
after  the  Sacred  Harmonic  Society  of 
London.  Lamoureux  was  an  admi- 
rable conductor,  obtaining  the  best 
possible  work  from  his  orchestra. 
The  Messiah  was  given  for  the  first 
time  in  Paris  and  met  with  great 
success.  It  was  followed  by  Bach's 
Matthew  Passion,  Judas  Maccabaeus 
and  the  then,  1875,  unpublished  Eve, 
by  Massenet.  Succeeding  Carvalho  as 
director  of  the  Opera  Comique  he 
soon  resigned  and  was  appointed  con- 
ductor of  the  Opera  by  Vaucorbeil. 
He  then  gave  up  the  subconductor- 
ship  of  the  Conservatory  concerts, 
which  position  he  held  since  1872.  In 
1879  he  resigned  his  position  at  the 
Opera  on  account  of  a  dispute  with 
Vaucorbeil.  Two  years  later  he 
founded  the  Nouveaux  concerts,  called 
the  Concerts  Lamoureux,  which  were 
held  successively  in  the  Theatre  of 
the  Chateau  d'Eau,  the  Eden  Theatre 
and  the  Cirque  des  Champs  Elysees. 
Lamoureux  played  many  times  in 
London;  in  May,  1899,  he  and  his 
band  were  the  principal  attraction  of 
a  London  Musical  Festival  in  the 
Queen's  Hall.  Was  made  Chevalier 
of  the  Legion  of  Honor  in  1878. 
His  death  occurred  in  Paris,  and  his 
son-in-law,  Camille  Chevillard,  suc- 
ceeded him  as  conductor.  As  a  con- 
ductor Lamoureux  required  perfection 
in  the  smallest  details,  but  he  had 
the  power  at  the  same  time  of  bring- 
ing out  the  warmth  and  feeling  of 
expression.  He  lived  to  see  Wag- 
ner's works  enthusiastically  received 
in  Paris,  after  doing  much  himself  to 
bring  it  about.  There  had  been  bitter 
opposition  under  the  name  of  patri- 
otism, probably  caused  by  the  political 
condition  of  the  times. 


464 


BIOGRAPHIES 


Lampe 
Lampe     (lam'-pe),    John     Frederick. 

1703-1751. 

Born  in  Saxony.  Nothing  is  known 
of  his  life  until  he  reached  England, 
about  1725,  and  became  a  bassoon- 
player  at  the  Opera.  He  is  said  to 
have  been  one  of  the  best  bassoonists 
of  his  time.  In  1732  he  composed  the 
music  for  his  pupil,  Carey's  Amelia, 
and  in  1737  also  composed  for  Carey's 
burlesque  opera,  The  Dragon  of 
Wantley.  This  opera  is  said  to  have 
been  a  favorite  of  Handel's.  In  the 
same  year  Lampe  published  A  Plain 
and  Compendious  Method  of  Teach- 
ing Thorough-bass.  His  Art  of 
Musick  was  published  in  1740,  and  the 
next  year  he  composed  the  music  for 
the  masque  of  The  Sham  Conjuror. 
In  1745  he  composed  a  mock  opera, 
Pyramus  and  Thisbe,  the  words  from 
Shakespeare.  He  married  the  daugh- 
ter of  Charles  Young,  organist  of  All- 
Hallows.  She  was  a  favorite  singer 
and  actress.  With  his  wife  and  a 
company  he  went  to  Dublin  in  1748 
to  conduct  theatrical  performances 
and  concerts,  and  two  years  later  to 
Edinburgh  for  the  same  work,  but 
his  death  occurred  soon  after. 

Lamperti     (lam-per'-te),     Francesco. 

1813-1892. 

Born  at  Savona.  His  father  was  a 
lawyer  and  his  mother  a  prima  donna 
of  some  fame.  While  quite  young  he 
studied  music  under  Pietra  Rizzi  of 
Lodi,  and  in  1820  entered  the  Con- 
servatory at  Milan,  where  he  studied 
piano  and  harmony  under  Sommaruga 
d'Appiano  and  Pietro  Ray.  Becoming 
associated  with  Masini  in  the  direc- 
tion of  the  Teatro  Filodrammatico  at 
Lodi  he  selected  many  singers  from 
the  natives  of  the  surrounding  coun- 
try. He  thus  educated  and  brought 
out  many  singers  who  otherwise 
would  never  have  been  known  outside 
of  their  native  village.  La  Tiberini 
was  one  of  these.  Such  was  their 
success  that  pupils  flocked  from  all 
parts  of  Italy  and  other  parts  of  Eu- 
rope to  receive  instruction.  Among 
their  pupils  were  the  distinguished 
singers,  Jeanne  Sophie  Lowe,  Cru- 
velli,  Grua,  Brambilla,  Hayes,  Artot, 
La  Grange,  and  many  others.  Ap- 
pointed by  the  Austrian  government, 
he  was  professor  of  singing  in  the 
Milan  Conservatory  for  twenty-five 
years,  from  1850  to  1875,  when  he 
retired  upon  a  pension  and  devoted  his 
time  to  private  instruction.     Among 


Lang 

his  conservatory  pupils  were  Paganini, 
Galli,  Risarelli,  Peralta,  and  as  pri- 
vate pupils,  Albani,  Sembrich,  Stoltz, 
Campanini,  Everardi,  and  others 
equally  distinguished.  Lamperti  fol- 
lowed the  method  of  the  old  Italian 
School  of  Singing  and  based  his  in- 
struction upon  respiration,  the  taking 
to  retention  of  the  breath  by  means 
of  the  abdominal  muscles  alone.  He 
thoroughly  grounded  his  pupils  in  the 
production  of  pure  tone.  He  wrote 
several  series  of  vocal  studies  and  a 
treatise  on  the  art  of  singing,  which 
one  of  his  pupils  has  translated  into 
English.  He  was  Commendatore  and 
Cavaliere  of  the  Order  of  the  Crown 
of  Italy  and  was  a  member  of  many 
academies  and  foreign  orders.  He 
died  at  Como. 

*Landi  (lan'-de),  Camilla.     1866- 

Celebrated  singer;  born  in  Geneva, 
of  Milanese  parents,  who  were  both 
singers.  She  received  piano  instruc- 
tion in  Florence  from  Buonamici. 
She  made  her  debut  there  in  1884. 
From  1886  to  1892  she  lived  in  Paris, 
where  she  made  a  great  success  at 
the  Lamoureux  concerts  and  at  the 
Opera.  She  first  appeared  in  England 
in  1892  at  one  of  Halle's  concerts  in 
Manchester,  later  singing  in  London, 
and  always  favorably  received.  Mile. 
Landi  has  sung  in  nearly  all  the  coun- 
tries of  Europe.  She  possesses  a 
beautiful  voice  of  large  compass  and 
also  that  personal  magnetism  which 
is  so  important  to  a  public  performer. 
She  is  an  excellent  pianist,  often  ac- 
companying herself  at  concerts.  She 
sings  in  French  and  German,  besides 
her  native  Italian. 

Lang  (lang),  Benjamin  Jackson.    1837- 

Eminent  American  musician;  born 
in  Salem,  Mass.,  and  received  his  first 
instruction  from  his  father,  who  was 
a  well-known  teacher  of  piano  and 
organ  there.  His  next  teacher  was 
Francis  G.  Hill  of  Boston.  When  he 
was  fifteen  years  old,  his  father  be- 
coming ill,  he  took  over  his  pupils,  at 
the  same  time  obtaining  the  position 
of  organist  at  Dr.  Neale's  Church  in 
Somerset  Street,  Boston.  He  has  ever 
since  been  actively  engaged  in  teach- 
ing; was  organist  for  twenty  years  at 
the  Old  South  Church,  and  since  1885 
organist  at  King's  Chapel.  In  1855  he 
went  to  Germany  to  study  and  re- 
ceived piano  instructions  from  Alfred 
Jaell    and    others,    also    some    super- 


Lang 

vision  fr;>m  Franz  Liszt,  ills  first 
public  appearance  was  made  in  Bos- 
'  'S58.    About  this  time  he  re- 

istruction  from  Gustav  Satter, 
V....,     -vas    traveling    in    the    United 
States.      He     was    organist    of    the 
Handel     and     Haydn     Society     from 
1859  to  1895,  when  for  tv 
became  its  conductor.      ' 
pear 
wh'. 


L«ng 

married  Professor  K/istlin,  of  Tu- 
bingen, after  whose  dtath.  in  1856,  she 
again  taught  music.  Ferdi  '  "Ik-r 
and  Schumann  have  both  ,  er 

compositions.      She    compo;,^.^    ,   .^,ut 
forty     songs,     of     which     Schumann 
makes  special  mention  of  Traumbild. 
.:   best  of  her  piano  compositions 
t"!ro     rr"w-';''kn«.     In     der     D.Hm- 

n- 


Pro  .'  he  returntd  to 

Eui'  certs  in   Berlin, 

Leipzic,   and  _  other    musical   centers. 

Lang  was  an  important  member  of  the 

Concert    Committee    of   the    Harvard 

Musical  Association  during  the  years 

in   V-'  '- 

and 

a    - 

fou: 

also 

c  horufe, 

ist74.     i 


AiatiKvtu.      Her  cele- 

brated B.  J.  Lang,  many 

years  has  been  prominent  in  die  musi- 
cal life  of  Boston.  Her  mother  ob- 
tained quite  a  reputation  as  a  singer, 
though   she   never   became   a  profes- 

over 

their 

ell  re- 


MICHAEL  iNVANOVf^CH  (ftl^l^ 8X^^1808^1^.. 


As  the  founder  of  the  Russian  School  of  Music  K^tion 
stands  among  the  epoch  makers  in  musical  historys-  ';•■ 
The  strong  national  character  of  his  work  has  made 
it  especially  popular  in  his  own  country.  His  first  ^^ 
and  greatest  work  was  the  opera,  "A  Life  for  the  -s7 
Czar,"  a  distinctly  Russian  comppsition.     He, was  a^^^'- 

fast  friend  of  BerHoz,  with^'whoh*  hechas  tJwfR  C9n:|,-"had 

i                         ...             i:i   r.;si'lc!;i  already  showed  her  natural  ability  for 

iiiasiciari.     I ] P^^^P^  (^  ft ififtWP9?Pi?is  composition,  for  at  the  age  of  twelve 

with  Wagner  at    Jricbschen  and  Bay-  she  had  written  a  quintet  of  one  move- 

reuth    and    introduced    many    of    his  ment  for  strings  and  piano  and 

works  in  this  country.     He  employed  eral   songs.      Miss    Lang  posse 


Lane 

Dr. 


poser; 
father 


born  at  Munich,  where  her 
was  Court  musician.  Her 
mother  was  the  famous  singer,  Regina 
Hitzelberger  Lang.  She  studied  first 
under    i  ^  ^iof- Wagner    and 

later    u.  ohn,    who    was 


i 

k 

.t 

.,.  - ^^    ;...ik 

oi   note   was   the   Dramatic    Overture 

performed  by  the  Boston  Symphony 

Orchestra  under  Nikisch  in  1893.    An 

overture,  Witichis,  was  performed  the 

same   year   by  Theodore   Thomas   in 

Chicago,      These    compositions,    also 

1-  overture,  Toti?-    n   -   ^  !]  in  manu- 

;  t.     Of  three  were  per- 

1    <"    iQ'^i^  ,    Prayer   to 

to  and  orchea- 

-  ew    York,    and 


AJ8I-808I    .A^UO  HDTIVOMAVMI  JHAHDIM 
toylll',  '°'°'"''^-  """"^  ^"'  '°  "1^-°'  ^rf'  =A 
ita  aiH        T  ""  '°  "''"^*  "="°'*«''  Sno«a  srfT 

mo^  n«d  a.ri  ari  „oriw  ri.iv,  ,.cih,a  io  bnahi  ,arf 

.i32oqmo3  £  as  baisq 


BIOGRAPHIES 


465 


Lang 

vision  from  Franz  Liszt.  His  first 
public  appearance  was  made  in  Bos- 
ton in  1858.  About  this  time  he  re- 
ceived instruction  from  Gustav  Salter, 
who  was  travehng  in  the  United 
States.  He  was  organist  of  the 
Handel  and  Haydn  Society  from 
1859  to  1895,  when  for  two  years  he 
became  its  conductor.  His  first  ap- 
pearance as  conductor  was  in  1862, 
when  he  gave  the  first  performance 
in  Boston  of  Mendelssohn's  Wal- 
purgis  Night,  and  the  next  year  he, 
with  Carl  Zerrahn,  directed  the  music 
at  the  jubilee  concert  in  honor  of 
President  Lincoln's  Emancipation 
Proclamation.  In  1869  he  returned  to 
Europe  and  gave  concerts  in  Berlin, 
Leipzic,  and  other  musical  centers. 
Lang  was  an  important  member  of  the 
Concert  Committee  of  the  Harvard 
Musical  Association  during  the  years 
in  which  it  gave  symphony  concerts, 
and  was  conductor  of  the  Apollo  Club, 
a  men's  singing  society,  from  its 
foundation  in  1871,  until  1901.  He  has 
also  conducted  the  Cecilia,  a  mixed 
chorus,  since  its  establishment,  in 
1874.  In  1903  the  degree  of  Master 
of  Arts  was  conferred  upon  him  by 
Yale  University.  Lang  has  given 
many  orchestra,  choral  and  chamber 
concerts  of  his  own,  and  as  pianist 
and  conductor  has  brought  out  in 
Boston  more  new  works  and  works 
of  importance  than  any  other  resident 
musician.  He  was  on  intimate  terms 
with  Wagner  at  Triebschen  and  Bay- 
reuth  and  introduced  many  of  his 
works  in  this  country.  He  employed 
his  influence  in  raising  funds  in  Bos- 
ton for  the  first  Bayreuth  Festival  in 
1876.  His  greatest  work  lies  in  inter- 
pretation, most  of  his  compositions 
being  still  in  manuscript.  However, 
of  these  are  David,  an  oratorio,  sym- 
phonies, overtures,  chamber-music, 
piano-pieces,  church-music  and  songs, 
most  of  which  have  been  performed. 

Lang,  Josephine.    1815-1880. 

Dramatic  singer  and  vocal  com- 
poser; born  at  Munich,  where  her 
father  was  Court  musician.  Her 
mother  was  the  famous  singer,  Regina 
Hitzelberger  Lang.  She  studied  first 
under  Frau  Berlinghof- Wagner  and 
later  under  Mendelssohn,  who  was 
much  attracted  by  her  ability  and 
charming  personality,  speaking  of  her 
as  "  die  kleine  Lang."  She  became  a 
teacher  of  singing  and  piano  and  sang 
in    the    Court    Chapel.      In    1852    she 


Lang 

married  Professor  Kostlin,  of  Tu- 
bingen, after  whose  death,  in  1856,  she 
again  taught  music.  Ferdinand  Hiller 
and  Schumann  have  both  praised  her 
compositions.  She  composed  about 
forty  songs,  of  which  Schumann 
makes  special  mention  of  Traumbild. 
The  best  of  her  piano  compositions 
are  two  mazurkas.  In  der  Dam- 
merung,  and  Grand  Impromptu,  a  bril- 
liant concert  piece.  She  died  at 
Tubingen. 

*  Lang,  Margaret  Ruthven.    1867- 

One  of  our  most  famous  composers; 
born  in  Boston,  and  thoroughly 
American.  Her  father  is  the  cele- 
brated B.  J.  Lang,  who  for  so  many 
years  has  been  prominent  in  the  musi- 
cal life  of  Boston.  Her  mother  ob- 
tained quite  a  reputation  as  a  singer, 
though  she  never  became  a  profes- 
sional. Both  parents  watched  over 
the  musical  development  of  their 
gifted  daughter  and  she  has  well  re- 
paid their  care.  Her  first  instruction 
on  the  piano  was  given  her  by  one  of 
her  father's  pupils,  and  later  she  con- 
tinued with  her  father  himself.  She 
also  took  up  the  study  of  violin,  first 
with  Louis  Schmidt  in  Boston,  con- 
tinuing for  the  season  of  1886-1887 
with  Drechsler  and  Abel  in  Munich. 
While  there  she  also  studied  compo- 
sition under  Victor  Gluth.  She  had 
already  showed  her  natural  ability  for 
composition,  for  at  the  age  of  twelve 
she  had  written  a  quintet  of  one  move- 
ment for  strings  and  piano  and  sev- 
eral songs.  _  Miss  Lang  possesses  a 
great  capacity  for  work  and  her  own 
efforts  have  enabled  her  to  derive  the 
greatest  benefit  from  her  studies. 
Upon  her  return  to  America  she  con- 
tinued her  study  of  composition  with 
George  W.  Chadwick,  also  studying 
orchestration  under  him.  Miss  Lang 
is  an  active  member  of  the  New  York 
Manuscript  Society.  She  has  that 
artistic  temperament  and  intelligent 
comprehension  of  her  work  which 
insures  success.  Her  first  large  work 
of  note  was  the  Dramatic  Overture 
performed  by  the  Boston  Symphony 
Orchestra  under  Nikisch  in  1893.  An 
overture,  Witichis,  was  performed  the 
sarne  year  by  Theodore  Thomas  in 
Chicago.  These  compositions,  also 
an  overture,  Totila,  are  still  in  manu- 
script. Of  three  arias  two  were  per- 
formed in  1896,  Sappho's  Prayer  to 
Aphrodite,  for  contralto  and  orches- 
tra,   performed    in    New    York,    and 


466 


BIOGRAPHIES 


Lang 

Armida,  for  soprano  and  orchestra, 
performed  at  the  Boston  Symphony 
concerts.  The  third  is  Phoebus,  for 
barytone  and  orchestra.  Among  other 
large  compositions  are  a  cantata  for 
chorus,  solos  and  orchestra;  a  string 
quartet,  and  several  compositions  for 
violin  and  piano.  .  Her  songs,  which 
number  about  one  hundred  and  twen- 
ty-five, are  mostly  well  known,  among 
them  the  popular  Day  is  Gone; 
Somewhere;  The  Hills  o*  Skye;  A 
Thought;  Irish  Love  Song;  and  two 
volumes  of  Nonsense  Songs.  She  has 
also  written  part-songs  for  women's, 
men's  and  mixed  voices.  Many  ex- 
cellent piano  numbers  are  among  her 
works,  some  of  which  are  a  rhapsody 
in  E  minor;  Meditation;  Petit  Roman; 
a  Revery;  and  Spring  Idyll;  the  last 
two  new  and  particularly  charming. 

Lange  (lang'-e),  Daniel  de.    1841- 

Born  at  Rotterdam.  Studied  violon- 
cello under  Ganz  and  Servais,  and 
composition  under  Verhulst.  He 
taught  at  the  music  school  in  Lem- 
ber^  from  1860  to  1863,  then  went  to 
Pans  to  continue  his  study  of  the 
piano  and  organ.  He  held  several 
positions  as  organist.  In  1870  he 
went  to  Amsterdam,  where  he  taught 
in  the  school  of  music,  of  which  he 
was  secretary,  and  which  afterwards 
was  made  a  conservatory.  In  1895  he 
became  director.  He  conducted  sev- 
eral choral  societies  which  gained  a 
great  reputation.  The  concerts  they 
gave  in  Albert  Hall,  London,  in  1885, 
were  enthusiastically  received.  His 
works  include  two  symphonies,  can- 
tatas, an  opera,  an  overture,  a  requiem, 
a  violoncello  concerto,  etc. 

Lange,  Gustav.    1830-1889. 

German  pianist  and  composer;  born 
at  Schwerstedt,  near  Erfurt,  Prussia. 
First  a  pupil  of  his  father  and  others 
at  Erfurt;  he  afterwards  studied  in 
Berlin  under  A.  W.  Bach,  Grell,- 
Loschhorn  and  G.  Schumann.  He 
lived  in  Berlin,  where  he  successfully 
played  in  concerts  from  1860  to  1870, 
after  which  he  devoted  himself  to 
composition.  Most  of  his  works  be- 
came very  popular.  He  was  a  prolific 
composer,  producing  more  than  two 
hundred  and  fifty  works,  which  in- 
cluded original  pieces,  fantasias,  tran- 
scriptions, etc.,  for  piano. 

Lange,  Samuel  de.    1840- 

Born  at  Rotterdam,  where  he 
studied  with  Verhulst,  continuing  his 


Langhans 
instruction  in  Vienna  under  A.  Win- 
terberger,  and  in  Lemberg  under 
Damcke  and  Mikuli.  Becoming  a  dis- 
tinguished organist  he  made  tours  in 
Galicia,  in  1859  settling  in  Lemberg, 
and  in  1863  going  to  Rotterdam  as 
organist  and  as  teacher  in  the  Music 
School  there.  He  toured  in  Switzer- 
land, and  appeared  at  Leipzic,  Vienna 
and  Paris.  In  1877  he  was  appointed 
a  teacher  in  the  Cologne  Conserv- 
atory. He  went  to  The  Hague  as 
rector  of  the  Oratorio  Society,  re- 
maining there  from  1885  to  1893;  the 
next  year  going  to  Stuttgart  as  pro- 
fessor of  the  organ  and  counterpoint 
at  the  Conservatory  of  which  in  1900 
he  was  appointed  director.  Among 
his  compositions  are  eight  organ 
sonatats,  a  piano  concerto,  sonatas  for 
violin,  symphonies,  an  oratorio,  and 
many  part-songs  for  male  voices. 

Langhans  (lang'-hans),  Frederick  Wil- 

helm.     1832-1892. 

Born  in  Hamburg;  he  became  a 
violinist,  author  and  composer.  He 
received  some  musical  instruction  at 
the  Johanneum  in  Berlin,  and  when 
he  was  seventeen  years  old  entered 
the  Leipsic  Conservatory.  Here  he 
studied  violin  under  David  and  com- 
position under  Richter.  While  in 
Leipsic  he  played  first  violin  in  the 
Gewandhaus  Orchestra  and  at  the 
theatre.  Going  to  Paris  he  received 
further  violin  instruction  from  Alard. 
From  1857  to  1860  he  was  concert- 
master  at  Diisseldorf,  then  teacher 
and  concert-player  at  Hamburg,  Paris, 
and  Heidelberg,  where,  in  1871,  the 
University  conferred  upon  him  the 
degree  of  Doctor.  He  became  pro- 
fessor of  the  history  of  music  in  1874 
at  Kullak's  Neue  Akademie  der  Ton- 
kunst,  remaining  there  until  1881, 
when  he  joined  X.  Scharwenka's 
newly  established  conservatory,  even- 
tually becoming  its  director.  He  vis- 
ited England  in  1881,  where  he  heard 
some  open-air  music  in  Glasgow,  and 
the  Worcester  Festival  and  Patience 
in  London.  Afterwards  he  wrote 
articles  on  music  in  England  for  the 
Musikalisches  Centralblatt.  Langhans 
was  an  honorary  member  of  the  Liceo 
Filarmonico  of  Florence  and  of  the 
St.  Cecilia  at  Rome.  He  died  in  Ber- 
lin. Among  his  compositions  are  a 
string  quartet,  a  violin  sonata,  and  a 
symphony,  which  are  important 
works,  the  first  named  taking  a  prize 
offered   in    1864   by   the    Societa   del 


BIOGRAPHIES 


467 


Langhans 

Quartetto  in  Florence.  His  writings, 
however,  are  of  even  greater  impor- 
tance, including  Das  Musikalische 
Urtheil,  Die  Musikgeschichte  in  12 
Vortragen,  a  Geschichte  der  Musik 
des  17,  18,  und  19  Jahrhunderts  as  a 
sequel  to  the  history  of  music  by 
Ambros,  and  a  history  of  the  Berlin 
Hochschule. 

Langle     (lan'-la),    Honore    Francois 
Marie.    1741-1807. 

Born  at  Monaco,  on  the  Medi- 
terranean Sea;  he  became  a  pupil  of 
Caffaro  at  the  Conservatory  in  Naples, 
He  became  music-director  at  Genoa, 
in  1768  going  to  Paris,  where  he 
taught  in  the  ficole  Royale  de  Chant 
et  de  Declamation  from  1784  to  1791. 
He  was  librarian  and  professor  of  har- 
mony at  the  Paris  Conservatory  from 
1795  to  1802,  after  which  he  was 
librarian  only.  He  died  at  Villiers- 
le-Bel,  near  Paris.  His  writings  are 
more_  important  than  his  compositions 
and  include  Traite  d'harmonie  et  de 
modulation,  Nouvelle  methode  pour 
chififrer  les  accords,  Traite  de  la  basse 
sous  le  chant,  Traite  de  la  fugue,  and 
a  Methode  de  chant. 

Laniere     (lan-yar),    Nicholas.     1588- 

1666. 

Born  in  London,  where  he  became 
attached  to  the  household  of  Henry, 
Prince  of  Wales.  With  Coperario  and 
others  he  composed  and  performed  in 
a  masque  given  at  Whitehall,  1614. 
He  also  composed  the  music  for  Ben 
Jonson's  masque,  Lovers  Made  Men, 
which  contains  the  first  use  of  the 
recitative  style  in  England.  Laniere 
painted  the  scenery  and  also  sang  in 
the  play.  In  1625  he  was  sent  to 
Italy  by  Charles  I.  to  buy  pictures 
for  the  Royal  collection,  among  which 
are  Mantegna's  Triumph  of  Caesar, 
now  at  Hampton  Court  and  Correg- 
gio's  Mercury  Instructing  Cupid, 
which  is  in  the  National  Gallery.  In 
1626  he  was  appointed  Master  of  the 
King's  Musick  and  later  keeper  of  the 
king's  miniatures.  He  set  to  music 
Herrick's  poem  on  the  birth  of  Prince 
Charles.  In  1636  he  was  made  first 
Marshal  of  a  corporation  whose 
charter  was  granted  by  the  King  to 
him  and  others,  making  them  the  Mar- 
shal, Wardens,  and  Cominalty  of  the 
Arte  and  Science  of  Musicke  in 
Westminster.  With  the  revolution 
and  death  of  Charles,  Laniere  lost  all 
his  appointments  and  left  for  the  Con- 
tinent,  where,   in   1655   he   composed 


Laroche 

music  for  a  ball  given  at  The  Hague. 
However,  at  the  Restoration  he  re- 
gained all  he  had  lost.  He  died  in 
London.  Some  of  his  songs  and  dia- 
logues are  in  the  British  Museum; 
also  a  cantata.  Hero  and  Leander,  in 
manuscript.  Other  music  in  manu- 
script is  in  the  Music  School  and 
Christ   Church   Library,  Oxford. 

Lanner  (lan'-ner),  Joseph  Franz  Karl. 

1801-1843. 

Born  and  died  in  Oberdobling,  near 
Vienna.  His  talent  for  music  showed 
early  and  by  his  own  efforts  he 
learned  to  play  the  violin  and  to 
become  quite  proficient  in  composi- 
tion. He  next  organized  a  quartet  in 
which  the  elder  Strauss  played  the 
viola.  They  played  mostly  marches 
and  light  music  composed  by  Lanner 
and  potpourris  from  favorite  operas 
arranged  by  him.  From  a  small  this 
grew  to  be  a  larger  orchestra  and 
their  performances  became  so  popular 
that  they  were  in  demand  at  all  im- 
portant places  of  amusement.  Lanner 
conducted  the  dance-music  at  the 
Court  balls  alternately  with  Strauss 
and  was  appointed  chapelmaster  of 
the  second  Biirger-regiment.  He  may 
be  considered  as  the  founder  of  all 
modern  dance-music,  having  devel- 
oped the  waltz  from  the  old-fashioned 
landler.  More  than  two  hundred  of 
his  compositions  have  been  published, 
many  of  them  having  been  dedicated 
to  royalty  and  other  distinguished 
persons.  Among  these  are  Victoria- 
Walzer,  to  Queen  Victoria;  Trouba- 
dour-Walzer,  to  Donizetti;  and  the 
Norwegische  Arabesken,  to  Ole  Bull. 

Lanska   (lans'-ka),  Franz.     1764-1825. 

Born  at  Briinn,  Moravia.  Studied 
under  Albrechtsberger  at  Vienna.  He 
visited  Rome  with  the  Duke  of  Ser- 
belloni,  and  later  became  chamber 
musician  at  Munich.  In  1794  he  went 
to  Copenhagen,  where  he  taught  for 
four  years,  then  going  to  Berlin,  where 
he  was  engaged  at  court  as  teacher. 
He  also  had  many  private  pupils, 
among  them  Meyerbeer.  He  was  a 
brilliant  pianist  and  composer;  among 
his  works  are  sonatas  for  piano  and 
strings;  quartets  for  men's  voices;  and 
songs.  He  also  published  a  practical 
method  for  piano.    He  died  in  Berlin. 

Laroche    (la-rosh),    Herman    Augus- 

tovich.     1845- 

Musical  critic  and  composer.  Born 
in  St.  Petersburg,  where  he  received 


468 


BIOGRAPHIES 


Laroche 
his  musical  instruction.  In  1867  he 
was  appointed  teacher  of  theory  and 
musical  history  at  the  Moscow  Con- 
servatory, returning  to  St.  Petersburg 
in  1871.  He  is  a  contemporary  of 
Tschaikowsky,  about  whom  he  has 
written  many  admiring  articles.  La- 
roche has  composed  some  instru- 
mental and  vocal  works,  but  it  is  as 
a  writer  that  he  is  best  known.  He 
has  contributed  largely  to  leading 
Russian  newspapers  and  periodicals. 
He  has  much  originality  of  thought 
and  a  clear,  concise  style.  He  trans- 
lated Hanslick's  Vom  musikalische 
Schonen  into  Russian. 

La  Rue  (la-rii),  Pierre  de.    -1518. 

Born  in  Picardy  about  the  middle 
of  the  Fifteenth  Century.  He  was  a 
fellow-student  of  Josquin  des  Pres  in 
the  school  of  Okeghem.  He  appears 
as  having  been  in  the  service  of  the 
Court  of  Burgundy  as  chapel-singer 
at  different  times  between  1477  and 
1502.  In  1501  he  was  a  prebend  of 
Courtrai  and  also  at  Namur  until 
1510.  Having  been  in  the  service  of 
Charles  V.  until  1512,  he  then  entered 
that  of  Margaret  of  Austria,  with 
whom  he  became  a  great  favorite. 
Margaret  of  Austria  caused  some 
handsome  copies  to  be  made  of  his 
masses,  and  they  are  now  in  the 
libraries  of  Vienna  and  Brussels.  As 
a  contrapuntal  composer  he  is  con- 
sidered as  second  only  to  Josquin, 
though  the  number  of  his  works  is  not 
nearly  so  great.  Much  that  he  wrote 
has  never  been  printed,  there  being 
in  existence  about  thirty-six  masses, 
twenty-five  motets,  and  ten  secular 
pieces. 

Lassalle  (las-sal),  Jean.    1847. 

French  barytone;  born  at  Lyons. 
His  father  was  a  silk  merchant  and 
he  intended  following  the  same  occu- 
pation, studying  industrial  design  at 
the  Beaux-Arts,  Lyons,  and  later  in 
Paris.  Realizing  that  he  was  not  fitted 
for  a  commercial  position,  he  studied 
painting  in  Paris,  but  dropped  this 
soon  for  singing.  He  entered  the 
Conservatory,  but  left  before  long  to 
study  under  Novelli.  His  debut  was 
made  in  1869,  as  St.  Bris,  on  the  stage 
at  Liege.  Following  this  he  toured 
Lille,  Toulouse,  The  Hague  and  Brus- 
sels. He  remained  in  Brussels  for 
the  season  of  1871,  the  next  year  mak- 
ing a  successful  appearance  in  Paris 
as  Tell.     He  remained  at  the  Opera 


Lassen 

for  twenty-three  years,  becoming  prin- 
cipal barytone  on  the  retirement  of 
Faure.  During  this  time  he  made 
visits  to  London,  Russia,  Madrid, 
Milan,  Vienna,  Prague,  Warsaw  and 
to  the  United  States.  Possessing  a 
beautiful  voice,  an  actor  of  ability, 
and  an  industrious  worker,  Lassalle 
was  one  of  the  finest  artists  of  his 
time.  He  was  associated  with  the  De 
Reszkes,  they  being  called  the  French 
Trio.  The  three  appeared  in  Covent 
Garden  in  1878.  Lassalle's  parts 
include  Don  Juan;  Pietro,  in  La 
Muette;  Lusignan,  in  Reine  de  Chypre; 
Hamlet,  1885;  and  many  others.  In 
1890  he  played  Escamillo,  in  Carmen, 
at  the  Opera  Comique  with  Mesdames 
Galli-Marie  and  Melba  and  M.  J.  de 
Reszke,  in  aid  of  the  Bizet  Memorial. 
Beginning  1879  he  played  three  sea- 
sons at  Covent  Garden  Theatre  with 
great  success.  Again,  from  1888  to 
1893,  he  played  at  the  same  theatre 
under  Harris.  In  1896  and  1897  he 
appeared  in  Germany.  In  1901  he 
began  to  devote  himself  to  teaching 
in  Paris,  and  two  years  later  was 
made  a  professor  at  the  Conserva- 
tory. 

Lassen  (las'-sen),  Eduard.    1830-1904. 

Danish  composer;  born  in  Copen- 
hagen, but  taken  to  Brussels  when 
only  two  years  old.  When  twelve  he 
entered  the  Conservatory  there,  and 
won  many  prizes,  the  most  important 
being  the  Grand  Prize  of  Rome,  in 
1851.  This  prize  enabled  him  to  travel, 
and  he  made  a  long  tour  through 
Germany  and  Italy.  It  was  with  the 
aid  of  Liszt  that  his  five-act  opera, 
Landgraf  Ludwig's  Brautfahrt,  was 
produced  in  Weimar  in  1857.  This 
success  procured  for  him  the  next 
year  the  position  of  Court  musical 
director  to  the  Grand  Duke.  Upon 
the  retirement  of  Liszt,  in  1861,  he 
succeeded  him  as  conductor  of  the 
Opera,  which  post  he  held  until  1895, 
when  he  retired.  An  event  which 
showed  his  daring  was  the  production 
of  Wagner's  Tristan  and  Isolde,  in 
1874,  when  no  other  theatre  than 
Munich  had  done  so.  In  1881  he  was 
decorated  with  the  Order  of  Leopold. 
Of  his  compositions,  those  showing 
the  most  merit  are  the  operas,  Frau- 
enlob  and  Le  Captif;  two  symphonies; 
music  to  Sophocles'  CEdipus,  to  Heb- 
bel's  Nibelungen,  and  Goethe's  Faust. 
He  also  composed  a  large  number  of 
songs. 


BIOGRAPHIES 


469 


Lassus 
Lassus  (las'-oos),  Orlandus.     1520  or 

1530-1594. 

Probably  the  greatest  master  of  his 
age  with  the  exception  of  Palestrina. 
He  was  born  in  Mons,  Belgium.  His 
real  name  was  Roland  Delattre.  When 
he  was  a  child,  his  father  was  sus- 
pected of  coining,  was  arrested,  tried 
and  condemned.  The  penalty  was  to 
walk  three  times  around  the  public 
scaffold,  wearing  a  collar  made  of 
spurious  coins.  This  sight  so  deeply 
mortihed  the  lad  Orlandus  that  he 
changed  his  name.  There  seems  to 
be  no  fixed  way  of  writing  his  name, 
Roland  van  Lattre  by  his  Flemish 
countrymen,  Delattre  by  the  French 
and  Orlando  di  Lasso  by  the  Italians. 
It  is  Orlande  de  Lassus  on  the  statue 
in  his  native  town  and  also  in  many 
French  editions.  Possessed  of  a 
beautiful  voice,  he  sang,  as  a  boy,  in 
the  choir  at  the  Church  of  Saint 
Nicholas  at  Mons,  going,  while  still 
young,  with  Ferdinand  Gonzaga,  Vice- 
roy of  Sicily,  to  Sicily,  and  afterwards 
to  Milan.  He  spent  three  years  in 
Naples,  1538  to  1541,  then  going  to 
Rome,  where  he  was  chapelmaster 
at  Saint  John  Lateran  until  1548. 
While  in  Rome  he  heard  of  the 
serious  illness  of  his  parents  and 
hastened  home,  but  arrived  after  their 
death.  Lassus  visited  England  and 
France  with  a  friend  who  was  a 
nobleman  and  an  amateur  musician. 
Returning,  he  resided  in  Antwerp  for 
two  years,  associating  with  the  most 
brilliant  and  cultured  society  there. 
His  first  compositions  were  written 
in  the  stvle  of  his  countrymen:  Wil- 
laert,  Verdelot,  Arcadelt  and  Rore, 
and  his  first  book  of  madrigals  was 
published  in  Venice  in  1552.  Three 
years  later  was  published  a  book  con- 
taining eighteen  Italian  canzones,  six 
French  chansons,  and  six  motets.  This 
work  constitutes  the  first  works  of 
importance  composed  by  him.  In 
1557  he  was  invited  by  Duke  Albert 
v.,  of  Bavaria,  to  come  to  Munich. 
Here  he  became  connected  with  the 
Court  Chapel,  in  1562  becoming  chap- 
elmaster, which  post  he  held  until 
his  death.  Albert  V.  was  justly  con- 
sidered as  a  discriminating  patron  of 
art,  and  he  appreciated  and  delighted 
in  Lassus.  He  instituted  the  magnifi- 
cent library  at  Munich,  with  its  very 
valuable  collection  of  manuscripts. 
Lassus  made  a  very  favorable  impres- 
sion, particularly  with  the  Duke  and 
Duchess,  who  introduced  him  to  the 


Latilla 

highest  social  circles.  His  brilliant 
wit,  amiable  temper  and  cheerful  dis- 
position made  him  well  liked  by  all. 
in  1558  he  married  Regina  Welkinger, 
a  inaid-of-honor  to  the  Duchess,  and 
their  marriage  was  a  happy  one.  Of 
six  children,  four  were  boys,  two  of 
whom  became  quite  celebrated  musi- 
cians. It  is  not  known  in  exactly 
what  state  Lassus  found  the  music  of 
Munich,  but  he  undoubtedly  made  the 
city  one  of  the  musical  centers  of  the 
world.  It  was  at  this  time  that  he 
devoted  himself  to  sacred  composi- 
tion, through  which  his  fame  is  last- 
ing. His  first  book  of  motets 
appeared  in  1556.  His  greatest  work 
is  the  setting  to  music  of  the  seven 
Penitential  Psalms,  during  1563  to 
1570.  That  the  Duke  was  proud  of 
these  is  proved  by  the  magnificent 
copy  of  them,  now  in  the  library  of 
Munich.  He  had  them  copied  on 
parchment,  from  the  master's  own 
handwriting,  bound  in  four  large 
morocco  volumes,  and  beautifully 
ornamented  with  silver-gilt  shields 
and  locks  chased  and  enameled  in  the 
most  elegant  manner.  Lassus  also 
became  interested  in  the  choir,  and 
his  steadiness  and  force  as  its  con- 
ductor gave  confidence  and  power  to 
the  singers.  In  1570  Emperor  Maxi- 
milian II.  invested  him  with  the  order 
of  knighthood,  and  the  following  year 
Pope  Gregory  XIII.  decorated  him 
with  the  order  of  the  Golden  Spur. 
He  visited  Paris,  and  was  showered 
with  gifts  and  attentions  from  Charles 
IX. _  Returning  to  Munich,  Lassus 
again  took  up  composition,  in  1573 
publishing  the  first  volume  of  Patro- 
cinium  Musices,  the  first  of  a  series 
intended  for  the  best  music  necessary 
for  the  services  of  the  church.  Duke 
Albert's  death  occurred  in  1579,  and  a 
year  later  Lassus  published  a  new  set 
of  Vigiliae  Mortuorum  to  the  words  of 
Job,  as  a  tribute  to  the  memory  of  his 
master.  In  1586  appears  the  first 
decline  of  the  master's  strength.  The 
next  year  Duke  William  presented 
him_  with  a  country  house  at  Geising. 
He  is  credited  with  writing  more  than 
two  thousand  five  hundred  works. 
Together  with  Giovanni,  Gabrieli  and 
Palestrina  he  represents  the  highest 
development  of  the  great  epoch  of 
single  counterpoint. 

Latilla  (la-til-la),  Gaetano.    1713-1789. 

Born    at    Bari,    Italy,    where    as    a 
boy  he   sang  in   the   Cathedral  choir. 


470 


BIOGRAPHIES 


Latilla 
He  received  his  musical  education  at 
the  San  Onofrio  Conservatory  in 
Naples,  where  he  was  a  pupil  of 
Domenico  Gizzi.  In  1738  he  was 
appointed  second  chapelmaster  at 
Santa  Maria  Maggiore,  Rome,  but  his 
health  was  so  poor  that  he  returned 
to  Naples,  in  1741,  and  devoted  his 
time  to  composition.  He  was  made 
choir  director  at  the  Conservatorio 
della  Pieta  at  Naples  in  1756,  and  in 
1762  second  conductor  at  St.  Mark's. 
After  ten  years  of  service  there  he 
returned  to  Naples,  where  he  died. 
His  compositions  include  about  thirty- 
six  operas,  of  which  Orazio  was  the 
most  important;  much  church-music; 
six  strmg  quartets;  and  many  arias 
and   duets. 

Latrobe,     Rev.     Christian     Ignatius. 

1757-1836. 

Born  at  Fulneck,  near  Leeds,  York- 
shire. His  father  was  a  prominent 
Moravian  minister,  and  he  attended 
the  Moravian  College  at  Nieska,  Upper 
Lusatia,  where,  after  completing  his 
course,  he  taught.  Returning  to  Eng- 
land in  1784  he  was  ordained,  three 
years  later  being  made  secretary  to 
the  Society  for  the  Furtherance  of 
the  Gospel,  and  in  1795  he  succeeded 
James  Hutton  as  secretary  of  the 
Unity  of  the  Brethren  in  England. 
In  1801  he  was  appointed  a  senior 
civitis,  an  office  of  the  Ancient 
Brethren's  Church,  which  he  was  the 
last  to  hold.  He  worked  hard  for  the 
missions  of  his  church,  in  1815-1816 
making  a  journey  to  South  Africa.  He 
wrote  an  account  of  this,  A  Journal 
of  a  Voyage  to  South  Africa,  trans- 
lated Loskicl's  History  of  the  Mis- 
sions among  the  Indians  in  North 
America,  besides  other  works.  Though 
never  following  music  as  a  profession, 
he  studied  and  composed  to  quite  an 
extent,  both  instrumental  and  for  the 
voice.  Three  of  his  sonatas  are  ded- 
icated to  Haydn,  who  approved  of 
them.  He  composed  anthems  and 
arias;  of  the  latter  some  of  the  words 
are  by  Cowper  and  Hannah  More. 
He  edited  the  first  English  edition  of 
the  Moravian  Hymn  Tunes,  and  his 
great  work  was  the  publication  of  his 
Selection  of  Sacred  Music  from  the 
works  of  the  most  eminent  composers 
of  Germany  and  Italy,  in  six  volumes. 
This  work  was  the  first  to  bring  many 
fine  modern  compositions  before  the 
British  public.  He  died  at  Fairfield, 
near  Manchester. 


Laub 


Latrobe,  Rev.  John  Antes.  1799-1878. 
The  son  of  Rev  Christian  Ignatius 
Latrobe;  was  born  in  London.  He 
was  educated  at  St.  Edmund  Hall, 
Oxford,  graduating  Bachelor  of  Arts 
in  1826  and  Master  of  Arts  in  1829. 
He  was  ordained  in  the  Church  of 
England;  was  incumbent  of  St. 
Thomas',  Kendal,  from  1840  to  1865, 
and  in  1858  was  made  honorary  canon 
of  Carlisle  Cathedral.  He  compiled 
the  Hymn  Book  used  in  his  church 
at  Kendal,  and  it  includes  some  hymns 
of  his  own.  He  is  the  author  of  The 
Music  of  the  Church  considered  in  its 
various  branches,  Congregational  and 
Choral,  published  in  London,  1831, 
and  Instructions  of  Chenaniah,  1832, 
a  book  of  directions  for  accompanying 
chants  and  psalm-tunes.  He  died  at 
Gloucester. 

Laub  (lowp),  Ferdinand.     1832-1875. 

Violin  virtuoso;  born  in  Prague. 
His  father  was  a  musician  and  gave 
him  his  first  instruction.  When  six 
years  of  age  he  could  play  the  varia- 
tions by  De  Beriot,  and  at  nine  he 
made  a  concert-tour  in  Bohemia. 
When  eleven  he  entered  the  Prague 
Conservatory  to  study  under  Moritz 
Mildner,  who  had  taken  charge  of  his 
musical  education.  A  few  years  after 
the  Archduke  Stephen  presented  him 
with  an  Amati  violin,  and  sent  him  to 
Vienna  in  1847.  After  some  well- 
attended  concerts  there  he  started  for 
Paris,  giving  performances  in  the 
principal  towns  en  route.  In  1851  he 
visited  London,  and  two  years  later 
succeeded  Joachim  at  the  Music 
School  at  Weimar.  From  1855  to 
1857  he  was  instructor  in  Steen's  Con- 
servatory, Berlin,  and  later  concert- 
master  of  the  Court  Orchestra  there 
and  chamber  virtuoso.  In  1864  he 
made  an  extended  tour  with  Carlotta 
Patti,  the  pianist  Jaell  and  the  cellist 
Kellermann,  and  in  1866  became  pro- 
fessor of  the  violin  at  the  Moscow 
Conservatory.  In  1874  his  health  gave 
out,  and  he  tried  the  baths  of  Carls- 
bad, but  died  the  following  year  at 
Gries,  near  Botzen,  in  the  Tyrol.  As 
a  player,  Laub  had  much  feeling  and 
expression,  as  well  as  a  beautiful  tone 
and  brilliant  technique.  His  repertory 
was  large,  but  one  of  his  most  fre- 
quent numbers  was  Joachim's  Hun- 
garian Concert.  He  produced  some 
compositions,  of  which  the  only  one 
now  heard  to  any  extent  is  the 
hackneyed  Polonaise. 


BIOGRAPHIES 


471 


Lauterbach 
Lauterbach     (low'-ter-bakh),    Johann 

Christoph.    1832- 

Born  at  Culmbach,  Bavaria.  He 
became  a  virtuoso  on  the  violin,  and 
studied  at  the  school  of  music  in 
Wiirzburg  under  Bratsch  and  Pro- 
fessor Frolich.  In  1850  he  entered 
the  Conservatory  at  Brussels,  where 
he  received  instruction  from  De  Beriot 
and  Fetis.  The  next  year  he  received 
the  gold  medal,  and  became  professor 
of  violin  during  Leonard's  absence. 
After  some  travel  through  the  Neth- 
erlands, Belgium  and  Germany,  he 
became  concertmaster  and  professor 
of  the  violin  at  the  Conservatory  at 
Munich.  At  the  death  of  Lipinski,  in 
1861,  he  went  to  Dresden  as  second 
leader  of  the  Royal  band,  succeeding 
Schubert,  and  in  1873  succeeding  him 
in  first  place.  He  held  from  1861 
to  1877  the  position  of  principal  violin 
teacher  at  the  Conservatory.  He 
appeared  in  England  during  the  sea- 
sons of  1864  and  1865,  playing  at  the 
Philharmonic  and  at  the  Musical 
Union.  In  Paris  he  played  at  the 
last  concert  given  at  the  Tuileries 
before  the  war  of  1870,  and  was  pre- 
sented by  Emperor  Napoleon  with  a 
gold  snuff-box  set  with  diamonds.  He 
has  been  decorated  with  many  orders 
of  both  north  and  south  Germany. 
He  has  produced  some  compositions 
for   the   violin. 

Lavallee  (la-val-Ia),  Calixa.    1842-1891. 

Canadian  concert-pianist;  born  at 
Vercheres.  He  received  his  first 
instruction  from  his  father.  His  first 
appearance  as  pianist  was  at  the  early 
age  of  ten.  About  five  years  later  he 
entered  the  Paris  Conservatory,  where 
he  studied  piano  under  Marmontel, 
composition  and  instrumentation 
under  Bazin  and  Boieldieu.  In  1881 
he  was  solo  pianist  of  Mme.  Gerster's 
first  concert  tour  of  the  United  States, 
when  they  gave  many  concerts  and 
recitals  of  American  composers'  works 
in  the  principal  cities,  especially  Cleve- 
land and  Boston.  In  1886  and  1887  he 
was  president  of  the  Music  Teachers' 
National  Association  and  afterwards 
chairman  of  the  Examining  Committee 
of  American  Compositions.  He  was 
sent  by  them  as  a  delegate  to  Lon- 
don in  1888  to  the  Conference  of  the 
Society  of  Professional  Musicians. 
He  lived  in  Boston  for  some  time 
before  his  death,  and  was  instructor 
at  the  Petersilea  Academy.  Among 
his  compositions  are  two  operas;  an 


Lawes 


oratorio;  a  cantata;  a  symphony;  two 
orchestral  suites;  several  overtures; 
and  many  piano-pieces. 

Lavignac  (la-ven-yak),  Alexandre  Jean 

Albert.    1846- 

Pianist;  born  in  Paris.  Studied  at 
the  Conservatory,  where  he  won  the 
first  prize  for  solfeggio  in  1857, 
the  first  prize  for  piano  in  1861  and  the 
first  prize  for  harmony  and  composi- 
tion in  1863.  He  won  the  first  prize 
for  counterpoint  and  fugue  in  1864 
and  the  second  prize  for  organ  the 
next  year.  In  1882  he  was  appointed 
professor  of  solfeggio  and  in  1891  pro- 
fessor of  harmony,  and  he  is  now 
dean  of  the  faculty.  His  writings  of 
educational  value  are  Solfeges,  in 
six  volumes;  a  Cours  complet  theo- 
rique  de  dictee  musicale,  a  work  on 
musical  dictation;  Cinquante  lemons 
d'harmonie;  L'ficole  de  la  Pedale,  for 
pianists;  piano-pieces  for  four  hands; 
ten  preludes;  many  piano  solos;  and 
pieces  for  other  instruments. 

His  contributions  to  musical  litera- 
ture are  widely  known;  in  1895  ap- 
peared La  Musique  et  les  Musiciens, 
followed  two  years  later  by  Le  Voy- 
age artistique  a  Bayreuth,  which  was 
translated  into  English  by  Esther 
Singleton,  and  published  in  London 
in  1898  under  the  title.  The  Music 
Drama  of  Richard  Wagner.  This  work 
is  undoubtedly  the  best  of  the  many 
handbooks  to  Wagner's  works.  His 
latest  publication  is  Musical  Educa- 
tion,^ which  has  also  been  translated 
by  Esther  Singleton.  It  is  a  valuable 
treatise  upon  how  and  when  to  teach 
music  to  the  child. 

Law,  Andrew.    1748-1821. 

New  England  singing-teacher;  born 
in  Cheshire,  Conn.  His  musical  edu- 
cation was  derived  by  studying  alone. 
He  composed  some  hymn-tunes,  of 
which  Archdale  became  popular.  In 
1782  was  published  a  Collection  of  the 
best  and  most  approved  Tunes  and 
Anthems,  which  he  compiled.  His 
compositions  include  Rudiments  of 
Musick;  Musical  Primer  on  a  new 
plan,  with  the  Four  Characters;  Musi- 
cal Magazine;  and  Harmonic  Com- 
panion and  Guide  to  Social  Worship. 

Lawes  (loz),  Henry.     1595-1662. 

English  musician;  was  born  at  Din- 
ton,  Wiltshire.  He  was  instructed 
in  music  by  Giovanni  Coperario 
(Cooper).  He  was  sworn  in  as  gen- 
tleman of  the  Royal  Chapel  of  Charles 


472 


BIOGRAPHIES 


Lawes 

I.,  either  in  1625  or  1626,  and  after- 
wards became  clerk  of  the  cheque 
and  member  of  the  King's  band.  In 
1633  he  composed  the  music  for  a 
masque  which  was  performed  at  court 
and  in  which  the  two  sons  of  Earl 
Bridgewater  took  part.  Probably  this 
event  brought  Lawes  before  the  Earl's 
notice,  for  after  this  he  became  music- 
teacher  in  the  family.  As  an  enter- 
tainment for  Michaelmas  night  at 
Ludlow  Castle  he  composed  the  music 
for  Milton's  Comus  and  acted  the  part 
of  the  Attendant  Spirit.  Milton  was 
probably  his  pupil,  and  gives  him 
much  praise  in  several  of  his  poems. 
In  1636  Lawes  set  to  music  the  songs 
in  Cartwright's  Royal  Slaves,  which 
was  performed  before  the  King  at 
Oxford.  The  next  year  appeared  a 
"  Paraphrase  upon  the  Psalmes  of 
David,  by  G.  S.  (George  Sandys),  Set 
to  New  Tunes  for  Private  Devotion, 
and  a  Thorough-Base,  for  voice  or 
Instrument."  In  1638  he  wrote  to 
Milton  of  his  permission  to  go  abroad. 
In  1648  was  published  a  work  in  four 
books,  a  setting  of  the  Choice  Psalmes 
put  into  Musick  for  Three  Voices. 
It  contains  a  portrait  of  Charles  I., 
supposed  to  be  the  last  issued  in  his 
lifetime.  Ayres  and  Dialogues  con- 
tains a  fine  portrait  of  Lawes  by  Fai- 
thorne.  The  fact  that  his  settings  of 
the  Psalmes  of  1637  and  1648  are 
without  bars,  while  his  Ayres  of  1652 
and  1653  have  them,  seem  to  indicate 
that  he  was  one  of  the  first  to  adopt 
the  invention.  The  last-named  work 
was  so  well  received  that  in  1655  he 
published  another  under  the  same 
title,  followed  in  1658  by  still  another. 
During  the  Civil  War  Lawes  lost  all 
his  appointments,  regaining  them, 
however,  at  the  Restoration.  He  com- 
posed the  anthem,  Zadok,  the  Priest, 
for  the  Coronation  of  Charles  II.  He 
died  in  1662  and  was  buried  in  the 
cloisters  of  Westminster  Abbey. 
Lawes  will  always  be  remembered  as 
the  first  Englishman  who  studied  and 
practised^  with  success  the  proper 
accentuation  of  words,  and  who  made 
the  sense  of  the  poem  of  first  impor- 
tance. This  may  possibly  have  come 
about  through  his  intimacy  with  so 
many  of  the  best  poets  of  the  day.  In 
his  day  he  was  highly  esteemed  both 
as  a  composer  and  performer.  Many 
of  his  songs  are  to  be  found  in  Select 
Musical  Ayres  and  Dialogues,  1652, 
1653  and  1659,  and  The  Treasury  of 
Musick,    1669,    besides    many    others. 


Lawrowskaja 


which    are    in    manuscript    collections 
in  the  British  Museum. 

Lawes,  William.     1582-1645. 

An  elder  brother  of  Henry,  and,  like 
him,  a  pupil  of  Coperario.  The  expense 
of  his  instruction  was  borne  by  the 
Earl  of  Hertford.  A  member  of  the 
choir  of  Chichester  Cathedral,  he  was 
appointed  gentleman  of  the  Chapel 
Royal  in  1602,  and  later  became  cham- 
ber-musician to  Charles  I.  With 
Simon  Ives  he  composed,  in  1633,  the 
music  for  Shirley's  Triumph  of  Peace. 
At  the  outbreak  of  the  Civil  War  he 
joined  the  Royalist  Army,  and  though 
made  a  commissary  to  keep  him  out  of 
danger,  he  was  killed  by  a  stray  bul- 
let at  the  siege  of  Chester.  He  was 
beloved  by  the  King,  who  mourned  his 
death,  calling  him  the  Father  of 
Musick.  William  Lawes  held  a  dis- 
tinguished position  among  the  musi- 
cians of  his  day,  but  scarcely  any  of 
his  works  were  published  during  his 
lifetime.  In  his  brother  Henry's  edi- 
tion of  choice  Psalmes,  in  1648,  a  large 
portion  belongs  to  him.  The  preface 
states  that  this  portion  is  but  a  small 
part  of  what  he  had  composed. 

Lawrowskaja  (laf-rof-shka-ya),  Mme. 
Elizabeth  Andrejewna.     1845- 

Dramatic  singer;  born  at  Kaschin, 
Twer,  Russia.  Her  first  instruction 
was  received  from  Fenzi,  at  the  Eliza- 
beth Institute.  Later  she  studied 
under  Mme.  Nissen-Saloman,  at  the 
St.  Petersburg  Conservatory.  Her 
first  appearance  was  in  1867,  as  Or- 
pheus. She  continued  her  studies 
in  London  and  Paris  through  the 
generosity  of  the  Grand  Duchess 
Helena.  Returning  to  St.  Petersburg, 
she  was  engaged  at  the  Russian 
Opera-Theatre  Marie,  where  she  sang 
from  1868  to  1872.  In  1871  she  mar- 
ried the  Prince  Zeretelew,  at  Odessa. 
Following  the  four  years  of  stage 
work  she  visited  all  the  important 
cities  of  Europe,  concert-singing.  She 
received  further  instruction  from 
Mme.  Viardot-Garcia.  In  London  she 
made  a  great  impression  with  her 
grand  mezzosoprano  voice  and  fine 
declamatory  powers  of  singing  oper- 
atic airs.  In  1878  she  returned  to 
the  St.  Petersburg  Opera.  The  prin- 
cipal Russian  operas  in  which  she  has 
performed  are  La  Vie  pour  le  Czar 
and  Russian  and  Ludmilla,  of  Glinka; 
Russalka  of  Dargomijsky;  and  Wra- 
zyia  Silow  of  Serov. 


BIOGRAPHIES 


473 


LayoUe 

Layolle  (li-y6r)f  Franciscus  de. 

Born  about  the  early  part  of  the 
Sixteenth  Century,  probably  in  France. 
About  1540  he  took  up  his  residence 
in  Florence  as  organist,  and  gained 
quite  a  reputation.  He  also  taught 
Benvenuto  Cellini.  Between  1532  and 
1540  he  edited  a  book  of  ten  masses 
for  the  Lyons  music-printer,  Jacques 
Moderne,  among  which  are  three 
masses  and  three  motets  by  himself. 
His  mass.  Adieu,  mes  Amours,  is  con- 
sidered an  exceptionally  fine  work. 
As  many  of  his  works  were  printed  in 
Lyons,  it  is  probable  that  it  was  his 
birthplace.  Many  of  his  madrigals 
and  motets  are  found  in  various  col- 
lections. 

Lazarus  (laz'-ar-us),  Henry.   1815-1895. 

English  clarinettist;  born  in  Lon- 
don. His  first  instruction  was 
received,  as  a  boy,  from  Blizard,  band- 
master of  the  Royal  Military  Asylum, 
Chelsea,  and  he  continued  under 
Charles  Godfrey,  senior,  bandmaster 
of  the  Coldstream  Guards.  His  first 
important  appointment  was  in  1838, 
as  second  to  Willman  at  the  Sacred 
Harmonic  Society.  At  Willman's 
death,  two  years  later,  he  succeeded 
him  as  principal  clarinet  at  the  Opera 
and  also  at  the  London  concerts  and 
provincial  festivals.  He  remained  in 
this  position  for  many  years,  con- 
stantly adding  to  his  popularity.  He 
was  a  professor  of  clarinet  at  the 
Royal  Academy  of  Music,  beginning 
1854,  and  at  the  Military  School  of 
Music,  Kneller  Hall,  near  Hounslow, 
from  1858.  Three  years  before  he 
died  he  gave  a  farewell  concert  in  St. 
James'  Hall.  He  died  in  London. 
In  both  orchestral  and  solo-playing 
his  tones  were  rich  and  beautiful,  his 
phrasing  exquisite  and  his  execution 
forceful  and  expressive. 

*  Lazzari  (lad-za'-re),  Sylvio.    1858- 

Born  at  Botzen,  Tyrol.  His  first 
study  was  law,  at  Innsbruck  and 
Munich,  but  his  natural  inclination 
was  for  music,  and  he  entered  the 
Paris  Conservatory  in  1882,  studying 
chiefly  under  Cesar  Franck.  The  fol- 
lowing works  have  been  publicly  per- 
formed: The  pantomime.  Lulu;  the 
musical  dramas.  Armor,  and  L'Ensor- 
cele.  He  has  written  a  Rhapsodic 
espagnole  for  orchestra;  Ophelie,  a 
symphonic  poem;  Eflfet  de  Nuit,  a 
fantasia  for  violin  and  orchestra; 
Marche    de    Fete,    concert-piece    for 


Lebome 

piano  and  orchestra.  He  has  written 
much  chamber-music  for  piano,  violin 
and  wind-instruments,  also  songs.  He 
has  also  written  articles  for  musical 
papers. 

Le    Beau    (lu-bo),    Louise    Adolpha. 
1850- 

German  composer  and  pianist;  born 
at  Rastatt,  Baden.  She  studied  piano 
under  Kalliwoda  and  P>au  Schumann, 
counterpoint  and  composition  under 
Sachs  and  Rheinberger  in  Munich,  and 
instrumentation  under  Franz  Lach- 
ner.  A  brilliant  concert-pianist,  her 
performances  throughout  Germany 
were  very  popular,  particularly  in 
Munich,  Berlin,  Leipsic  and  Vienna. 
Since  1890  she  has  lived  in  Berlin. 
Her  compositions,  especially  for  the 
piano,  are  well  liked:  a  gavotte;  sona- 
tas; fastasia,  for  piano  and  orchestra; 
violin  sonata  with  piano;  cello  sonata 
with  piano;  improvisations  for  left 
hand;  and  a  grand  choral  work,  Hadu- 
math. 

Lebert    (la'-bert),    Siegmund.      1822- 

1884. 

German  music-teacher,  whose  real 
name  was  Levy;  born  at  Ludwigsburg 
in  Wiirtemberg.  He  received  musical 
instruction  from  Tomaschek  and  D. 
Weber,  at  Prague.  Having  become 
established  in  Munich  as  pianist  and 
teacher  he,  with  Stark,  Faiszt  and 
others,  founded  the  Stuttgart  Con- 
servatory in  1856.  In  1873  he  received 
the  honorary  degree  of  Doctor  of 
Philosophy  from  the  University  of 
Tubingen.  He  published,  with  Stark, 
Grosse  Klavierschule,  which  was 
translated  into  Italian,  English, 
French  and  Russian;  an  edition  of 
dementi's  Gradus  ad  Parnassum;  and 
an  instructive  edition  of  piano  class- 
ics.    He  died  at  Stuttgart. 

Leborne    (lu-born),    Aime    Ambroise 

Simon.    1797-1866. 

Dramatic  composer  and  famous 
teacher;  born  in  Brussels.  He 
entered  the  Paris  Conservatory,  where 
he  studied  under  Dourlen  and  Che- 
rubini.  In  1818  he  won  the  second 
prize  for  composition,  and  two  years 
later  the  Grand  Prize  of  Rome. 
From  1816  to  1836  he  was  an  instructor 
at  the  Conservatory,  when  he  suc- 
ceeded Reicha  as  professor  of  compo- 
sition. He  became  librarian  of  the 
Opera  in  1834  and  later  of  the  chapel 
of  Napoleon  III.     A  treatise  on  har- 


474 


BIOGRAPHIES 


Leborne 
mony  has  never  been  published,  but 
he  produced  a  number  of  operas  with 
success.  Among  them  are  Les  deux 
Figaros;  Le  camp  du  drap  d'or;  and 
Cinq  ans  d'entr'acte.  He  republished 
Catel's  celebrated  Traite  de  I'harmonie. 

*  Le  Borne,  Femand.    1862- 

Probably  of  Belgian  origin,  but 
received  his  musical  education  at  the 
Paris  Conservatory  under  Massenet, 
Saint-Saens  and  Cesar  Franck.  In 
Paris  he  has  been  critic  for  Le  Monde 
artiste.  His  works  for  orchestra 
include  Scenes  de  Ballet;  Suite  intime; 
Symphonic  dramatique;  a  symphonic- 
concerto  for  piano,  violin  and  orches- 
tra; and  others.  His  chamber-music 
includes  a  string  quartet;  a  trio;  and 
a  violin  sonata.  For  the  church  he 
has  written  a  mass  in  A  and  some 
motets.  His  piano-pieces  and  songs, 
among  them  L'Amour  de  Myrto,  and 
L'Amour  trahi,  have  become  very 
popular.  His  dramatic  works  include 
Daphnis  et  Chloe;  Hedda;  Mudarra; 
incidental  music  for  G.  Mitchell's 
L'Absent;  and  Les  Girondins.  A 
three-act  opera,  Le  Maitre,  has  not 
been  performed.  Le  Borne  obtained 
the  Chartier  prize  of  the  Institut,  in 
1901,  for  his  chamber-music. 

Lebrun  (le-broon'),  Francesca.    1756- 

1791. 

The  daughter  of  Danzi  and  wife  of 
Ludwig  August  Lebrun.  Was  born  at 
Mannheim,  and  possessed  a  remark- 
able voice,  absolutely  pure  and  rang- 
ing as  high  as  F*.  Through  careful 
study  and  work  she  became  one  of 
Germany's  best  singers.  She  was  only 
sixteen  at  her  first  public  appearance. 
The  next  year  she  was  given  an 
engagement  at  the  Mannheim  Opera. 
She  accompanied  her  husband  on  his 
concert  tours,  and  was  everywhere 
well  received.  She  sang  two  or  three 
seasons  in  London,  in  1785  in  Munich, 
then  going  again  to  Italy.  At  the 
opening  of  a  season's  engagement  in 
Berlin,  in  1790,  her  husband  died, 
and,  overcome  with  grief,  she  died  the 
following  May.  Mme.  Lebrun  was 
also  a  good  pianist  and  published 
some  sonatas  with  viohn  accompani- 
ment, and  some  trios  for  piano,  violin 
and  violoncello. 

Lebrun,  Ludwig  August.     1746-1790. 
Famous  virtuoso  on  the  oboe;  born 
in   Mannheim.     He   became,   in    1767, 
a  member  of  the  Electoral  Orchestra 


Leclair 

in  Munich,  but  obtained  generous 
leaves  of  absence  for  concert  tours, 
playing  in  Germany,  Italy,  France  and 
England.  He  was  especially  well 
received  in  London  and  Paris.  Among 
his  compositions  are  seven  concertos 
for  oboe  with  orchestra;  twelve  trios 
for  oboe,  violin  and  violoncello;  and 
duos  for  flute.     He  died  in  Berhn. 

Lechner  (lekh'-ner),  Leonhard.    1550- 
1604. 

Born  in  the  Etschthal,  in  the  Aus- 
trian Tyrol,  near  Glarus,  Switzerland. 
He  was  a  chorister  in  the  Bavarian 
Court  Chapel  at  Munich  under  the 
famous  Orlandus  Lassus.  He  was 
town-musician  at  Nuremberg  from 
1578  to  1584,  later  chapelmaster  to 
the  Duke  of  Wurtemberg.  His  first 
works  were  many  motets  and  German 
songs  in  the  madrigal  style.  In  1579 
he  assisted  Lassus  in  arranging  and 
publishing,  in  a  revised  and  enlarged 
edition,  his  two  books  of  motets  of 
1568.  In  1581  Lechner  published  a 
book  of  five  previously  unpublished 
masses  by  Lassus,  and  two  years  later 
a  collection  from  composers  connected 
at  one  time  or  another  with  the 
Bavarian  Chapel.  He  also  composed 
much  church-music;  masses;  canticles; 
and  psalms;  also  several  collections 
of  songs  for  three  to  five  voices.  His 
last  work  was  the  composition  of 
a  wedding  motet,  Laudate  Dominum, 
for  fifteen  voices,  for  the  marriage  of 
the  Elector  Johann  Georg  I.  of  Sax- 
ony. 

Leclair   (la-klar),  Jean  Marie.     1697- 
1764. 

Eminent  violinist;  born  in  Paris. 
His  first  appearance  was  as  a  dancer 
at  the  Rouen  Theatre,  and  in  1722  he 
went  to  Turin  as  a  ballet-master.  Here 
Somis  heard  him,  and  persuaded  him 
to  give  more  time  to  violin,  and  gave 
him  instructions  for  two  years.  After 
much  practise  he  went  to  Paris  in 
1728,  but  failed  in  getting  much  suC' 
cess,  probably  owing  to  the  jealousy 
of  French  violinists.  While  here  he 
studied  composition  under  Cheron. 
He  became  a  member  of  the  Royal 
band  in  1734,  but  gave  up  his  post 
on  account  of  a  dispute  with  Guignon, 
and  the  next  year  also  resigned  from 
the  Opera.  He  then  devoted  himself 
to  teaching,  composing  and  the  publi- 
cation of  his  works.  When  quite  an 
old  man  he  journeyed  to  Holland  at 
the   invitation     of    the    Princess    of 


BIOGRAPHIES 


475 


Leclair 

Orange,  for  the  purpose  of  hearing 
and  meeting  Locatelli,  for  whom  he 
had  formed  a  great  admiration.  Re- 
turning, he  visited  the  Court  of  Don 
Philip  of  Spain  at  Chambery,  1743- 
1744.  In  1748  the  Due  de  Gramont 
appointed  him  first  violin  in  his  pri- 
vate orchestra  at  Puteaux,  and  here 
he  wrote  various  ballets  and  divertis- 
sements. Soon  after  his  return  to 
Paris  he  was  assassinated  at  night, 
near  his  own  door,  and  neither  the 
reason  nor  the  murderer  have  ever 
been  discovered.  His  works  are 
mostly  sonatas.  His  opera,  Scylla  et 
Glaucus,  was  performed  in   1746. 

Lecocq   (lii-kok),  Alexandre   Charles. 
1832- 

French  composer,  whose  popularity 
lies  in  light  operetta.  Born  in  Paris, 
he  entered  the  Conservatory  in  1849, 
the  next  year  winning  the  prize  for 
harmony  and  counterpoint.  While 
belonging  to  Halevy's  class  he  took 
the  second  prize  for  fugue,  also  win- 
ning much  praise  for  his  organ  work. 
Leaving  the  Conservatory  in  1854,  he 
turned  his  attention  to  writing  for  the 
stage,  though  with  little  success  until 
his  Fleur  de  The,  in  three  acts, 
appeared  in  1868.  Following  this 
appeared  in  rapid  succession  L'Amour 
et  son  carquois;  Gandolfo;  Le  Rajah 
de  Mysore;  Le  beau  Dunais;  Le  Bar- 
bier  de  Trouville;  La  Fille  de  Mme. 
Angot,  which  ran  for  five  hundred 
nights;  Girofle-Girofla;  La  jolie  Per- 
sane;  L'oiseau  bleu;  and  many  others. 
Besides  all  this  work  he  has  pro- 
duced many  songs  and  catches.  He 
seemed  to  realize  that  the  people  like 
melodies  that  are  light,  gay  and 
sparkling,  and  he  possessed  the  ability 
to  respond. 

Le     Couppey     (lu  koop'-pe),     Felix. 

1811-1887. 

Pianist;  born  in  Paris.  He  was  a 
pupil  of  Dourlen  at  the  Conservator}'. 
When  seventeen  years  of  age  he 
became  assistant  teacher  of  harmony, 
in  1837  becoming  a  regular  teacher. 
In  1843  he  succeeded  Dourlen  himself 
as  professor  of  harmony.  Five  years 
later  he  succeeded  Henri  Herz  as 
piano  teacher.  While  holding  this 
position  he  wrote  many  studies  and 
exercises  for  the  piano,  some  of  which 
are  still  in  use.  He  also  published,  in 
1865,  De  I'enseignement  du  piano, 
conseils  aux  jeunes  professeurs.  He 
died  in  Paris. 


Lee 


Lee,  George  Alexander.     1802-1851. 

Musical  composer;  born  in  London. 
He  was  greatly  inclined  to  music  as 
a  boy,  and  was  given  some  instruc- 
tion. In  1822  he  was  engaged  as  tenor 
at  the  Dublin  Theatre,  where  he 
remained  for  a  year.  In  1826  he 
appeared  at  the  Haymarket  Theatre, 
London,  the  next  year  becoming  its 
conductor.  About  this  time  he  started 
a  music  shop  in  the  Quadrant,  Regent 
Street.  With  Melrose,  the  tenor,  and 
John  Kemble  Chapman,  he  took  the 
Tottenham  Street  Theatre  to  produce 
English  opera,  but  this  arrangement 
only  held  for  a  year.  In  1830  he 
leased,  with  Captain  Polhill,  Drury 
Lane  Theatre,  but  withdrew  at  the 
end  of  the  season.  The  next  year  he 
directed  the  Lenten  Oratorios  at 
Drury  Lane  and  Covent  Garden;  in 
1832  was  appointed  composer  and 
musical  director  to  the  Strand  Thea- 
tre, and  1845  obtained  a  like  position 
at  the  Olympic.  His  compositions 
were  mostly  for  dramas:  The  Sublime 
and  the  Beautiful;  The  Nymph  of  the 
Grotto;  The  Legion  of  Honour; 
Love  in  a  Cottage;  Auld  Robin  Gray; 
and  others.  Among  his  songs  are 
Away,  away  to  the  mountain's  brow; 
Come  where  the  aspens  quiver;  and 
The  Macgregor's  gathering. 

Lee,  Louis.    1819- 

Virtuoso  on  the  violoncello  and  the 
piano.  He  was  born  in  Hamburg,  and 
is  a  brother  of  Sebastian  Lee  and  a 
pupil  of  J.  N.  Prell.  He  first  appeared 
in  public  when  only  twelve,  touring 
through  Germany  and  Denmark.  He 
lived  in  Paris  for  several  years,  then 
eturned  to  Hamburg,  where  he  taught 
in  the  Conservatory.  He  established 
chamber  quartet  concerts,  and  for 
many  years  was  principal  cellist  of  the 
Philharmonic  Society.  Among  his 
works  are  Music  to  Schiller's  Jung- 
frau  von  Orleans,  also  to  William 
Tell;  symphonies;  sonatas;  duos  for 
piano  and  violoncello;  quartet  and  trio 
for  piano  and  strings;  and  piano- 
pieces. 

Lee,   Sebastian.     1805-1887. 

Violoncellist.  Brother  of  Louis 
Lee;  born  in  Hamburg.  He  studied 
under  J.  N.  Prell,  and  toured  Germany 
from  1830  to  1836.  He  also  played 
at  the  Theatre  Italien  in  Paris,  with 
Gusikow,  and  in  London.  From  1837 
to  1868  he  was  solo  cellist  at  the 
Grand   Opera,   Paris,  after  which   he 


476 


BIOGRAPHIES 


Lee 


returned  to  live  in  Hamburg.  His 
works  include  variations,  divertisse- 
ments, fantasias  for  cello  and  orches- 
tra; variations  for  cello  and  string 
quartet;  duos  and  method  for  cellos. 

Lcfebure-Wely  (lu-fa-biir  va-le),  Louis 

James  Alfred     1817-1869. 

Organist  and  composer;  born  in 
Paris,  whose  father  before  him  had 
been  an  organist  and  composer.  Being 
very  precocious,  he  knew  his  notes 
before  his  alphabet.  When  only  eight 
years  old  he  accompanied  his  father 
at  the  organ  in  playing  short  pieces. 
At  his  father's  death  he  was  only 
fifteen  years  old,  but  was  appointed 
to  succeed  him  at  St.  Roch,  upon 
the  recommendation  of  Queen  Marie 
Amelie.  In  1832  he  entered  the  Con- 
servatory, two  years  later  taking  the 
second  prizes  for  piano  and  organ, 
and  the  following  year  taking  the  first 
prizes  for  both.  In  the  Conservatory 
he  studied  counterpoint  under  Halevy 
and  composition  under  Berton,  while 
he  studied  privately  under  Adolphe 
Adam  and  with  Sejan,  the  organist. 
The  last-named  taught  him  the  art 
of  improvising  and  the  management 
of  the  stops.  After  his  marriage  he 
began  teaching  to  support  his  family, 
and  composed  a  number  of  piano- 
pieces,  some  of  which  became  very 
popular.  An  indefatigable  worker,  he 
composed  all  kinds  of  music — cham- 
ber-music; symphonies  for  full  orches- 
tra; masses;  a  comic  opera  in  three 
acts.  His  best  works  are  his  organ 
pieces,  his  Cantiques  and  his  Offer- 
toires.  He  was  organist  of  the  Made- 
leine from  1847  to  1858,  and  from  1863 
until  his  death  organist  at  St.  Sulpice. 
In  1850  he  was  decorated  with  the 
cross  of  the  Legion  of  Honor.  He 
died  in  Paris.  It  is  as  organist  that 
he  will  be  remembered.  His  im- 
provisations were  wonderful,  and  his 
work  was  full  of  charm  and  piquancy. 

*  Lefebvre   (lu-fev'-r),  Charles  £dou- 

ard.     1843- 

Born  in  Paris.  He  first  studied  law, 
but  entered  the  Conservatory  in  1870, 
gaining  the  Grand  Prize  of  Rome  for 
his  cantata,  Le  Jugement  de  Dieu. 
He  studied  under  Ambroise  Thomas. 
His  compositions  include  music  of 
many  kinds;  some  motets  and  music 
for  the  23d  Psalm,  Judith,  a  concert- 
opera,  performed  at  the  Pasdeloup 
concerts  in  1879.  This  work  became 
very  popular,  and  was  played  in  the 


Legrenzi 

principal  towns  of  France,  Belgium 
and  Germany.  His  Ouverture  Dra- 
matique  was  played  at  the  Colonne 
concerts;  Dalila,  and  a  symphony  in 
D  are  important  and  orchestral  works. 
His  operas  are  Lucrece;  Le  Tresor; 
Zaire;  Djelma;  and  Singoalla.  Besides 
this  long  list  he  has  written  Eloa, 
a  poeme  lyrique;  Melka,  a  legend, 
given  at  the  Lamoureux  concerts; 
Sainte  Cecile,  for  solos,  chorus  and 
orchestra;  La  Masse  du  Fantome, 
for  voice  and  orchestra;  a  serenade, 
an  overture,  sonatas,  trios,  quartets, 
suites,  etc.,  for  various  instruments;  a 
suite  for  wind-instruments,  etc.  He 
received  the  Chartier  prize  in  1884  for 
his  concerted  compositions,  and  in 
1895  succeeded  Benjamin  Godard  as 
professor  of  the  instrument  ensemble 
class  in  the  Conservatory. 

Lefevre  (lii-fev'-r),  Jean  Xavier.  1763- 
1829. 

Born  at  Lausanne,  Switzerland.  He 
was  a  virtuoso  on  the  clarinet  and 
studied  in  Paris  under  Michel  Yost. 
He  joined  tlie  band  of  the  guards,  and 
in  1787  began  to  play  in  concerts.  He 
was  a  member  of  the  Opera  Orchestra 
from  1791  to  1817  and  a  professor  on 
the  clarinet  at  the  Conservatory  from 
1795  to  1825.  In  1807  he  became  a 
member  of  the  Imperial  Chapel,  and, 
after  the  restoration,  of  the  Royal 
Chapel.  He  improved  his  instrument 
by  the  addition  of  a  sixth  key  and 
wrote  the  official  clarinet  Methode  of 
the  Conservatory.  He  composed  con- 
certos, concertantes,  duets,  sonatas, 
etc.,  for  the  clarinet.  He  died  in 
Paris. 

Legrenzi  (la-gren'tse),  Giovanni.  1625- 

1690. 

Italian  composer  and  conductor; 
born  at  Clusone,  near  Bergamo.  Here 
he  studied  music  under  Pallavicino 
and  was  given  an  appointment  as 
organist  of  the  Church  of  St.  Maria 
Maggiore.  His  next  position  was  that 
of  chapelmaster  of  the  Church  of  the 
Spirito  Santo  at  Ferrara.  His  first 
opera,  Achille  in  Sciro,  was  produced 
in  1663.  The  next  year  he  went  to 
Venice,  and  became  director  of  the 
Conservatory  de'Mendicanti,  and,  in 
1685,  chapelmaster  at  St.  Mark's,  the 
orchestra  of  which  he  enlarged  and 
improved.  He  was  one  of  the  first 
to  write  trios  for  two  violins  and  vio- 
loncello. His  operas,  about  seventeen 
in  number,  show  a  freer  use  of  melody 


4 


BIOGRAPHIES 


477 


Legrenzi 
and  a  more  coherent  instrumentation 
than  had  been  used  heretofore.  He 
also  composed  instrumental  works  and 
sacred  music.  Among  his  pupils  were 
Lotti  and  Gasparini.  Some  of  Le- 
grenzi's  work  has  been  made  famous 
through  its  being  used  by  Bach  and 
Handel. 

Lehmann    (la-man),    Elizabetta    Nina 
Mary  Frederika  (called  Liza).  1862- 

Gifted  singer  and  composer;  born  in 
London.  Her  father,  Rudolf,  was  a 
distinguished  artist,  and  her  mother 
was  the  daughter  of  Robert  Cham- 
bers, of  Edinburgh,  well-known  for 
his  Encyclopaedia  and  writings.  She 
received  her  first  lessons  in  singing 
from  her  mother,  who  was  well  known 
in  the  musical  world  as  a  song  com- 
poser. These  songs,  also  arrange- 
ments of  old  classical  songs,  were 
published  over  the  initials  A.  L.  Liza 
continued  her  instruction  in  singing 
under  Randegger,  composition  after- 
wards under  Raunkilde  at  Rome, 
Fraudenberg  at  Wiesbaden,  and  the 
Scottish  composer,  MacCunn.  Her 
voice  is  a  light  soprano,  not  large, 
but  with  the  extensive  compass  from 
low  A  to  B  in  alt.  It  carries  well  and 
the  tones  are  perfect.  Her  debut  was 
made  in  1885  at  the  Monday  Popular 
concerts.  She  was  well  received,  and 
remained  a  favorite  throughout  the 
nine  years  she  sang  in  public.  Much 
of  her  fame  lies  in  her  varied  reper- 
tory in  four  languages  and  her  revival 
of  many  fine  old  songs,  especially  by 
the  early  English  composers  She  also 
sang  at  the  Crystal  Palace,  Philhar- 
monic, Novello's  Oratorio  concerts, 
Norwich  Festivals,  and  all  the  chief 
concerts  in  the  kingdom,  besides 
appearing  frequently  in  Germany.  She 
received  much  encouragement  from 
Frau  Clara  Schumann  and  Dr.  Joa- 
chim. However,  in  spite  of  her  suc- 
cessful career,  she  was  always  so  very 
nervous  when  appearing  in  public 
that  at  her  marriage,  in  1894,  to  M. 
Herbert  Bedford,  she  retired  from  the 
stage.  She  then  devoted  herself  to 
composition,  and  at  the  beginning  of 
her  married  life  she  published  several 
song-cycles  and  quartets,  such  as  In 
a  Persian  Garden;  The  Daisy  Chain, 
for  four  voices;  and  the  In  Memoriam 
cycle,  for  barytone  solo.  In  the  first 
named  cycle,  the  words  are  taken  from 
Fitzgerald's  translation  of  Omar 
Khayyam's  Rubaiyat.  Strange  to  say, 
this  work,  which  has  been  so  enthu- 


Lehmann 


siastically  received  in  Europe  and 
America,  was  at  first  refused  by  all 
London  publishers.  It  was  introduced 
at  a  private  concert,  the  performers 
being  Ben  Davies,  Albani,  Hilda  Wil- 
son and  David  Bispham.  It  was  later 
produced  at  the  Monday  Popular  con- 
certs and  elsewhere.  Madame  Leh- 
mann has  written  many  songs,  and  in 
all  of  them  the  convenience  of  the 
singer  is  duly  consulted.  She  made 
the  song-cycle  popular  in  England, 
and  was  the  first  woman  commis- 
sioned to  undertake  the  composition 
of  a  musical  comedy.  This  was  Ser- 
geant Brue,  the  book  of  which  was 
by  Owen  Hall.  Her  compositions  also 
include  incidental  music  for  plays, 
ballads  for  voice  and  orchestra,  piano- 
pieces,  suite  for  violin  and  piano. 

Lehmann,  George.     1865- 

Violinist;  born  in  New  York.  He 
studied  in  the  Leipsic  Conservatory 
from  1880  to  1883  under  Schradieck 
and  Hermann  for  violin,  Lammers  for 
harmony  and  Jadassohn  for  composi- 
tion and  fugue.  He  went  to  Berlin, 
also,  where  he  studied  with  Joachim 
for  a  season.  During  the  next  ten 
years  he  made  concert  tours,  both  as 
soloist  and  with  his  associates  in  his 
"  Lehmann  Quartet."  From  1886  to 
1889  he  conducted  the  Symphony 
Orchestra  of  Cleveland,  Ohio.  He 
spent  the  years  from  1889  until  1892 
in  Europe,  and  in  the  following  season 
gave  twenty  quartet  concerts  at  Den- 
ver, Colorado.  Since  then  he  has  lived 
in  New  York,  as  soloist,  teacher,  edi- 
torial writer  and  critic  on  the  Musi- 
cal America.  He  published  a  valuable 
work  for  students  and  teachers,  enti- 
tled, True  Principles  of  the  Art  of 
Violin-Playing. 

Lehmann,  Lilli.     1848- 

German  operatic  singer;  born  at 
Wiirzburg.  She  was  taught  singing 
by  her  mother,  who  was  formerly  a 
harpist  and  prima  donna  at  Cassel 
under  Spohr,  and  the  original  heroine 
of  several  operas  written  by  him.  Her 
debut  was  made  in  1866  at  Prague  as 
the  first  boy  in  Zauberflote,  after 
which  she  filled  engagements  in  Dant- 
zic,  1868,  and  at  Leipsic,  1870.  In 
1870  she  also  sang  in  Berlin  as  Vielka, 
and  was  so  successful  that  she 
remained  there  until  1885.  She  now, 
1870,  began  to  sing  in  Wagner's 
operas,  playing  Woglinde  and  Helm- 
wige,    and    sang    the    Bird    music    in 


478 


BIOGRAPHIES 


Lehmann 

Wagner's  trilogy  at  Bayreuth.  In  1876 
she  was  appointed  Imperial  chamber- 
singer.  In  1880  she  made  a  successful 
appearance  at  Her  Majesty's,  London, 
as  Violetta,  and  again  as  Philine,  in 
Mignon,  and  sang  there  for  two  sea- 
sons. In  1884  she  appeared  at  Covent 
Garden  as  Isolde,  and  was  enthusias- 
tically received.  On  her  way  to  Amer- 
ica in  1885  she  gave  a  concert  in 
England  with  Franz  Rummel  at  the 
Steinway  Hall.  The  next  five  years 
were  spent  in  America,  singing  Ger- 
man Opera,  and  here  her  great  powers 
were  immediately  recognized.  During 
this  time  she  returnd  to  Her  Majes- 
ty's, London,  in  1887,  to  sing  as 
Fidelio,  About  this  time  she  married 
Paul  Kalisch,  of  Berlin,  a  tenor  singer 
of  some  distinction.  In  1892  her  health 
broke  down  and  she  returned  to  Ger- 
many. It  was  feared  she  would  never 
sing  again.  During  her  few  years  of 
retirement,  at  Berlin,  she  devoted  her 
time  to  teaching  singing.  In  1896 
she  reappeared,  and  was  engaged  to 
sing  at  Bayreuth,  where  she  aston- 
ished the  world  by  her  magnificent 
performance.  In  1899  she  sang  again 
at  Covent  Garden  as  Fidelio,  Sieg- 
linde.  Norma,  Isolde,  Ortrud  and 
Donna  Anna.  She  sang  in  Paris  at 
the  Lamoureux  concerts  and  at  the 
Nouveau  Theatre  as  Donna  Anna  in 
1903,  and  has  also  revisited  the  United 
States.  Her  voice  was  of  superb 
quality  and  volume  and  gained  for  her 
the  reputation  of  being  one  of  the 
greatest  Wagnerian  singers  of  her 
day.  She  was  unsurpassed  in  the  roles 
of  Briinnhilde  and  Isolde.  It  was, 
indeed,  because  of  her  ability  to  sing 
music  of  the  Italian  School  that  she 
was  so  highly  successful  in  the  Wag- 
ner roles. 

Leibrock     (lip-rok),     Joseph     Adolf. 
1808-1886. 

Leibrock  was  the  author  of  a  his- 
tory of  the  Court  Chapel  at  Bruns- 
wick, where  he  had  been  cellist  and 
harpist.  This  first  appeared  in  the 
Braunschweig  Magazine,  1865-1866. 
He  was  also  author  of  a  Musikalische 
Akkordenlehre,  in  which  he  tried  to 
establish  the  relation  of  chords  in  the 
tonal  system  of  harmony.  He  com- 
posed the  music  to  Schiller's  Rauber, 
and  to  several  melodramas;  wrote  a 
number  of  overtures,  string  quartets, 
and  songs  and  piano-pieces.  At  first 
Leibrock  was  interested  in  the  study 
of  philosophy,  and  not  until  after  he 


Le  Jeune 

had  taken  the  degree  of  Doctor  of 
Philosophy  did  he  turn  his  entire 
attention  to  music.  With  Godike  he 
studied  the  violoncello,  the  violin  with 
Maucourt  and  theory  under  Zinkeisen. 
He  was  born  at  Brunswick  and  died 
in   Berlin. 

Leitert  (li-tert),  Johann  Georg.    1852- 
1901. 

Pianist  of  merit;  born  in  Dresden  in 
1852.  After  piano  study  with  Reichel 
and  harmony  with  Rischbieter,  Leitert 
made  his  debut  in  concert  in  Dresden 
in  1865.  He  met  with  such  success 
for  a  lad  of  thirteen  years  that  he  was 
invited  to  play  at  the  famous  Gewand- 
haus  concerts  in  Leipsic.  He  then 
gave  brilliant  performances  in  Berlin, 
Vienna,  Prague  and  London.  Leitert 
met  Liszt  in  Weimar  and  later  spent 
two  winters  with  this  master  in  Rome, 
where  he  won  much  applause  in  sev- 
eral concerts.  He  played  again  on 
tours  through  Germany,  Austria  and 
Russia,  and  in  1879  was  appointed  a 
teacher  in  the  Music  School  in  Vienna, 
which  position  he  held  until  1881.  Lei- 
tert has  published  a  number  of  char- 
acteristic piano  compositions  of 
modern  style:  Chants  du  crepuscule; 
Herbstblatter;  Aus  schonern  Stunden; 
Lose  Blatter;  valse;  caprice;  and 
others. 

Le    Jeune    (lii-zhun),    Claude.      1540- 
1606. 

Born  at  Valenciennes;  he  is  gen- 
erally considered  a  Frenchman,  though 
his  birthplace  did  not  belong  to 
France  until  1677.  Most  of  his  life 
was  spent  in  Paris,  where  he  held 
the  post  of  chamber  musician  to  both 
Henri  III.  and  Henri  IV.  There  is 
a  story  of  how,  during  the  siege  of 
Paris,  in  the  wars  of  the  League,  he 
attempted  flight  burdened  with  his 
unpublished  manuscript.  He  was 
captured  by  Catholic  soldiers  and  his 
precious  papers  would  have  been 
burned,  had  not  Mauduit,  a  Catholic 
musician,  rescued  him  and  aided  his 
escape.  The  work  by  which  he  is 
best  remembered  is  music  to  the 
Psalms,  printed  in  Paris  in  1607,  later 
editions  of  which  have  been  almost 
universally  used  in  Calvinistic 
churches.  Among  his  other  composi- 
tions may  be  named  Livre  de  Mel- 
anges; Le  Printemps;  Octonaires  de 
la  Vanite  et  Inconstance  du  Monde. 
He  was  highly  esteemed  by  French 
musicians  of  his  time.     Neither  the 


BIOGRAPHIES 


479 


Le  Jeune 

date  of  his  birth  nor  death  is  posi- 
tively known.  He  is  first  known  as 
a  composer  in  1564.  Many  of  his 
works  were  printed  posthumously. 

Lekeu  (lu-ku),  Guillaume.     1870-1894. 

Born  at  Heusy,  in  the  province  of 
Liege;  a  composer  whose  death,  when 
hardly  more  than  a  youth,  cut  short 
a  career  full  of  promise.  When  very 
young  he  began  to  study  music  in 
his  native  town  and  when  twelve 
years  old  he  entered  the  Lyceum  at 
Poitiers.  At  sixteen  he  began  his 
study  under  Cesar  Franck  and  Vin- 
cent d'Indy,  in  Paris.  His  composi- 
tions were  greatly  influenced  by 
Franck,  showing  the  free  form,  har- 
monic tone-painting  and  the  refined 
delicacy  of  coloring  which  is  typical 
of  the  new  French  School.  In  1891 
his  cantata,  Andromede,  took  the  sec- 
ond Prize  of  Rome  in  the  Belgian 
national  competition.  His  native 
town  became  so  enthusiastic  over  his 
success  that  he  was  asked  to  lead  a 
performance  of  the  work.  During  the 
remaining  three  years  of  his  life  he 
devoted  himself  to  composition  and 
prose  writings.  So  much  of  his  work 
in  both  lines  is  so  sad,  so  weighted 
with  suffering  and  lamentation  as 
though  he  must  almost  feel  the  ap- 
proach of  his  death.  He  composed 
for  voice  and  also  for  various  instru- 
ments, much  being  left  incomplete 
at  his  death.  A  sonata  in  G  for  piano 
and  violin  is  dedicated  to  Ysaye. 
Some  of  his  works  are  two  fitudes 
Symphoniques,  one  entitled  Chant 
Triomphale  and  the  other  divided 
into  two  parts,  Faust  and  Hamlet;  a 
Poeme  for  violin  and  orchestra;  an 
adagio  for  violin,  cello  and  strings; 
an  Epithalme  for  quintet  of  strings, 
three  trombones  and  organ.  His 
greatest  vocal  work  is  the  Chant 
Lyrique,   for  chorus  and  orchestra. 

Lemare  (le-mar),  Edwin  Henry.   1865- 

Brilliant  organist.  Lemare  was 
born  at  Ventnor,  Isle  of  Wight.  He 
was  a  pupil  at  the  Royal  Academy 
of  Music  and  later  was  elected  to  a 
fellowship  of  the  Academy.  He  was 
early  considered  a  musician  of  much 
promise  and  when  nineteen  was  made 
a  fellow  of  the  College  of  Organists. 
Beside  holding  successively  many  im- 
portant church  organist  appointments 
in  or  near  London  he  has  given  a 
number  of  artistic  recitals,  and  has 
composed   organ-music   and   edited   a 


Lemoine 

series  of  works  for  his  instrument. 
He  came  to  America  in  1902  to  fill 
the  post  of  organist  and  music-direc- 
tor at  Carnegie  Hall,  Pittsburg.  In 
1906  he  returned  to  England. 

Lemmens    (lem'-mens),    Nicholas 

Jacques.     1823-1906. 

Celebrated  organist;  born  at  Zoerle- 
Parwys,  Belgium,  where  his  father 
held  the  positions  of  provost  and  or- 
ganist. He  began  his  musical  studies 
at  eleven  years  of  age  under  Van  der 
Broeck,  organist  at  Dieste.  When 
sixteen  years  old  he  entered  the 
Brussels  Conservatory  but  was 
obliged  to  leave  soon  after  on  account 
of  his_  father's  illness;  he  returned 
again  in  1841.  During  this  absence 
he  succeeded  his  former  master  as 
organist  at  Dieste.  He  studied  under 
Fetis,  at  the  Conservatory,  and  in 
1844  took  the  second  prize  for  com- 
position and  the  next  year  the  first, 
also  the  first  for  organ-playing.  A 
government  pension  then  enabled  him 
to  go  to  Breslau  where  he  studied 
under  Adolf  Hesse  for  a  year.  In 
1849  he  became  a  professor  of  organ 
at  the  Brussels  Conservatory  and  he 
instilled  into  it  new  life  and  spirit, 
gaining  a  reputation  throughout  the 
country.  After  his  marriage,  in  1857, 
he  spent  much  time  in  England,  his 
wife  being  a  leading  English  soprano. 
However,  in  1879,  he  opened  a  col- 
lege for  training  Catholic  organists 
and  choirmasters,  at  Malines,  which 
became  popular.  It  was  substantially 
aided  by  the  Belgian  clergy.  M. 
Lemmens  was  an  accomplished  pian- 
ist but  his  forte  was  organ-playing. 
His  great  work  is  his  ficole  d'orgue, 
which  has  been  adopted  by  the  con- 
servatories at  Paris,  Brussels,  Madrid 
and  elsewhere.  He  composed  so- 
natas, offertories,  etc.,  for  the  organ. 
He  spent  twenty  years  on  a  method 
for  accompanying  Gregorian  chants 
but  it  was  not  published  until  after 
his  death.  He  died  in  Brussels. 
Madame  Lemmens,  nee  Sherrington, 
was  born  at  Preston,  1834.  Her 
mother  was  a  musician.  In  1852  she 
entered  the  Brussels  Conservatory 
and  took  first  prizes  in  singing  and 
declamation.  For  many  years  she 
sang  in  public,  both  secular  and 
sacred    music. 

Lemoine  (lum-wan),  Henri.    1786-1854. 

Born  in  Paris,  where  he  also  died. 

He  studied  music  at  the  Conservatory 


480 


BIOGRAPHIES 


Lemoine 
from  1798  to  1809  and  as  late  as 
1821  studied  harmony  of  Reicha.  He 
became  well  known  as  a  successful 
piano  teacher,  but  in  1817,  at  his 
father's  death,  took  over  his  publish- 
ing business  and  brought  it  up  to  a 
high  standard.  His  educational  com- 
positions are  still  in  use,  some  of 
which  are  a  Petite  methode  elemen- 
taire  for  piano;  a  Traite  d'harmonie 
pratique;  a  Solfege  des  Solfeges,  in 
ten  small  volumes;  and  Tablettes  du 
Pianiste.  Antoine  Marcel  Lemoine, 
his  father,  was  born  at  Paris  in  1763 
and  died  there,  1817.  He  was  a  per- 
former on  the  guitar  and  viola  and 
founded,  in  1793,  the  well-known  Paris 
firm  of  music-publishers  of  that  name, 
Achille  Philibert  Lemoine,  Henri's 
son,  was  born  at  Paris,  1813,  and  died 
at  Sevres,  1895.  He  was  a  partner 
with  his  father  and  from  1852,  sole 
director  of  the  firm.  In  1858  he 
added  to  it  a  department  for  engrav- 
ing and  music-printing  which  ma- 
terially assisted  the  business.  In 
1885,  with  his  sons  Henri  and  Leon, 
he  established  a  branch  house  at 
Brussels  and,  since  his  death,  they 
have  conducted  it. 
Lemoyne    (liim-wan),   Jean   Baptiste. 

1751-1796. 

Real  name  Jean  Babtiste  Moyne. 
He  was  born  at  Eymet,  Perigord, 
France,  in  1751.  He  began  his  career 
as  a  conductor  of  small  provincial 
theatres.  After  study  in  Berlin  under 
Grun  and  Kirnberger,  he  composed 
a  storm  chorus  for  an  old  opera 
while  in  Berlin  that  won  him  recogni- 
tion, and  he  became  chapelmaster  to 
Frederick  the  Great.  In  1775  he  pro- 
duced an  opera  in  Warsaw,  then 
toured  France  and  Italy  and  finally 
returned  to  Paris  in  1788.  His  com- 
positions, especially  his  operas  were 
successful. 

Lenaerts   (lu-narts),  Constant.     1852- 

Born  in  Antwerp;  a  pupil  and  fol- 
lower of  Benoit  in  the  national  move- 
ment. At  about  the  age  of  nineteen 
he  became  the  leader  of  the  Flemish 
National  Theatre  in  Antwerp  and  in 
the  same  year  produced  the  excellent 
cantata.  The  Triumph  of  Light.  He 
is  now  teaching  there  in  the  con- 
servatory. 

Lenepveu    (lu-nup-vu),    Charles    Fer- 
dinand.    1840- 
A  French  composer;  born  at  Rouen. 

Destined  for  the  law,  his  inclination 


Leo 


was  for  music.  A  cantata  he  com- 
posed for  the  centenary  of  the 
Societe  d'Agriculture  et  de  Commerce 
of  Caen  was  so  successful  that  he  re- 
solved to  devote  himself  entirely  to 
music.  He  entered  the  Paris  Con- 
servatory and  studied  under  Ambroise 
Thomas,  Savard  and  Chauvet.  In 
1865  his  cantata,  Renaud  dans  les 
jardins  d'Armide,  won  the  Grand 
Prize  of  Rome,  and  in  1867  his  score 
of  Le  Florentin,  writen  on  a  poem  by 
St.  Georges,  took  the  prize  at  Rome 
in  a  competition  offered  by  the 
Minister  of  Fine  Arts.  At  this  point, 
however,  Lenepveu  rather  rested  on 
his  laurels  and  allowed  Massenet, 
Dubois,  Guiraud,  Bizet  and  others, 
who  were  working  hard  at  symphonic 
music,  to  get  ahead  of  him.  Upon 
his  return  from  Rome  he  resumed  his 
contrapuntal  studies  with  the  cele- 
brated Chauvet  but  produced  nothing 
while  awaiting  the  production  of  Le 
Florentin.  When  this  was  at  last 
given  in  1874  it  was  unfortunately  so 
unsuccessful  that  he  has  since  been 
unable  to  get  any  work  represented 
in  France.  In  1880  he  became  a  pro- 
fessor of  harmony  at  the  Conserv- 
atory. A  grand  opera,  Valleda,  was 
accepted  and  produced,  in  1882,  at 
Covent  Garden,  London,  with  Mme. 
Patti  in  the  principal  part.  Following 
this  his  next  work  of  importance  is  a 
sacred  drama,  Jeanne  d'Arc,  which 
was  performed  in  the  Cathedral  at 
Rouen,  in  1886.  A  Hymne  Funebre 
et  Triomphale  was  performed  there 
in  1889,  an  Ode  a  Jeanne  d'Arc,  in 
1892,  and  a  requiem  in  1893.  Since 
1894  he  has  been  professor  of  com- 
position in  the  Conservatory  and  in 
1896  was  elected  a  member  of  the 
Institute.  In  1887  he  was  decorated 
with  the  Legion  of  Honor.  A  great 
fault  with  his  music  is  the  amount 
of  noise  it  contains  and  it  also  lacks 
originality.  Among  his  other  com- 
positions are  smaller  church  numbers, 
melodies,  scenes,  lyriques  and  small 
works  for  solos,  choruses  and  orches- 
tra, of  which  the  best  is  Meditation. 

Leo  (la'-6),  Leonardo.     1694-1744. 

An  Italian  composer;  born  at  S. 
Vito  degli  Sclavi,  now  called  S.  Vito 
dei  Normanni,  near  Brindisi.  His 
musical  talent  was  discovered  by  the 
Dominicans,  who  taught  him  for  a 
while,  then  persuaded  his  mother  to 
allow  him  to  continue  at  Naples.  He 
entered  the  Conservatory  della  Pieta 


BIOGRAPHIES 


481 


Leo 


dei  Turchini  at  the  age  of  nine,  re- 
maining there  until  1715.  Here  he 
studied  under  Provenzale  and  Nicola 
Fago  il  Tarentino.  Although  influ- 
enced by  Pitoni  and  Scarlatti  he  could 
hardly  have  studied  with  them  as  he 
was  too  poor  to  go  to  Rome  to  be 
under  the  former  and  when  Scarlatti 
taught  in  Naples  it  was  at  Poveri  di 
Gesti  Cristo.  His  first  composition 
was  a  sacred  drama  on  the  subject 
of  Santa  Chiara,  entitled  L'Infedelta 
abbattuta.  This  was  performed  by  the 
students  of  the  Conservatory  during 
the  carnival  of  1712.  His  first  secular 
opera  was  Pisistrato,  in  1714,  and  was 
very  successful.  The  next  year  he 
was  made  second  master  at  the  Con- 
servatory and  organist  of  the  cathe- 
dral, following  which  he  became  Court 
organist.  He  also  became  chapel- 
master  at  the  Church  of  S.  Maria  della 
Solitaria,  which  belonged  to  a  con- 
vent of  Spanish  nuns.  In  1718  he 
produced  Sofonisba,  which  is  sup- 
posed by  many  to  have  been  his  first 
opera,  probably  because  it  established 
his  reputation  as  a  writer  for  the 
stage.  His  next  work  of  note  was 
the  composition  of  recitatives  and 
comic  scenes  for  Gasparini's  Bajaz- 
ette,  a  comic  opera,  and  this  started 
Leo  upon  his  brilliant  career  as  a 
composer  of  comic  opera.  Upon  the 
death  of  Scarlatti,  he  became  first 
organist  of  the  Royal  Chapel,  and  his 
fame  began  to  become  widespread. 
In  1732  he  succeeded  Vinci  as  Pro- 
vice-maestro  of  the  Royal  Chapel.  The 
same  year  he  produced  his  two  cele- 
brated oratorios.  La  Morte  di  Abele 
and  Santa  Elena  al  Calvario.  Demo- 
foonte  appeared  in  1735  and  was  prob- 
ably the  rnost  successful  of  all  his 
operas.  His  operas  were  produced  in 
many  Italian  cities  and  he  often  went 
to  superintend  their  performance,  be- 
ing absent  from  Naples  for  months 
at  a  time.  In  1741  he  succeeded 
Nicola  Fago  as  first  master  at  the 
Pieta  dei  Turchini  and  thereafter 
seems  to  have  remained  in  Naples 
until  his  death.  Pie  died  while  seated 
at  his  harpsichord,  from  a  stroke  of 
apoplexy.  The  bulk  of  Leo's  work 
has  never  been  published.  Of  his 
sacred  compositions,  which  include 
oratorios,  masses,  motets,  hymns, 
magnificats,  etc.,  the  best  known  is  a 
miserere  for  eight-part  choir.  His 
fame  rests  chiefly  on  his  sacred  music 
and  his  comic  operas.  He  was  an 
indefatigable    worker,    composing  at 


Leoncavallo 

night  when  other  duties  claimed  him 
through  the  day.  In  person  he  was 
handsome  and  dignified.  His  figure 
was  of  middle  height  and  his  manners 
were  pleasing.  He  was  well  loved 
by  his  pupils,  among  whom  were 
many  distinguished  musicians. 

Leonard    (la-6-nar),    Hubert.      1819- 
1890. 

Distinguished  violinist  and  teacher; 
born  at  Bellaire,  near  Liege.  When 
about  nine  years  old  he  received  his 
first  instruction  from  a  violinist  named 
Rouma.  The  wife  of  a  Brussels  mer- 
chant took  an  interest  in  his  playing 
and  gave  him  funds  with  which  to 
enter  the  Paris  Conservatory.  He 
was  seventeen  at  the  time,  thus  being 
older  than  most  musicians  at  entering. 
Here  he  studied  under  Habeneck.  In 
1844  he  made  a  brilliant  tour  through 
Germany,  being  the  first  to  play  Men- 
delssohn's Violin  Concerto  in  Berlin, 
under  the  immediate  direction  of  the 
composer.  Upon  Mendelssohn's  ad- 
vice he  seriously  took  up  composi- 
tion. Leonard  played  in  Dresden, 
Berlin  and  other  capitals  in  1846  and 
the  next  year  traveled  in  Sweden. 
This  same  year  he  was  appointed 
successor  to  De  Beriot  as  first  pro- 
fessor of  violin  at  the  Brussels  Con- 
servatory, which  position  he  held  until 
1867,  when  he  resigned  on  account  of 
ill  health  and  went  to  live  in  Paris. 
He  died  in  Paris.  His  greatest  fame 
was  earned  as  a  teacher.  He  had 
many  pupils,  possibly  the  most  cele- 
brated of  whom  is  Martin  Marsick. 
Among  his  compositions  are  a  number 
of  violin  concertos,  studies  for  the 
violin,  eleven  fantasias,  two  elegies, 
many  operatic  fantasias  and  salon 
pieces,  many  of  which  he  wrote  in 
conjunction  with  the  pianist,  Joseph 
Gregoire,  duets  for  violin  and  cello 
written  with  Servais,  etc. 

Leoncavallo    (la-on-ka-val'-lo),    Rug- 

giero.     1858- 

His  early  life,  as  told  so  interest- 
ingly by  himself  in  the  North  Ameri- 
can Review  for  November,  1902,  is  as 
follows:  "I  was  born  in  Naples  in 
March,  1858,  my  parents  being  the 
late  Cavaliere  Vincenzo  Leoncavallo, 
President  of  the  High  Court  of  Jus- 
tice, and  Virginie  d'Aurion,  daughter 
of  a  celebrated  Neapolitan  pamter, 
many  of  whose  works  are  now  in  the 
Royal  Palace  at  Naples.  I  studied 
first  at  Naples,  where  I  entered  the 


482 


BIOGRAPHIES 


Leoncavallo 


Leoni 


Conservatory  as  a  day  scholar  at  the 
age  of  eight,  and  received  my  diploma 
when  sixteen;  my  professors  of  com- 
position were  Serrao  and  de  Piamcesi; 
a  cantata  was  the  work  I  wrote  on 
leaving  the  Conservatory.  After- 
wards, I  went  to  Bologna  to  complete 
my  literary  studies  at  the  University, 
under  the  direction  of  the  great 
Italian  poet,  Corducci;  and  I  received 
my  diploma  as  doctor  of  letters  at 
the  age  of  twenty.  I  was  not  obliged 
to  do  any  military  service,  as,  at  the 
time  of  conscription,  my  brother  was 
in  the  army.  So  I  began  my  pere- 
grinations as  a  concert  pianist  in 
Egypt,  where  at  that  time  I  had  an 
uncle,  Leoncavallo  Bey,  who  was 
director  of  the  press  at  the  Foreign 
Office.  There  I  played  at  court,  and 
Mahmoud  Hamdy,  the  brother  of  the 
Viceroy  Tewfik,  appointed  me  as  his 
private  musician.  I  was  driven  out  of 
Egypt  by  the  war  with  the  English, 
Mahmoud  having  sided  with  Arabi 
Pasha,  who  had  promised  officially  to 
give  me  the  appointment  of  head  of  the 
Egyptian  military  bands,  with  a  liberal 
salary.  Instead  of  this  fine  promise 
being  fulfilled,  I  was  fortunate 
in  saving  my  life  after  Tel-el-Kebir, 
by  means  of  a  twenty-four  hours'  ride 
in  Arab  costume  to  Ismailia.  There 
I  resumed  European  dress;  but  being 
penniless,  I  was  obliged  to  give  a 
concert  at  Port  Said  in  the  house  of 
M.  Desavary,  representative  of  M.  De 
Lesseps.  The  proceeds  of  this  con- 
cert amounted  to  five  or  six  hundred 
francs,  with  which  I  was  enabled  to 
take  an  English  boat,  _  the  '  Propi- 
tious.* I  recalled  this  episode  to  Her 
Most  Gracious  Majesty,  Queen  Vic- 
toria, when  I  had  the  honor  and 
happiness  of  seeing  her,  a  few  years 
ago,  at  Nice.  Arrived  at  Marseilles, 
I  immediately  took  a  train  (not  de 
luxe  nor,  alas,  express!),  which 
brought  me  to  Paris,  where,  in  the 
depths  of  want,  I  was  forced  to  begin 
my  career  as  an  accompanist  in  cafe 
concerts." 

His  talent,  however,  soon  enabled 
him  to  leave  the  cafes  and  he  ob- 
tained pupils  in  singing.  He  went  to 
Milan  with  the  libretto  of  Medici,  the 
first  section  of  a  vast  trilogy  dealing 
with  the  Renaissance  period  in  Italy. 
It  was  accepted  by  M.  Ricordi,  but  the 
production  was  delayed  and  Leon- 
cavallo was  obliged  to  take  up  teach- 
ing again.  Disliking  the  task,  he 
desperately  set  to  work  on  the  words 


and  music  of  Pagliacci,  which  was 
completed  in  five  months,  accepted  by 
M.  Sonzogno  and  produced  in  Milan 
in  1892.  I  Pagliacci  is  based  upon 
an  incident  in  Leoncavallo's  own  life: 
When  a  child  he  was  under  the  care 
of  a  peasant,  named  Silvio,  when  a 
traveling  circus  troupe  came  to  the 
city,  led  by  one  Canio,  and  his  beau- 
tiful wife,  Nedda.  Silvio  and  the  wife 
plot  to  elope,  which  the  husband  dis- 
covers, and  he  kills  them  both.  The 
occurrence  made  a  deep  impression 
on  the  boy  and  he  never  forgot  it. 
Probably  his  work  of  next  importance 
is  Roland  of  Berlin,  the  libretto  of 
which  was  furnished  him  by  the  ver- 
satile Emperor  of  Germany.  The 
Emperor,  having  heard  I  Medici 
which  celebrated  the  glory  of  the 
great  Florentine  family  of  that  name, 
considered  its  author  worthy  of  doing 
a  like  service  for  the  house  of  Hohen- 
zollern.  But  in  spite  of  its  magnifi- 
cent production,  Der  Roland  made  no 
permanent  success.  Leoncavallo's 
other  operas  include  Chatterton,  La 
Boheme  and  his  later  ones,  La  Tosca, 
Trilby  and  Zaza  which  is  based  on  the 
well-known  play  by  Berton  and  Simon 
and  which  has  become  very  popular 
in  Italy,  Germany,  France  and  Hol- 
land. He  has  produced  a  symphonic 
poem,  Serafita,  founded  upon  Balzac's 
novel,  and  a  ballet,  La  Vita  d'una 
Marionetta. 
Leonhard    (la'-on-hart),  Julius   Emil. 

1810-1883. 

Pianist;  born  at  Lauban,  Prussian 
Silesia.  His  first  musical  instruction 
was  from  his  father,  following  which 
he  advanced  by  his  own  efforts,  study- 
ing principally  the  works  of  Albrechts- 
berger,  at  the  same  time  attending 
the  University  of  Breslau.  His  first 
public  appearance  was  in  1831  at 
Leipsic  at  the  Gewandhaus  concerts. 
In  1845  he  produced  some  of  his  own 
compositions  at  these  concerts.  He 
was  appointed  professor  of  piano  at 
the  Munich  Conservatory  in  1852,  and 
had  a  similar  position  in  Dresden 
from  1859  to  1873.  Among  his  works 
are  the  oratorio,  John  the  Baptist;  a 
symphony  in  E  minor;  an  overture;  a 
piano  sonata  which  won  a  prize;  two 
violin  sonatas;  three  cantatas  for 
chorus,  solos,  and  orchestra. 

Leoni  (la-o'-ne),  Leone.    1560-date  of 

death  unknown. 

Church  composer  and  chapelmaster 
at  the  Duomo  of  Vincenza  about  1588. 


BIOGRAPHIES 


483 


Leoni 

The  excellence  of  his  productions  lies 
in  the  variety  and  brilliance  of  tone- 
coloring  and  by  the  harmony  and  con- 
trasts of  double-choirs.  He  dedicated 
a  collection  of  psalms  to  Palestrina  in 
1592.  Leoni  followed  the  example  of 
Giovanni  Gabrieli  in  the  combining 
of  voices  and  instruments,  using  the 
instruments  obbligato.  His  most 
valued  works  are  his  motets  for 
double-choir  a  8,  fifteen  of  which 
appear  in  the  Promptuarium  of  Scha- 
daeus,  1611,  and  four  in  the  Flori- 
legium  of  Bodenschatz,  1621.  In 
Torchi's  L'Arte  Musicale  in  Italia, 
vol.  II,  there  are  two  of  Leoni's 
madrigals,  one  of  which  is  a  nightin- 
gale echo  song,  the  two  upper  voices 
meant  to  represent  one  bird  echoing 
the  other  in  canon.  Most  of  his  works 
are  motets  and  madrigals  for  one, 
two,  three,  four  and  even  five  voices. 

Leroux    (lu-roo),   Xavier  Henry   Na- 
poleon.    1863- 

Born  at  Velletri,  Italy.  He  entered 
the  Paris  Conservatory,  where  he  won 
honorable  mention  for  piano  and  a 
first  prize  for  harmony  in  1881,  the 
next  year  a  second  prize  for  counter- 
point, and  in  1885  the  Grand  Prize  of 
Rome  for  his  cantata,  Endymion.  His 
dramatic  productions  include  Evange- 
line, a  lyric  drama  in  four  acts; 
Astarte,  a  four-act  opera;  La  Reine 
Fiammetta,  in  four  acts;  and  incidental 
music  to  others.  Two  operas  which 
have  recently  been  completed  are  Le 
Chemineau  and  Theodora,  1905.  He 
has  also  written  an  overture,  Harald; 
lyric  scene,  Venus  et  Adonis;  many 
songs,  some  church-music,  as  a  mass 
with  orchestra  and  motets.  In  1896 
he  was  appointed  professor  of  har- 
mony at  the  Paris  Conservatory, 
which  position  he  still  holds. 

Leschetizky    (le-she-tit'-shki),    Theo- 
dor.    1830- 

Remarkably  successful  teacher  of 
piano  and  an  excellent  pianist.  He 
was  born  in  Austrian  Poland,  in  1830. 
From  his  father,  who  was  an  eminent 
teacher  in  Vienna,  he  received  his 
first  lessons  in  music,  and  then  stud- 
ied piano  with  Czerny,  and  composi- 
tion with  Sechter.  As  early  as  1845 
he  began  his  work  as  a  teacher  and 
attracted  much  attention  by  his  piano 
performances.  Aside  from  his  musi- 
cal studies  he  was  a  student  of  phil- 
osophy at  the  University.  For  a 
number  of  years  he  made  professional 


Leslie 

tours,  and  in  1852  went  to  St.  Peters- 
burg, where  he  became  first  professor 
in  the  Conservatory,  which  was  estab- 
lished by  Anton  Rubinstein.  He  also 
gave  private  lessons,  acted  as  concert 
pianist,  and  as  music  conductor  to 
Grand  Duchess  Helen  during  Rubin- 
stein's absences.  In  1864  Lesche- 
tizky made  his  debut  in  England  at 
the  Musical  Union  concerts,  playing 
in  the  Schumann  quintet,  and  solos 
of  his  own  compositions.  He  left  Rus- 
sia in  1878,  played  again  in  London, 
in  Holland  and  Germany.  In  1880  he 
was  married  to  his  most  brilliant 
pupil,  Annette  Essipoff.  She  is 
thought  by  some  to  have  surpassed 
any  other  pianist  of  her  time.  Their 
married  life  lasted  but  twelve  years, 
though  each  retained  the  esteem  and 
admiration  for  the  other  as  was  shown 
when  Leschetizky  used  his  influence 
to  secure  for  her  his  former  position 
in  St.  Petersburg  Conservatory;  she 
has  sent  many  a  young  musician  to 
her  former  husband  for  instruction. 
In  1894  he  was  married  to  another 
pupil,  Eugenie  Donimierska.  In 
Vienna,  as  in  St.  Petersburg,  he  has 
become  best  known  as  a  teacher.  He 
is  a  man  of  generous  and  noble  im- 
pulses and  as  a  teacher  is  most  pro- 
gressive. He  makes  a  study  of  the 
needs  and  ability  of  each  individual, 
and  hence  his  great  success.  Pade- 
rewski  was  one  of  his  pupils,  and 
owes  much  to  this  master.  Other 
well-known  pianists  who  have  studied 
with  him  are  Sieveking;  Mark  Ham- 
bourg;  Gabrilowitsch;  Helen  Hope- 
kirk  and  Mme.  Fannie  Bloomfield- 
Zeisler.  Leschetizky  is  the  composer 
of  a  number  of  elegant  and  effective 
piano-pieces,  and  of  an  opera.  Die 
Erste  Falte. 

Leslie,  Henry  David.    1822-1896. 

An  English  composer  and  conduc- 
tor; born  in  London,  where  he  began 
his  musical  studies  under  Charles 
Lucas.  He  played  the  cello  for  sev- 
eral years  at  the  Sacred  Harmonic 
Society  and  elsewhere.  In  1847  the 
Amateur  Musical  Society  was  formed 
and  he  was  appointed  honorary  secre- 
tary, in  1855  becoming  its  conductor. 
The  society  dissolved  in  1861.  The 
famous  Leslie  Choir  was  established 
by  a  M.  Joseph  Heming  in  1853,  but 
Leslie  became  its  conductor  in  1855. 
In  1863  he  was  appointed  conductor 
of  the  Herefordshire  Philharmonic 
Society,   and   the   next   year   became 


484 


BIOGRAPHIES 


Leslie 

principal  of  the  National  College  of 
Music.  The  last  named  was  given  up 
in  a  few  years,  not  receiving  sufficient 
support.  The  Guild  of  Amateur  Mu- 
sicians was  formed  in  1874,  and  he 
became  its  director  and  conductor. 
He  died  at  Llansaintfraid,  near 
Oswestry.  The  first  of  his  works  to 
be  published  was  a  Te  Deum  and 
Jubilate  in  D,  1846.  The  next  year 
appeared  a  symphony  in  F,  followed 
later  by  a  festival  anthem,  Let  God 
Arise,  for  solo  voices,  chorus  and 
orchestra;  an  overture.  The  Templar; 
the  oratorios,  Immanuel  and  Judith; 
an  operetta,  Romance  or  Bold  Dick 
Turpin;  the  cantatas,  Holyrood,  and 
The  Daughter  of  the  Isles;  and  an 
opera,  Ida.  He  also  composed  much 
instrumental  chamber-music,  anthems, 
songs,  piano-pieces,  many  madrigals, 
and  motets. 

Lessel  (les'-sel),  Franz.    1780-1838. 

Born  at  Pulaya,  on  the  Vistula,  in 
Poland.  His  father  was  music- 
master  for  Prince  Czartoryski,  He 
first  took  up  the  study  of  medicine, 
going  to  Vienna  for  that  purpose  in 
1797.  His  natural  inclination,  how- 
ever, was  for  music  and  he  became 
one  of  Haydn's  pupils.  Master  and 
pupil  were  much  attached  to  each 
other  and  Lessel  remained  with  him 
until  his  death,  devotedly  caring  for 
the  great  man.  In  1810  he  returned 
to  Poland,  where  he  succeeded  his 
father  in  the  Czartoryski  family.  But 
they  were  driven  into  exile  after  the 
Revolution  of  1830.  He  held  the  posi- 
tion of  principal  of  the  Gymnasium  at 
Petrikau  until  1837,  where  he  died  the 
next  year.  He  composed  songs, 
chamber  -  music,  symphonies,  and 
church-music  of  rare  quality.  He 
dedicated  three  piano  sonatas  to 
Haydn. 

Lesueur  (lu-sur),  Jean  Frangois.  1760- 
1837. 

Self-taught  musician  and  composer, 
who  had  much  influence  on  the  music 
of  his  time,  but  whose  works  are  now 
entirely  forgotten.  He  was  a  grand- 
nephew  of  the  distinguished  painter, 
Eustache  Lesueur,  and  was  born  in 
the  village  of  Drucat-Plessiel,  near 
Abbeville,  where  as  a  boy,  he  was  a 
chorister.  At  fourteen  he  entered  the 
college  at  Amiens,  remaining  only 
two  years.  He  was  appointed  music- 
master  at  the  Cathedral  of  Seez,  after- 
wards under-master  at  the  Church  of 


Lesueur 


the  Innocents  in  Paris.  While  there 
he  received  some  little  instruction  in 
harmony  from  the  Abbe  Roze.  In 
1781  he  became  musicmaster  at  the 
Cathedral  of  Dijon,  two  years  later 
holding  a  similar  position  at  Mans, 
soon  leaving  to  become  choir-director 
at  Tours.  He  returned  to  Paris  in 
1784,  and  two  years  later  became 
choirmaster  of  Notre  Dame.  Here  he 
introduced  a  full  orchestra  as  an  ac- 
companiment to  the  church-music, 
which  was  a  decided  innovation,  and 
the  church  was-  packed  with  people 
who  came  to  hear  his  motets.  He 
was  severely  criticized  for  this  change 
and  received  many  anonymous 
pamphlets,  supposedly  from  conserv- 
ative ecclesiastical  quarters,  to  which 
he  replied  with  two  essays,  giving  an 
explanation  of  his  motives.  His 
position  at  Notre  Dame  continuing 
to  be  the  source  of  troublesome 
quarrels  he  retired,  in  1788,  to  the 
country-seat  of  M.  Bochard  de 
Champagny,  where  he  devoted  four 
years  to  composition. 

He  had  been  advised  by  Sacchini, 
one  of  the  foremost  musicians  of  the 
French  School,  to  write  for  the  stage, 
and  upon  the  death  of  his  benefactor, 
he  returned  to  Paris.  Shortly  after 
appeared  a  series  of  three-act  operas. 
La  Caverne,  Paul  et  Virginie,  and 
Telemaque,  all  produced  at  the 
Theatre  Feydeau.  These  successes 
procured  for  him  a  professorship  at 
the  ficole  de  la  Garde  Nationale,  and 
upon  the  opening  of  the  Conservatory, 
in  1795,  he  became  an  inspector  of 
instruction.  He  co-operated  with 
Mehul,  Gossec,  Catel,  and  Langle,  in 
drawing  up  the  Principes  elementaires 
de  musique  and  the  Solfeges  in  the 
school.  In  1802  a  quarrel  with  the 
head  of  the  Conservatory  over  the 
acceptance  of  two  of  his  operas  led  to 
the  loss  of  his  position.  Two  years 
later,  through  the  recommendation  of 
Paisiello,  he  obtained  the  highest 
musical  honor  in  France,  that  of 
chapelmaster  to  Napoleon.  Now  the 
rejected  operas,  Ossian,  ou  les  Bardes, 
and  La  Morte  d'Adam,  were  pro- 
duced, and  the  success  of  the  former 
was  great.  Napoleon  presenting  him 
with  a  gold  snuff-box  bearing  the  in- 
scription, "  L'Empereur  des  Frangais 
a  I'auteur  des  Bardes  "  (The  Emperor 
of  the  French  to  the  author  of  Les 
Bardes).  In  1813  he  succeeded 
Gretry  at  the  Institut  de  France,  and 
the  next  year,  after  the  Restoration, 


BIOGRAPHIES 


485 


Lesueur 

he  was  made  superintendent  and  com- 
poser to  the  Royal  Chapel  for  Louis 
XVIIL,  which  position  he  held  until 
the  Revolution  of  1830.  In  1818  he 
was  appointed  professor  of  composi- 
tion at  the  Conservatory,  where  he 
taught  until  his  death.  He  died  in 
Paris  at  an  advanced  age  and  uni- 
versally respected  and  admired.  He 
was  a  brilliant  teacher,  twelve  of  his 
pupils  winning  the  Prize  of  Rome. 
Among  his  pupils  were  Hector  Ber- 
lioz, who  carried  on  his  marvelous 
harmonic  skill;  Gounod  shows  the  in- 
fluence of  his  grand  simplicity,  and 
Ambroise  Thomas,  who  composed  a 
cantata  for  the  unveiling  of  Lesueur's 
statue  at  Abbeville.  Aside  from  his 
operas,  Lesueur's  music  was  mostly 
sacred,  being  masses  and  motets,  the 
oratorios,  Deborah,  Rachael,  Ruth  and 
Naomi;  three  Te  Deums,  and  much 
besides.  He  composed  the  Emperor's 
Coronation  March. 

Leva  (la'va),  Enrico  de.     1867- 

Born  in  Naples,  where  he  studied 
piano  under  Pannain  and  Rossomandi, 
also  lessons  in  harmony,  counterpoint 
and  composition  from  Puzone  and 
D'Arienzo,  professors  at  the  Royal 
Conservatory  of  Music.  He  began  at 
fifteen  to  compose  piano-pieces  and 
songs,  and  early  showed  his  natural 
talent  and  individuality.  His  com- 
positions attracted  the  attention  of 
the  firm  of  Ricordi,  who  engaged  him 
to  compose  five  songs  each  year  for 
them.  In  1890,  Queen  Margherita 
having  admired  his  work,  commis- 
sioned him  to  write  a  vocal  piece  for 
an  open-air  festival  at  the  Royal 
Palace  of  Capodimonte.  He  com- 
posed a  serenata,  called  A  Capomote, 
and  directed  its  performance.  His 
reputation  was  established  and  there- 
after his  songs  were  sung  by  the  best 
talent  of  the  day.  He  is  well-known 
as  a  successful  teacher  of  singing  in 
its  higher  branches, 'and  he  advocates 
improved  methods  in  teaching  vocal 
music  in  the  schools  of  his  country. 
A  few  of  his  most  successful  songs 
are  E  spingole  frangese,  Triste  aprile, 
Ammore  piccerillo,  and  Lacrime 
amare.  He  has  written  many  songs 
for  popular  local  festivals,  into  which 
he  has  adroitly  infused  the  spirit  of 
the  old  Neapolitan  folk-song.  An  irn- 
portant  work  is  the  setting  to  music 
of  some  verses  from  D'Annunzio's 
Gioconda,  and  he  has  composed  piano 
and  violin-music  and  orchestral  suites. 


Levey 

La  Camargo,  an  opera  in  four  acts, 
was  produced  in  Turin  in  1898,  and 
also  in  Naples. 

Levasseur    (lii-vas-sur),    Nicholas 
Prosper.    1791-1871. 

Celebrated  bass  singer;  born  at 
Bresles,  Oise,  the  son  of  a  laborer. 
When  sixteen  years  of  age  he  entered 
the  Paris  Conservatory.  His  first 
appearance  was  as  Osman  Pacha  at 
the  Academy  in  1813,  and  two  years 
later  he  made  his  debut  at  the  King's 
Theatre,  London,  in  Simon  Mayr's 
Adelasia  ed  Alderano.  He  sang  in 
London  for  two  seasons  with  much 
success,  returning  to  Paris,  where  he 
had  a  permanent  engagement  at  the 
Academy.  He  reappeared  in  London, 
and  also  sang  at  Milan  on  the  produc- 
tion of  Meyerbeer's  Margherita  d'An- 
jou  in  1820.  He  was  appointed  teacher 
of  singing  at  the  Conservatory  in 
1841,  where  he  taught  until  1869,  when 
he  retired.  He  was  made  a  Chevalier 
of  the  Legion  of  Honor.  He  became 
blind  a  short  time  before  his  death, 
which  occurred  in  Paris. 

Leveridge,  Richard.    1670-1758. 

English  singer  and  composer;  born 
in  London.  He  sang  at  the  Drury 
Lane  Theatre  for  two  years,  1705-1707, 
the  next  year  at  the  Queen's  Theatre, 
where  he  remained  until  1712,  after 
which  he  held  a  position  at  Lincoln's 
Inn  Fields  until  1732.  He  sang  at 
Covent  Garden  until  1851.  There  was 
an  interval  in  his  singing  when  he 
opened  a  coffee-house  in  Tavistock 
Street,  Covent  Garden.  The  next 
year  he  published  a  collection  of  his 
songs  with  music,  in  two  small  vol- 
umes. Other  of  his  songs  were  pub- 
lished singly,  the  best  known  of 
which  are  All  in  the  Downs,  and  The 
Roast  Beef  of  Old  England.  He  died 
in  London  at  an  advanced  age,  having 
been  supported  in  his  old  age  by  an 
annual  subscription  from  among  his 
friends. 

Levey,  Richard  Michael.    1811-1899. 

His  real  name  was  O'Shaughnessy. 
Born  in  Dublin.  He  entered  the 
Theatre  Royal  Orchestra  in  1826, 
where  he  became  leader  in  1834.  His 
Annals  of  the  Theatre  Royal  gives 
sketches  of  the  leading  performances 
there  between  the  years  1827  and 
1847.  The  Royal  burned  in  1880,  but 
previous  to  this  time  Levey  had  com- 
posed fifty  overtures  and  arranged  the 


486 


BIOGRAPHIES 


Levey 

music  for  forty-four  pantomimes.  He 
was  one  of  the  founders,  in  1850,  of 
the  Royal  Irish  Academy  of  Music. 
The  others  were  John  Stanford, 
Joseph  Robinson,  and  Sir  Francis 
Brady,  K.  C.  From  1852  to  1855  he 
was  leader  of  the  Dublin  Quartet 
Concert  Society,  and  in  1859  he  estab- 
lished the  Classical  Quartet  Union, 
which  he  led  until  1862.  Six  years 
later  he  was  one  of  the  promoters  of 
the  Monthly  Popular  concerts,  the 
quartet  being  led  by  Joachim.  Two 
pupils  of  whom  he  was  very  proud 
were  Sir  Robert  Stewart  and  Sir 
Charles  Villiers  Stanford,  and  the 
former,  in  1878,  conducted  a  new 
comic  opera.  The  Rose  and  the  Ring, 
for  Levey's  benefit.  Among  Levey's 
published  compositions  are  two  vol- 
umes of  old  Irish  airs. 

Levey,  William  Charles.    1837-1894. 

Pianist,  born  in  Dublin  and  taught 
by  his  father,  Richard  Michael  Levey. 
He  continued  his  studies  in  Paris 
under  Auber,  Thalberg  and  Prudent, 
He  was  made  a  member  of  the 
Societe  des  Auteurs  et  Compositeurs. 
In  1862  he  went  to  London  and  was 
conductor  successively  of  Covent 
Garden,  Drury  Lane,  Haymarket, 
Adelphi,  Princess,  and  other  theatres. 
Among  his  compositions  are  two 
operettas,  Fanchette  and  Punchinello; 
a  musical  burlesque.  The  Girls  of  the 
Period;  music  to  a  number  of  dramas 
and  to  several  pantomimes;  many 
songs,  of  which  Esmeralda  became 
very  popular.     He  died  in  London. 

Levi  (la'-ve),  Hermann.    1839-1900. 

Born  at  Giessen.  He  studied  with 
Vincenz  Lachner,  at  Mannheim,  from 
1852  to  1855  and  then  spent  three 
years  at  the  Leipsic  Conservatory. 
He  became  a  conductor  at  Saar- 
briicken  in  1859,  and  two  years  later 
became  chapelmaster  of  the  German 
Opera  at  Rotterdam.  From  1864  to 
18/2  he  was  Court  chapelmaster  at 
Carlsruhe,  when  he  was  appointed  to 
the  Court  Theatre  of  Munich,  which 
position  he  held  until  1896.  He  had 
the  honor  of  directing  the  first  per- 
formance of  Parsifal  at  Bayreuth,  and 
he  gained  a  high  reputation  as  a 
Wagnerian  conductor.  He  died  at 
Munich. 

Lewandowski      (la  -  van  -  dof  -  shki  ), 

Louis.     1823-1894. 

A  teacher  of  singing,  pianist,  com- 
poser of  orchestral,  vocal  and  cham- 


Leybach 

ber-music,  and  co-founder  of  the 
Institution  for  Aged  and  Indigent 
Musicians.  Lewandowski  was  born  at 
Posen  in  1823.  He  was  a  pupil  of  the 
Berlin  Academy  when  twelve  years 
old,  and  became  soprano  solo  singer 
in  the  Hebrew  Temple.  In  1840  he 
was  appointed  musical  director  of  the 
Synagogue  at  Berlin,  and  in  1866  was 
made  Court  music-director  and  choir- 
rnaster  at  the  new  Synagogue.  He 
died  in  Berlin. 

*  Lewis,  Lew  Rich.    1865- 

Musical  educator  and  composer; 
born  at  Woodstock,  Vermont.  His 
father  moved  to  South  Boston,  and 
he  received  his  education  in  the  Pub- 
lic Grammar  schools,  the  EngHsh 
High  School  and  the  Latin  School, 
and  entered  Tufts  College  in  1883. 
After  being  graduated  from  Tufts  in 
1887  he  went  to  Harvard  College  for 
two  years,  taking  first  the  A.  B.  de- 
gree, then  the  A.  M.  with  highest 
honors  in  music.  In  Tufts  he  had 
been  active  in  the  reorganization  of 
the  Glee  Club,  and  in  Harvard  had 
composed  a  piece  for  male  chorus  and 
orchestra,  which  was  given  by  the 
Harvard  Glee  Club,  and  Pierian  So- 
dality. From  1889  to  1892  Mr.  Lewis 
was  abroad,  most  of  the  time  in 
Munich,  where  he  studied  at  the 
School  of  Music,  and  was  graduated 
with  honorable  mention  in  composi- 
tion. On  his  return  to  America  in 
1892  he  became  instructor  in  French 
at  Tufts  College,  where  he  was 
offered  the  chair  of  History  and 
Theory  of  Music  instituted  in  1895. 
Professor  Lewis  has  always  taken 
great  interest  in  the  Glee  Club  of  his 
college,  and  had  composed  several 
songs  for  it,  among  them  being  the 
songs,  Charlie's  Light,  and  the  P.  T. 
Barnum  Song.  Among  his  more  seri- 
ous works  are  The  Consolation  of 
Music,  a  cantata  for  solos,  chorus  and 
orchestra;  a  sonata  for  piano  and 
violin;  symphonic  prelude  to  Brown- 
ning's  Blot  in  the  'Scutcheon;  inci- 
dental music  to  Milton's  Comus,  and 
to  Dekker's  Fortunatus,  and  many 
smaller  pieces.  He  has  also  edited 
The  Tufts  Song  Book;  The  Zeta  Psi 
Song  Books;  The  Redeemer,  Service 
Books  and  Sunday  School  Harmonies. 

Leybach      (li'-bakh),     Ignace.     1817- 
1891. 

Pianist;  born  at  Gambsheim,  Alsace. 
He  received  musical  instruction  in 
Strasburg  under  Hoerter  and  Wack- 


BIOGRAPHIES 


487 


Leybach 

enthaler,  and  in  Paris  under  Pixis, 
Kalkbrenner,  and  Chopin.  He  held  a 
position  in  1844  as  organist  in  Tou- 
louse, and  later  went  to  Paris  to  live. 
His  drawing-room  pieces  became  very 
popular.  He  also  published  a  har- 
mony method,  concert-pieces  for  the 
harmonium,  a  great  organ  method, 
containing  two  or  three  hundred 
pieces,  and  many  songs  and  motets. 

Liadoff  (le'-a-dof),  Anatole.    1855- 

Russian  composer  and  teacher;  born 
in  St.  Petersburg.  Both  his  father 
and  grandfather  had  been  professional 
musicians,  and  his  father  gave  him  his 
first  musical  instruction.  He  entered 
the  Conservatory,  where  his  work  was 
brilliant;  at  the  same  time  he  studied 
composition  under  Rimsky-Korsakov. 
He  graduated  in  1877  and  the  next 
year  was  made  a  professor  in  the 
Conservatory.  He  is  now  conducting 
special  classes  in  harmony  and  com- 
position there  and  holds  a  similar 
position  in  the  Imperial  Court  Chapel. 
He  was  associated  with  Balakirev  and 
Liapounov  in  making  researches  into 
the  folk-songs  of  various  districts  for 
the  Imperial  Geographical  Society. 
Since  1894  he,  with  Rimsky-Korsakov, 
his  former  teacher,  and  Glazounoff, 
has  been  leading  the  concerts  of  the 
Musical  Society.  His  most  numerous 
and  brilliant  compositions  are  for  the 
piano  and  they  show  the  influence  of 
Chopin,  containing,  however,  a  dis- 
tinctly Russian  character.  Among 
them  are  a  popular  series,  entitled 
Birioulki,  and  a  set  of  Arabesques. 
His  principal  orchestral  works  are  a 
scherzo,  a  mazurka,  and  a  choral 
finale  for  Schiller's  Bride  of  Messina. 

*  Liapounov    (le-a'-poo-nof),    Sergius 

Mikhailovich.     1859- 

Russian  composer;  born  at  Yaro- 
slav.  He  received  his  musical  educa- 
tion in  the  classes  of  the  Imperial 
Musical  Society  at  Nijny  Novgorod 
and  at  the  Moscow  Conservatory, 
which  he  left  in  1883.  He  was  ap- 
pointed, in  1893,  with  Liadoff  and 
Balakirev,  by  the  Imperial  Geographi- 
cal Society,  to  make  researches  into 
the  folk-songs  of  the  various  districts, 
and  he  had  charge  of  Vologda,  Viatka, 
and  Kostroma.  He  was  assistant 
director  of  the  Court  Chapel  from 
1894  until  1902.  His  compositions  for 
orchestra  include  a  ballade,  solemn 
overture,  symphony  in  B  minor,  and 
a    polonaise.      Among    his    numerous 


Lie 


piano  compositions  are  a  concerto, 
preludes,  waltzes,  mazurkas,  and 
studies  which  include  twelve  fitudes 
d'execution  transcendante.  His  songs 
include  thirty-five  national  songs  with 
piano  accompaniment. 

Lichner  (Iikh'-ner),  Heinrich.    1829- 

Born  at  Harpersdorf,  Silesia.  He 
studied  under  Karow  at  Bunzlau, 
Dehn  at  Berlin,  Mosewius  and  Adolf 
Hesse  at  Breslau.  At  Breslau  he  was 
cantor  and  organist  of  the  Church  of 
the  Eleven  Thousand  Virgins  and 
conductor  of  the  Sangerbund.  Among 
his  compositions  are  overtures,  sym- 
phonies, songs,  choruses  for  male 
voices,  and  much  piano-music. 

Lichtenberg     (likh'-t'n-berkh),     Leo- 
pold.   1861- 

Violin  virtuoso;  born  in  San  Fran- 
cisco, California.  His  first  instructor 
was  M.  Beaujardin,  and  he  played  in 
concert  at  the  age  of  eighteen.  When 
twelve  years  old  he  was  heard  by 
Henri  Wieniawski,  then  on  a  visit  to 
this  country,  who  invited  him  to  be 
his  pupil  and  aid  on  a  tour  through 
the  States.  Following  this  Lichten- 
berg spent  six  months  under  Lam- 
bert at  Paris,  then  joined  Wieniawski 
at  Brussels,  where  he  studied  under 
him  for  three  years.  He  won  the  first 
prize  of  honor  at  the  national  "  con- 
cours "  and  often  played  before 
royalty.  He  substituted  for  Wieniaw- 
ski on  a  tour  through  Belgium  and 
was  very  successful.  Returning  to 
New  York  he  played  for  a  time  in 
the  Theodore  Thomas  Orchestra, 
but  again  went  to  Europe,  where  for 
three  years  he  toured  the  principal 
cities.  He  then  became  a  member  of 
the  Boston  Symphony  Orchestra,  and 
later  was  made  head  of  the  violin 
faculty  of  the  National  Conservatory 
of  New  York,  where  he  has  since 
resided.  Lichtenberg's  playing  places 
him  among  the  best,  his  technique  is 
perfect  and  his  performance  full  of 
feeling. 

Lie  (le),  Nissen  Erika.    1845-1903. 

Erika  Lie  was  born  at  Kansviger, 
near  Christiania,  Norway,  in  1845. 
During  her  girlhood  she  met  many 
distinguished  musicians,  and  when 
her  family  moved  to  Christiania  in 
1860  she  became  a  pupil  of  Kjerulf, 
and  the  year  following  went  to  Berlin 
for  piano  study  with  Kullak.  She 
soon    became    a    teacher    in    Kullak's 


488 


BIOGRAPHIES 


Lie 


Academy  and  gave  her  first  concert 
there.  Later  she  studied  with  Tellef- 
sen  in  Paris,  and  in  1870  was  made  a 
professor  of  piano  at  the  Copen- 
hagen Conservatory.  She  toured  Eu- 
rope, giving  most  successful  concerts, 
and  was  especially  applauded  for  her 
rendition  of  the  works  of  Chopin.  She 
was  married  in  1874  to  Dr.  Oscar 
Nissen  of  Christiania,  in  which  city 
she  died  in  1903. 

Liebig  (le-bikh),  Karl.     1808-1872. 

Born  at  Schwedt,  Prussia.  His  first 
position  was  as  clarinet-player  in  the 
Alexander  Grenadier  Regiment,  Ber- 
lin. In  1843  he  established  symphony 
concerts  and  also  an  independent 
orchestra,  the  Berlin  Symphonieka- 
pelle,  which  was  often  employed  for 
concerts  given  by  the  Berlin  Vocal 
Societies.  His  success  brought  him 
the  title  of  Royal  music-director  in 
1860,  but  seven  years  later  his  orches- 
tra deserted  him  and  elected  Professor 
Stern  to  succeed  him.  Liebig  organ- 
ized another  orchestra,  but  its  success 
was  never  great.     He  died  in  Berlin. 

*Liebling  (lep'-ling),  Emil.    1851- 

Born  in  Pless,  Germany,  of  Russian 
parentage,  this  talented  musician 
came  to  America  when  quite  young  to 
become  a  leader  in  the  art.  He  was 
one  of  four  brothers,  all  of  whom 
have  become  prominent  in  musical 
affairs.  After  arriving  in  this  coun- 
try, in  1867,  Emil  Liebling  taught 
music  in  Kentucky  and  Chicago.  Re- 
turning to  Berlin  he  studied  under 
Kullak  and  Ehrlich,  and  composition 
under  Heinrich  Dorn.  In  Vienna  he 
studied  under  Dachs.  He  also  taught 
in  Kullak's  Conservatory  of  Music 
from  1874  to  1876.  Mr.  Liebling's  at- 
tainments along  other  lines  are 
equally  advanced.  He  is  an  accom- 
plished linguist  and  as  a  writer  he  is 
a  fluent  and  forcible  contributor  to 
American  musical  journals.  He  spent 
the  summer  of  1876  studying  under 
Liszt  at  Weimar.  Returning  to  Chi- 
cago the  same  year  he  impressed  his 
audiences  with  his  finished  execution 
and  a  practically  unlimited  repertory. 
The  concerts  he  gave  in  Berlin 
brought  him  enthusiastic  praise  from 
the  severest  of  critics.  He  is  as  ex- 
ceptional as  a  man,  an  artist,  and  a 
musician,  possessing  the  most  charm- 
ing personality.  He  is  a  good  com- 
mon-sense business  man,  a  famous 
composer,   a   pianist   and   teacher   of 


Liliencron 

world-wide  fame,  a  most  entertaining 
and  instructive  lecturer.  Among  his 
compositions  are  a  valse  de  concert, 
Florence;  a  gavotte  modern,  Album- 
blatt;  Serenade,  Spring  Song,  Menu- 
etto,  Scherzoso,  Lolita  and  Concert 
Polonaise. 

Liebling,  Georg  Lothar.    1865- 

Court  pianist  and  composer;  born  in 
Berlin.  He  studied  piano  under  the 
Kullaks,  Liszt,  and  Rubinstein,  and 
composition  under  H.  Urban,  H. 
Dorn,  and  Tschaikowsky.  He  com- 
posed when  only  eight  years  of  age, 
and  at  sixteen  was  appointed  a  pro- 
fessor at  the  Kullak  Conservatory. 
From  1883  to  1895  he  was  touring 
through  Europe,  Asia  and  Africa.  He 
was  appointed  Court  pianist  by  the 
Duke  of  Coburg  in  1890.  His  first 
appearance  in  London  was  in  1897, 
and  the  next  year  he  played  by  com- 
mand before  the  late  Queen  Victoria 
at  Osborne.  His  compositions  include 
a  piano  concerto,  violin  concerto, 
violin  sonata,  numerous  piano  works 
and  songs,  symphony  for  orchestra, 
overtures  and  suites  for  same,  a  con- 
cert mass  and  operas.  His  Lieblings- 
walzer  has  been  sung  by  Nikita  at  a 
great  many  concerts. 

Liliencron     (le'-li-en-kron),     Rochus, 
Freiherr  von.    1820- 

Famous  author  on  musical  subjects; 
born  at  Plon  in  Holstein.  He  attended 
college  in  his  native  town  and  at 
Liibeck.  He  studied  both  theology 
and  law  at  Kiel  and  Berlin,  graduating 
as  Doctor  of  Theology  and  Philoso- 
phy. After  graduation  he  devoted 
much  time  to  Germanistic  studies, 
including  Old  Norse  languages  and 
literature,  writing  on  them  for  various 
periodicals.  He  was  in  the  govern- 
ment service  from  1848  to  1850  as 
secretary  in  the  bureau  of  foreign 
affairs  during  the  war  with  Denmark. 
In  1850  he  became  professor  of  Old 
Norse  languages  and  literature  at 
Kiel,  and  two  years  later  of  German 
language  and  literature  at  Jena.  He 
was  Privy  Cabinet  Councillor  to  the 
Duke  of  Meiningen  from  1855  to  1868. 
In  1855  he  published  Lieden  und 
Spriiche  aus  der  letzten  Zeit  des 
Minnesangs,  a  work  which  contains 
twenty  melodies  with  texts  from  the 
Jena  Minnesanger  codex,  written 
about  1320.  In  1869  he  setled  in 
Munich.  Since  1876  he  has  lived 
principally  at  Schleswig  as  Pralat  des 


BIOGRAPHIES 


489 


Liliencron 

St.  Johannisstiftes.  In  his  later  years 
he  has  been  interested  in  church- 
music.  He  is  also  the  president  of 
the  Royal  Prussian  Commission  for 
the  editing  and  publication  of  the 
Denkmaler  Deutscher  Tonkunst, 
twenty-two  volumes  of  which  have 
been  printed.  Among  other  works  is 
his  Deutsches  Leben  im  Volkslied  um 
1530,  the  finest  German  folk-songs  of 
the  Sixteenth  Century,  with  melodies. 

Limnander     (lem'-nan-der),    Armand 

Marie.     1814-1892. 

Belgium  composer  of  dramatic  and 
church-music.  He  was  born  at 
Ghent.  His  early  musical  instruction 
was  obtained  at  Saint-Acheul  under 
Cornette,  and  at  the  Jesuits'  College 
at  Freiburg,  Switzerland,  under  Pere 
Louis  Lambillotte.  He  founded  an 
amateur  vocal  society  in  Malines, 
which  was  known  as  the  Reunion 
Lyrique.  About  1841  he  studied  com- 
position under  Fetis  at  Brussels.  Six 
years  later  he  went  to  live  in  Paris, 
and  here  he  produced  a  number  of 
operas.  He  died  at  his  castle  at 
Moignanville,  Seine  -  et  -  Oise.  His 
comic  operas  are  splendid,  among 
them  are  Les  Montenegrins,  Le 
Chateau  de  Barbe-BIeue,  and  Yvonne. 
He^  composed  a  grand  opera,  Le 
maitre  Chanteur;  a  lyric  poem. 
Scenes  Druidiques;  a  Te  Deum, 
requiem,  some  string  music  and  many 
songs. 

Lincke  (link'-e),  Joseph.     1783-1837. 

Famous  celhst  and  composer;  born 
at  Trachenberg,  Silesia.  His  father 
was  a  capable  violinist  and  instructed 
him  on  the  instrument.  He  studied 
the  violoncello  under  Oswald.  His 
parents  died  when  he  was  only  a  boy 
and  he  was  obliged  to  support  him- 
self. He  copied  music  until  1800, 
when  he  became  a  violinist  in  the 
Dominican  convent  at  Breslau.  Here 
he  also  enjoyed  instruction  under 
Hanisch  for  organ  and  harmony.  He 
studied  the  cello  under  Lose,  suc- 
ceeding him  as  first  cellist  at  the 
theatre.  In  1808  he  went  to  Vienna 
and  became  one  of  Prince  Rasou- 
mowsky's  private  quartet.  Here  he 
and  Beethoven  became  firm  friends. 
He  played  at  Schuppanzigh's  quartet 
concerts,  and  he  in  turn  assisted  at 
Lincke's  farewell  concert  when  only 
Beethoven  music  was  performed,  and 
at  which  the  great  composer  was 
present.     Lincke  later  became  cham- 


Lind 

ber  virtuoso  to  Countess  Erdody  at 
Pancovecz,  and  in  1818  was  appointed 
first  violoncellist  at  the  Theatre  an 
der  Wien.  In  1831  he  played  at  the 
Vienna  Court  Opera.  He  died  in 
Vienna.  He  has  composed  some  vari- 
ations and  capriccios  for  the  cello. 

Lind  (lint),  Jenny.    1820-1887. 

In  the  words  of  Meyerbeer,  "  One 
of  the  finest  pearls  in  the  world's 
chaplet  of  song."  She  was  born  in 
Stockholm,  where  her  father  was  a 
lawyer  in  very  moderate  circum- 
stances. Herr  Croelius,  a  singing- 
master  and  Court  Secretary,  gave  her 
lessons  and  urged  Count  Pucke,  direc- 
tor of  the  Court  Theatre,  to  hear  her 
sing.  She  was  admitted  to  the  Con- 
servatory when  only  nine  years  old. 
Here  she  studied  under  Erasmus 
Berg,  a  skilled  musician.  She  appeared 
in  public  after  a  few  years'  study 
and  immediately  became  a  favorite. 
When  about  fourteen  a  great  trial 
came  to  her  in  the  loss  of  her  voice. 
She  continued  her  studies,  however, 
and  in  four  or  five  years  it  returned 
as  suddenly  as  it  had  left  her.  Though 
at  first  not  as  strong  or  as  sweet  as 
formerly,  her  voice  gradually  im- 
proved, and  when  she  again  sang  in 
public  she  was  received  with  enthu- 
siasm. Her  success  encouraged  her 
and  she  went  to  Paris  to  study  under 
Signor  Garcia,  the  father  of  the  fa- 
mous Malibran,  and  teacher  of  many 
excellent  singers.  She  studied  under 
him  for  about  a  year  and  then  re- 
turned to  Stockholm.  She  had  be- 
come a  member  of  the  Royal  Swedish 
Academy  of  Music  in  1840  and  was 
appointed  Court-singer.  She  was  wel- 
comed back  and  soon  regained  her 
place  as  favorite. 

During  her  residence  in  Paris  she 
met  Meyerbeer,  who  became  very 
much  interested  in  her  and  now 
wished  her  to  come  to  Berlin.  He  had 
written  for  her  the  principal  role  in 
his  Feldlager  in  Schlesien,  which  he 
afterwards  remodeled  as  L'fitoile  du 
Nord.  In  the  early  part  of  1844  she 
spent  some  time  in  Dresden  studying 
German,  and  in  October  she  went  to 
Berlin.  Her  first  appearance  was  as 
Norma,  in  which  part  she  electrified 
her  audiences,  her  reputation  soon 
spreading  throughout  Germany.  She 
also  appeared  as  Euryanthe,  and  in 
La  Sonnambula,  and  as  Alice  in 
Roberto.  She  sang  before  the  Queen 
of    England,    who    was    visiting    His 


490 


BIOGRAPHIES 


Lind 


Prussian  Majesty  at  Bonn,  and  in  a 
number  of  other  German  cities,  finally 
appearing  at  the  Gewandhaus,  Leipsic, 
in  1845.  The  next  year  she  sang  in 
Vienna,  where  her  popularity  was 
remarkable.  On  the  last  evening  of 
her  engagement  her  carriage  was 
escorted  home  by  thousands,  and  she 
was  obliged  to  appear  thirty  times  at 
her  window  to  acknowledge  the 
applause  of  the  crowd.  She  sang  at 
Aix-la-Chapelle,  Hanover  and  Ham- 
burg in  the  summer  and  filled  en- 
gagements at  Darmstadt,  Munich, 
Stuttgart  and  various  cities  in  south- 
ern Germany. 

About  this  time  she  made  a  trip  to 
England  for  the  cause  of  the  Italian 
Opera,  which  was  threatened  with 
bankruptcy.  She  was  received  with 
the  greatest  enthusiasm  by  all  classes 
of  London  society.  The  Queen  ad- 
mired her  grace  and  modesty  and 
would  have  showered  distinctions  on 
her  in  every  way,  but  she  would 
accept  only  a  bracelet,  which  she 
always  treasured.  Her  rendering  of 
Alice,  in  Sonnambula,  and  Maria,  in 
Donizetti's  charming  comic  opera  was 
so  remarkable  that  the  English  could 
talk  of  nothing  else.  Among  other 
parts  she  sang  Lucia,  Adina  in 
L'Elisir,  and  La  Figlia  del  Reggi- 
mento.  Possibly  her  best  part  was 
Giulia  in  Spontini's  Vestale.  She  also 
created  the  part  of  Amalia  in  Verdi's 
Imasnadieri,  and  sang  that  of  Susanna 
in  Figaro. 

Her  operatic  career  in  London  was 
as  short  as  it  was  brilliant.  She  had 
a  prejudice  against  the  falseness  of 
the  stage  and  a  longing  for  something 
higher  in  life  than  the  applause  of 
excited  multitudes.  She  could  not 
reconcile  the  glitter  and  publicity  of 
the  stage  with  her  love  of  nature  and 
simplicity.  She  resolved  to  leave  the 
stage,  and  her  last  appearance  took 
place  in  Roberto  in  1849.  Thereafter 
she  sang  on  the  more  congenial  plat- 
form of  the  concert-room.  She  gave 
many  concerts  during  this  last  season 
in  London,  singing  very  successfully 
in  Handel's  oratorios.  These,  some 
of  Mozart's  great  airs,  her  masterful 
execution  of  the  Bird  song  in  Haydn's 
Creation,  the  inspiration  she  put  into 
the  Sanctus  of  angels  in  Mendels- 
sohn's Elijah,  and  her  wild,  queer 
northern  tunes  can  be  remembered 
by  many  of  her  admirers,  who  are 
living  today. 

In  1850  she  undertook  a  tour  of  the 


Lind 

United  States  under  the  management 
of  P.  T.  Barnum.  She  sang  in  nearly 
a  hundred  concerts,  and  wherever  she 
went  created  unparalleled  enthusiasm. 
The  Americans  appreciated  her  and 
welcomed  her  everywhere.  Her  tour 
lasted  nearly  two  years.  During  the 
latter  part  of  it  she  was  accompanied 
by  Mr.  Otto  Goldschmidt,  a  capable 
pianist  of  Hamburg,  whom  she  mar- 
ried in  Boston  in  February,  1852.  It 
was  a  marriage  of  love  and  always 
remained  a  happy  one.  The  result  of 
the  American  tour  financially  was  a 
fortune  for  the  managers  and  twenty 
thousand  pounds  for  the  singer.  Re- 
turning to  Europe,  Mme.  Goldschmidt 
traveled  through  Holland  and  Ger- 
many, making  her  home  in  Dresden 
from  1852  to  1855.  The  next  year  her 
husband  became  leader  of  the  Bach 
choir  in  London  and  she  sang  fre- 
quently in  oratorios  and  concerts. 
Her  actual  last  appearance  was  at  a 
concert  for  charity  at  Malvern  in 
1883.  At  that  time  she  accepted  a 
position  as  teacher  of  singing  at  the 
Royal  College  of  Music,  which  she 
held  until  1886.  She  died  the  follow- 
ing year  at  Wynd's  Point,  Malvern, 
universally  lamented. 

Her  life  was  beautiful  and  true,  and 
she  was  admired  and  respected  by  all 
who  knew  her.  Her  charities  were 
boundless,  all  of  her  American  earn- 
ings being  devoted  to  founding  and 
endowing  art  scholarships  and  other 
charities  in  her  native  Sweden.  She 
gave  a  whole  hospital  to  Liverpool 
and  the  wing  of  another  to  London. 
During  the  winter  of  1848-1849  she 
raised  ten  thousand  five  hundred 
pounds  for  charity.  Her  generosity 
and  sympathy  were  never  appealed  to 
in  vain  where  the  cause  was  just. 
Her  voice  was  a  soprano  of  great 
compass  and  power,  remarkable  in  its 
sweetness  and  perfect  purity  of  tone. 
Her  execution  was  almost  unsurpassed. 
Her  memory  was  wonderful.  She 
could  play  and  sing,  without  notes, 
Gluck's  Armida,  the  oratorios  of 
Handel  and  Haydn,  melodies  of  Men- 
delssohn, Schubert  and  Schumann, 
and  many  others.  Wherever  she 
appeared,  whether  in  the  smallest 
cities  or  in  Her  Majesty's  Theatre, 
she  made  the  same  effort,  and  put  the 
same  life  and  expression  into  her  sing- 
ing. She  never  concerned  herself 
about  criticisms,  whether  friendly  or 
otherwise,  but  thought  only  of  her 
art. 


BIOGRAPHIES 


491 


Lindblad 
Lindblad    (lint'-blat),    Adolf   Fredrik. 

1801-1878. 

Swedish  composer,  born  at  Lofvigs- 
borg,  near  Stockholm.  As  a  youth  he 
Uved  in  Berlin,  there  studying  music 
under  Zelter.  Returning  to  Stockholm 
he  spent  the  remainder  of  his  days 
there,  devoting  himself  to  composi- 
tion and  giving  lessons  in  singing. 
His  compositions  are  mostly  songs, 
which  are  national  in  character,  ex- 
quisite in  melody,  and  rich  in  origi- 
nality. Among  them  are  The  Song 
of  the  Dalecarlian  Maiden;  Lament; 
A  Day  in  Spring,  and  Autumn  Even- 
ing. Jenny  Lind  was  one  of  his  pupils 
and  she  made  his  songs  so  popular  in 
Germany  that  he  was  given  the  title 
of  "  the  Schubert  of  the  North."  He 
composed  an  opera,  Frondararne; 
vocal  duets;  trios;  quartets;  and 
among  instrumental  works  are  a  sym- 
phony in  C,  a  duo  for  piano  and  violin 
and  a  violin  sonata. 

Linden  (lint'-'n),  Karl  van  der.    1839- 

Composer;  born  at  Dordrecht.  He 
studied  piano  under  J.  Kwast,  sr., 
and  theory  under  F.  Bohme.  He 
lived  in  Paris,  Belgium  and  Germany, 
where  he  spent  his  time  in  study.  In 
1860  he  returned  to  Dordrecht  and 
became  successively  conductor  of 
Harmonic,  from  1865  conductor  of  the 
Liedertafel,  1872  bandmaster  of  the 
National  Guard,  and  in  1875  conductor 
of  the  grand  concerts  of  the  Nether- 
land  Musicians'  Association.  Linden 
ranks  high  as  a  leader,  and  his  com- 
positions are  excellent.  In  1875  he 
conducted  the  Musical  Festival  at 
Rotterdam,  and  in  1877  and  1880  at 
Dordrecht.  He  was  a  member  of  the 
jury  at  the  great  musical  competitions 
of  Ghent,  1873;  Paris,  1877,  and  Brus- 
sels, 1880.  His  compositions  include 
the  cantatas,  De  Starrenhemel,  and 
Kunstzin;  seven  overtures  for  grand 
orchestra;  two  operas;  many  songs; 
part-songs  for  male,  female  and  mixed 
voices;  sonatas  and  piano-pieces,  and 
many  works  for  wind  band. 

Lindley,  Robert.     1776-1855. 

Violoncellist;  born  at  Rotherham, 
Yorkshire,  England.  His  first  instruc- 
tion was  from  his  father,  in  1792  be- 
coming a  pupil  of  Cervetto,  who  took 
such  an  interest  in  him  that  he  taught 
him  gratuitously.  His  first  position 
was  at  the  Brighton  Theatre,  where 
he  played  before  the  Prince  Regent. 
In  1794  he  succeeded  Sperati  as  first 


Lindpaintner 

violoncellist  at  the  Opera  and  at  all 
the  principal  concerts,  which  position 
he  held  until  he  retired  in  1851.  Lind- 
ley and  Dragonetti,  the  great  double- 
bass-player,  were  friends  for  over 
fifty  years.  The  Royal  Academy  of 
Music  was  established  in  1822  and  he 
became  a  professor.  Lindley  was 
probably  the  greatest  cellist  of  his 
time,  his  techinque  was  remarkable 
and  his  tone  was  pure,  rich  and 
strong.  He  composed  for  his  instru- 
ment, but  nothing  of  importance.  He 
died  in  London. 

Lindner    (lint'-ner),   Friedrich.    1540- 
1597. 

Born  at  Liegnitz,  in  Silesia.  He 
was  a  boy-chorister  in  the  Electoral 
Chapel  at  Dresden.  He  was  educated 
at  the  expense  of  the  Elector,  first  at 
the  famous  school  at  Pforta  and  later 
in  the  University  at  Leipsic.  He  was 
in  the  service  of  Count  George  Fred- 
eric, at  Anspach,  for  ten  years.  In 
1574  he  was  appointed  cantor  at  the 
Church  of  St.  .^gidius  at  Nuremberg, 
where  he  died.  Among  his  composi- 
tions are  two  volumes  of  Cantiones 
sacrse,  and  a  volume  of  Masses.  His 
music  shows  the  kind  used  at  the 
time  in  Lutheran  Churches  and 
schools  of  Nuremberg  and  elsewhere. 

Lindpaintner     (lint'-plnt-ner),     Peter 
Joseph  von.     1791-1856. 

Conductor  and  composer;  born  at 
Coblentz.  His  father  was  a  tenor 
singer  in  the  service  of  the  Elector  of 
Treves  and  removed  with  him  to 
Augsburg  when  the  P^rench  took  pos- 
session of  the  electorate.  It  was 
there  that  young  Lindpaintner  studied 
viohn,  piano  and  counterpoint.  The 
Elector  became  interested  in  him  and 
provided  him  with  the  means  to  study 
under  the  famous  composer.  Winter, 
at  Munich.  Here  he  wrote  his  first 
opera,  Demophoon;  a  mass,  and  a  Te 
Deum,  which  were  successfully  pro- 
duced in  1811.  His  kind  patron  died 
the  next  year  and  he  was  obliged  to 
accept  the  position  of  music-director 
of  the  Isarthor  Theatre.  At  the  same 
time  he  continued  his  studies  under 
the  celebrated  contrapuntist,  Joseph 
Griitz.  His  compositions  had  been 
very  successful,  and  in  1819  he  was 
appointed  chapelmaster  for  the  Royal 
band  at  Stuttgart,  which  post  he  held 
until  his  death.  He  brought  this 
orchestra  up  to  such  a  standard  of  ex- 
cellence that  it  ranked  among  the  best 


492 


BIOGRAPHIES 


Lindpaintner 
in  Germany.  Mendelssohn  said  he 
played  upon  it,  with  his  baton,  as  if  it 
had  been  a  single  instrument.  He 
had  many  offers  for  professional  en- 
gagements, but  only  accepted  one. 
This  was  three  years  before  his  death, 
when  he  went  to  England  to  conduct 
the  New  Philharmonic  concerts  in 
London.  He  also  conducted  these 
concerts  the  next  year.  Previous  to 
this  time,  in  1848,  he  had  received  a 
medal  from  Queen  Victoria  for  the 
dedication  of  his  oratorio,  Abraham. 
He  received  many  gifts  from  royalty, 
and  he  was  a  member  of  almost  every 
musical  institution  of  the  Continent. 
He  composed  twenty-eight  operas, 
three  ballets,  five  melodramas  and 
oratorios,  several  cantatas,  six  masses, 
a  Stabat  Mater,  and  more  than  fifty 
songs  with  piano  accompaniment,  be- 
sides Symphonies,  overtures,  con- 
certos, fantasias,  trios  and  quartets  for 
different  instruments..  He  rescored 
Handel's  Judas  Maccabaeus.  His 
operas  were  mostly  of  the  Romantic 
School,  the  best  being  The  Vampyre, 
The  Mountain  King,  and  The  Sicilian 
Vespers.  Equally  worthy  of  mention 
is  his  overture  and  incidental  music 
to  Goethe's  Faust,  and  among  his 
songs,  Roland  and  The  Standard- 
bearer  created  quite  a  furore  at  their 
appearance.  He  died  at  Nonnenhorn, 
on  Lake  Constance,  while  away  for  a 
summer's  holiday. 

Lindsay,  Miss  M. 

Mrs.  J.  Worthington  Bliss,  popular 
English  song-writer;  born  at  Wimble- 
don. Her  ballads,  somewhat  in  the 
style  of  Claribel,  are  very  popular. 
Some  of  her  best  songs  are  Airy, 
Fairy  Lillian;  Alone;  The  Bridge; 
Excelsior;  Far  Away;  Home  They 
Brought  Her  Warrior  Dead. 

Linley,  Francis.    1771-1800. 

English  organist  and  composer; 
born  at  Doncaster.  Though  blind 
from  his  birth  he  received  a  good 
education,  studying  under  Dr.  Miller. 
He  became  organist  of  St.  James' 
Chapel,  Pentonville.  He  married 
about  this  time  and  his  wife  was  blind 
also.  Their  marriage  was  not  a  happy 
one  and  they  soon  separated.  He  had 
bought  the  business  of  Bland,  music- 
seller  in  Holborn,  in  1796,  but  his 
venture  was  unsuccessful  and  he  left 
for  America  the  same  year.  He  re- 
mained there  until  1799,  playing  suc- 
cessfully.    Returning  to   England   he 


Linley 

died  at  Doncaster  the  next  year. 
Among  his  compositions  are  songs, 
piano  and  organ-pieces,  flute  solos 
and  duets,  and  an  Organ  Tutor. 

Linley,  George.    1798-1865. 

Born  at  Leeds;  the  son  of  a  trades- 
man. He  received  his  early  education 
at  Eastbury's  Quaker  School.  He  con- 
tributed verses  to  the  newspapers  and 
wrote  some  satirical  pamphlets  about 
the  notables  of  his  native  town.  He 
lived  for  a  while  at  Doncaster,  then 
Edinburgh,  finally  taking  up  his  resi- 
dence in  London.  He  composed  sev- 
eral hundred  songs  between  1830  and 
1865,  some  of  them  being  the  most 
popular  of  their  time:  Ever  of  thee;  I 
cannot  mind  my  wheel.  Mother;  Thou 
art  gone  from  my  gaze;  and  others. 
He  also  did  literary  work  of  various 
kinds.  His  Musical  Cynics  of  Lon- 
don, 1862,  was  a  satirical  attack  upon 
H.  F.  Chorley  and  others,  and  did  him 
more  harm  than  good.  The  Modern 
Hudibras  appeared  two  years  later. 
He  died  at  Kensington  and  was  buried 
at  Kensal  Green.  He  composed  the 
operas,  Francesca  Doria;  La  Poupee 
de  Nuremberg;  The  Toymaker;  and 
Law  Versus  Love.  He  collected  and 
arranged  songs  under  the  titles,  Scot- 
tish Melodies;  Songs  of  the  Camp; 
Original  Hymn  Tunes;  and  others. 
Among  his  latest  works  were  two 
books  of  Nursery  Rhymes. 

Linley,  Thomas,  sr.     1732-1795. 

English  composer;  born  at  Wells, 
Somerset;  the  son  of  a  carpenter.  His 
first  musical  instruction  was  obtained 
from  Chilcot,  an  organist,  at  Bath. 
Later  he  studied  at  Naples  under  Par- 
adies.  Upon  his  return  to  Bath  he 
became  a  very  successful  singing- 
teacher  and  also  conducted  popular 
concerts,  at  which  he  produced  much 
of  Handel's  music.  In  1774  he  suc- 
ceeded John  Christopher  Smith  as 
joint-manager,  with  Stanley,  of  the 
Drury  Lane  Oratorios,  and  upon  the 
death  of  Stanley  conducted  them 
jointly  with  Dr.  Arnold.  In  1775  he 
and  his  eldest  son,  Thomas,  composed 
and  compiled  the  music  for  Sheridan's 
comic  opera,  The  Duenna,  which  was 
very  successful,  running  for  seventy- 
five  nights  at  Drury  Lane,  a  very 
unusual  occurrence  at  that  time. 
Upon  the  request  of  Sheridan,  who 
was  his  son-in-law,  he  went  to  Lon- 
don, and  with  him  and  Richard  Ford 
purchased    Garrick's    share    in    Drury 


BIOGRAPHIES 


493 


Linley 

Lane.  He  was  director  there  for  fif- 
teen years  and  composed  several  suc- 
cessful pieces.  In  1777  he  became  a 
member  of  the  Royal  Society  of  Musi- 
cians. Of  twelve  children,  only  three 
survived  him,  and  grief  at  their  loss 
and  shock  at  the  sudden  death  of 
his  son,  Thomas,  undermined  his 
health,  and  he  died  suddenly  at  sixty- 
three  years  of  age  in  London,  He 
was  buried  in  Wells  Cathedral,  where 
a  monument  has  been  erected  to  his 
memory  by  his  son  William.  Linley 
ranks  very  high  as  an  English  com- 
poser. Besides  The  Duenna,  already 
mentioned,  he  composed  The  Royal 
Merchant;  The  Carnival  of  Venice; 
The  Triumph  of  Mirth;  Tom  Jones; 
Richard  Coeur  de  Lion;  the  song  in 
the  School  for  Scandal;  and  accom- 
paniments to  the  songs  in  The  Beg- 
gar's Opera.  He  also  set  such  parts 
as  were  intended  for  the  voice  in 
Sheridan's  Monody  on  the  Death  of 
Garrick;  six  elegies  for  three  voices; 
and  twelve  ballads.  Much  of  his 
work,  also  that  of  his  son,  Thomas, 
was  published  posthumously. 

Elizabeth  Ann,  1754-1792,  his  eldest 
daughter,  born  at  Bath,  was  a  concert 
soprano.  She  had  the  title  of  The 
Maid  of  Bath.  In  1773  she  married 
Richard  Brinsley  Sheridan,  and 
retired  at  the  height  of  her  popularity. 
She  was  painted  by  Sir  Joshua  Rey- 
nolds as  St.  Cecilia  and  sat  for  the 
Virgin  in  his  Nativity.  She  died  of 
consumption  of  Hotwells,  Bristol. 

Mary,  his  second  daughter,  1756- 
1787,  was  born  at  Bath.  She  studied 
with  her  father  and  sang  with  her 
sister.  She  married  Richard  Tickell. 
She  died  at  Clifton. 

Maria,  his  third  daughter,  and  also 
a  singer,  died  at  Bath,  in  1784.  at  an 
early  age. 

Linley,  Thomas,  jr.    1756-1778. 

Eldest  son  of  the  preceding;  born 
at  Bath.  His  first  instruction  was 
from  his  father,  and  he  first  appeared 
in  public  at  the  age  of  eight.  His 
next  teacher  was  Dr.  Boyce,  at  the 
close  of  whose  tuition,  in  1768,  he 
wrote  six  violin  solos.  Two  years 
later  he  became  the  pupil  of  Nardini, 
at  Florence.  He  made  the  acquaint- 
ance there  of  Mozart,  and  the  two 
became  firm  friends.  Returning  to 
Bath  in  1773,  he  became  leader  of 
the  orchestra  and  solo-player  at  his 
father's  concerts,  and  afterwards  at 
the  Drury  Lane  Oratorios.     He  was 


Lipinski 

drowned  through  the  capsizing  of  a 
pleasure-boat,  while  visiting  the  Duke 
of  Ancaster  at  Grimsthorpe,  in  Lin- 
colnshire. He  was  considered  one  of 
the  finest  violinists  in  Europe.  He 
composed  an  anthem,  Let  God  Arise; 
portions  of  The  Duenna;  a  short  ora- 
torio. The  Song  of  Moses;  a  glee  for 
five  voices,  Hark!  the  Bird's  Melo- 
dious Strain,  the  upper  part  of  which 
was  usually  sung  by  his  sister,  Mrs. 
Sheridan.  Most  of  his  compositions 
are  contained  in  the  collection  of  his 
father's  works  and  his  own,  published 
in  1800. 

Lipinski    (li-pin'-shki),    Karl    Joseph. 

1790-1861. 

One  of  the  greatest  of  violin  vir- 
tuosos. Was  born  at  Radzyn,  in  Po- 
land. His  father  was  an  amateur 
on  the  violin  and  gave  him  some 
instruction.  At  ten  years  of  age  he 
taught  himself  to  play  the  violoncello, 
and  this  practise  gave  him  much 
strength  and  helped  him  with  his 
violin  playing.  In  1810  he  became  first 
violin  at  the  Lemberg  Theatre,  two 
years  later  becoming  conductor.  In 
1814  he  gave  up  his  position  and 
spent  three  years  studying  the  theory 
of  composition.  At  the  end  of  this 
time  he  went  to  Italy  to  benefit  him- 
self from  hearing  Paganini.  They 
became  acquainted  and  met  daily  to 
play,  also  appearing  together  in  pub- 
lic, which  greatly  added  to  Lipinski's 
fame.  Upon  his  return  in  1818  he 
stopped  at  Trieste  to  see  Dr.  Maz- 
zurana,  former  pupil  of  Tartini,  to 
learn  something  of  the  latter's  method. 
Mazzurana  was  ninety  years  old,  and 
could  not  play  the  violin  himself,  but 
criticized  Lipinski's  performance  of 
one  of  Tartini's  sonatas.  He  had  him 
read  a  poem  which  explained  the 
motif,  thus  getting  the  master's  idea. 
Lipinski  ever  after  tried  to  use  this 
method,  and  to  it  he  owes  much  of 
his  success  in  rendering  Beethoven's 
compositions.  He  had  the  means  to 
travel,  and  visited  Germany,  and,  later, 
Russia.  In  1829  he  met  Paganini 
again,  this  time  in  Warsaw;  but  it 
was  as  rivals,  not  as  friends,  for  both 
gave  concerts,  and  each  had  his  own 
faction.  He  spent  the  years  from 
1835  to  1839  in  travel,  touring  Ger- 
many, England,  France,  Austria,  and 
again  Russia.  In  Leipsic  he  made  the 
acquaintance  of  Schumann.  In  Eng- 
land he  played  his  military  concerto 
at  a   Philharmonic  concert.     In   1839 


494 


BIOGRAPHIES 


Lipinski 
he  became  concertmaster  at  the  Royal 
Opera  in  Dresden,  where  he  remained 
for  many  years.  He  retired  with  a 
pension  in  1861,  and  died  the  same 
year  at  his  estate,  Urlow,  near  Lem- 
berg.  His  playing  was  wonderful;  he 
overcame  technical  difficulties  with 
ease,  and  produced  a  powerful  as  well 
as  beautiful  tone.  In  later  years  he 
preferred  Beethoven's  great  quartets 
and  Bach's  solos  above  everything 
else.  His  compositions  include  con- 
certos, variations,  and  fantasias  for 
the  violin;  but  his  works  are  nearly 
forgotten,  with  the  exception  of  his 
once  extremely  popular  military  con- 
certo. 

Listemann      (lis-te-man),      Bemhard. 
1841- 

Violinist;  born  at  Schlotheim,  Thu- 
ringia.  His  instructors  were  Ulrich 
and  David  at  Leipsic;  Vieuxtemps 
and  Joachim  at  Hanover.  At  the  age 
of  seventeen  he  was  appointed  Court 
violinist  to  the  Prince  of  Schwartzburg. 
He  came  with  his  brother  to  this 
country  in  1867  and  traveled  exten- 
sively, then  took  up  his  residence  in 
Boston.^  From  1870  to  1874  he  was 
leader  in  the  Thomas  Orchestra  in 
New  York.  He  then  founded  the 
Boston  Philharmonic  Club  and  toured 
the  country  for  four  years.  In  1879 
he  organized  the  Boston  Philharmonic 
Orchestra,  of  which  he  was  director 
for  two  years,  when  he  became  leader 
of  the  Boston  Symphony  Orchestra, 
established  by  Mr.  Higginson.  In 
the  same  year  he  started  the  Liste- 
mann String  Quartet,  which  is  still 
in  existence  and  holding  a  reputation 
for  excellent  work.  From  1885  to 
1893  he  was  soloist  and  director  of 
the  Listemann  Concert  Company  and 
also  was  teaching  in  Boston,  in  which 
work  he  became  very  prominent. 
Since  1893  he  has  been  the  head  of 
the  violin  department  in  the  Chicago 
College  of  Music.  Listemann  has  pub- 
lished a   Method  for  Violin. 

Listemann,  Fritz.     1839- 

Brother  of  the  preceding;  also  Dorn 
at  Schlotheim,  Germany.  He  also 
studied  under  Wilhelm  Ulrich,  who 
was  their  uncle  and  concertmaster 
of  Sonderhausen,  and  later  under 
David,  graduating  from  the  Leipsic 
Conservatory.  While  very  young  he 
was  a  member  of  leading  orchestras 
in  Europe,  and  was  made  chamber- 
virtuoso  to  the  Prince  of  Rudolstadt 


Liszt 

in  1858.  In  1867  he  came  to  this 
country  with  his  brother,  first  spend- 
ing a  few  years  in  Boston,  and  in  1871 
he  became  first  violin  in  the  Thomas 
Orchestra.  The  brothers  went  to  Bos- 
ton in  1874,  and  Fritz  was  one  of  the 
sextet  organized  by  Bernhard  and 
called  the  Boston  Philharmonic  Club. 
He  also  became  a  member  of  the  Bos- 
ton Symphony  Orchestra  and  of  the 
Listemann  Concert  Company.  He 
studied  composition  for  several  years 
with  Edward  Alexander  MacDowell, 
and  has  been  very  successful  in  teach- 
ing. Among  his  compositions  are 
violin  concertos;  a  Grosse  Polonaise 
and  Idylle;  songs  and  variations. 

Liszt  (list),  Franz.     1811-1886. 

Born  in  Raiding,  a  small  town  of 
Hungary,  near  Odenburg,  Oct.  22, 
1811.  His  father,  Adam  L.,  was  in  the 
employ  of  Prince  Nicholas  Esterhazy, 
and  was  himself  a  capable  musician, 
performing  on  the  piano  and  violin, 
and  he  early  directed  the  study  of  his 
precocious  son.  Often  would  he  say 
to  him:  "  My  son,  you  are  destined 
to  realize  the  glorious  ideal  that  has 
shone  in  vain  before  my  youth.  I 
shall  renew  my  youth  in  you  even 
after  I  am  laid  in  the  grave."  The 
father  resolved  to  devote  his  life  to 
developing  the  boy's  talent.  When 
nine  years  of  age,  Franz  made  his 
first  public  appearance  in  Odenburg. 
His  performance  was  so  remarkable 
that  Prince  Esterhazy,  who  was  in 
the  audience,  agreed  to  defray  the 
boy's  expenses  for  six  years  of  instruc- 
tion. Accordingly,  his  father  took 
him  to  Vienna,  where  he  remained  for 
a  year  and  a  half,  studying  piano  under 
Czerny  and  composition  under  Salieri 
and  Randhartinger,  who  introduced 
him  to  Franz  Schubert.  At  a  concert 
of  his  own  while  in  Vienna  he  was 
enthusiastically  applanded,  but  it  was 
ever  after  memorable  to  him  for  the 
fact  that  Beethoven,  at  its  close,  kissed 
him  on  the  forehead.  Thinking  to 
crown  his  education  by  instruction  at 
the  Paris  Conservatory,  the  family 
repaired  to  that  city.  En  route  they 
gave  concerts  at  the  large  German 
towns,  the  boy  being  everywhere 
received  with  wonder  and  applause. 
But  Cherubini,  director  of  the  Con- 
servatory, refused  admittance  to  Liszt 
on  account  of  his  foreign  birth,  this 
being  the  rule  of  the  institution.  At 
first  this  seemed  to  be  a  great  calam- 
ity,   but    in    reality    Liszt    was    quite 


BIOGRAPHIES 


495 


Liszt 


as  well  prepared  by  his  father.  He 
was  praised  and  petted  by  Parisians, 
and  was  in  danger  of  being  spoiled 
when  his  father  took  him  to  England, 
where  his  fame  had  preceded  him. 
The  bills  which  advertised  his  con- 
certs resembled  the  circus  posters  of 
our  day.  He  was  called  the  "  Little 
Liszt,"  and  would  be  carried  on  the 
stage  in  token  of  his  youth.  As  he 
grew  older  and  the  artist  awakened  in 
him,  he  disliked  this  treatment.  He 
would  say:  "I  would  rather  be  any- 
thing in  the  world  than  a  musician 
in  the  pay  of  great  folk,  patronized 
and  paid  by  them  like  a  conjurer  or 
a  clever  dog."  At  this  time  he  com- 
posed a  one-act  operetta,  Don  San- 
cho,  which  was  received  at  the  Acad- 
emic Royale,  and  the  principal  role 
was  taken  by  the  famous  tenor,  Nour- 
rit.  While  upon  this  work  he  saw  his 
defects,  and  began  to  study  composi- 
tion seriously  under  Reicha  and  Paer. 
The  next  year  he  made  a  provincial 
tour.  In  1827  he  was  again  in  London, 
and  upon  the  return  journey  his 
father  became  ill  and  died  at  Bou- 
logne. His  father's  death  was  a  great 
loss,  but  he  bore  up  bravely,  and,  as 
his  mother  had  sacrificed  so  much  for 
him,  he  turned  over  to  her  the  earn- 
ings of  his  virtuoso  career  and  lived 
himself  by  teaching.  As  his  general 
education  had  been  somewhat  neg- 
lected, he  now  set  to  work  studying 
philosophy  and  theology  especially. 
Paris  was  just  the  place  to  develop 
the  resources  of  his  nature.  Here 
he  came  to  know  Victor  Hugo,  La- 
martine,  George  Sand,  Berlioz,  Hein- 
rich  Heine,  Balzac,  Dumas  and  others. 
Liszt  was  exceedingly  sensitive  and 
possessed  a  wonderful  imagination. 
His  affection  for  Mile,  de  St.  Cricq 
and  the  subsequent  disappointment 
upon  her  enforced  marriage  to  another 
so  affected  his  mind  that  he  became 
ill.  His  thoughts  turned  to  religion 
and  he  threatened  to  give  up  his  art. 
Fortunately,  however,  he  heard  Paga- 
nini,  and  was  so  inspired  by  his  play- 
ing that  he  resolved  to  become  the 
Paganini  of  the  piano,  and  took  up 
his  music  again  with  renewed  ardor. 
After  two  years  spent  at  Geneva  in 
composition  he  returned  to  Paris,  to 
prevent  the  brilliant  Thalberg  from 
usurping  his  own  place  as  pianist.  In 
1839  he  started  upon  a  tour  of  Europe, 
which  was  one  long  triumph.  In  Leip- 
sic  he  made  the  acquaintance  of  Men- 
delssohn and  Schumann.     The  latter 


Liszt 

sajrs  of  him:  "I  never  found  any 
artist  except  Paganini  to  possess  in 
so  high  a  degree  this  power  of  sub- 
jecting, elevating  and  leading  the  pub- 
lic. It  is  an  instantaneous  variety  of 
wildness,  tenderness,  boldness  and  airy 
grace."  In  Hamburg  he  aroused  the 
critics  from  their  usual  coldness  to 
the  height  of  enthusiasm.  He  made 
his  fourth  visit  to  England  in  1840, 
where  he  gave  two  concerts  of  his 
own,  an  unprecedented  feat  of  that 
time,  and  he  is  supposed  to  have 
invented  the  term  Recital  for  the  pur- 
pose. Moscheles  became  his  friend, 
and  tells  of  him:  "  His  technique  beats 
everything;  he  does  what  he  likes  and 
does  it  exceedingly  well,  and  his 
hands,  thrown  high  into  the  air, 
descend  seldom,  astonishingly  seldom, 
on  the  wrong  key."  Two  incidents  of 
this  period  of  his  life  go  to  show 
the  manner  of  man  he  was:  The 
bronze  statue  of  Beethoven,  which 
was  to  be  erected  at  Bonn,  lacked 
funds  for  its  completion,  and  Liszt 
not  only  promised  to  make  up  the 
deficit  but  actually  cancelled  his 
engagements  to  assist  in  the  arrange- 
ments. It  was  dedicated  in  August, 
1854,  and  among  those  present  at  the 
ceremony  were  King  William  of  Prus- 
sia and  Queen  Victoria  of  England. 
Liszt's  performance  of  Beethoven's 
concerto  in  E  flat  was  the  crowning 
success  of  all.  At  another  time,  while 
he  was  in  Italy,  word  came  to  him 
of  the  suffering  of  his  countrymen, 
caused  by  the  inundation  of  the  Dan- 
ube. He  left  immediately  for  Pesth, 
and  gave  concert  after  concert,  devot- 
ing the  proceeds  to  alleviate  the  suf- 
fering. 

Earnestly  desiring  to  accomplish 
something  higher  in  his  art  he  took 
up  his  residence  at  Weimar,  1847,  as 
chapelmaster  to  the  Grand  Duke. 
Some  of  his  time  was  spent  at  com- 
position and  his  afternoons  were 
mostly  devoted  to  giving  lessons. 
Many  young  artists  came  to  him  for 
inspiration.  He  did  more  for  Wagner 
than  any  other  one  man.  Chopin,  Ber- 
lioz, Raff,  Franck,  Saint-Saens  and 
others  owe  much  to  him.  Hans  von 
Billow,  who  married  his  daughter,  Co- 
sima,  and  Carl  Tausig,  were  among  his 
favorite  pupils.  Here  was  formed  that 
gathering  of  young  and  enthusiastic 
musicians  who  called  themselves  the 
School  of  the  Future.  He  undertook, 
in  the  theatre,  to  bring  out  works  for 
the    first    time    or    to    revive    others. 


496 


BIOGRAPHIES 


Liszt 

Among  these  were  Lohengrin,  Tann- 
hauser,  and  The  Flying  Dutchman,  of 
Wagner;  Benvenuto  Cellini,  by  Ber- 
lioz; and  Schumann's  Genoveva.  Dur- 
ing this  period  of  his  life  he  had 
the  help  and  companionship  of  a 
noble  woman,  Princess  Caroline  of 
Wittgenstein.  She  collaborated  with 
him  in  his  literary  eflforts,  notably  his 
Life  of  Chopin;  The  Music  of  the 
Gypsies;  and  essays  on  German  musi- 
cians and  their  compositions.  He  did 
much  to  make  Weimar  an  art  center, 
and  the  position  it  gained  under  him 
is  still  quite  secure.  He  said:  "  I  had 
dreamed  for  Weimar  a  new  art  period, 
similar  to  that  of  Karl  August,  in 
which  Wagner  and  I  would  have  been 
the  leaders,  as  formerly  Goethe  and 
Schiller,  but  unfavorable  circumstances 
brought  these  dreams  to  nothing." 
These  circumstances  were  petty  jeal- 
ousy and  opposition  to  his  work  by 
lesser  musicians,  which  caused  him 
to  bring  his  official  duties  to  a  sudden 
end  in  1859  and  go  to  Rome.  From 
that  time  he  lived  alternately  at  Rome, 
Pesth  and  Weimar,  always  surrounded 
by  a  circle  of  pupils  and  admirers  and 
always  working  for  music  and  musi- 
cians in  the  unselfish  way  that  was 
so  characteristic  of  his  whole  life. 
Not  long  after  he  had  gone  to  Rome, 
the  world  was  astonished  at  hearing 
that  he  had  taken  orders.  This  was 
quite  in  keeping  with  his  nature.  From 
a  child  he  had  been  deeply  religious, 
and  now  sought  solace  in  his  church 
for  the  many  disappointments  of  his 
life.  It  was  only  a  lower  order,  with 
the  title  of  abbe,  which  in  no  way 
interfered  with  the  free  exercise  of 
his  genius.  As  a  composer  he  then 
devoted  himself  almost  entirely  to 
sacred  music.  He  spent  his  summers 
in  Weimar,  in  the  beautiful  home  that 
was  a  gift  from  the  Grand  Duke,  and 
here  his  pupils  flocked,  and  to  them 
he  was  not  only  a  teacher  but  a 
fatherly  friend.  At  the  annual  reunion 
of  the  German  musical  societies  he 
was  always  the  honored  head.  In 
1876  occurred  an  event  for  which  he 
had  worked  long  and  earnestly,  viz., 
the  festival  at  Bayreuth.  In  1882  he 
had  the  satisfaction  of  listening  to 
his  friend's  swan  song,  the  perform- 
ance of  Parsifal.  Four  years  later,  in 
1886,  he  accepted  the  urgent  invita- 
tion to  visit  Paris  and  London,  scenes 
of  his  former  triumphs.  Though  sev- 
enty-four years  old,  he  was  hale  and 
hearty,    erect   and    sure-footed.     The 


Liszt 

primary  object  of  his  visit  to  Lon- 
don was  to  hear  the  performance  of 
his  St.  Elizabeth  at  St.  James'  Hall 
by  the  Novello  Oratorio  Choir.  Dur- 
ing the  forty-six  years  since  his  last 
visit  there  had  been  many  changes  in 
English  musical  taste.  He  was  every- 
where greeted  with  the  wildest  enthu- 
siasm and  shown  every  possible  honor. 
There  had  been  nothing  like  it  since 
the  days  of  Paganini.  Upon  his 
return  he  found  himself  in  need  of 
rest,  but  though  no  anxiety  was  felt 
at  first  he  did  not  regain  his  former 
strength.  Feeling  able  to  undertake 
the  journey  to  Bayreuth,  he  went  to 
attend  the  festival.  Against  his  phy- 
sician's warning  he  attended  some  of 
the  concerts,  was  taken  ill  with  pneu- 
monia, and  died  within  a  week  in 
the  arms  of  Cosima,  who  was  then 
the  wife  of  Wagner. 

His  life  might  be  divided  into  five 
stages.  The  first  as  infant  prodigy, 
"  le  petit  Liszt;"  second,  the  slender 
romantic  youth,  M.  Liszt,  the  piano 
teacher  of  1830;  third,  Liszt  of  Wei- 
mar, conductor  and  propagandist,  the 
composer  of  symphonic  poems,  the 
teacher  to  whom  pupils  flocked  from 
all  over  the  world;  fourth,  Abbe 
Liszt,  in  the  monastery  of  Monte 
Mario,  near  Rome,  where  for  seven 
years  he  wrote  only  masses  and  ora- 
torios; fifth,  Liszt,  The  Master.  He 
had  absolute  mastery  of  technical 
means.  Franz  Liszt's  works  may  be 
classified  as  orchestral;  piano;  vocal; 
and  literary.  Among  the  first  are 
Dante;  A  Faust  Symphony;  and  his 
many  symphonic  poems.  The  most 
masterly  of  his  piano-pieces  are  the 
concertos  in  E  flat  major,  and  A 
major,  and  the  B  minor  sonata. 
Among  his  smaller  works  are  the 
exquisite  Consolation  and  also  the 
Annees  de  Pelerinage,  a  series  of  fas- 
cinating tone-pictures.  In  his  songs, 
as  in  other  works,  Liszt  clings  to  the 
principle  of  program  music.  Most  of 
his  vocal  compositions  are  sacred 
works;  the  Grand  Mass;  and  the  Hun- 
garian Coronation  Mass.  He  also 
arranged  a  great  many  psalms,  the 
137th  being  possibly  the  best.  The 
crowning  works  of  Liszt's  religious 
compositions  are  the  grand  oratorios. 
The  Holy  Elizabeth,  and  Christus. 
There  is  no  room  even  to  mention  the 
many  works  he  composed  in  these 
classifications,  besides  those  for  piano 
and  orchestra,  piano  and  violin,  two 
pianos,  organ,  and  cantatas. 


BIOGRAPHIES 


497 


Litoff 
Litoff  (le-tof),  Henry  Charles.   1818- 
1891. 

English  pianist  and  composer,  most 
of  whose  life  was  spent  on  the  Con- 
tinent. His  father  was  an  Alsatian 
by  birth,  and  had  been  taken  prisoner 
by  the  English  in  the  Peninsular  War. 
When  peace  was  declared  he  settled 
in  London  as  a  violinist,  married,  and 
there  Henry  Charles  was  born.  In 
1831  Moscheles  heard  the  boy  play, 
and  offered  to  teach  him  gratuitously. 
His  first  public  appearance  was  at 
Covent  Garden  when  twelve  years  old. 
When  only  seventeen  he  married, 
against  the  wishes  of  his  parents,  and 
left  the  country  to  live  in  France.  The 
marriage  proved  an  unhappy  one  and 
he  separated  from  his  wife.  He  spent 
several  years  in  travel,  visiting  Paris, 
Brussels,  Leipsic,  Prague,  Dresden, 
Berlin  and  Amsterdam,  playing  suc- 
cessfully and  gaining  some  reputation 
for  his  compositions.  In  1851  he  went 
to  Brunswick,  and  married  the  widow 
of  Meyer,  a  music-publisher.  He  car- 
ried on  this  business  until  1860,  when 
he  turned  it  over  to  his  step-son, 
Theodor,  who,  the  next  year,  began 
the  well-known  "  Collection  Litoff," 
which  was  the  first  of  cheap  and 
accurate  editions  of  classical  music. 
Litoff  went  to  Paris,  and,  after  a 
divorce,  married,  for  his  third  wife,  a 
Comtesse  de  Larochefoucauld.  He 
died  at  Bois  le  Combes,  near  Paris. 
As  a  pianist  he  had  taste,  fire  and 
brilliancy,  but  lacked  accuracy.  His 
compositions  are  not  of  equal  merit, 
though  they  contain  beautiful  and 
poetic  ideas.  It  is  a  disappontiment 
that  he  did  not  give  forth  the  best 
of  his  powers.  Of  his  works,  about 
one  hundred  and  fifteen  have  been 
published,  and  include  operas,  among 
them  Les  Templiers;  a  violin  con- 
certo; a  short  oratorio,  Ruth  and 
Boaz;  and  much  chamber-music.  His 
piano  music  is  his  best,  including  the 
well-known  Spinnlied;  overtures;  and 
symphony  concertos.  Of  the  last- 
named,  numbers  three,  four,  and  five 
are  especially  beautiful,  containing  a 
wealth  of  original  ideas  in  harmony, 
melody,  and  rhythm,  and  their  instru- 
mentation is  remarkable. 

,  Litta  (lit'-ta),  Marie.    1856-1883. 

American  singer,  whose  real  name 
was  Marie  von  Ellsner.  Her  father 
was  a  musician,  though  but  little 
known,  and  she  early  showed  her 
remarkable  talent.    At  four  years  of 


Liverati 

age  she  appeared  in  public,  and  at 
nine  she  sang  at  Steinway  Hall,  New 
York,  where  she  was  received  as  a 
virtuosa.  When  she  was  thirteen 
years  old  her  father  took  her  to  Cleve- 
land, Ohio,  where  she  obtained  an 
opportunity  to  sing  between  the  acts 
at  a  German  theatre.  She  was  heard 
by  a  Mr.  Hugo  Hench,  a  gentleman  of 
culture,  who  became  interested  in 
her,  and  obtained  for  her  a  hearing 
with  Mr,  John  Underer,  an  experienced 
singing-master.  Mr.  Underer  was 
charmed  with  her  voice,  and  offered 
to  give  her  daily  instruction,  under 
which  she  advanced  rapidly.  Litta 
became  a  great  favorite  with  the  pub- 
lic, and  when  her  teacher  decided  that 
she  should  go  abroad  to  study,  a  gen- 
erous offer  to  defray  her  expenses 
came  from  Mr.  A.  B.  Hough.  In  Sep- 
tember, 1874,  she  had  a  benefit  con- 
cert, which  was  a  remarkable  success, 
and  she  left  in  a  few  days  for  Paris, 
where  she  became  a  pupil  of  Mme. 
Viardot.  Within  a  year  she  mastered 
many  difficult  parts  and  made  her 
debut  at  Drury  Lane,  London,  in  1876, 
as  Isabella,  in  Robert  le  Diable,  with 
Nilsson  as  Alice.  Her  attention  was 
next  turned  to  perfecting  her  acting, 
and  she  returned  to  Paris  to  study 
under  La  Grange.  Her  success  now 
became  wonderful,  and  during  the 
next  few  years  she  obtained  a  place 
among  the  best  of  lyric  artists.  In 
1878  she  returned  to  America  and 
appeared  under  the  management  of 
Max  Strakosch,  being  everywhere 
received  with  enthusiasm.  She  later 
engaged  Mr.  Henry  L.  Slayton  to 
be  her  manager,  and  for  five  years 
before  her  death  sang  almost  con- 
stantly. Her  health  finally  gave  out 
and  she  returned  to  her  home  in 
Bloomington,  111.,  where  she  died. 

Liverati       (le-ve-ra'-te),       GiovannL 

1772-1817. 

Dramatic  singer  and  composer; 
born  at  Bologna.  His  early  musical 
instruction  was  under  Giuseppe  and 
Ferdinand  Tibbaldi,  who  were  cele- 
brated composers.  At  the  age  of 
fourteen  he  began  to  study  under 
Abbate  Mattel  for  piano,  organ,  thor- 
ough-bass and  composition.  Later 
he  took  singing  lessons  from  Lorenzo 
GibelH.  At  seventeen  he  had  com- 
posed some  psalms,  and  two  years 
later  appeared  his  first  dramatic  com- 
position, a  one-act  opera.  About  the 
same  time  he  composed  a  mass  for 


498 


BIOGRAPHIES 


Liverati 
two  voices  with  organ  accompani- 
ment, also  The  Seven  Words  of  Jesus 
Christ  on  the  Cross,  for  three  voices 
with  wind  accompaniment,  and  A 
Grand  Requiem  Mass.  In  early  youth 
he  had  been  a  singer  in  churches  and 
concerts,  and  in  1792  he  became  first 
tenor  in  the  Itahan  Theatre  in  Bar- 
celona. Afterwards  he  went  to 
Madrid,  and  for  several  years  he 
directed  Italian  Opera  at  Potsdam, 
besides  performing  the  duties  of  chap- 
elmaster  at  Prague  and  Trieste.  He 
went  to  Vienna  in  1805,  where  he 
taught  singing,  remaining  there  until 
1814,  when  he  went  to  London  as  a 
composer  to  the  King's  Theatre.  In 
Vienna  he  stood  on  terms  of  intimacy 
with  the  celebrated  masters,  Haydn, 
Beethoven,  Kozeluch  and  Salieri,  Live- 
rati wrote  fourteen  operas;  several 
cantatas;  two  oratorios;  many  vocal 
compositions;  several  stringed  quar- 
tets; and  much  sacred  music. 

Lloyd,  Charles  Harford.    1849- 

Born  at  Thornbury,  Glouscester- 
shire,  England.  He  entered  Mag- 
dalen Hall  (now  Hertford  College) 
in  1868,  holding  an  open  classical 
scholarship,  graduating  as  Bachelor  of 
Music  in  1871,  Bachelor  of  Arts  in 
1872,  Master  of  Arts  in  1875,  in  1890 
proceeding  to  the  degree  of  Doctor 
of  Music.  While  a  student  he  was 
one  of  the  founders  and  the  first  pres- 
ident of  the  Oxford  University  Musi- 
cal Club,  which  has  so  materially 
advanced  classical  music  in  the  Uni- 
versity. In  1876  he  was  appointed 
organist  of  the  Gloucester  Cathe- 
dral, and  in  1882  was  made  organ- 
ist of  Christ  Church  Cathedral, 
Oxford,  and  in  this  year  he  also 
became  conductor  of  the  Choral 
Society.  He  was  teacher  of  organ 
in  the  Royal  College  of  Music  from 
1887  to  1892,  when  he  became  precen- 
tor and  musical  instructor  of  Eton 
College,  He  became  one  of  the  council 
of  the  Royal  College  of  Music  in 
1902,  and  during  the  year  1902-1903 
he  was  engaged  on  the  music  of  a 
new  edition  of  Church  Hymns.  He 
has  gained  a  high  reputation  as  a  con- 
ductor. Among  his  compositions  are 
the  cantatas,  Hero  and  Leander,  Song 
of  Balder,  Andromeda,  A  Hymn  of 
Thanksgiving,  The  Souls  of  the 
Righteous,  and_  others;  choruses  and 
incidental  music  to  Alcestis;  much 
church-music;  organ  sonatas  and  con- 
certos; madrigals;  and  songs. 


Locatelli 
Lloyd,  Edward.    1845- 

English  tenor  singer,  whose  voice 
is  magnificent.  Born  in  London;  his 
early  rnusical  training  was  obtained  at 
Westminster  Abbey  under  James 
Turle.  His  voice  has  been  different 
than  most  in  that  it  never  broke  but 
gradually  deepened  from  treble  to 
tenor.  In  1866  he  became  tenor  singer 
at  Trinity  and  King's  College  Chapels, 
Cambridge,  resigning  the  next  year  to 
join  the  choir  of  St.  Andrew's,  Wells 
Street,  under  Barnby.  In  1868  Ife 
was  appointed  a  gentleman  of  the 
Chapel  Royal,  which  he  held  for  two 
years.  He  has  since  devoted  himself 
to  oratorio  and  concert-singing.  His 
first  great  success  was  in  1871  at 
the  Gloucester  Festival. 

Lobe  (16'-be),  Johann  Christian.    1797- 
1881. 

Born  at  Weimar.  Flutist  and  com- 
poser; his  musical  education  was 
obtained  through  the  generosity  of 
the  Grand  Duchess  Maria  Paulowna. 
He  was  a  pupil  on  the  flute  and  violin 
of  August  Riemann,  and  later  of  A.  E. 
Muller.  In  1811  he  played  at  the 
Gewandhaus,  Leipsic,  after  whiVh  he 
returned  to  Weimar  and  played  sec- 
ond flute  in  the  Duke's  band.  He 
also  acquired  considerable  reputation 
as  a  musical  writer.  He  received  the 
title  of  professor,  and,  upon  leaving 
the  band,  in  1842,  he  established  a 
music  school.  In  1846  he  went  to 
Leipsic  and  edited  the  Allgemeine 
Musikalische  Zeitung,  but  the  period- 
ical discontinued  two  years  later.  He 
gave  much  time  to  teaching  and  con- 
tributed to  many  periodicals.  In  1853 
he  began  a  publication  called  Flie- 
gende  Blatter  fiir  Musik,  but  only 
about  twenty  numbers  appeared;  he 
then  edited  the  musical  department 
of  the  Leipsic  Illustriete  Zeitung.  His 
books  are  very  helpful  to  students  of 
music  because  they  treat  of  the 
science  of  music  in  a  plain  and  un- 
technical  way,  and  are  full  of  intelli- 
gence and  good  sense.  His  composi- 
tions include  five  operas,  concertos, 
variations,  solo  pieces,  etc.,  for  flute; 
piano  quartets;  two  symphonies;  and 
several  overtures. 

Locatelli  (16-ka-tel'-le),  Pietro.    1693- 
1764. 

Celebrated  violinist;  born  at  Ber- 
gamo. He  was  a  pupil  of  Corelli  at 
Rome.  After  much  traveling  he  went 
to    Holland,    where    he    took   up    his 


BIOGRAPHIES 


499 


Locatelli 

residence  in  Amsterdam,  and  estab- 
lished public  concerts.  He  pub- 
lished ten  or  twelve  compositions, 
which  include  sonatas;  concertos;  and 
caprices  for  the  violin.  He  was  one 
of  the  first  who  sought  to  extend  the 
technique  of  the  violin  by  playing 
in  several  parts  (double-stopping)  and 
by  different  modes  of  tuning.  He  was 
a  great  and  original  virtuoso  and  in 
his  serious  works  shows  himself  an 
able   follower  of   his   great  master. 

Locke,  Matthew.  1630-1677. 

Born  in  Exeter,  England,  where  as 
a  boy  he  was  chorister  in  the  Cathe- 
dral. He  was  first  a  pupil  of  the  Rev. 
Edward  Gibbons,  organist  and  priest- 
vicar  of  the  Cathedral,  and  he  next 
studied  under  William  Wake,  also  an 
organist  of  the  Cathedral.  He  was 
diligent  in  his  studies  and  produced 
a  number  of  compositions,  his  first 
of  note  being  his  music  "  for  ye 
King's  sagbutts  and  cornets,"  per- 
formed during  the  progress  of  Charles 
II.  from  the  Tower  through  the  city 
to  Whitehall,  April  22,  1661,  the  day 
before  his  coronation.  This  brought 
him  the  appointment  of  Composer  in 
Ordinary  to  the  King.  He  composed 
several  anthems  for  the  Chapel  Royal 
in  1666,  and  he  produced  there  a 
Kyrie  and  Credo  which  was  different 
than  usual  in  that  it  had  different 
music  to  each  response.  About  this 
time  he  produced  thirteen  anthems 
for  three  and  four  voices.  Soon  after 
this  he  became  a  convert  to  the  Rom- 
ish faith.  He  was  appointed  organ- 
ist to  the  Queen.  In  1664  he  had 
composed  the  music,  instrumental, 
vocal  and  recitative,  for  Sir  Robert 
Stapylton's  tragic-comedy,  The  Step- 
mother. Three  years  later  he  fur- 
nished music  for  Dryden  and 
Davenant's  alteration  of  The  Tempest. 
It  is  supposed  that  he  composed  the 
vocal  music  for  Davenant's  alteration 
of  Macbeth  in  1672.  The  next  year 
he  composed  the  music,  with  the 
exception  of  the  act  tunes,  for  Shad- 
well's  Psyche  and  this  music,  together 
with  his  Tempest  music,  he  published 
in  1675  under  the  title  of  The  English 
Opera.  In  1672  he  had  a  bitter  con- 
troversy with  Thomas  Salmon,  who 
had  published  An  Essay  to  the  Ad- 
vancement of  Musick,  by  casting  away 
the  perplexity  of  different  clefs.  Locke 
did  not  agree  with  him,  and  replied, 
which  led  to  a  number  of  pamphlets 
by  both  of  them.     Locke  finally  had 


Loder 

the  better  of  the  argument.  The  old 
practise  has  continued  in  use  to  this 
daly,  while  Salmon's  proposed  innova- 
tion was  never  accepted.  Locke  lived 
on  the  most  intimate  terms  with 
Henry  Purcell  and  his  family  and 
Purcell  composed  an  ode,  solo,  and 
chorus  On  the  Death  of  his  Worthy 
Friend,  Mr.  Matthew  Locke.  Locke 
died  in  Savoy.  His  compositions  are 
numerous,  there  being  besides  those 
already  mentioned  many  instrumental 
pieces,  anthems,  hymns,  and  songs  in 
various  collections;  a  small  treatise, 
entitled,  Melothesia,  or  Certain  Gene- 
ral Rules  for  playing  upon  a  Con- 
tinued-Bass. This  is  said  to  be  the 
first  book  of  its  kind  published  in 
England, 

*  Locke,  Warren  A.    1847- 

Organist  and  choral  director;  was 
born  at  Charlestown,  Mass.  He  has 
played  piano  and  organ  since  he  was 
fifteen  years  old,  and  in  Harvard  Col- 
lege, whence  he  was  graduated  m  1869, 
he  was  director  of  the  College  Glee 
Club,  pianist  of  the  Pierian  Sodality 
and  director  and  manager  of  music 
for  the  Hasty  Pudding  Club.  From 
1869.  to  1874  he  had  charge  of  music 
at  St.  Mark's  School  and  St.  Mark's 
Church  at  Southborough,  Mass.,  and 
for  the  four  years  following  studied  in 
Germany.  On  his  return  to  America 
in  1878  he  became  organist  and  choir- 
master of  St.  John's  Church,  at 
Boston  Highlands,  and  after  a  year 
there,  organist  and  director  of  the 
First  Parish  at  Cambridge,  remaining 
there  eight  years.  In  1888  he  became 
organist  and  choirmaster  of  St.  Paul's 
Church  in  Boston,  a  position  he  still 
occupies.  He  is  likewise  choirmaster 
and  organist  at  Appleton  Chapel,  Har- 
vard University,  where  he  has  been 
since  1882. 

Loder,  Edward  James.     1813-1865. 

Born  in  Bath.  When  thirteen  years 
old  he  was  sent  to  Frankfort  to  study 
music  under  Ferdinand  Ries,  a  friend 
of  his  father's.  After  a  visit  to  Eng- 
land in  1828  he  returned  to  Germany, 
determined  to  study  medicine.  He 
soon  gave  it  up,  however,  and  again 
placed  himself  under  Ries.  Upon  his 
returning  again  to  England,  he  was 
commissioned  by  J.  S.  Arnold  to  write 
the  music  for  his  drama,  Nourjahad. 
In  1835  he  set  the  music  to  Oxenford's 
Dice  of  Death.  About  this  time  he 
made  a  contract  with  Dalmaine  &  Co., 


500 


BIOGRAPHIES 


Loder 

music  publishers,  to  furnish  them  with 
a  new  composition  every  week.  Fran- 
cis I.,  an  opera,  was  written  to  incor- 
porate these  pieces,  but  it  was  not 
successful  owing  to  their  heteroge- 
neous character.  The  Foresters,  or 
twenty-five  years  since,  and  The  Deer- 
stalkers appeared  in  1845.  The  next 
year  was  produced  his  finest  work, 
The  Night  Dancers.  This  was  fol- 
lowed before  long  by  Puck,  a  ballad 
opera,  additions  to  The  Sultan,  and 
The  Young  Guard.  His  cantata,  The 
Isle  of  Calypso,  was  written  for  the 
National  concerts  at  Her  Majesty's 
Theatre,  but  owing  to  their  cessation, 
remained  unperformed  until  given 
at  the  new  Philharmonic  concerts  in 
1852.  He  was  for  several  years  con- 
ductor at  the  Princess'  Theatre,  and 
afterwards  at  Manchester,  but  was 
not  entirely  successful,  being  too 
musical  to  be  business-like.  He  was 
attacked  by  cerebral  disease  in  1856 
and  became  unfitted  for  his  work. 
Besides  the  opera  already  mentioned 
and  others,  he  published  three  sets  of 
Songs;  an  Improved  and  Select  Psal- 
mody; Sacred  Songs  and  Ballads, 
dedicated  to  Sterndale  Bennett;  many 
separate  songs  and  ballads,  of  which 
The  Brave  Old  Oak,  and  an  Invoca- 
tion to  the  Deep  were  among  the 
most  popular.  He  was  the  author  of 
First  Principles  of  Singing,  with 
Directions  for  the  Formation  of  the 
Voice,  and  of  a  Modern  Piano  Tutor. 

Loder,  Kate  Fanny.     1825-1904. 

English  pianist  and  composer;  born 
at  Bath.  When  twelve  years  old  she 
became  a  pupil  of  Henry  Field  and 
the  next  year,  at  the  Royal  Academy 
of  Music,  of  Mrs.  Anderson  for 
piano,  and  of  Charles  Lucas  for  har- 
mony and  composition.  In  1839  she 
won  a  King's  scholarship.  She  first 
appeared  in  public  in  1840,  playing 
in  her  uncle's  concerts  at  Bath  and 
later  at  the  Royal  Academy  concerts. 
She  was  appointed  professor  of  har- 
mony in  1844  at  the  Academy.  Her 
first  appearance  at  the  Philharmonic 
Society  was  in  1847,  where  her  play- 
ing caused  extraordinary  applause. 
She  has  earned  the  reputation  of 
being  a  finished  performer.  She  was 
married  in  1851  to  Mr.  (afterwards 
Sir)  Henry  Thompson,  the  eminent 
surgeon.  Her  last  public  appearance 
was  made  in  1854.  About  1871  she 
gradually  became  paralyzed,  but 
always  kept  her  enthusiasm  for  music 


Loeffler 
until  her  death,  which  occurred  in 
London.  Among  her  compositions 
are  an  opera,  L'Elisir  d'Amore;  an 
overture;  two  string  quartets;  two 
sonatas,  and  some  studies  for  the 
piano;  a  sonata  for  piano  and  violin; 
and  several  minor  piano-pieces. 

Loeffler     (lef-ler),     Charles     Martin. 
1861- 

Violinist  and  composer,  who  has 
been  called  the  modern  Berlioz.  He 
was  born  in  Miihlhausen,  Alsatia,  and 
at  the  age  of  fourteen,  deciding  that 
music  should  be  his  life-work,  placed 
himself  under  Leonard  and  Massart 
in  Paris  and  Joachim  in  Berlin  to 
study  violin.  He  also  studied  compo- 
sition under  Guiraud  in  Paris  and  Kiel 
in  Berlin,  though  his  work  under  the 
last-named  was  very  brief  and  much 
interrupted.  He  played  in  the  Pasde- 
loup  Orchestra  in  Paris  and  with 
other  European  orchestras,  which 
gave  him  a  practical  knowledge  of 
orchestration.  He  came  to  New  York; 
but  in  1883  went  to  Boston  to  become 
second  concertmaster  and  soloist  in 
the  Boston  Symphony  Orchestra, 
which  position  he  held  until  1903, 
when  he  resigned  that  he  might,  devote 
more  time  to  composition.  He  has 
never  toured  alone,  but  has  been 
heard  in  most  of  the  large  cities  of 
the  country  with  the  Boston  Sym- 
phony. Playing  with  exquisite  grace 
and  largeness  of  style,  he  brings  out 
contrasts  with  masterful  ability.  Very 
few  can  cope  with  him  in  perfection 
of  technique.  Most  of  Loefiler's  com- 
positions are  still  in  manuscript, 
though  nearly  all  have  been  per- 
formed. Nearly  all  of  those  pub- 
hshed  have  appeared  in  Paris,  and 
are  songs,  and  a  berceuse  for  violin 
and  piano.  Among  his  latest  are  four 
quite  remarkable  songs,  published  in 
New  York,  and  have  French  text, 
the  poetry  bein^  by  Gustave  Kahn. 
The  bulk  of  his  compositions  are 
orchestral  and  his  chamber-music  is 
particularly  effective.  He  employs 
Russian  and  French  subjects  largely 
and  portrays  the  morbidness  that  is 
characteristic  of  the  ultra-modern 
school.  He  has  a  vivid  imagination 
and  great  descriptive  powers.  Among 
his  compositions  are  a  suite  for  vio- 
lin and  orchestra,  entitled,  Les  Veil- 
lees  de  rUkraine;  a  fantastic  concerto 
for  violoncello  and  orchestra;  a  diver- 
timento in  A  minor  for  violin  and 
orchestra;    a    symphonic    poem,    The 


BIOGRAPHIES 


501 


Loeffler 

Death  of  Tintagiles,  from  Maeter- 
linck; a  quartet  for  strings  in  A 
minor;  a  sextet  for  strings,  which  has 
a  distinctly  Russian  tendency;  an 
octet  for  two  violins,  viola,  violon- 
cello, two  clarinets,  harp,  and  double- 
bass;  and  the  symphonic  poems,  Avant 
pue  tu  ne  t'en  allies,  Villanelle  du 
diable,  and  La  bonne  chanson.  He 
has  composed  a  psalm  for  female 
voices,  accompanied  by  a  harp,  organ, 
two  flutes  and  a  solo  violoncello,  also 
several  works  for  oboe,  viola  and 
piano,  and  his  most  recent  composi- 
tion is  for  piano,  orchesra  and  trum- 
pets behind  the  scenes. 

Loeillet  (Iwa-ya'),  Jean  Baptiste. 

Accomplished  flutist  and  composer; 
born  in  Ghent  about  the  middle  of  the 
Seventeenth  Century,  and  died  in  Lon- 
don in  1728.  In  1702  he  established 
himself  in  Paris,  where  for  three 
years  he  devoted  himself  to  composi- 
tion, publishing  four  sonatas  for  flute; 
a  book  of  sonatas  for  two  flutes;  and 
also  some  trios  for  flute.  At  the  end 
of  this  time  he  went  to  London,  where 
he  became  a  member  of  the  Opera 
orchestra  and  a  teacher  of  his  instru- 
ment. In  1710  he  began  to  give  weekly 
concerts  at  his  home.  Others  of  his 
compositions  are  six  lessons  for  the 
harpsichord;  six  sonatas  for  flutes, 
hautboys,  German  flutes  and  violins; 
twelve  sonatas  for  violins,  German 
flutes  and  common  flutes;  twelve 
sonatas  for  a  German  flute;  and 
twelve  suites  of  lessons  for  the  harp- 
sichord, in  most  of  the  keys,  with 
variety  of  passages  and  variations 
throughout  the  work. 

Loeschhorn  (lesh'-horn),  Albert.  1819- 
1905. 

Pianist  and  composer;  born  in  Ber- 
lin. Here  he  studied  first  under  Lud- 
wig  Berger,  later  entering  the  Royal 
Institute  for  Church-Music,  where  he 
was  a  pupil  of  Grell,  A.  W.  Bach  and 
Killitschgy,  and  where,  in  1851,  he 
became  piano  teacher.  In  1868  the 
title  of  royal  professor  was  conferred 
upon  him.  He  successfully  conducted 
concerts  of  chamber-music  for  many 
years,  which  did  much  for  the 
advancement  of  classical  music.  He 
was  much  sought  after  as  a  teacher, 
and  his  thorough  discipline  brought 
his  pupils  up  to  a  high  plane  of  excel- 
lence. He  has  composed  a  great  many 
quartets  and  sonatas,  but  is  best 
known  by  his  many  piano  studies. 


Loewe 
Loewe    (la-ve),  Johann   Karl.     1796- 

1869. 

Born  at  Loebejuen,  between  Cothen 
and  Halle.    His  father,  a  schoolmaster 
and  cantor,  gave  him  his  first  lessons 
in   music.     His  voice   soon   attracted 
attention,   and   he   was  placed  in   the 
choir  of   Cothen,  where  he  remained 
for  two  years.     In  1809  he  entered  the 
Gymnasium  of  the  Francke  Institution 
at  Halle,  of  which  Tiirk  was  the  head 
and  also  director  of  the  town  choral 
society.    As  a  member  of  this  society, 
Loewe    sang    before    Mme.    de    Stael 
and   before    King  Jerome,   who   gave 
him    an    annuity    of    three    hundred 
thalers.     With   this   money   he   could 
afford  to  devote  himself  to  music,  and 
besides   his  singing  he  studied  piano, 
French  and  Italian.    The  War  of  1812- 
1813  caused  the  flight  of  King  Jerome 
and    the    consequent    termination    of 
Loewe's  three  hundred  thalers.    With 
the   aid   of  Niemeyer  he  entered   the 
University  of  Halle  as  a  theological 
student    under    Michaelis.      Later    he 
joined   the   Singakademie  founded  by 
Naue.     In  1818  he  composed  his  first 
ballads,    and    during    the    next    two 
years  he  visited  Dresden,  Weimar  and 
Jena,   becoming  acquainted  with  von 
Weber,  Hummel  and  Goethe.    In  1820 
he   became   professor  at   the    Gymna- 
sium and  Seminary  and  cantor  at  Stet- 
tin.    The  next  year  he  was  appointed 
town   music-director   and   organist   of 
St.  Jacobus.     In  1837  he  was  elected 
a  member  of  the  Academy  of  Berlin, 
haviner  acquired  an  enviable  reputation 
both  as  conductor  and  professor.     He 
traveled   much,   visiting   the   principal 
cities    in    Germany,    Vienna,    London, 
where   he   sang  and   played  at  court, 
Sweden,  Norway  and  Paris.     He  was 
afflicted  with  a  peculiar  illness  in  1864, 
falling  into  a  trance  which  lasted  for 
six  weeks.     Two  years  later  the  Stet- 
tin  authorities    asked   him   to    resign. 
The    King    partially    atoned    for    this 
by  bestowing  upon  him  a  higher  grade 
of  the  Order  of  the  Red  Eagle  than 
he  had  before  held.     He  died  in  Kiel, 
after  a   second   trance,   and  his  heart 
was    buried    near    his    organ    in    St. 
Jacobus,    at    Stettin.      Loewe    was    a 
prolific      composer,      publishing     one 
hundred    and    forty-five    works    with 
opus-numbers,  symphonies,  concertos, 
duets,   and   other  piano   music;   many 
ballads,  in  which  he  ranked  very  high, 
and  may  be  considered  as  a  successor 
of  Zumsteeg.     Of  his  five  operas,  only 
one    was    performed,    and    for    which 


502 


BIOGRAPHIES 


Loewe 

he  was  presented  with  a  gold  medal 
by  the  Crown  Prince.  He  comDosed 
many  oratorios,  being  especially  fond 
of  composing  for  voices,  without 
accompaniment,  of  which  Die  Apostel 
von  Philippi,  Die  Heilung  des  Blindge- 
bornen,  and  Johannes  der  Taufer  are 
examples. 

Logier     (lo'-jer),     Johann     Bernard. 

1780-1846. 

Born  at  Kaiserslautern,  in  the  Pala- 
tinate, the  descendant  of  French  ref- 
ugees of  the  time  of  Louis  XIV.  He 
received  his  early  musical  instruction 
from  his  father,  who,  as  well  as  his 
father  before  him,  had  been  organist 
at  his  birthplace.  When  he  was 
about  ten  years  old  his  parents  died 
and  he  went  to  England  in  charge  of 
an  English  gentleman,  who  for  two 
j'ears  treated  him  as  his  own  son. 
He  devoted  himself  to  the  flute  and 
piano,  in  the  latter  being  instructed 
by  Baron  de  Griffe.  At  the  end  of 
this  time  he  joined  the  band  of  a 
regiment  commanded  by  the  Marquis 
of  Abercorn.  The  master  of  this 
band  was  his  countryman,  Willman. 
They  went  to  Ireland,  and  for  a  time 
Logier  was  engaged  in  composing  for 
and  instructing  military  bands  and 
teaching  the  piano.  The  war  being 
over  and  his  regiment  disbanded,  he 
became  organist  at  Westport,  Ireland, 
which  position  he  held  until  1807, 
when  he  was  appointed  bandmaster 
of  the  Kilkenny  Militia.  While  at 
Westport  he  taught  his  seven-year-old 
daughter  to  take  his  place  as  organist 
upon  his  occasional  absences  for  pro- 
fessional engagements.  In  1809  he 
established  himself  in  Dublin,  where 
he  opened  a  music-shop,  and  was 
musical  director  of  the  Royal  Hiber- 
nian Theatre  for  a  year.  At  this  time 
he  invented  his  machine  for  guiding 
the  hands  of  learners  on  the  piano 
and  devised  the  system  of  instruction 
known  by  his  name.  He  was  invited 
to  Berlin  to  superintend  its  establish- 
ment in  Prussia,  remaining  there 
three  years,  with  yearly  vacations  in 
which  to  visit  England.  In  1826  he 
returned,  to  remam  permanently  in 
Berlin. 

Among  his  compositions  are  many 
sonatas  and  other  pieces,  besides 
numerous  arrangements  for  the  piano. 
He  also  composed  an  ode  in  com- 
memoration of  the  entrance  of  the 
King,  George  III.,  into  the  fiftieth 
year    of    his    reign,    which    was    per- 


LolU 

formed  in  Dublin.  Besides  the  publi- 
cation connected  with  his  chiroplast, 
he  wrote  A  Complete  Introduction 
to  the  Keyed  Bugle,  of  which  instru- 
ment he  is  supposed  to  have  been  the 
inventor. 

Logroscino.    (16-gr6-she-n6),    Nicola. 

1700-1763. 

One  of  the  most  celebrated  comic- 
opera  composers  of  the  Eighteenth 
Century.  Born  in  Naples,  where  he 
studied  under  Durante  at  the  Conserv- 
atorio  di  Loreto.  In  1738  he  col- 
laborated with  Leo  and  others  in  the 
production  of  Demetrio.  The  same 
year  he  produced  his  first  comic  opera, 
L'inganno  per  inganno.  The  Neapol- 
itans called  him  "  II  Dio  dell'  Opera 
Buffa"  (the  god  of  the  comic  opera). 
About  1747  he  went  to  Palermo  to 
teach  counterpoint  at  the  Conserva- 
torio  dei  Figliuoli  Dispersi.  Among 
his  compositions  are  at  least  one 
serious  opera,  Giunio  Bruto,  and  some 
rather  uninteresting  church-music. 
Very  few  of  his  works  are  now  in 
existence,  and  he  is  but  little  known 
out  of  his  own  country. 

Lolli  (lol'-li),  Antonio.    Between  1728 

and  1733-1802. 

Violinist;  born  at  Bergamo,  and  sup- 
posedly self-taught.  He  was  concert- 
master  to  the  Duke  of  Wiirtemburg 
from  1762  until  1773,  when  he  went 
to  St.  Petersburg  and  was  in  the  serv- 
ice of  Empress  Catherine  II.  until 
1778.  The  next  year  he  went  to  Paris, 
where  he  played  very  successfully  at 
the  Concert  Spirituel.  Following  this 
he  went  to  Spain,  and  in  1785  was  in 
London.  He  spent  most  of  his  time 
in  travel,  and  died  in  Sicily,  after  a 
lingering  illness.  Although  he  had 
brilliant  execution,  his  playing  was 
not  essentially  musical.  He  could  play 
with  ease  the  most  difficult  double- 
stops,  octaves,  tenths,  double-shakes 
in  thirds  and  sixths,  harmonics,  etc., 
but  he  could  not  play  a  serious  piece. 
When  in  England  he  came  near  break- 
ing down  in  a  quartet  of  Haydn,  which 
he  played  at  the  request  of  the  Prince 
of  Wales.  The  Emperor  Joseph  II., 
a  good  judge  of  music,  called  him 
"  muddle-headed  Lolli."  His  powers 
of  execution  must  have  been  wonder- 
ful to  atone  for  his  want  of  feeling. 
His  compositions  are  of  little  impor- 
tance. He  wrote  only  the  air  and  had 
others  supply  the  bass  or  the  parts 
for  other  instruments. 


BIOGRAPHIES 


503 


Lomakin 
Lomakin    (16-ma'-kin),    Gabriel    Joa- 
chimovich.     1812-1885. 

Boy-singer  in  the  well-known  choir 
of  Count  Scheremetier,  and  of  which, 
in  1830  he  became  choirmaster.  From 
1848  to  1859  he  was  a  teacher  of  sing- 
ing in  the  Court  Chapel  and  in  the 
Theatrical  School,  and  he  also  con- 
ducted singing-classes  in  many  of  the 
educational  institutions  in  St.  Peters- 
burg. In  1862  he  was  one  of  the 
founders,  with  Balakirev,  of  the  Free 
School  of  Music  and  he  conducted  its 
singing-classes  until  1870.  Four  years 
later  he  retired  on  account  of  ill- 
health,  and  he  died  in  Gatchina.  He 
arranged  many  of  the  old  church-tunes 
and  national  airs. 

Longhurst,    John    Alexander.      1809- 
1855. 

English  singer;  born  in  London.  He 
was  a  pupil  of  John  Watson,  director 
at  Covent  Garden,  and  there  he  made 
his  debut  as  the  Page  in  Bishop's 
Henri  Quatre.  He  became  so  pop- 
ular that  during  the  next  four  years 
Bishop  composed  original  parts  for 
him.  In  1826  he  took  the  part  of  Puck 
in  Weber's  Oberon,  but  shortly  after 
his  voice  broke  and  he  was  obliged 
to  give  up  his  singing.  He  then  began 
teaching  singing  and  piano  and 
became  an  accomplished  accompanist. 

Longhurst,    William     Henry.      1819- 
1904. 

Younger  brother  of  John  Alexander, 
and  born  in  London.  He  was  a  boy- 
chorister  of  Canterbury  Cathedral, 
was  a  pupil  of  Highmore  Skeats, 
senior,  later  of  Stephen  Elvey  and 
Thomas  Evance  Jones.  He  received 
the  appointment  of  lay  clerk  and 
assistant  organist  of  the  Cathedral  at 
the  age  of  seventeen.  In  1865  he  was 
one  of  the  earliest  Fellows  of  the  Col- 
lege of  Organists.  In  1873  he  suc- 
ceed Jones  as  organist  and  master 
of  the  choristers.  He  retired  in  1898, 
having  given  seventy  years  of  ser- 
vice to  the  Cathedral.  His  doctor's 
degree  was  conferred  upon  him  in 
1875.  Among  his  compositions  are 
anthems,  services,  songs,  etc.;  an 
oratorio  in  manuscript,  David  and 
Absalom.     He  died  at  Canterbury. 

♦Loomis,  Harvey  Worthington.    1865- 

American  composer,  whose  best 
work  lies  in  his  songs.  Was  born  in 
Brooklj'n.  He  attended  the  Brooklyn 
Polytechnic      Institution      and      was 


Lorenz 
awarded  the  free  scholarship  by  Dr. 
Anton  Dvorak.  He  studied  music  at 
the  National  Conservatory,  also  piano 
under  Mme.  Madeline  Schiller.  He 
won  a  prize  from  the  Musical  Record 
in  1899  for  his  piano  composition,  A 
Hungarian  Rhapsody.  His  musical 
pantomimes  have  been  very  popular 
in  New  York  since  1896:  Put  to  the 
Test,  The  Traitor  Mandolin,  In  Old 
New  Amsterdam,  Love  and  Witch- 
craft, The  Enchanted  Fountain,  and 
Blanc  et  Nr)ir;  four  comic  operas.  The 
Maid  of  Athens,  The  Burglar's  Bride, 
Going  Up!  and  The  Bey  of  Baba;  a 
grand  opera.  La  Canzone  Fatale.  He 
has  also  composed  chamber-music  and 
music  for  dramatic  productions,  as. 
The  Tragedy  of  Death,  The  Coming 
of  the  Prince,  etc.  Sandalphon  is  a 
musically  accompanied  recitation.  He 
has  also  written  Lyrics  of  the  Red 
Man,  Lectures  on  Indian  Music,  and 
he  is  a  contributor  to  musical  jour- 
nals. He  has  done  much  work  in  the 
line  of  music  for  children,  including 
school  and  kindergarten  music.  Part- 
songs  and  accompaniments  are  a  spe- 
cial feature.  Fairy  Hill  is  a  cantata 
for  children,  and  After  the  Lesson  is 
composed  of  twenty-four  miniature 
piano  duets.  His  opera,  The  Traitor 
Mandolin,  recently  had  its  initial 
appearance  in  Italy. 

Lorenz  (lo'-rents),  Carl  Adolf.  1837- 
Born  at  Coslin,  Pomerania.  He 
studied  piano,  harmony  and  counter- 
point of  Triest,  musical  director  of 
Stettin.  While  at  the  University  of 
Berlin  he  studied  counterpoint  under 
Dehn,  piano  and  composition  under 
Friedrich  Kiel  and  instrumentation 
under  Chapelmaster  Gahrich.  He 
graduated  as  Doctor  of  Philosophy, 
and,  after  teaching  in  Berlin  until 
1864,  he  went  to  Strasburg  to  conduct 
the  musical  society  there;  and,  two 
years  later,  became  teacher  at  the 
Gymnasium,  musical  director  and 
organist  at  Stettin,  also  critic  for  the 
opera.  Among  his  compositions  are 
several  operas;  the  oratorios,  Win- 
fried,  and  Otto  der  Grosse;  a  Stabat 
Mater;  a  symphony;  a  festival  over- 
ture; much  piano  music;  songs;  and 
part-songs. 

Lorenz,  Julius.    1862- 

Musical  director;  born  in  Hanover, 
Germany.  He  graduated  from  the 
Real  Gymnasium  in  1880,  and  spent 
the  years  1880  to  1884  at  the    Royal 


504 


BIOGRAPHIES 


Lorenz 

Conservatory  of  Music  at  Leipsic.  He 
then  held  the  position  of  conductor 
of  the  Singakademie  at  Glogau  for 
a  year,  when  he  was  appointed  musi- 
cal director  of  the  Arion  Singing  Soci- 
ety of  New  York,  which  position  he 
still  holds.  In  1903  he  was  made 
Royal  Prussian  music-director  by 
the  Emperor.  He  was  also  made  a 
teacher  in  the  German  Conservatory 
of  Music  in  New  York  and  has  since 
1903  been  director  of  United  Singers 
'of  Newark,  N.  J.  He  has»composed 
an  opera,  Die  Rekruten;  overtures; 
piano  music;  choruses;  and  songs. 

Loretz  (lo'-rets),  Dr.  John  M.  1840- 
Born  at  Muhlhausen,  Alsace,  but 
brought  to  America  when  a  little 
child.  At  seventeen  years  of  age  he 
went  to  Paris,  where  he  entered  the 
Conservatory  and  studied  under  Lau- 
rent, Marmontel,  Reber  and  others. 
Upon  his  return  to  the  United  States, 
he  became  a  pianist  of  the  Brooklyn 
Philharmonic  Society.  He  has  held 
the  position  of  organist  in  several 
churches  in  Brooklyn;  was  conductor 
at  the  Park  Theatre,  New  York,  and 
bandmaster  in  the  United  States  Navy. 
He  has  written  more  than  two  hun- 
dred compositions  containing  much 
sacred  music;  seven  comic  operas,  of 
which  The  Pearl  of  Bagdad  is  one; 
symphonic  overtures;  and  piano  music. 

Lortzing  (lort'-tsing),  Gustav  Albert. 

1801-1851. 

Born  in  Berlin,  where  his  father 
was  an  actor;  he  developed,  almost  by 
his  own  efforts,  into  a  good  performer 
on  the  piano,  violin  and  violoncello. 
He  was  for  a  time  a  pupil  of  Rungen- 
hagen,  but  his  father's  profession  did 
not  permit  of  long  residence  at  one 
place.  He  also  attempted  composi- 
tion, and  even  at  this  early  age  he 
sang  and  acted  upon  the  stage.  He 
went  to  Cologne  with  his  parents  in 
1822  and  the  next  year  he  married  an 
actress.  His  first  operetta,  AH  Pascha 
von  Janina,  appeared  in  1824,  and  four 
years  later  his  oratorio.  Die  Himmel 
fahrt  Christi,  was  performed.  During 
this  time  he  had  been  an  actor  in  the 
Court  Theatre  Company  of  Detmold. 
From  1833  to  1844  he  was  the  tenor 
at  the  Stadttheatre  at  Leipsic,  and 
these  years  were  the  happiest  and 
most  successful  in  his  life.  He  wrote 
and  composed  the  two  comic  operas. 
Die  beiden  Schiitzen,  and  Czar  und 
Zimmermann,  both  of  which  were  suc- 


Lotti 


cessful  and  the  latter  was  enthusi- 
astically received  all  over  Germany. 
In  1844  he  was  appointed  chapelmas- 
ter  of  the  Leipsic  Theatre,  but  was 
unfitted  for  the  position  through  his 
lack  of  a  thorough  education,  and  he 
gave  it  up  in  less  than  a  year.  Fol- 
lowing this  he  wandered  from  place 
to  place,  conducting  his  own  operas 
and  sometimes  acting,  but  bringing  in 
very  meager  returns.  This  hardship 
in  providing  for  his  large  family  added 
to  disappointment  over  the  refusal  of 
his  operas  broke  his  health  and  spirit. 
In  1850  he  obtained  the  leadership  of 
the  Friedrich  Wilhelmstadt  Theatre  in 
Berlin,  where  he  had  only  farces  and 
vaudeville  to  direct,  but  he  died  the 
next  year.  His  compositions  include, 
besides  those  already  mentioned,  the 
operas,  Regina,  Undine,  and  Wild- 
schiitz;  several  overtures;  a  second 
oratorio,  Petrus;  incidental  music  for 
various  plays;  and  part-songs.  His 
operas  are  still  played  at  the  comic 
theatres  in  Germany,  their  never-fail- 
ing humor  always  ensuring  their  suc- 
cess. It  is  as  a  conductor,  however, 
that  Lortzing  did  his  best  work. 

Lotti  (16t'-te),  Antonio.    1667-1740. 

Composer  and  organist;  born  prob- 
ably in  Venice,  as  his  early  youth  was 
spent  there.  His  father  was  Matteo 
Lotti,  a  Venetian,  chapelmaster  to  the 
then  Court  of  Hanover.  Before  six- 
teen years  of  age  Antonio  had  pro- 
duced an  opera,  II  Giustino.  His 
musical  instructor  was  Legrenzi,  chap- 
elmaster to  the  Doge.  He  entered  the 
Doge's  Chapel  as  a  boy  chorister,  and 
in  1687  joined  the  St.  Cecilia  Musical 
Society,  two  years  later  being  ap- 
pointed contraltist  with  a  salary  of 
one  hundred  ducats.  In  1690  he  became 
deputy-organist,  gradually  advancing 
until  in  1704  he  succeeded  Spada  as 
first  organist,  which  position  he  held 
for  forty  years.  In  1732  he  was 
allowed  a  substitute,  and  he  employed 
his  pupil,  Saratelli,  who  afterwards 
succeeded  him.  In  1733  the  post  of 
chapelmaster  became  vacant  and  Lotti 
won  the  position  in  competition  with 
Pollarolo,  Porpora  and  Giovanni 
Porta.  About  this  time  he  composed 
his  famous  Miserere,  which  has  been 
performed  at  St.  Mark's  on  Maundy 
Thursday  ever  since.  Continuing  his 
work  in  composition,  he  produced  sev- 
eral masses,  hymns,  and  psalms,  with 
organ  accompaniment  only,  a  change 
from  the  former  use  of  the  orchestra. 


BIOGRAPHIES 


505 


Lotti 


In  1693  he  began  the  composition  of 
operas,  producing  seventeen  up  to 
the  year  1717.  The  Crown  Prince  of 
Saxony,  upon  a  visit  to  Venice,  was 
favorably  impressed  with  these  works 
and  engaged  Lotti  to  come  to 
Dresden.  After  obtaining  leave  of 
absence  Lotti  raised  a  company  of 
singers,  inchiding  his  own  wife,  a 
Bolognese  singer  named  Santa  Stella, 
Boschi,  PersonelH  and  others.  He 
was  very  successful  in  Dresden  but 
the  Procuratori  of  St.  Mark's  obliged 
him  to  return  in  1719  or  lose  his  post. 
Upon  his  return  to  Venice  he  devoted 
himself  to  the  composition  of  church 
and  chamber-music.  He  died  after  a 
painful  and  lingering  illness  of  dropsy. 
He  was  buried  in  the  Church  of  St. 
Geminiano,  where  his  widow  erected 
a  monument  to  his  memory  but  it  was 
destroyed  with  the  church  in  1815. 
While  in  Dresden,  Lotti  composed 
Giove  in  Argo;  Ascanio,  orvero  gl' odi 
delusi  del  Sangue,  and  Teofane,  with 
Pallavicitii,  intermezzos  and  other 
works,  including  church-music,  among 
which  was  the  eight-part  Crucifixus 
occurring  in  a  Credo  for  five  voices 
and  instruments.  For  Vienna  he 
wrote  an  opera,  Constantino,  and  two 
oratorios,  II  Voto  crudele,  and 
L'Urnilta  coronata,  and  for  Venice 
the  oratorios  Gioa  Re  di  Giuda  and 
Giuditta,  and  the  celebrated  madrigal 
Spirito  di  Dio  for  the  Doge's  espousal 
of  the  Adriatic.  In  his  book  of 
madrigals  dedicated  to  Emperor 
Joseph  I.  is  the  one  in  five  parts.  In 
una  siepe  ombrosa,  which  Bononcini 
later  claimed  as  his  own  work  and 
which  led  to  his  disgrace  in  London. 
Lotti's  rank  as  a  musician  was  a  high 
one  and  Hasse,  his  contemporary,  is 
said  to  have  regarded  his  composi- 
tions as  the  most  perfect  of  their 
kind. 

Lotto  (16t'-t6),  Isidor.    1840- 

Violinist;  born  in  Warsaw.  He 
entered  the  Paris  Conservatory,  where 
he  studied  violin  under  Massart,  and 
composition  under  Reber.  His  talent 
soon  placed  him  among  the  best  vio- 
linists of  the  day,  and  he  made  ex- 
tended concert  tours.  In  1862  he  was 
appointed  chamber  musician  and  vio- 
lin soloist  to  the  Grand  Duke  of  Saxe- 
Weimar;  and  in  1872  he  became  an 
instructor  at  the  Strasburg  Conserv- 
atory. He  is  now  teaching  at  the  War- 
saw Conservatory.  He  has  published 
some  brilliant  violin  compositions. 


Liibeck 
Loulie  (loo-ya),  fitienne. 

Was  musicmaster  of  Mile,  de  Guise 
about  1700.  To  him  belongs  the  credit 
of  the  invention  of  the  metronome. 
His  invention  took  the  minute  as  the 
unit  and  went  up  to  seventy-two  de- 
grees of  rapidity;  but  its  size,  six  feet 
in  height,  was  against  its  general 
usefulness.  About  a  century  later 
Maelzel  perfected  the  idea.  His  prin- 
cipal writings  are  Elements  ou  Prin- 
cipes  de  Musique,  at  the  close  ot 
which  is  an  engraving  and  description 
of  his  cronometre;  and  his  nouveau 
systeme  de  musique  with  explanation 
of  his  sonometre. 

Lubeck  (lu-bek),  Ernst.    1829-1876. 

Eldest  son  of  Johann  Heinrich 
Liibeck.  Born  at  The  Hague.  He 
studied  under  his  father,  and  became 
an  accomplished  pianist.  He  made 
his  first  public  appearance  at  twelve 
years  of  age.  Between  1849  and  1854 
he  traveled  through  the  United  States, 
Mexico  and  Peru.  Upon  his  return 
home  he  was  appointed  Court  pianist. 
In  1855  he  made  his  home  in  Paris, 
but  the  disturbances  of  the  Commune 
gave  him  such  a  shock  that  he  became 
insane.  He  composed  only  for  piano, 
but  is  best  known  as  a  player. 
Lubeck,  Louis.     1838-1904. 

Younger  brother  of  the  preceding; 
born  at  The  Hague.  He  taught  the 
cello  at  the  Leipsic  Conservatory 
until  about  1872  when  he  went  to  live 
in  Frankfort.  In  1880  he  became  a 
member  of  the  Court  Orchestra  in 
Berlin,  where  he  died. 

Lubeck,  Johann  Heinrich.     1799-1865. 

Conductor  and  violinist;  born  at 
Alpen,  in  Holland,  where  he  was 
highly  esteemed  as  a  musician.  He 
was  in  the  war  of  liberation  as  a 
Prussian  military  musician,  after  which 
he  studied  theory  in  Potsdam.  He 
played  in  the  theatre  orchestras  at 
Riga  and  Stettin.  In  1823  he  returned 
to  his  native  country  where  his  con- 
certs made  him  well  known.  In  1827 
he  became  the  head  of  the  Conserv- 
atory at  The  Hague,  and  two  years 
later  was  made  Court  chapelmaster. 
His  important  composition  is  his 
psalm,  for  solos,  chorus  and  orches- 
tra, produced  at  The  Hague  Musical 
Festival  in  1863. 

Lubeck,  Vincentius.     1654-1740. 

Organist;  born  at  Paddingbiittel, 
near  Brennen,  and  died  at  Hamburg. 


506 


BIOGRAPHIES 


Lubeck 
From  1674  until  1702  he  was  organist 
of  the  St.  Kosmas  and  Damian 
churches  at  Stade,  and  from  that  time 
until  his  death  he  held  the  position 
of  organist  of  the  Nicolai  Church  at 
Hamburg.  He  was  one  of  the  most 
accomplished  professors  of  the  North 
German  School  of  organists.  Vin- 
cent, his  son,  also  an  organist  of 
merit,  succeeded  him. 

Lucas,  Charles.     1808-1869. 

Born  at  Salisbury,  England;  he  was 
a  chorister  from  1815  to  1823  in  the 
cathedral  under  Arthur  Thomas  Corfe. 
Entering  the  Royal  Academy  of  Music 
he  studied  the  violoncello  under 
Lindley,  harmony  and  composition 
under  Lord  and  Dr.  Crotch.  In  1830 
he  was  made  a  member  of  Queen 
Adelaide's  private  band  and  not  long 
after  preceptor  to  Prince  George 
(afterwards  Duke)  of  Cambridge  and 
the  Princess  of  Saxe-Weimar.  Dur- 
ing this  time  he  composed  and  ar- 
ranged much  band  music.  He 
succeeded  Cipriani  Potter  in  1832  as 
conductor  at  the  Royal  Academy  of 
Music  and  he  also  became  a  member 
of  the  Opera  and  other  orchestras  as 
violoncellist.  He  succeeded  Lindley 
as  cellist  at  the  Opera,  provincial  fes- 
tivals and  elsewhere.  He  belonged 
to  the  music-publishing  firm  of  Addi- 
son Hollier  and  Lucas  from  1856  to 
1865.  In  1859  he  had  succeeded  Pot- 
ter as  principal  of  the  Royal  Acad- 
emy of  Music  and  he  held  this  position 
until  his  health  gave  out.  Among 
his  compositions  are  The  Regicide,  an 
opera:  three  symphonies,  string  quar- 
tets, anthems  and  songs. 

Lucca  (look'-ka),  Pauline.     1841- 

Brilliant  dramatic  singer;  born  in 
Vienna.  Her  parents  were  Italian, 
her  father  being  a  merchant.  Recog- 
nizing their  daughter's  talent  they 
placed  her  under  the  instruction  of 
Uschmann  and  Lewy.  When  Pauline 
was  about  thirteen  years  old  she  en- 
tered the  chorus  of  the  Opera  House 
and  gained  what  scant  musical  train- 
ing she  could  from  the  local  theatres. 
She  obtained  an  engagement  at 
Olmiitz,  where  she  appeared  as 
Elvira  in  Ernani,  immediately  becom- 
ing a  favorite.  Before  leaving,  the 
inhabitants  honored  her  with  a  musi- 
cal serenade  and  torchlight  proces- 
sion. Her  next  engagement  was  at 
Prague  where  she  sang  the  part  of 
Valentine    in    The    Huguenots    aind 


Lucia 

Norma.  Meyerbeer  was  at  that  time 
looking  for  an  artist  to  create  the 
part  of  Selika,  in  his  yet  unpublished 
L'Africaine.  Hearing  of  Mile.  Lucca's 
success  he  went  to  Prague  to  hear  her 
and  was  so  charmed  with  her  singing 
and  dramatic  ability  that  he  engaged 
her  to  come  to  Berlin.  While  there 
he  superintended  her  work  and  she 
appeared  in  three  of  his  greatest 
characters  besides  Selika;  Alice  in 
Roberto,  Bertha  in  II  Prophete,  and 
Vielka  in  the  Camp  of  Silesia.  Her 
first  appearance  in  London  was  in 
1863  at  Covent  Garden  in  the  role 
of  Valentine.  She  was  equally  well 
received  there  and  sang  in  London 
every  season,  with  the  exception  of 
1869,  until  1872.  She  continued  to 
sing  throughout  Germany,  adding  the 
roles  of  Margherita,  Cherubino,  Car- 
men, Zerlina,  Leonora  and  others. 
Auber  was  so  delighted  with  her 
rendering  of  his  Zerlina  that  he  gave 
her  the  pen  with  which  Fra  Diavolo 
was  written,  in  token  of  his  admira- 
tion. The  Czar  of  Russia  wished  to 
hear  her  and  he  politely  requested  the 
King  of  Prussia  to  allow  her  to  sing 
at  St.  Petersburg,  which  request  was 
granted  and  again  she  scored  new 
triumphs.  In  1872  she  went  to 
America  for  a  two  years'  tour  which 
was  a  memorable  one.  Upon  her  re- 
turn to  Europe  she  sang  at  all  the 
principal  cities.  At  Vienna  she  added 
Anna,  and  Madeline  in  Le  Postilion 
to  her  successful  parts.  She  had  mar- 
ried Baron  von  Rahden  in  1869,  but 
while  in  America  she  obtained  a  di- 
vorce from  him  and  later  married 
Baron  von  Wallhofen,  who  died  in 
Vienna  in  1899.  She  is  living  in  Vienna 
now  and  devoting  much  of  her  time 
to  giving  lessons. 

Lucia     (loo-che'-a),     Fernando     de. 
1860- 
Italian  singer;  born  at  Naples.    He 

sang  successfully  in  Lisbon,  and  at 
Drury  Lane  Theatre,  London,  in  the 
season  of  1887.  He  made  a  sensation 
in  1893  when  again  in  London,  He 
took  the  part  of  Canio,  in  Leonca- 
vallo's Pagliacci.  He  sang  at  Covent 
Garden  for  some  time,  singing  in 
Faust,  Cavalleria  Rusticana,  Boito's 
Mefistofele,  and  Mascagni's  L'Amico 
Fritz.  At  a  later  London  appearance, 
in  1905,  he  sang  at  the  new  Waldorf 
Theatre.  He  has  an  exquisite  mezzo 
voice,  taking  particularly  well  parts 
which  require  energy  and  emotion. 


BIOGRAPHIES 


507 


Ludwig 
Ludwig  (loot'-vikh),  Joseph.    1844- 

Born  at  Bonn,  where,  when  eleven 
years  old,  he  began  the  study  of 
music.  At  the  age  of  fifteen  he  entered 
the  Cologne  Conservatory,  where  he 
was  a  pupil  of  Griinwald  for  violin, 
and  of  Ferdinand  Hiller  for  composi- 
tion. Later,  he  studied  two  years 
under  Joachim,  and  his  playing  took 
the  style  of  his  master.  His  playing 
was  interrupted  by  a  term  of  mihtary 
service.  After  playing  in  several  Ger- 
man cities  he  went  to  London,  in  1870, 
to  succeed  Leopold  Jansa  at  the 
Academy  of  Music.  He  became  a 
naturalized  Englishman,  and  has  now 
a  respected  place  among  musicians 
there.  He  plays  first  violin  in  a  quar- 
tet of  which  G.  Collins  is  second  vio- 
lin, A.  Gibson  or  A.  Hobday  is  viola, 
and  W.  E.  Whitehouse  is  violoncello. 
They  have  given  a  great  many  con- 
certs in  London  and  the  provinces. 
He  has  written  two  symphonies,  a 
piano  quartet,  and  some  violin  and 
violoncello  pieces.  His  violin  is  a 
Joseph  Guarnieri  del  Gesii,  which  has 
been  loaned  to  him  for  life  by  a 
pupil.  Part  of  it  was  made  from  the 
same  piece  of  wood  as  Paganini's 
violin. 

Ludwig,  Paul.     1872- 

Born  in  Bonn;  the  son  of  Joseph. 
His  instrument  is  the  violoncello,  and 
his  first  instruction  on  it  was  from 
Hugo  Daubert  and  W.  E.  White- 
house.  In  1890  he  went  to  the  Royal 
College  of  Music,  where  he  studied 
under  E.  Howell  and,  later,  with 
Patti.  She  recommended  him  for  the 
Popular  concerts,  London,  where  he 
has  since  remained,  both  as  soloist 
and  player  of  chamber-music.  He  has 
obtained  an  enviable  reputation  among 
cellists. 

Luigini  (loo-ed-je'-ne),  Alexander 
Clement  Leon  Joseph.  1850- 
Celebrated  French  conductor;  born 
at  Lyons.  He  studied  at  the  Paris 
Conservatory,  where  he  took  several 
prizes.  In  1869  he  received  the  ap- 
pointment of  leader  of  orchestra  in 
the  Grand  Theatre  of  his  native  town, 
becoming  conductor  in  1877.  In  1897 
he  went  to  Paris  to  take  the  position 
of  conductor  at  the  Opera  Comique, 
which  position  he  still  holds.  He  had 
been  professor  of  the  Conservatory 
at  Lyons  and  founded  the  Concerts 
Bellecour  and  the  Concerts  du  Con- 
servatoire.    Among  his  compositions 


Lully 

are  numerous  ballets  as  well  as  sym- 
phonic music;  a  cantata,  Gloria  Victis; 
and  an  opera  comique  in  three  acts, 
Faublas. 

Lully  (liil'-le),  Jean  Baptiste  de.  1633- 

1687. 

Celebrated  composer;  born  at  or 
near  Florence.  His  talent  was  dis- 
covered at  an  early  age  and  his  first 
instruction  was  given  him  by  an  old 
shoemaker  monk,  who  taught  him  the 
rudiments  of  music  and  the  guitar. 
When  about  ten  or  twelve  years  old 
he  was  discovered  by  the  Chevalier 
de  Guise,  who  brought  him  to  Paris 
and  turned  him  over  to  his  niece, 
Mile,  de  Montpensier,  who  desired  to 
learn  Italian.  His  first  position  was 
as  scullion  in  the  kitchen  and  he  de- 
voted his  spare  minutes  to  playing 
popular  airs  on  an  old  violin.  Being 
overheard  he  was  raised  to  a  place 
in  the  Princess'  band  where  he  soon 
played  better  than  the  others.  All 
would  have  gone  well  but  his  mis- 
chievous disposition  got  the  better  of 
him  and  he  was  caught  writing 
satirical  verses  about  the  Princess 
who  promptly  dismissed  him.  How- 
ever, he  had  been  noticed  by  Louis 
XIV.,  then  about  fifteen  years  of  age, 
who  had  taken  a  fancy  to  him  and 
who  made  him  a  member  of  his  band 
of  "  Twenty-four  Violins."  Here  he 
did  so  well  that  the  King  established 
another  band  especially  for  him  to 
train.  These  players  were  called  Les 
Petits-Violons,  and  under  Lully's 
management  they  soon  surpassed  the 
older  band.  In  place  of  the  old  idea 
of  air  and  accompaniment,  he  studied 
the  capacity  of  each  instrument  and 
assigned  to  each  an  individual  part, 
thus  adding  to  the  novelty  and  bal- 
ance of  the  whole  composition.  Real- 
izing his  own  defective  education  he 
took  lessons  on  the  harpsichord  and 
in  composition  of  Nicholas  Mertu;  of 
Frangois  Roberdet,  who,  beside  be- 
ing valet-de-chambre  to  the  queen- 
mother  was  organist  at  the  church 
of  the  Petit-Peres;  and  of  Gigault, 
organist  of  several  churches  and  a 
talented  composer.  It  was  by  study- 
ing the  works  of  the  Venetian  .com- 
poser, Cavalli,  and  observing  his 
method,  that  Lully  laid  the  founda- 
tion of  his  own  individual  style.  This 
is  evident  in  his  Le  Manage  force, 
Pourceaugnac,  La  Princesse  d'filide, 
and  Le  Bourgeois  Gentilhomme.  He 
was  appointed  to  compose  music  for 


508 


BIOGRAPHIES 


LuUy 

the  Court  ballets  and  to  write  ballet 
divertissements  for  Cavalli's  operas, 
then  given  for  the  first  time  in 
France.  In  1661  the  King  appointed 
him  "  Charge  of  Chamber  Music  to 
the  King  "  and  the  next  year,  "  Charge 
of  Music-Master  to  the  Royal  Family." 
In  1661  he  was  naturalized. 

In  1664  he  married  the  daughter  of 
Michel  Lambert,  a  talented  musician, 
and  they  had  three  sons  and  three 
daughters.  About  the  time  of  his 
marriage  he  became  friends  with 
Moliere,  who  collaborated  with  him 
until  1671.  From  1658  to  1671  Lully 
composed  about  thirty  ballets,  the 
last  being  for  Moliere's  Psyche.  He 
took  part  personally  in  many  of  them 
both  as  dancer  and  comic  actor,  thus 
gaining  added  favor  with  the  King. 
Not  content  with  the  honors  and 
fortune  he  already  enjoyed,  he  used 
his  influence  with  Louis  to  deprive 
Abbe  Perrin  of  a  grant  (1669)  which 
privileged  him  to  create  an  Academy 
of  Music.  Lully  obtained  this  grant 
himself  and  became  "  the  founder  of 
the  French  National  Opera."  Whether 
he  had  a  right  to  this  position  or  not 
he  certainly  did  good  work,  giving 
his  personal  attention  to  every  detail, 
being  director,  stage  manager  and 
everything  to  ensure  its  success.  He 
formed  a  partnership  with  the  poet 
Quenault  as  collaborator,  which  lasted 
fourteen  years.  Together  they  com- 
posed the  first  legitimate  French 
opera,  Les  Fetes  de  I'Amour  et  de 
Bacchus.  During  this  time  Lully 
composed  twenty  operas  on  a  variety 
of  subjects  which  is  surprising.  Dur- 
ing the  fifteen  years  of  his  director- 
ship of  the  Opera  Lully  carefully 
guarded  his  interests,  the  King  re- 
stricting other  theatres  and  actors  in 
every  way.  In  1681  he  obtained  the 
position  of  secretary  to  the  King, 
though  this  office  had  previously  been 
held  only  by  native  noblemen.  He 
died  in  Paris,  leaving  a  large  fortune. 
His  family  erected  to  his  memory  a 
splendid  monument  surmounted  by 
his  bust  in  the  left-hand  chapel  of 
the  church   of  the   Petit-Peres. 

Lully  changed  completely  the  Court 
ballets  from  the  old  slow  and  stately 
airs  to  lively  and  rapid  music.  He 
also  wrote  sacred  music;  his  motefs 
for  double  choirs  were  published  in 
1684  and  some  exist  in  the  libraries 
of  Versailles  and  of  the  Conservatory. 
As  Louis  XIV.  detested  brilliant  pas- 
sages,   Lully   was    obliged   to    adhere 


Lumley 
to  the  smoothness  of  Italian  melodies. 
The  sameness  of  his  operas,  his  faulty 
instrumentation  and  his  occasional  in- 
correctness in  harmony  must  be  ex- 
cused on  account  of  the  times.  He 
certainly  understood  the  stage,  and 
the  fact  that  his  works  are  still  re- 
published is  a  proof  of  his  talent. 

Louis,  his  eldest  son,  born  in  Paris, 
1664,  died  about  1715.  He  composed 
a  number  of  operas  and,  with  Colasse, 
a  four-act  ballet,  Les  Saisons,  the 
memory  of  which  still  lives  in  one 
of  J.  B.  Rousseau's  satires.  Jean 
Baptiste  de,  second  son,  born  in 
Paris,  1665,  and  died  in  1701.  He  was 
appointed  musicmaster  in  1695.  His 
principal  work  was  a  cantata,  Le 
Triomphe  de  la  Raison.  Jean  Louis, 
third  son,  born  1667  and  died  1688, 
gave  promise  of  becoming  a  success- 
ful musician.  His  father's  Court  ap- 
pointments were  given  him  and  upon 
his  death  devolved  upon  his  brother. 

Lumbye    (loom'-bi),   Hans   Christian. 
1810-1874. 

Popular  composer  of  dance-pieces; 
born  in  Copenhagen.  He  conducted 
an  orchestra  of  his  own  in  the  Tivoli, 
Copenhagen,  and  with  which  he  also 
made  concert  tours.  He  was  called 
the  "  Northern  Strauss."  His  marches 
and  dances  were  very  popular,  among 
them  KroU's  Ballklange,  Eine  Som- 
mernacht  in  Danemark  and  Der 
Traum  des  Savoyarden.  He  retired 
in  1865  and  was  created  a  Kriegsrath. 
The  leadership  of  his  band  was  under 
taken  by  his  son  George,  who  has 
made  himself  very  popular. 
Lumley,  Benjamin.     1811-1875. 

Son  of  Louis  Levy,  a  Jewish  mer- 
chant of  Canada.  He  studied  for  the 
law  and  was  admitted  a  solicitor  in 
London,  1832.  Four  years  later  he 
undertook  to  finance  Her  Majesty's 
Theatre,  and  upon  the  death  of  La- 
porte,  1841,  he  became  its  manager. 
He  retained  the  policy  of  his  pred- 
ecessor and  presented  the  ballet  to 
the  neglect  of  the  opera.  In  this  way 
he  quarreled  with  and  lost  the  per- 
formers who  had  been  attached  to  the 
theatre.  He  had  three  profitable  years 
during  his  engagement  of  Jenny  Lind, 
but  soon  after  had  to  close  the  thea- 
tre. With  the  burning  of  Covent 
Garden  in  1856  he  tried  again,  but 
with  not  much  success.  After  his 
retirement,  in  1863,  he  returned  to  his 
original  profession.  During  his  man- 
agement he  introduced  into  England 


BIOGRAPHIES 


509 


Lumley 

for  the  first  time  Donizetti's  Figlia  del 
Reggimento,  Don  Pasquale  and  others, 
Verdi's  Ernani,  Traviata,  Trovatore, 
and  others,  Costa's  Don  Carlos  and 
Halevy's  Tempesta. 

Lunn,  Louisa  Kirkby.    1873- 

English  dramatic  singer;  born  at 
Manchester.  Her  first  instruction  was 
obtained  from  Mr.  J.  H.  Greenwood, 
organist  of  All  Saints'  Church.  From 
1893  until  1896  she  studied  under 
Signor  Visetti  in  the  Royal  College 
of  Music.  She  made  her  debut  while 
still  a  student,  singing,  in  1893,  at 
Drury  Lane  and  at  the  Prince  of 
Wales  Theatre.  Her  voice  was  ad- 
mired by  Sir  Augustus  Harris,  who 
made  a  five  years'  contract  with  her 
to  sing  in  opera,  but  he  died  in  1896. 
During  that  year  she  sang  at  the 
Opera  Comique  and  at  Covent  Gar- 
den. She  belonged  to  the  Carl  Rosa 
Company  frorn  1897  to  1899,  and  sang 
with  them  in  London  and  the 
provinces.  In  the  latter  year  she  was 
married  in  London  to  Mr.  J.  K.  Pear- 
son. She  continued  to  sing  and  her 
reputation  steadily  gained.  In  1902 
she  came  to  the  United  States,  where 
she  sang  opera  in  New  York;  in  Bos- 
ton, with  the  Symphony  Orchestra; 
and  in  Chicago,  with  the  Pittsburg 
Orchestra,  and  with  the  Chicago  Or- 
chestra under  the  late  Theodore 
Thomas.  She  sang  a  return  engage- 
ment in  Boston  two  years  later,  when 
the  Savage  Company  presented  the 
first  English  performance  of  Parsifal, 
under  the  leadership  of  Chapelmaster 
Rothwell,  very  successfully.  She  con- 
tinues to  be  a  great  favorite  in  her 
native  land,  her  rich  mezzosoprano  of 
over  two  octaves  in  compass  being  in 
great  demand. 

Lupot  (lii-po),  Nicholas.    1758-1824. 

Celebrated  violin-maker;  descended 
from  a  family  of  violin-makers,  which 
came  originally  from  Mirecourt  in  the 
Vosges  Mountains.  He  was  born  at 
Stuttgart  and  early  learned  the  trade 
of  his  fathers,  having  made  good  in- 
struments at  twenty  years  of  age. 
In  1794  he  removed  to  Paris,  where 
he  later  established  his  shop,  and  any 
of  his  instruments,  dated  between 
1805  and  1824,  are  worth  from  one 
thousand  to  twelve  thousand  francs, 
He_  was  named  the  "French  Stradi- 
vari," because  he  was  so  successful 
in  imitating  the  Stradivari  violin. 
He    made     several     quintets     of   two 


Luther 

violins,  two  tenors,  and  bass,  to 
which  he  endeavored  to  give  a  per- 
fect unity  of  tone  and  appearance,  and 
these  bring  very  high  prices.  During 
his  tirne  he  ranked  as  the  best  in  his 
trade  in  Europe.  His  business  de- 
scended to  his  son-in-law,  Charles 
Francis  Gaud,  who  is  a  member  of 
the  well-known  firm  of  Gaud  and 
Bernardel. 

Lussan  (dii  liis-san),  Zelie  de.  1863- 
Popular  American  singer;  born  in 
New  York.  Her  parents  were  French 
and  her  mother  had  been  well  known 
as  a  singer  and  vocal  teacher.  She 
received  much  instruction  from  her 
mother  and  continued  her  study 
abroad,  making  her  first  appearance 
at  nine  years  of  age.  After  singing 
at  Wagner  Festivals  she  returned  to 
America  and  was  a  member  of  the 
Boston  Ideal  Opera  Company  from 
1885  to  1888,  The  next  year  she  went 
to  London  as  a  member  of  the  Carl 
Rosa  opera  troupe  and  was  enthu- 
siastically received.  At  first  a  protegee 
of  Patti's  she  soon  won  an  envied 
position  for  herself  in  the  musical 
world.  Beautiful,  piquant,  magnetic 
she  has  charmed  many  with  her  grace 
and  vivacity.  Her  time  has  been 
spent  in  both  Europe  and  America. 
In  1894  she  appeared  at  the  Metro- 
politan Opera  House,  New  York,  and 
the  two  following  years  she  sang  in 
Spain,  Portugal  and  France.  She 
appeared  in  this  country  in  1897  and 
1899  and  in  1902  made  a  triumphant 
tour  here.  She  has  been  a  favorite 
in  the  Grau  and  the  Damrosch-Ellis 
companies.  Her  great  roles  are  Car- 
men and  Mignon  and  she  has  also 
been  very  popular  as  Musette  in  La 
Boheme,  Marie  in  La  Fille  du  Regi- 
ment, Zerlina  in  Don  Giovanni,  and 
Marguerite  in  Berlioz's  Damnation  of 
Faust.  She  married  Angelo  Fourni, 
son  of  Portugal's  vice-consul  in  Wash- 
ington. 

Luther  (lu'-thur),  Martin.     1483-1546. 

The  famous  German  reformer;  born 
in  Eisleben,  Prussia,  where  he  died. 
He  was  himself  quite  a  musician,  had 
a  good  voice  and  could  play  the  flute 
and  lute.  The  music  of  the  mass  had 
become  long  drawn  out  and  he  made 
many  alterations  to  shorten  it.  He 
called  together  Conrad  Rupf,  chapel- 
master to  the  Elector  of  Saxony,  and 
Johann  Walther,  cantor  at  the  Court 
of  Frederick  the  Wise,  and  with  them 


510 


BIOGRAPHIES 


Luther 

in  1524,  published  the  Order  of  the 
German  Mass.  He  was  also  interested 
in  songs  for  the  people  and  was  at 
the  same  time,  writing  and  adapting 
hymns  for  the  service.  The  first 
Protestant  hymn-book  appeared  the 
same  year,  and  contained  four  of 
Luther's  hymns.  These  hymns  be- 
came very  popular.  In  1538  he  wrote 
a  short  essay  in  praise  of  music  and 
he  also  wrote  a  poem,  Frau  Musica, 
on  the  same  subject.  There  are 
thirty-six  hymns  either  written  or 
arranged  by  him,  and  thirteen  hymn- 
tunes,  though  there  is  doubt  about 
some  of  these  being  his. 

Lutz  (loots),  Wilhelm  Meyer.     1822- 

1903. 

Born  at  Mannerstadt,  Kissingen, 
where  his  father  was  an  organist. 
Upon  his  family  removing  to  Wiirz- 
burg  he  entered  the  Gymnasium  and 
University  there  and  also  studied 
music  under  Eisenhofer  and  Keller. 
In  1848  he  went  to  live  in  England, 
where  he  held  positions  as  organist 
in  several  churches.  He  was  also 
leader  of  the  orchestra,  first  at  the 
Surrey  Theatre  and  then  at  the  Gaiety 
Theatre,  and  he  managed  the  operatic 
tours  of  Geisi,  Mario,  Pyne  and  Harri- 
son, and  others.  Among  his  compo- 
sitions are  many  operas  and  operettas 
very  popular  in  their  day.  He  wrote 
much  orchestral  and  chamber-music. 
The  well-known  tune  of  the  Pas  de 
Quatre  was  his. 

*Lutkin,  Peter   Christian.     1858- 

American  musician  and  educator; 
born  in  Racine,  Wisconsin.  At  an 
early  age  he  was  a  choir-boy  under 
Canon  Knowles,  and  as  young  as 
twelve  held  a  position  as  organist. 
His  musical  education  began  in  Chi- 
cago, where  he  studied  piano  under 
Mrs.  Regina  Watson,  organ  under 
Clarence  Eddy  and  theory  with 
Frederick  Grant  Gleason.  Continuing 
his  studies  abroad  he  had  instruction 
on  the  piano  from  Oscar  Raif,  in  Ber- 
lin, and  from  Moritz  Moszkowski  in 
Paris;  on  the  organ  from  August 
Haupt  and  theory  from  Woldemar 
Bargiel,  in  Berlin,  and  he  also  at- 
tended the  Hochschule  fur  Musik  in 
Berlin.  From  1881  to  1883  he  stud- 
ied in  the  Leschetizky  Piano  School 
in  Vienna.  Upon  his  return  to  Chi- 
cago he  was  organist  at  the  Cathe- 
drals St.  Peter  and  St.  Paul,  holding 
both  positions  between  the  years  1871 


Lynes 

and  1881.  He  was  organist  of  St. 
James  Church  from  1891  to  1896. 
From  1888  to  1895  he  was  director  of 
the  theoretical  department  of  the 
American  Conservatory  of  Music.  He 
has  been  professor  of  music  since  1891 
and  Dean  since  1897,  of  the  School 
of  Music  of  Northwestern  University 
at  Evanston,  Illinois.  He  has  always 
lent  his  aid  to  musical  clubs,  and  has 
been  connected  with  vested  choirs 
since  their  first  use  in  the  west.  He 
has  composed  songs,  church-music, 
and  concert  works. 

Lux   (looks),  Friedrich.     1820-1895. 

Born  at  Ruhla,  Thuringia.  Organist 
and  dramatic  composer;  he  received 
his  first  instruction  from  his  father. 
He  studied  composition  in  Gotha 
under  A.  Michel,  later  spending  two 
years  under  Friedrich  Schneider  at 
Dessau.  In  1841  he  became  director 
of  the  Court  Theatre  there,  which 
position  he  held  until  1851,  then  be- 
coming chapelmaster  of  the  town 
theatre  of  Mayence.  He  later  resigned, 
and  from  1864  conducted  the  Lieder- 
tafel  of  Mayence  and  the  Ladies'  Vocal 
Society  connected  with  it;  he  retired 
in  1891.  As  a  composer  his  vocal 
music  was  excellent.  His  orchestra 
works  were  produced  very  success- 
fully and  he  composed  three  operas, 
besides  church-music  and  piano- 
pieces. 

Lwoff  (I'vof),  Alexis  von.     1799-1870. 

Violin  virtuoso;  born  at  Reval, 
Russia.  He  was  educated  for  the 
army  and  became  a  major-general, 
also  aide-de-camp  to  Czar  Nicholas. 
He  had  also  had  musical  instruction, 
and  in  1836  was  appointed  conductor 
of  the  Imperial  Court  Choir,  succeed- 
ing his  father.  He  was  a  great  stu- 
dent of  Old  Russian  Church  Song  and 
of  Russian  folk-music.  In  1859  he 
published  an  essay  On  The  Free  and 
Non-symmetrical  Rhythm  of  Old  Rus- 
sian Church  Song.  He  was  commis- 
sioned by  the  Czar  to  set  to  music 
the  words  of  the  national  hymn,  the 
words  having  been  written  by  Zhukov- 
ski.  He  died  on  his  estate  in  the 
Government  of  Kovno.  His  compo- 
sitions include  church-music,  part- 
songs,  arrangements  of  Russian 
folk-songs  four  operas,  and  much 
violin-music. 
Lynes  (llnz),  Frank.     1858- 

American  pianist;  born  in  Cam- 
bridge,  Massachusetts.     He   first  en- 


BIOGRAPHIES 


511 


Lynes 

tered  the  New  England  Conservatory 
at  Boston,  then  studied  piano  and 
organ  of  B.  J.  Lang,  and  harmony  of 
J.  K.  Paine.  He  spent  the  years  from 
1883  to  1885  in  the  Leipsic  Conserv- 
atory studying  piano  under  Carl 
Reinecke  and  Bruno  Zwintscher, 
theory  under  A.  Richter,  and  com- 
position under  Jadassohn.  Returning 
to  Boston,  he  became  organist  of  St. 
Paul's  Church  in  1887,  and  later  of 
other  churches;  in  1899  of  the  Church 
of  the  Disciples.  He  is  also  conduc- 
tor of  the  Cantabrigia  Choral  Class. 
Among  his  compositions  are  gavotte 
for  piano  and  violin;  a  romanza  for 
violin,  violoncello,  organ,  and  piano; 
a  Te  Deum;  much  piano-music,  and 
many  songs. 

Lyra  (le'-ra),  Justus  Wilhelm.     1822- 
1882. 

Born  at  Osnabriick.  He  studied 
philosophy  and  theology  at  Berlin  and 
Bonn,  and  occupied  various  church 
positions   at   Lingen,   Wittengen   and 


Lysberg 

Bevensen.  In  1877  he  became  pastor 
primarius  at  Gehrden  and  Hanover, 
where  he  died.  He  was  a  man  of 
many  accomplishments,  though  his 
mind  was  at  times  unbalanced.  While 
a  student  he  composed  many  songs 
which  were  very  popular,  among  them 
being  Der  Mai  ist  gekommen.  Die 
bange  Nacht  ist  nun  herum,  Meine 
Mus'  ist  gegangen,  and  Zwischen 
Frankreich  und  dem  Bohmerwald. 

Lysberg  (les'-berkh),  Charles  Samuel. 

1821-1873. 

Born  at  Lysberg,  near  Geneva.  His 
name  originally  was  Bovy  and  he  is 
well  known  under  the  pseudonym 
Bovy-Lysberg.  He  first  studied  music 
in  his  native  town  and  at  fifteen  went 
to  Paris  where  he  studied  under 
Chopin  and  Belaire.  Upon  his  return 
he  was  made  a  professor  of  the 
Geneva  Conservatory.  His  principal 
compositions  were  for  the  piano  and 
consist  of  all  kinds.  He  died  in 
Geneva. 


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